GODZILLA - 3D IMAX

An excruciating confession for a cinephile: I've never seen the iconic original Godzilla movie nor any of its sequels. I may have watched Roland Emmerich's Matthew Broderick-starring remake but I've blanked it out of my memory. So I come to this new GODZILLA with few expectations and little knowledge.  What did I get? A movie that impressed me with its moody visuals and overwhelming soundtrack & sound design - a movie dripping with first-rate character actors and earnest good intentions.  But, sad to report, it's also a movie that just left me cold  - that landed like the proverbial dead fish on the screen.  And when you start to really pick it apart, you realise that underneath all that gorgeous production design what you have is a pretty hackneyed and muddled script with cardboard cut-out characters and less courage than it might have done.

So here's the story.  An earthquake hits a Japanese nuclear plant (too soon?) and a young kid loses his scientist mother (Juliette Binoche - earnest cameo).  Fast forward twenty odd years and that kid's now an army bomb disposal expert (Aaron Johnson) sceptical of his father's belief that it wasn't an earthquake at all.  He follows his dad (Bryan Cranston with hair!) to the original site, witnesses the monster first hand, and returns to the USA via Hawaii in the wake of its attacks. Caught up in the military response he colludes in a plan to lure the monster with a nuke, off which it apparently feeds. But of course, it's not so simple. Because that monster is itself being hunted by another larger foe- Godzilla himself. 

I love the idea that Godzilla is not the key threat and the twist in the tail that only the Japanese scientist (Ken Watanabe) at first perceives.  I also like the way in which the screenwriters, Max Borenstein and David Callaham (THE EXPENDABLES) try to respect the original timeline of the Godzilla movies and create a kind of continuity.  But I hate pretty much everything else that has to do with story.  The way that each generation of men has to have a picture perfect family with a cute kid. How we know the good guys are good guys because they are good fathers. How the hero's wife (Elizabeth Olsen) has nothing to do but look concerned and cry.  How actors as good as Sally Hawkins get lost in the chaos.  If the movie had had any balls whatsoever, someone in that family nut wouldn't have made it.  There's just a complete lack of relief from good people looking earnest and trying their damnedest to help out. Even the bloody monster isn't exempt.

All of which is a crying shame because the young British director Gareth Edwards (MONSTERS)  has made a quite stunning leap from micro-budget creature-features into the big time with a confident and visually wondrous palette in GODZILLA. I guess it's just a shame that his movie didn't have some of the wit of PACIFIC RIM because it sure as hell has the 2-D characters.

GODZILLA has a running time of 124 minutes and is rated PG-13 in the USA and 12A in the UK.

GODZILLA is on release in the USA, Belgium, Switzerland, Egypt, Finland, France, Luxembourg, Norway, Sweden,  the UAE, Albania, Argentina, Australia, Bahrain, Bolivia, Brazil, Chile, the Czech Republic, Germany, Denmark, the UK, Georgia, Greece, Hong Kong, Croatia, Hungary, Ireland, Israel, Italy, South Korea, Kuwait, Lebanon, Montenegro, Macedonia, Mexico, Malaysia, the Netherlands, New Zealand, Peru, the Philippines, Puerto Rico, Portugal, Serbia, Russia, Singapore, Slovenia, Slovakia, Thailand, Ukraine, Austria, Bulgaria, Canada, Colombia, Cyprus, Estonia, Spain, India, Indonesia, Iceland, Kazakhstan, Lithuania, Latvia, Panama, Poland, Romania, Turkey, Taiwan, Uruguay, Venezuela, Vietnam, South Africa, Afghanistan, Fiji, Liechtenstein, Bangladesh, Iran and Trinidad and Tobago. It opens on May 22nd in Cambodia and Pakistan;  and on June 13th in China and on July 25th in Japan.

KICK-ASS 2

You can listen to a podcast review of this film by clicking here, or by subscribing in iTunes.

