Movie Review: Prometheus

Michael Fassbender 

Prometheus (2012)
Directed by: Ridley Scott
Starring: Noomi Rapace, Michael Fassbender, Logan Marshall-Green, Charlize Theron, Idris Elba and Guy Pearce

In one of the most anticipated blockbusters of 2012, Ridley Scott introduces viewers to a new kind of origin story -- an ambitious attempt from a well-established director who made a name for himself with 1979's classic, Alien.

The film opens on a high note, with an eerily human-like alien sacrificing himself for the "greater good" during the early stages of Earth's existence. The scene than jumps to 2089 where we meet archaeologist couple Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green) as they uncover strange star markings on Scotland's Isle of Skye -- the very same markings that have appeared in multiple locations around the world. They eagerly interpret this as an invitation to explore the dark, unknown recesses of space in an attempt to come in contact with the "Engineers" (a name which they use to refer to the alien race that appears in the carvings). With the help of an ageing benefactor named Peter Weyland  (a barely-recognizable Guy Pearce, buried under latex), Elizabeth and Charlie have a crew assembled on the corporate spacecraft, Prometheus, for a two year voyage. They awake from their long slumber on a dormant-looking planet and are introduced to the crew: Captain Janek (Idris Elba), sergeant Meredith Vickers (Charlize Theron) and android David (Michael Fassbender), who bases his imitations of human behaviour after Peter O'Toole in Lawrence of Arabia. 


Prometheus raises interesting questions about mankinds origins and the very foundations of our faith, yet stops short of answering any of its own queries. The film starts strong, making great use of its arresting visuals and two excellent performances from Rapace and Fassbender. However, by the halfway point the narrative begins to unravel, leaving dozens of loose threads behind. For what started out as such an ambitious and thought-provoking script, why stop short of putting the audiences mind at ease with answers to some of the bigger questions? Just who are these Engineers and what made them suddenly turn their back on humanity? With an obvious lack of motivation, the Engineers simply come off as exceptional-looking CGI creatures that add little to the overall plot.

The erratic pacing comes to a head in the second act as it becomes clear that Scott and his screenwriters, Damon Lindelof (he of Lost fame) and Jon Spaihts, are not entirely committed to tying up its loose ends. The film will likely leave most viewers somewhat confused -- and not in the brilliant way that Stanley Kubrick's 2001: A Space Odyssey weighs on the mind. It's lack of character development (and sometimes startling, out-of-left-field revelations about certain characters' backstories) and often incoherent narrative make for an uneven film.

Yet, despite its flaws Prometheus still manages to tell a mostly entertaining sci-fi story that is boosted by the very presence of the lovely Rapace and the coldly captivating Fassbender. If not quite the prequel we all had in mind back when Scott first announced he was returning to the Alien franchise, it's still the rare summer flick that generates heated and in-depth discussions from both its fans and its detractors. It's one of those films that is bound to divide audiences and disappoint hardcore Alien devotees -- but the performances of its two leads and its strong first hour still make it a worthwhile venture.

FINAL GRADE: B+

Movie Review: The King's Speech

The King's Speech (2010)
Starring: Colin Firth, Geoffrey Rush, Helena Bonham Carter and Guy Pearce
Directed By: Tom Hooper

It has, arguably, been a slow year for film. Although there have been a few great ones along the way, I've found it tough to come up with a top ten list for the end of the year. Considering the Oscars will, yet again, announce 10 Best Picture nominees, a handful of those films will get in simply to fill out that list.

The King's Speech has had buzz surrounding it since its debut at the Toronto International Film Festival in September. The premise is simple enough and, on paper, doesn't sound like it would make for epic historical cinema.

Set in the late-1930s, with the ominous (and, at the time, largely misunderstood) rise of Nazism in the background, Prince Albert (Colin Firth) struggles to overcome a speech impediment he's had since childhood. His debilitating stammer has led to countless public embarrassments; however, a long line of "doctors" have been unable to find a cure. After the death of his father, George V (Michael Gambon) and the surprise abdication by his older brother, Edward VIII (Guy Pearce), Albert becomes King George VI and is thrust into the public domain at a time when Great Britain is on the brink of war and in need of leadership now more than ever. With the help of his wife, Elizabeth (Helena Bonham Carter), George finds a speech therapist from Australia named Lionel Logue (Geoffrey Rush), a man with a reputation for unorthodox treatment methods.

