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 Rant: The debate over the Oscar nominations

Every year, film critics and fans around the world get a severe case of amnesia and forget how the Academy Awards often leave us disappointed and bewildered. Every year we come back for more, only to relive disappointment all over again. I think we all keep coming back for more because, deep down, we are waiting for the year when the Oscars do something right -- and start taking risks for once.

I know most people brush off the Oscars as trivial -- and they are, essentially! However, the movie fan in me would just love it if it would actually become what it proclaims to be: a place where true artists are recognized for their body of work. Alas, it's all about gaining viewership and nominating movies and actors that either buy their way in or get nominated purely on popularity and monetary value. So, each year, we go through this cycle again -- wondering why we even bother watching in the first place.

For a full list of this years nominees, click HERE.

The Oscars had the chance to take some risks this year -- we all know they are long overdue, especially since 2011 was such a wonderful year for smaller films like Shame, Take Shelter, Martha Marcy May Marlene and Midnight in Paris, among others. All are worthy contenders, yet only Woody Allen's hit was recognized by the Academy. When I wrote about my disappointment over the SAG Award nominations last month I still held out hope that the Oscars would correct some of their mistakes -- mainly in their decision to not nominate Michael Fassbender, Elizabeth Olsen, Michael Shannon and Andy Serkis. I was mistaken and should have known better.

There are nine Best Picture nominees this year -- they just couldn't make it an even 10 and give the last spot to Shame, eh? They just had to snub what is arguably the best film of the year simply because of its explicit rating? But, I guess no one ever said the Academy wasn't comprised of a bunch of old, backward prudes anyway.

Oddly enough, the best category this year is Best Director (with the exception of Alexander Payne for The Descendants, whose spot should have gone to Steve McQueen for Shame). But it is wonderful to see Michel Hazanavicius (The Artist), Martin Scorsese (Hugo), Woody Allen (Midnight in Paris) and Terrence Malick (The Tree of Life) all in the running.

On a lighter note, it's lovely to see Canada get a couple of shout-outs with Philippe Falardeau's Monsieur Lazhar receiving a Best Foreign Language Film nomination and Christopher Plummer's well-deserved nomination for Best Supporting Actor for Beginners. It's also nice to see a lot of love for The Artist, Hugo, The Tree of Life, Midnight in Paris and Moneyball (with the awkward exception of Jonah Hill being nominated ...A-BUH?!).

So, what do you think? What do you like or dislike about this years nominations?

Movie Rant: My Favourite Films of 2011

Michael Fassbender and Carey Mulligan in Shame

Another year has come and gone and, like every other film fan on the planet, I've decided to compile a list of my favourite films of 2011. Going through reviews from the past year, I realized that I hadn't seen enough truly great films to make a list of 10. So, instead, I'll have to settle for a list of eight.

Keep in mind I haven't seen the following films (some of which likely would have made the list had I seen them on time): The Descendants, The Adventures of Tintin, Tinker Tailor Soldier Spy, A Separation, Albert Nobbs and Warrior.


My Top 8 Films of 2011
1) Shame
Controversy over its explicit rating aside, Shame is a close study of the isolating nature of addiction -- that gradual separation from the tangible and the emotional. Some of the most revealing scenes in the film are often the ones with little or no dialogue and Michael Fassbender's performance is nothing short of astonishing. Shame will stay with you long after the final credits.


2) The Artist
It's a vibrant and richly texualized film. Although the idea may not be new and some may argue that the premise itself is a bit of a gimmick, it's an undeniable crowd-pleaser and a beautiful one at that. With its two charming leads at the centre, The Artist is, above all, a love letter to cinema's past.

Jessica Chastain in The Tree of Life

3) The Tree of Life
Audiences and critics alike will be hard-pressed to come up with a list of other films that are as ambitious, unique and full of meaning as Terrence Malick's latest. The Tree of Life is a bit of an enigma -- an often puzzling, yet incredibly powerful, film that deals with love, loss, death, nature and the universe. Without a linear narrative, the film includes long interludes of vivid cosmic and prehistoric visions. Spiritual and artsy, The Tree of Life challenges mainstream ideas of what a Hollywood film can achieve.


4) Hugo
One of the most visually beautiful films of the year, Hugo wraps you in a blanket of movie passion and nostalgia. Led by a wonderful ensemble cast, Martin Scorsese has created a haunting, yet whimsical, ode to the original pioneers of film.


