FLIGHT

The first thirty minutes of FLIGHT is worth the price of admission: a brilliantly shot, unbearably tense sequence in which we see an intoxicated but brilliant pilot somehow arrest the freefall of a shattered airplane by turning it upside down and then gliding it to a semi-safe landing.  The rest of the movie is about how that pilot comes to turn with his addiction, and the undoubtedly strong performance from Denzel Washington as Captain Whit Whitaker, has its share of Hallmark Card moments and a superfluous ending.

As the film opens, Whip wakes up from shagging his stewardess, a fellow addict.  He takes cocaine to sharpen himself up from his mammoth hangover, takes a hit of Oxygen, strong coffee and aspirin on the flight to make the take-off, and ten drinks vodka while the plane is cruising.  There is no doubt in our mind that he isn't fit to fly, but also that his intoxication is partly what gives him the balls to land the plane safely.  This irony is paralleled in the final act of the film in which Whip has to give evidence before the investigating commission, but I won't say more for fear of spoiling the second scene of brilliant tension in the movie.

There is no doubt in our mind that it was the plane, rather than the pilot who caused the freefall.  The trouble is, neither the airline nor the manufacturer nor the pilots union wants to accept blame and Whip is caught in the middle.  He leans heavily on his crew and friends, and helped by a brilliant lawyer (Don Cheadle) to absolve himself of blame and cover up for his drinking.  In doing so, Whip is contrasted with Kelly Reilly's Nicole: his love interest who is trying hard to recover.  Reilly does well in a largely thankless role.  By contrast, James Badge Dale steals the show in a brief scene as a dying cancer patient, and John Goodman is good value in the complex cameo of the drug dealer who is at once funny and repellent. 

When FLIGHT is good, it's very good.  No doubt, Robert Zemeckis' experience in CGI (POLAR EXPRESS, A CHRISTMAS CAROL) contributes to the technical perfection of the opening plane crash sequence.  But the final act of the movie also betrays a schmaltzy Christmas Special vibe that undercuts much of the early grittiness.  If the movie only had the the discipline to end at Whip's moment of clarity, this would've been a film more worthy of Denzel Washington's performance. 

FLIGHT was released in 2012 in the USA, Canada, Kuwait, Russia and Turkey. It is currently on release in Israel, Portugal, Germany, Hungary, Italy, Lithuania, Norway, Spain, Sweden,  Belgium, Australia, the Netherlands, Ireland, Mexico, the UK, New Zealand, Argentina, Chile, Brazil and Finland. It opens on February 13th in France; on February 21st in Croatia, the Czech Republic, Hong Kong, Singapore, Bulgaria, Poland, Romania and Taiwan; on March 1st in Japan and on March 14th in Serbia.

FLIGHT is rated R in the USA and has a running time of 138 minutes.

A CHRISTMAS CAROL - good intentions under-cut by cheap tricks

Bullied as a poor child, Ebeneezer Scrooge has turned his back on love and become a miserly, mean old man, persecuting his good-hearted clerk Bob Cratchett and his kindly nephew in turn. On the eve of Christmas, in smoggy, lamp-lit, London, he is visited by the ghost of his old business partner Marley, and warned to transform his ways. Scrooge is then visited by the Ghosts of Christmas Past, Present and Future, who show him what he has turned his back upon, how horribly he is viewed by others, and the lonely death that awaits him. He awakes on Christmas morning a changed man, having had his heart melted by Cratchett's young crippled son Tiny Tim, and the shit scared out of him by the hellish Ghost of Christmas Future.

So goes the iconic Christmas tale from the author who was simultaneously England's greatest social critic and the writer of some of our most sentimental nonsense. To that end, Dickens got right to the heart of the Christian message as telegraphed by St Paul: one part tears and mercy; one part hell and brimstone. Accordingly, his books veer between rapier-like, courageous social critique and absurd depictions of innocents and children. The villainous Fascination Fledgby goes hand in hand with the unreal Oliver Twist. The superbly drawn sexual psychodrama of Bradley Headstone stands in contrast with the bizarrely anemic and oddly-motivated John Harmon. Dickens pulls this off because he is a genius.

The sharp contrasts inherent in Dickens can trip up those who try to adapt him for the screen. Oftentimes, a simply crazy and irreverent attitude is best. Thus, you can't not enjoy A MUPPET CHRISTMAS CAROL and I even have a soft-spot for the Gordon Gekko-transposed Bill Murray vehicle SCROOGED.