Who knew a film focused on the speech therapy of a now-deceased king could make for such compelling drama? Even I had my doubts, going into the film. I worried the film was all hype and wouldn't live up to all of its praise. I'm glad I was wrong.

With the advent of mass communication in the form of the radio, George is expected to rise to the challenge and lead his people, as a united force, against Nazism. This would be no easy task for anyone, experienced or not, let alone someone with a deathly fear of public speaking due to a seemingly incurable speech impediment. George's desire to no longer speak with a pronounced stammer becomes less about helping himself and more about having the clarity and strength to inspire his people into action. He's no longer simply trying to find his own voice, but that of his entire kingdom. When his daughter, Elizabeth, asks him what Hitler is saying in a rousing speech the Royal Family watches on a newsreel, George replies wistfully: "I don't know. But, he seems to be saying it rather well."

Firth is on a hot streak. With The King's Speech coming so soon after his heartbreaking and underrated performance in A Single Man (2009), he is one of the best actors working in the industry today. As George VI, his performance is subtly beautiful. A lesser actor would have chewed the scenery and over-embellished every emotion, yet Firth's polished and nuanced performance adds layers of emotion and character development with professional restraint. The man understands his character and how to properly portray a man on the brink. It is, without a doubt, the finest performance by a male actor this year. Firth makes George VI heroic and brave without simply playing off his disability. Firth works hard to earn the audience's sympathy to the point where, in the climactic speech at the conclusion of the film, you are on the edge of your seat as though watching an action thriller. The scene is so exciting because Firth made it so.

As Lionel, Rush is at his quirky best. He's such a fine actor that he does more than his share in a supporting performance. At times both hilarious and fiercely proud of his work in his field, Lionel provides friendship and emotional support to a king that experienced very little of either growing up. Like his character, Rush provides support for Firth as both Firth's acting equal and for his ability to allow (and help) Firth to shine. Rush's work in The King's Speech is the definition of a supporting performance.

The rest of the cast is just as stellar, with Bonham Carter, Pearce and Gambon all strong in their supporting roles. If nothing else, the film is a genuine performance piece with talent at every turn.

Director Tom Hooper (who last year helmed the wonderful and sadly underrated film, The Damned United) has done a wonderful job of making what could have been a dry concept and turning it into something fascinating. I especially admired the unique framing techniques. The camera had the tendency to be off centre, leaving ample head room above the actors as well as on one side. It gave the film an artistic, indie feel. Most costume dramas tend to focus on beautiful pastoral images to make up for the stuffy, routine indoor shots; however, Hooper and his camera crew gave it a fresh spin.

The King's Speech just might end up being the film to beat during the awards season.

FINAL GRADE: A

30 Day Movie Meme: Day 3

30 DAY MOVIE MEME
Day 3: A FILM THAT GIVES YOU UNADULTERATED PLEASURE


THE ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT (Australia, 1994)
Written and Directed By: Stephan Elliot
Starring: Hugo Weaving, Terence Stamp and Guy Pearce

THE PLOT
Two drag queens and a transsexual travel across the Australian Outback in order to perform a show at a prestigious resort in a small town. Leaving Sydney behind, Tick/Mitzi (Hugo Weaving), Adam/Felicia (Guy Pearce) and Bernadette (Terence Stamp) decide to travel in a beat-up old lavender-coloured bus they christen Priscilla. Along the way they make new friends, enemies and learn to get along with one another in time to perform their big show.

WHY I LOVE IT
It's campy fun. It's also the only time where I approve of the use of songs by Abba. I'd always been curious about the film but never got around to actually watching it in its entirety. I expected it to be mildly entertaining, at the very least. What I didn't expect was to love every minute of it, from start to finish. It's certainly deserving of its massive cult following.