5) Moneyball
There's no denying the long love affair that American cinema has had with the game of baseball. Moneyball is the best sports films to be released in years as it delves into the behind-the-scenes drama and inner workings of what it takes to build a winning team. Thanks to Brad Pitt's greatest performance to date, Moneyball reminds us that, despite the abundance of riches in professional sports, there are those who really do care -- for love of the game.


6) Martha Marcy May Marlene
Writer-director Sean Durkin has crafted a compelling debut feature that is ultimately a fascinating commentary on familial ties and paranoia. Elizabeth Olsen gives the kind of breakthrough performance that most up-and-comers can only dream about. She's quietly devastating and she makes it impossible to look away.

Michael Shannon and Jessica Chastain in Take Shelter

7) Take Shelter
With its slow-burning narrative, Take Shelter is a quietly unsettling indie hit that is more character study than apocalyptic thriller. In the lead role, Michael Shannon is remarkable. His quietly commanding performance is one of the highlights of the year and it's fascinating watching this gentle character battle his inner demons.

8) Midnight in Paris

With its commentary on the folly of nostalgia and the assumption that everything was a whole lot better "back in the day", Woody Allen has crafted a welcome escape from blockbusters and franchise sequels. Guided by Owen Wilson in the lead, the film takes a delightful, whimsical tour of Paris in the present day and the 1920s, where it once seemed as though only intellectuals and artists roamed the streets.

What are your favourite films of 2011?

Movie Rant: The debate over the SAG Award nominees

For me, this is the most wonderful time of the year. It's Christmas, hockey season and a prelude to all the upcoming film awards where I get to catch up on everything I've missed over the year. Nothing satiates my passion for cinema more than a good film debate.

I've enjoyed the SAG Awards in the past -- I often find them to the be the most accurate indicator as to which films and performances deserve the greatest accolades. The Golden Globes are a joke and the Oscars rarely get it right, which is why I've often relied on the SAG awards to set things straight -- well, kind of anyway. Moreso than the Oscars.

Not the case this year. Today's announcement of the 2012 nominees brought a lot of disappointment -- not just to me but all over the Internet, especially Twitter (you can see the full list of nominees HERE). A lot of people seem shocked at some of the obvious snubs in a what should have been a breakout year for smaller films and up-and-coming actors.

That being said, they did make some really great choices:
-Midnight in Paris (Best Ensemble): One of my favourite films of 2011, it's one of those feel-good whimsical gems with a ridiculously perfect (and charming) cast and a story that just sweeps you away. I was worried it'd get lost in the shuffle. Still not sure where it stands with regards to the Oscars, though.
-Brad Pitt (Best Actor, Moneyball): I'm not surprised they went with the audience-friendly baseball movie. Pitt has had a truly breakout year with diverse performances. He could very easily have been nominated for Tree of Life; however, his performance as Billy Beane in Moneyball truly carries the film into a whole new level in the sports genre. He won't win but in his case it will be an honour to have been recognized.
-Christopher Plummer (Best Supporting Actor, Beginnners): This nearly-forgotten indie from earlier this year boasted one of the finest performances of 2011. We should all be happy that they remembered Plummer's lovely turn as an older gentleman finally coming to terms with his homosexuality. His performance is a lesson in how to subtly convey a persons inner conflict without having to resort to scenery-chewing.

Here's where, in my opinionated opinion, the SAG Awards got it wrong:
-Jessica Chastain (Best Supporting Actress, The Help): Chastain has been the story of the year, the toast of Hollywood. When was the last time an actress had such an astounding breakout year? She co-starred in four films and has one more coming up (Coriolanus) to round out 2011. She gave two truly stunning performances in Tree of Life and Take Shelter. And while she was equally wonderful in The Help it's a shame that the obvious love-fest for the 1960s-era drama resulted in her receiving a nomination for one of her "lesser" performances. I'm shocked she wasn't recognized for Tree of Life or Take Shelter but I suppose we should just be grateful that she was recognized in the first place.
-Michael Fassbender for Shame: Probably the BIGGEST shock of them all -- a lack of Best Actor nomination for the finest male performance of 2011 (that I've seen so far). Fassbender is outstanding in Shame -- a raw, realistic and truly challenging role. The fact that the film was given the equivalent of a porn rating in the U.S. likely damaged his chance of being recognized for his work. Unfortunate.
-Carey Mulligan for Shame: Some may argue that she didn't have a whole lot of screen time -- but remember when Judi Dench won Best Supporting Actress in 1998 for clocking in only eight minutes in Shakespeare in Love? Mulligan was heartbreaking and more than held her own alongside Fassbender.
-Shame: I suppose the lack of a Best Ensemble nomination shouldn't be all that surprising. It likely had to do with the MPAA ratings. Still disappointing. There's no way Bridesmaids was the better film in this department. To those stuffy, uptight SAG members, Shame is obviously too hot to handle.
-Michael Shannon for Take Shelter: In many critics circles, his performance was voted the best of the year. There's really no excuse for his snub -- unless he's secretly anti-SAG or not a member. People may be torn over the film itself but Shannon was just so good that he should should have been considered an automatic nominee.
-Elizabeth Olsen for Martha Marcy May Marlene:  I think a lot of people expected her to be a shoo-in. In her breakout role she carries the emotional weight of the film on her shoulders and never lets the ball drop once. She'll make you forget there were ever other actresses with the last name Olsen. I look forward to more of her work. I can only hope she's recognized by the Academy.
-Andy Serkis for The Rise of the Planet of the Apes: I've been on his bandwagon since Day 1, when he first started doing interviews about why motion capture performance is still acting. It's amazing how many people just brush it off as "voice work." Recognition from the SAG or the Academy would go a long way towards opening peoples eyes to this different (but still legitimate) method of performance art. Serkis deserves his chance in the spotlight.