KICK-ASS 2 is a movie about two kids who happened to be masked vigilantes, working out whether to turn their backs on a life of danger and try to be "normal". In other words, should they stop subverting justice, stop swearing and stop beating people up?  The movie itself happens to be grappling with exactly the same problem.  And while writer-director Jeff Wadlow has his hero and heroine throw off the shackles of society and embrace their destiny, he himself has the balls of a little girl - well, any little girl except Hit Girl.  Wadlow chokes, giving us the same egregious violence and swearing as the original, but couching every single scene with heavy-handed parental guidance, quite literally giving Hitgirl a swear jar. 

The resulting film is not without its fun.  I had a good enough time during its 100 minute run-time. I loved Chloe Moretz as Mindy, struggling with the Mean Girls at school, and spoofing one of my favourite teen movies, FERRIS BUELLER'S DAY OFF.  She steals the show as the teenage girl who gets her first crush, goes on her first date, and puts the mean girls in their place.  Brilliant!  I even liked the nascent romance between Aaron Taylor-Johnson's Kick-Ass and Night-Bitch.  There was a little dust in the theatre when Dave/Kick-Ass faces the consequences of his continued vigilante activity, and I really do want to see what happens to Dave and Mindy in the inevitable threequel.

But most of the rest of the movie falls flat. Ser Jorah Mormont looks completely out of place - far too good/serious a performance - as Chris/Red Mist/The Motherf***er's uncle.  By contrast, Jim Carrey is utterly anonymous as Colonel Star-and-Stripes. In fact, I literally forgot he was in the movie.  And the subversive swearing just seemed gratuitous once it lost its shock value from the first film.  

So, overall, a mixed experience.  KICK-ASS is what it is. It needs to stop doubting itself, and pandering to its critics, and just revel in its gonzo madness. Bringing back the original director, Matthew Vaughn, would be a good start. 

KICK-ASS 2 has a running time of 103 minutes. It is rated R in the USA, and somewhat generously, 15 in the UK for strong bloody violence, sex references and very strong language.

KICK-ASS 2 is on release in the UK, USA, Ireland, the Philippines, Austria, Germany, Hong Kong, Israel, Italy, Switzerland, Canada, Cyprus, Finland, India, Latvia, Mexico, Romania, Sweden and Turkey. It opens on August 21st in Belgium and France; on August 22nd in Australia, the Czech Republic, Hungary, the Netherlands, Singapore, Slovakia, Slovenia and Thailand; on August 23rd in Estonia, Iceland, Norway, Poland and Taiwan; and on August 29th in Denmark, Malaysia and Portugal; and on August 30th in Spain and Lithuania. It opens on September 5th in Kazakhstan, Lebanon, Russia, Serbia, Ukraine and the UAE. It opens on September 11th in Egypt; on September 12th in Croatia; on September 13th in Indonesia and on September 27th in Panama and South Africa. It opens on October 4th in Colombia; on October 9th in South Korea; on October 10th in Argentina and Chile; on October 17th in Peru and on October 18th in Brazil.

SAVAGES

THE SAVAGES is a day-glo bright, tawdry, energetic mess. Aaron Johnson and Taylor Kitsch play unlikely friends and wholesale drug manufacturers - the former an earnest hippie who has perfected killer strength drugs, the latter a war vet who cares more about money and getting the job done. The two share a ditzy blonde chick played by Blake Lively. The plot, such as it is, sees the trio under threat from a Mexican drug cartel (Salma Hayek and enforcer Benicio del Toro) and entrapped by a corrupt narc (John Travolta).

The lurid colours and kinetic force of the film are attractive but are not enough to compensate for the alienating characters.  Ultimately, it's hard to care about the fate of Lively's character in the movie's more serious second act, when her persecutor is playing a drug baroness a la Cruella deVil. Moreover, the satisfyingly tricksy plot is ultimately undone by an entirely fatuous epilogue. 

