Details

Written by Matthew Toomey

Created: 21 November 2013

I would have done a few things differently but I did enjoy the first Hunger Games movie, released back in March 2012. So much so that it actually inspired me to read the book! The use of an exclamation mark is justified. As I spend so much time in cinemas and on the golf course, I usually only find the time/energy to read a couple of books each year (woe is me).

Having also read the second novel, I came at The Hunger Games: Catching Fire from a different angle. Instead of going into the theatre blind with no knowledge whatsoever, I had a heightened sense of anticipation. I knew what was going to happen (the second book was actually very good) but it was now a question of how it would translate onto the big screen with a widened cast.

To bring newbies up to speed, The Hunger Games series is set in a futuristic world dominated by inequality. Citizens in the Capitol have lavish clothes, extravagant meals and beautiful homes. Those in the neighbouring 12 districts work like slaves and live in poverty. If you think that’s bad… once a year, the Capitol chooses two teenagers from each district and has them fight to the death in a makeshift area. It’s televised for the Capitol residents who are allowed to place bets and “sponsor” contestants so as to influence the result.

In the first movie, two contestants from the same district managed to survive thanks to some cunning play – Katniss Everdeen (Lawrence) and Peeta Mellark (Hutcherson). Their success was celebrated within the poor districts and as you’d expect, this wasn’t well received by the Capitol’s tyrannical leader, President Snow (Sutherland).

To squash any chance of an uprising, Snow and new Head Gamemaker Plutarch Heavensbee (Hoffman) have come up with something special for this year’s 75^th annual Hunger Games. The 24 contestants will not be teenagers. Rather, they will be former champions from recent years. Katniss and Peeta will again be forced to compete against “the best of the best” and, to borrow from the film’s catchphrase, the odds do not appear to be in their favour.

The film comes together nicely. As was the case with the first instalment, it’s the opening hour that works best. The story is fictional (obviously) but the key theme of human oppression leaves plenty to reflect upon. We’ve seen it again and again throughout our history and I can’t help but think about the recent Arab Spring. If you push people to the breaking point and create a situation where they have nothing to lose… they will fight back. The bottom line – this is a franchise that offers more than just action and romance. For that, I am grateful.

The 75^th Hunger Games dominate the film’s second half. While you won’t be feeling as emotional as the characters in the games themselves (some fight sequences do feel manufactured), there are a few interesting twists that will keep you intrigued. Don’t expect everything to be revealed though. Much has been saved for the final two films which are slated for release in 2014 and 2015.

Jennifer Lawrence is a perfect fit for the leading role and she’s well supported by group of actors led by the likes of Donald Sutherland, Stanley Tucci and Woody Harrelson. They don’t get a lot of screen time but they all manage to make an impression. That said, it will probably help if you’ve seen the first movie as there isn’t much in the way of character history.

There’s a new director at the helm this time with Francis Lawrence filling the shoes of Gary Ross. I can’t see too many noticing. The film has retained the same look and feel. Events feel a little rushed at times but the strength of the story and its characters make this a series I’ve become a big fan of.

Details

Written by Matthew Toomey

Created: 03 November 2013

Fruitvale Station begins on the last day of 2008 and finishes on the first day of 2009. It chronicles 24 hours in the life of Oscar Grant (Jordan) – a 22-year-old ex-con living in Oakland, California.

So what’s Oscar like? Why should we care about him? There’s an early scene where he befriends a young woman named Katie (O’Reilly) in the seafood section of a large supermarket. Katie has been asked to cook a fish fry but she has no idea how to go about it. Oscar promptly calls his grandmother, an expert on such matters, puts her on the phone with Katie and saves the day.

It’s clear that writer-director Ryan Coogler wants us to think positively of Oscar. In fact, it’s a little too clear. Coogler has chosen not to delve into the darker elements of Oscar’s past. All we get is a short flashback sequence that shows him in jail – the result of his drug dealing ways. Don’t stress though. Oscar is a nice guy now. We see a shot of him tipping his last batch of weed into the ocean so as to reaffirm to the audience that he’s turned the corner and is now a new and improved man. There’s another moment where he tries to help save a dog who has been hit by a fast moving car.

I’m not trying to flippant. I realise this is based on actual events but these early scenes are too manipulative, too formulaic. Michael B. Jordan (Chronicle) gives a worthy leading performance but given the structured situations in which his character finds himself, it doesn’t feel like a complete, honest depiction of Oscar Grant.