Which of the SAG nominations to you agree (and disagree) with?

Movie Review: Shame

Shame (2011)

Written and Directed By: Steve McQueen

Starring: Michael Fassbender and Carey Mulligan

"We're not bad people. We just come from a bad place."

When it comes to sophomore efforts there's always that fear that a director won't live up to the same level of excellence achieved in his debut. However, after the 2008 film Hunger catapulted British director Steve McQueen (and his star Michael Fassbender) to stardom, his follow-up film is among the best of 2011. It's also one of the most explicit theatrical releases in years and is bound to stir up some controversy. 

Controversy aside, Shame is ultimately a character study, a close look at the isolating nature of addiction. That gradual sense of separation from the tangible and the emotional that is experienced by the central figure in the film is something many can identify with in our current digital age. 

Brandon Sullivan (Michael Fassbender) is handsome, owns a beautiful apartment and owes his financial success to his cushy executive job. However, beneath the surface lies a chronic addiction -- one that requires Brandon to constantly, almost exhaustively, seek sexual release, albeit without ever finding true fulfillment. He follows a meticulous, rigid schedule each day -- beginning with masturbation in the shower and ending with picking up a prostitute at night. When his younger sister, Sissy (a wonderful Carey Mulligan) shows up at his apartment after a nasty breakup, she encrouches on his personal space, forcing Brandon to break out of his pattern and come face-to-face with his addiction and obsessive nature. Their relationship is not a traditional one shared between two siblings. With Brandon and Sissy there is an unspoken tension lying just beneath the surface -- somewhere along the way, something happened between them, although the viewer is left without answers which only adds to our unease. 

Brandon's lack of real connection with the people around him coincides with the films subtler theme of humanity's gradual loss of basic connection in the modern world. The New York in which Brandon lives is seen as cold and unfriendly, a place filled with concrete buildings and self-involved people. His is a world where the sun never shines and Brandon must go through the motions of interacting with the people he meets in lounges and bars with his egotistical boss (and only friend), David (James Badge Dale), a man who communicates with his own young son via web cam. 

Some of the most revealing scenes in Shame are often the ones that require a very limited use of dialogue. In an early scene, we witness the the interaction between Brandon and a pretty woman (Lucy Walters) on the subway late at night. While both ride the train in silence, sitting across from one another, a wordless exchange  is passed between them. The scene is astounding in its ability to go through a range of emotions in just under three minutes -- from initial attraction, to flirtation, to devastating regret. It's a shockingly powerful scene that is a highlight in an already excellent film. 

Fassbender gives the best male performance of 2011, to date. His Brandon is a man of obsession and desperation and Fassbender is able to convey this through his expressive eyes and quietly commanding presence. Watching him struggle to connect with Marianne (Nicole Beharie), a colleague he asks out on a date, allows the viewer to see another side of Brandon -- the charming man beneath the cold surface is briefly and touchingly revealed. But his attempts at human connection are more often than not in vain. Fassbender's performance is nothing short of astonishing. 

Shame hits you like a ton of bricks and sits heavily on your shoulders. It stays with you long after the final credits. It's an absorbing, piercing look at isolation and addiction -- a true work of art that requires more than one viewing, in order to pick up on its smaller nuances. You'll leave the theatre with conflicting emotions -- an effect all great films should have on its audience. 

FINAL GRADE: A