SAVAGES opened earlier this year in Canada, the USA, Colombia, Mexico, Turkey, Taiwan, Hong Kong and Portugal. It opens this week in Argentina, New Zealand, Russia and Vietnam. It opens on September 20th in Singapore, Ireland and the UK and on September 26th in France, Chile, Czech Republic, the Netherlands, Slovenia, Bulgaria, Estonia, Iceland, Poland and Spain. It opens on October 3rd in Belgium, Hungary, Brazil and Lithuania. It opens on October 12th in Denmark, Germany, Finland, Norway and Sweden. It opens on October 18th in Australia and on October 25th in Greece and Italy.

ANNA KARENINA (2012)

I have a major problem with director Joe Wright. I think he is a technically accomplished director who creates wonderfully fluid, extravagantly choreographed shots that are entirely at odds with the content of his films. I first noticed this in ATONEMENT, where his long tracking shot on the beach at Dunkirk didn't advance either plot or character - it was a showy distraction in what should have been (viz. the novel) a tightly structured, chamber drama. Sadly, in ANNA KARENINA, this desire to be as contrived and artificial and intricately choreographed as possible has over-taken the film to the point where all passion, tragedy and joy is lost in a never-ending series of delicate backdrops that showcase the Chanel Haute Joaillerie collection.  This film is not so much a tragic romance as a musical without songs, and a perfume advertisement that lasts two hours.

I am not entirely sure who is to blame.  Who was it that came up with the conceit to imprison what many have called the greatest novel ever written in the simplistic straitjacket of a theatre metaphor?  Was it Joe Wright, or playwright/screenwriter Tom Stoppard? In their version of 1870s Imperial Russia, high society becomes a theatre in which every aristocrat has a part to play, and rules to which they must confirm, or else be brutally cast aside.  This is the lesson which Anna Karenina learns when she sacrifices her son and her marriage to have an affair with the dashing Count Vronsky.  He also loses - his Commission, his freedom, the respect of society - but not as much as Anna -  because he can still contract a good marriage and so redeem all.  Both Anna and Vronsky learn that happiness is tarnished by the exigencies of real life, and ultimately, they are made wretched by each other and their situation. 

The intensity with which Wright and Stoppard used the theatrical metaphor is dazzling in the open twenty minutes of the film - so ingenious it quite crowds out our attention.  I barely noticed Anna and Vronsky fall in love, or Kitty's heartbreak when Vronsky leaves her for Anna.  Anna's brother Stiva becomes a caricature of a decadent aristo, like a larger than life minor comic character in Dickens.  I kept waiting to see marionette strings.  And as for the production design - it was so rich and beautiful as to be claustrophobic, and then became a parody of itself, with Princess Betsy turning into Effie Trinkett from THE HUNGER GAMES with her outlandish dresses and coiffeur.   Underneath all the anachronistic dance moves that distracted with their inelegance and artifice, I detected what looks to be a more mature and nuanced performance from Keira Knightley, and especially Jude Law as her dogmatic husband Karenin.  Too bad those performances didn't have room to breathe. But as for poor Aaron Taylor-Johnson, his Vronsky was never more than a vain poseur.  When never feel and see his love for Anna, and his motivations are not rich enough - either in respect to Anna or the  eligible young Princess Sorokina. Maybe it's the fault of the script, but Jude Law did better with less.

The result is a film that looks fabulous and moves with the intricacy of a Swiss watch, but which feels insubstantial and skates over us too lightly.  Perhaps it's because Vronsky is so poorly written.  Perhaps it's because the larger, metaphysical discussion is entirely absent.  In the novel, Anna's attempt to escape society's constrictions is contrasted with the gloriously good but conflicted and occasionally delusionally idealistic Levin, who flees to the country but never quite loses sight of the dark backing to the mirror.  We see nothing of Levin's confusion, nothing of Kitty's process of maturing, nothing of his happiness and final equivocations.  Short-changing this story might have seemed like a narrative necessity in a two hour film - editing the "secondary" story to give Anna and Vronsky more screen time. But it's a fatal cut.  Anna's story works in relation to Levin's.  And, indeed, it's possible to see ANNA KARENINA as Levin's story after all.  Without it, the film has none of the intellectual heft of the book - and it loses perhaps the best description of happiness in literature.  Still, given these constraints, I have to say that Domnhall Gleeson was absolutely superb as Levin.  I just wish I'd seen more of him.