At times both funny and heartbreaking, all three characters break away from drag queen stereotypes to become real people with ambitions, personal issues and families of their own to take care of. Stephan Elliot's excellent script is made even better by his three lead actors; all of whom turn their characters into genuine people. Hugo Weaving portrays Tick as a sensitive bundle of nerves whose sole focus is the show and the secret he's protecting from the other two. Guy Pearce is campy fun as Adam, a drama queen who loves being noticed but has a softer side when the time calls for it. Terence Stamp gives the strongest performance in a role that seemed to be written for his dry wit (he should have been nominated for Best Supporting Actor that year). Stamp infuses Bernadette with an almost motherly authority, while still having a dark sense of humour and an appetite for performing. Stamp's Bernadette is the heart and soul of the film.

The costumes and make-up are gorgeous, the song and dance numbers excellent and if the cinematography doesn't make you want to catch the next plane out to Australia, than I don't know what will. The film manages to be quintessentially Australian in its portrayal of their culture while allowing audiences from around the world to embrace its themes of equality, perseverance and friendship.

This film goes above and beyond what you'd normally expect from a film about a drag act. It moves past tired stereotypes and develops a coherent script that ha humour, heartbreak and is full of heart.

TOP: Terence Stamp as Bernadette

MIDDLE: Guy Pearce as Tick/Mitzi

BOTTOM: Guy Pearce as Adam/Felicia

Movie Review: The Hurt Locker

DIRECTED BY: Kathryn Bigelow
STARRING: Jeremy Renner, Anthony Mackie, Brian Geraghty, Ralph Fiennes, David Morse and Guy Pearce

Iraq, 2004. Sgt. William James (Jeremy Renner) is the reckless new leader of the Bravo Company elite Army bomb squad after the death of Sgt. Matt Thompson (Guy Pearce) in the line of duty. James joins JT Sanborn (Anthony Mackie) and Owen Eldridge (Brian Geraghty) with just over a month left of the Bravo Company's rotation. The film tracks those remaining few weeks as Sanborn and Eldridge struggle to cope with James' unconventional and dangerous leadership qualities.

Unlike most recent war films, The Hurt Locker focuses on a select group of men (mainly James, Sanborn and Eldridge) which actually allows the viewer to appreciate the characters and their development. Unlike Black Hawk Down, for example, these men don't just become another face in a big cast of characters, without a memorable personality. In focusing on a specific, elite group of combatants, Bigelow is allowing an attachment to form between the characters and the audience. James, Sanborn and Eldridge also lack the typical macho war mentality often found in these types of films. These three men are just average guys who happen to have incredibly dangerous careers, which makes them all the more likeable and sympathetic. They fear for their lives but understand that what they are doing is important.

Kathryn Bigelow has just as good a chance at winning Best Director at this years Oscars than anyone else. She can make as solid, intense and exciting a war film as any of the big league boys. The film is visually compelling, whether the focus is on something as small as a tangled web of bomb wires or as grand as a massive, devastating explosion. Bigelow provides a nice balance of quieter character scenes and grandiose gun battles. Amidst all the violence and chaos, her startling images of death and destruction, and the characters in the middle of it all, really resonate.

Jeremy Renner, as adrenaline-junkie Sgt. James, gives an excellent performance in one of his first starring roles. Despite the fact that he has a wife and baby son back home, James' main focus in life is his job of dismantling bombs. However, through Bigelow's direction and Renner's excellent performance, James also comes across as someone who would make a great father (in a memorable scene where he bonds with a young Iraqi boy named "Beckham", who loves soccer and sells burned DVDs) and a genuinely capable and respected leader (illustrated in the scene where a dehydrated James gives the last of his juice to Sanborn in the midst of a sniper battle). Those smaller moments that develop character, paired with the intense action scenes, makes James a great and, more importantly, likeable hero.

The supporting cast is also solid, specifically Anthony Mackie and Brian Geraghty as Sanborn and Eldridge. However, there are some great cameos as well, including Guy Pearce as the doomed Sgt. Thompson, David Morse as Colonel Reed and Ralph Fiennes as an unnamed British "Contractor Team Leader."

The Hurt Locker is definitely one of the years standout films; an intense and emotionally charged war film. It's heart-stopping action scenes and little character details and quirks will likely draw in any viewer who appreciates a well-rounded film. While it's not quite Best Picture of the year material, it is arguably great enough to at least merit Oscar nominations for Best Picture, Director and Actor, all of which is likely to happen.

B+