Despite its credibility issues, the film is still able to deliver an emotional finale. Oscar, his girlfriend (Diaz) and a group of close friends head into central Oakland so as to watch the New Year’s celebrations. They catch the train and the film’s title is a reference to one of the stops while en route home. Some will already know how this tragic true story ends but to preserve the film-going experience for those unfamiliar, I won’t reveal any further details. It’s a gripping sequence that is further enhanced by Coogler’s use of handheld cameras.

Fruitvale Station took home both the Grand Jury Prize (as judged by a select few from the film community) at the 2013 Sundance Film Festival. That places it in strong company given that 3 out of the last 4 winners have gone on to earn Academy Award nominations for best picture – Beasts Of The Southern Wild, Winter’s Bone and Precious: Based On The Novel Pushed By Sapphire. It also took home the Audience Award at Sundance – highlighting the impact left on those in the paying crowd.

While I don’t think it worthy of such high praise, Fruitvale Station is a film that will give you something to think about upon leaving the theatre.

Details

Written by Matthew Toomey

Created: 13 November 2013

Four months ago, We Steal Secrets: The Story Of Wikileaks was released in Australian cinemas. It was an insightful, balanced documentary from Academy Award winning filmmaker Alex Gibney (Enron: The Smartest Guys In The Room) and featured a surprisingly large amount of behind-the-scenes footage to help us form an opinion on Julian Assange and Wikileaks.

Maybe it’s bad timing… maybe it’s just a bad film… but I struggled with The Fifth Estate. This dramatic retelling of Assange’s rise to fame covers almost the same material as Gibney did with We Steal Secrets. We learn a little about his background, we understand why he created Wikileaks, and we see him bring the U.S. Government to its knees with the release of classified documents.

If given a choice, I’d much rather go with the documentary over this re-enactment. While a documentary filmmaker still has the power to guide or perhaps mislead the audience by only showing select footage, at least you know that you’re watching the real thing and you’re hearing from the real people. It’s the ideal way of approaching a polarising subject matter like this. It adds an important layer of credibility and makes it a lot harder for critics to attack.

That’s not to say that director Bill Condon (Dreamgirls, Gods & Monsters) hasn’t tried. This film, based on novels written by David Leigh, Luke Harding and Daniel Domscheit-Berg (Assange’s former right-hand man), is trying to offer an impartial point of view. Some will see Assange has an agent of change trying to bring power to the people. Others will see him as a selfish individual driven almost entirely by his own ego.

Benedict Cumberbatch (Star Trek Into Darkness) also deserves praise for his performance. I can’t think of another film this year where an actor embodied the role so perfectly. His voice, his accent, his look, his facial expressions – they’re all remarkably similar to the real Julian Assange. It’s actually kind of spooky – particularly during a re-enacted interview that serves as the final scene in the film.

Those unfamiliar with Assange and those who didn’t see the documentary will probably find this much more informative. It’s clear they’re the target audience. Those with more knowledge of the subject matter are likely to be bored. There’s nothing in The Fifth Estate that will challenge opinions or give a fresh perspective on Assange and Wikileaks. That’s how I felt anyway.

Details

Written by Matthew Toomey

Created: 30 October 2013

Thor may be great and powerful… but he’s no match for the unstoppable force that is the Marvel franchise. Since X-Men debuted back in 2000, there have been 29 Marvel movies that have grossed more than $12 billion at the international box-office. Four more flicks are scheduled for 2014 and another three in 2015 – including a sequel to ridiculously popular The Avengers.

Star Tom Hiddleston was recently promoting Thor: The Dark World in Australia and I put the question to him – are we reaching a saturating point when it comes to comic book movies? He astutely made the comparison to past eras. In the 1960s we were infatuated with Roman epics and in the 1970s we seemed to make a lot of gangster movies and police thrillers. The reality is that we will eventually lose interest comic book flicks… but as long as they remain fresh and not-so-formulaic, they’ll be around for a few more years yet.

Thor: The Dark World sees our fierce hero (Hemsworth) attempt to save the world from a new adversary. The Dark Elves, led by the particularly villainous Malekith (Eccleston), are trying to get their hands on extremely powerful force that will give him control of the universe. Suffice to say it won’t be the nicest of places if it succeeds. They’re not called the Dark Elves for nothing.