Of course, I am well aware that after my tirade against TINKER TAILOR, I might be giving the impression that I have a pantheon of novels that have become so much a part of my life that I cannot conceive of a film-maker's interpretation that would do my vision justice. Not so in the case of ANNA KARENINA.  I admired the 1997 Bernard Rose adaptation, starring Sophie Marceau, Sean Bean and Alfred Molina, very, very much indeed. 

ANNA KARENINA played Toronto 2012 and is released this weekend in the UK and Ireland.  It opens on November 16th in the USA and on December 6th in the Czech Republic, Germany, the Netherlands and Portugal. It opens on January 3rd in Russia and Turkey; on January 10th 2013 in Denmark; on January 17th in Australia; on January 24th in Australia; on January 31st in New Zealand and Brazil; on  February 14th in Argentina, Norway and Sweden; on February 21st in Italy; and on March 13th in Belgium and France.

NOWHERE BOY - suprisingly conventional Lennon biopic

NOWHERE BOY is a beautifully written, beautifully acted, sensitively directed biopic of the young John Lennon, directed by the reknowned British artist, Sam Taylor-Wood. Set in a perfectly rendered 1950s Liverpool, the film shows a 17 year old Lennon groping toward the truth of why he lives with his Aunt Mimi rather than with his mum and dad, not to mention taking his first steps toward becoming a Beatle.

Aaron Johnson (THE THIEF LORD; ANGUS, THONGS AND PERFECT SNOGGING) is assured as the young Lennon, complete with rock-n-roll quiff and iconic Scouse accent. He pulls off both the cockey laddishness and the vulnerability. His John is witty and playful; promiscuous and arrogant; occasionally violently angry; but also desperately adrift. Kristin Scott-Thomas also gives a nuanced performance as John's Aunt Mimi - both stiff and severe in her middle-class home, but also undoubtedly very loving toward John and possessing a wicked sense of humour. (And to those reviewers criticising Scott Thomas for being too posh, Mimi really didn't have a broad Scouse accent. Indeed, Lennon later commented that he had to broaden his Scouse accent for PR purposes.)

The character that jumps off the screen is John's mum, and Mimi's younger sister, Julia. Anne-Marie Duff's Julia is so full of energy and fun that she simply sweeps you up in her love of life and rock'n'roll music. But like John you can't help but feel something is forced in such buoyancy and we're right to distrust it. Despite being remarried with two small children, Julia obviously suffers from depression and can only truly relate to men through flirtation. This extends to John and his band members, and the delicate way in which Sam Taylor-Wood and her script-writer deal with this is both honest and elegant.

The resulting film is a moving emotional drama that is interesting on its own terms, let alone because it formed an iconic musician.

NOWHERE BOY is a very good film. It reminded me a lot of Tom Ford's feature debut A SINGLE MAN, in that it was both apparently conventional in its structure and visual style but also wonderfully brave in tackling uncomfortable subjects head on, without judgement and without cliché. The conventional style is even more surprising from Taylor-Wood given the nature of her graphic art, and her bizarre short film.

NOWHERE BOY closed London 2009 and is currently on release in the UK and Australia. It will play Sundance 2010. It opens in New Zealand on March 4th; in the Netherlands on April 1st; in Russia on April 15th and in Norway on September 10th.

ANGUS, THONGS AND PERFECT SNOGGING - a qualified thumbs up from the target demographic

A sure sign of ageing: I offered The Kid a chance to see the WALL-E preview; she asked to see ANGUS, THONGS AND PERFECT SNOGGING instead. Since when did The Kid know about thongs? And have I taught her nothing about cinema? Ah well, youth must be indulged even if the mere title of the movie brought me out in hives.

