Star Trek
Star Trek
Revitalising franchises has become something of a trend in Hollywood, Christopher Nolan’s re-boot of the Batman franchise, being a key example. In a similar vein, J.J. Abrams steps forward to resurrect the Star Trek franchise, a franchise previously constrained by the iconography and formulaic nature of the TV series.
Abram’s film wisely chooses to avoid the trappings of previous Star Trek films with a clever time-travel based plot device which effectively allows him to re-write the saga from the ground up with his own distinctive style. This is achieved early on with a sequence in which the young James T Kirk steals his step-fathers vintage sports car and drives it off a cliff, to the sound of The Beastie Boy’s “Sabotage”. This sequence illustrates Star Trek’s new direction, gone are the sterile corridors and stale sermonising, replaced by a sense of youthful rebellion and most importantly a sense of fun.
2009’s Star Trek is an undoubtedly populist take on the franchise, but it is unashamedly so, revelling in quick-fire dialogue, exciting visual action scenes and a clever (if slightly shallow) romantic subplot. The film’s unwillingness to pander to “Trekkies” allows it to be a rare thing, a sci-fi film which can be enjoyed by any audience.
Public Enemies
Collateral director Michael Mann tells the true story of depression-era bank robber and Public Enemy John Dillinger (Johnny Depp) and the FBI man in pursuit (Christian Bale).
As you would expect from the director of Heat, the shootouts (from prison breakouts to bank robberies gone awry) are stunningly executed, Mann’s use of digital cameras giving the action a raw immediacy. What’s more, this being Mann, the story lacks any flab and the film moves along at breakneck speed.
However, it’s the performances that really elevate Public Enemies to greatness. From an incredible, on-form cast, special mention must go to Marion Cotillard, fantastic as Dillinger’s mistress, and Stephen Graham, channelling psychotic rage as Baby Face Nelson. Depp, though, is the standout, giving one of his best ever performances in a rare serious role as Dillinger. His and Cotillard’s doomed romance is the emotional backbone of the film – the pair have such a believable chemistry that the inevitable climax is downright shattering.
There are criticisms (Christian Bale is forgettable as Purvis, and the digital camerawork does sometimes make Enemies appear amateurish), but they can’t detract from what is a modern gangster classic.
X-Men Origins: Wolverine
X-Men Origins: Wolverine
Since former X-men director Bryan Singer left the franchise back in 2004 many fans and critics alike were starting to believe that the best X-men films were in the past, however X-men Origins: Wolverine actor Hugh Jackman was keen to state that this is a completely separate film which will delve and explore Wolverine’s past.
With a fluorescent cast of Hugh Jackman (Wolverine), Liev Schreiber (Sabretooth) and Ryan Reynolds (Deadpool) the film gives it a very good chance of being an enjoyable summer romp. However, despite the interesting tactic of using both Wolverine and Sabretooth as brothers, director Gavin Hood fails to contain the initial promise that Jackman had made and disappointingly this film does slide into becoming yet another X-men film. When the film gets past the first thirty minutes it slowly sprawls out with too many characters and too many directions it wants to go in.
Wolverine is, to a certain extent, a mindlessly enjoyable action adventure, however the lack of focus and discipline towards directing, leads to the suggestion that this film is for the masses and unfortunately not the fans, leaving us with a wicked taste that this is just another action movie.
Terminator Salvation
It has been six short years since the terminator left our screens and a lot has changed. Most importantly franchise superstar Arnold Schwarzenegger has left the iconic role that established him as one of the most important action heroes of all time. With this gaping hole left to be filled and director McG, whose claim to fame is the Charlie’s Angels films, has managed to bring in star Christian Bale.
Now set after judgement day the film looks at the raging war between both machine and man. As the story delves deeper the shift of narrative moves to promising actor Sam Worthington, whose past slowly comes to fold in an interesting story arc that’s reminiscent of the past Schwarzenegger movies.
Despite his poor credentials McG does direct and contain some great ideas within Salvation; however it is the lack of boldness that prevents the film from truly creating its own identity within the franchise.
Terminator Salvation is a film full of grey colours and loud noises, whether it is the drastic changes to the cast or settings that dampen this movie, Salvation slowly loses the essence of being a terminator film while at the same time transforming into yet another serious movie for Christian Bale’s “Oh so serious” CV.
Brad Pitt in Inglorious Basterds
Inglorious Basterds
Quentin Tarantino delivers his unique take on World War II and it is an undeniable success, blending visceral thrills, classic dialogue and, at times unbearable tension.
The film follows the eponymous troop of Jewish soldiers, and their efforts to spread terror through the ranks of the Nazi army in occupied France. Their story is intertwined with that of Shosanna, who survives her family’s massacre at the hands of “The Jew Hunter”, SS officer Hans Landa.
The film is split up into five half-hour segments which are typified by a long period of dialogue punctuated by extreme violence. While this episodic technique may be seen as overly simplistic it allows the film to remain concise and free from unnecessary exposition. It also allows the performances to shine through, the ensemble performance includes a number of highlights, Christoph Waltz’s Hans Landa being the standout, his “Jew Hunter” combines charisma with unspeakable evil and Brad Pitt’s Aldo Raine is a master-class in comic timing (his “Italian” accent is a genuine laugh-out-loud moment). If the film has one flaw it lies with Mike Myers, who’s English general reeks of Austin Powers.
Basterds is a fantastic film which showcases a director who is maturing into a powerful force in serious cinema and as such is easy to recommend.
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