Assisting Thor is a group of characters you should already know. On his home planet of Asgard, we’ll find his domineering father (Hopkins) and a band of loyal soldiers trying to unite the Nine Realms. On Earth, there’s his love interest, Jane Foster (Portman), and her eccentric group of scientific friends including Dr Selvig (Skarsgard) and my favourite character from the original film, Darcy (Dennings).

It’s not the most exhilarating of stories and we’ve seen this stuff again and again. I’m starting to wonder if these films are maintaining the “freshness” that Tom Hiddleston was referring to. The first hour is particularly sluggish as we learn the backstory of the Dark Elves and try to get a grip on the strange force they are trying to possess.

I wouldn’t set your expectations too high but the film is still worth a look for its comedic moments (which dominate the highlight reel). Tom Hiddleston gets the best of the one-liners as Thor’s villainous brother, Loki. Kat Dennings and Stellan Skarsgard make the most of their limited screen time. There’s even an amusing cameo from Chris O’Dowd (The Sapphires). It’s a shame that the two leads, Chris Hemsworth and Natalie Portman, can’t quite generate the same laughs despite obvious attempts.

Cinema managers love Marvel movies and the huge dollars they pull in. There is one downside though. People aren’t going to leave when the closing credits start to roll. They’re going to have to wait a little longer before the cleaning staff can get in and sweep the popcorn off the floor. Fans know that the credits will contain short clips that provide a glimpse of future instalments. That’s again the case here. Make sure you stay until the screen is blank and the cinema lights turned on.

Director Alan Taylor (The Emperor’s New Clothes) isn’t advancing the comic book genre with Thor: The Dark World but he’s done enough to put bums on seats and to keep the franchise going.

You can read my interview with star Tom Hiddleston by clicking here.

Details

Written by Matthew Toomey

Created: 05 November 2013

In the iconic Charles Dickens’ novel Great Expectations, a young orphan named Pip dreams of a better life. He doesn’t want to follow in the footsteps of his sister’s husband and become a poor blacksmith. He wants money. He wants privilege. He wants to mingle with the top end of society. Thanks to the help of a wealthy benefactor, Pip is granted his wish and his life changes forever.

New Zealand author Lloyd Jones has taken Dickens’ classic tale and woven into a more modern story. Mr Pip is set on Papua New Guinea’s Bougainville Island in the early 1990s. Those old enough will remember it being a time of political turmoil. Unhappy with their mineral resources being pillaged by foreign companies, the island sought independence from Papua New Guinea. What followed was a civil war that would take roughly 20,000 lives over a 10 year period.

Having completed his 8 series run on the popular television series House, actor Hugh Laurie stars as the mysterious Mr Watts – the sole Englishman in a small Bougainville community. All of his fellow countrymen fled once the war began but Mr Watts, having recently married a native Bougainville woman, took a risk and chose to stay.

In search of something to do, Mr Watts takes on the role of school teacher for the local kids. He has no experience… but as a lover of great literature, he tries to pass on the joy that he gets from reading a wonderful novel. His first choice is Great Expectations and within a matter of weeks, his classroom is filled not just with children but also with adults wanting to hear Mr Watts read the latest chapter.

A young girl named Matilda (played by newcomer Xzannjah) takes a particular interest in Mr Watts and the novel. She starts creating her own fantasies that mirror those of the leading characters in Great Expectations. They provide hope that perhaps she can one day escape war torn Bougainville and forge her own “better life” with her father in Australia.

Writer-director Andrew Adamson has already put together a diverse resume that includes animated features (the first two Shrek movies) and action blockbusters (the first two Narnia movies). This is a very different film for Adamson in that he’s working on a tiny budget and with a bunch of non-actors. Aside from Hugh Laurie, the cast is made up of Bougainville locals – many of whom lived through the civil war and wanted to help bring this story to the screen.

I found this film hard to embrace. Mr Watts is a strange character who seems to create problems for himself when he doesn’t need to. It’s also difficult to appreciate the plight of the Bougainville residents as the movie only provides a patchy overview of the civil war and its history. When the town is invaded by a gun-wielding militia, I struggled to grasp who they were and what they were fighting for. The film also points a critical finger at Australia for its involvement in the war (perhaps rightly so) but it’s another subplot that isn’t explored in enough detail.

I enjoyed the overlap of the Great Expectations story and how it starts to shape Matilda’s dreams. There are also some unexpected moments late in the film that will stir emotions. Unfortunately, these likeable qualities aren’t quite enough to overcome the script’s limitations.