ANGUS, SNOGS AND PERFECT SNOGGING is based on a series of exceptionally successful children's books by Louise Rennison. The books are narrated by a teenager called Georgia Nicolson who is willing to do anything to get a boyfriend. The film is a catalogue of her attempts - from changing her physical appearance to taking snogging lessons to using an innocent bystander to make her putative boyfriend jealous. The whole thing is pretty formulaic, including the fact that Georgia manages to piss off all her friends in the third act before a completely unearned happy ending in the fourth. (The evil baddie got pretty harsh treatment - I thought unnecessarily harsh.)

The message of the film is apparently that young girls should be happy looking the way they look, because Mr Right will like you just the way you are. Laudable enough. But why did I have to sit through ninety minutes of dialogue so puerile I got seriously worried about The Kid's sanity? To give you a flavour, here's the description of the one of the books from the website: "The third gorgey book about Georgia's adventures - guaranteed to have you laughing your knickers off. Find out how Georgia copes with her rapidly expanding nunga-nungas!" I mean, dear gods, did Ms Pankurst chain herself to the railings for this?! Clearly, I am not the demographic for this movie, and I strongly suggest that you drop your over 12s at the cinema and pick them up afterwards.

The only opinion that matters, I suppose, is that of The Kid. She had a great time, once she got over the shock of the changed title, lack of berets(?) and collapsed storyline. Apparently, the screenwriters have combined events from different novels, presumably saving us from sequels, and massively beefed up the parents marriage trouble storyline. She thought Robbie was cute (Aaron Johnson - the kid from THE ILLUSIONIST and THE THIEF LORD) and that Georgia was perfect. I also thought that Georgia Groome gave a charming performance. Moreover, she was playing a role a million miles away from her turn in LONDON TO BRIGHTON. She's evidently an actress to watch. Finally, though, even The Kid thought the denouement was just too ridiculously fairy-tale. And she has a pretty high hurdle-rate for schmaltz. So, all in all, I guess it's a qaulified thumbs up from the fan-base.

ANGUS, THONGS AND PERFECT SNOGGING goes on release in the UK on July 25th. It opens in Italy on August 1st; in Belgium on August 13th; in Germany on August 28th; in Australia and Russia on September 18th; in Norway on September 26th; in the Netherlands on October 2nd; in Spain on October 2nd; in Sweden on October 17th and in Denmark on January 2nd 2009.

THE THIEF LORD - charming live-action kids flick

THE THIEF LORD is a charming live-action children's movie based on the popular novel by Cornelia Funke. Neither I nor my god-daughter have read the novel, but judging CURIOUS GEORGE a little too young, we opted for this flick instead. We went in with zero expectations but both found it captivating. The story takes all the familiar strands from classic children's fiction. We have two young brothers, Prosper and Boniface. They have been orphaned, and their evil aunt and uncle opted only to adopt the younger brother - six year old Bo. So, one night, Prosper helps Bo escape and they head to Venice, for no better reason than that their late mother always told them magical fairytales about the city. In Venice they are taken in by a group of orphans who hide out in a dis-used cinema (!) led by the enigmatic Thief Lord, Scipio. However, all is not as it seems. Scipio is desperate to become an adult, the evil Uncle and Aunt have hired a private detective to track our heroes down, and a shadowy Count wants the gang to steal a wooden wing from a kindly photographer. Much of the film consists in young kids outwitting mean and/or kindly adults and finding their way to a magical roundabout on a secret island in the lagoon. This fantastic fairytale is brought to life by a quite amazingly good cast of children. In particular, the little kids who play Bo (Jasper Harris) and young Ernesto (Zak Davies) are alternately heart-breaking and hysterical. We also have, somewhat bizarrely, Alexei Sayle and Vanessa Redgrave chewing up the scenery as a corrupt shopkeeper and a nun respectively. This movie is not rocket-science, but I am not sure why it has received such a harsh reception from the critics. I would strongly recommend it to kids (and adults) who love stories about magic and fantasy.

THE THIEF LORD was released in Germany and Austria this January and is now on release in the UK. There is no scheduled release date for the US, France or Australia.