By contrast, Robert Zemeckis' new Jim Carrey-CGI extravaganza is far more faithful to the source-text and the popular idea of how Dickens should look. His film is all smoky chimneys, candle-wax and handsome whiskers. You simply can't fault the detail of the design, the texture of every surface, and the believable rendering of human emotion on every face. In general, I loved the production design. Indeed, the only character I thought really didn't work was the Ghost of Christmas Present, partly because of the look of the character, partly because the trick of looking through the floor to new scenes didn't quite get the perspective right, and partly because Jim Carrey voice-work didn't do much for me.

Zemeckis tries to pull off the Dickensian double of horror and twee emotion. Early scenes with a ghostly door-knocker and bells-tolling had little kids squirming and the Ghost of Christmas Future and his Black Riders are absolutely terrifying - and so they should be. Jim Carrey's Scrooge looks genuinely horrified and makes a convincing turnaround. I also liked the fact that after every really scary scene, the movie had some light-hearted physical humour to break the tension. Unfortunately, I thought Zemeckis didn't pull off the emotional scenes. The emphasis was somehow all wrong, especially at the end. Schmaltz requires that we see Scrooge and Tiny Tim gathered round a resplendent turkey. But in this adaptation, we just see Scrooge pack a turkey into a carriage and then head over to his nephew. Zemeckis definitely missed a trick with that one.

Still, even with the failure with the second ghost and the missed-trick on the ending, this could've been, on balance, a rather good film, were it not for Zemeckis' fatal flaw: he just can't resist having his characters whoosh through the skies in 3-D glory. Yes, it looks cool. Yes, the kids might love it. But what on earth has it got to do with Dickens? And why on earth would you spend so much time creating an authentic and textured depiction of Dickensian life only to under-cut the whole thing with some cheap, vulgar, hyper-modern stunts? Poor show.

A CHRISTMAS CAROL is on global release.

I am Beerwolf and I am here to kill your Monst-AH!!!!

This new performance-capture version of BEOWULF is a noble addition to the genre of meat-headed sword-swinging action flicks, of which CONAN is the best example. It's transparent nonsense - wilfully sending itself up at every turn - and bears precious little resemblance to the Old English epic. It's laugh-out loud funny rather than noble and moving - but hey! there are worse ways to spend a couple of hours.

In this 3-D animated world, Ray Winstone - an old fat East Londoner - is transmuted into BEOWULF - a ludicrously buff sword-swing Hero with a capital "H". In fact, he looks more like Sean Bean in Lord of the Rings than anything else. He harrumphs around Denmark shouting stuff like "I am Beerwolf and I am here to kill your Monst-AH!" and "My name is strenff! And lust! And power! I am Beerwolf!!" He is in Denmark to kill an evil beastie called Grendel who is terrorising King Hrothgar's mead-hall. Unfortunately, he is then seduced by Grendel's mum and sires a dragon who will come back to haunt his mead-hall twenty years later. This all unwinds against a background in which the crumbling Roman Empire is giving way to Christian kingdoms and Heroes of old are giving way to feeble martyrs. Whatever intelligence there is in Neil Gaman and Roger Avary's script lies in its tackling the issue of hero-myths versus reality.

But let me be very clear. This is not a subtle, magical epic poem brought to life with sensitivity and pathos. No, no, no. It's full of swearing, jokes about deflowering virgins and blow jobs. There's a lot of nudity and a lot of violence. It is absolutely amazing to me that the movie got a 12A certificate in the UK. The acting is also completely hammy, with John Malkovich in particular having a lot of fun as a camp pseudo-villain. The accents are also all over the place. Robin Wright Penn and Alison Lohman decide to give their Danish characters accents that are sometimes English, sometimes Welsh, sometimes Scottish. Anthony Hopkins as Hrothgar has a pronounced Welsh lilt. Angelina Jolie does that bizarre thing she did in ALEXANDER as Grendel's mum and Beowulf is, as we said, from Aldgate East.

Still, for all its many flaws, Beowulf is a visual feast. The 3D works brilliantly and the performance capture has come on in leaps and bounds. The animation is magnetic. You have to see this, but just think twice before taking the kiddiwinks.

BEOWULF is on release in Indonesia, the Philippines, Germany, Hong Kong,Singapore, South Korea, Thailand, the UK, Italy and the USA. It opens next weekend in Belgium, Egypt, France, Argentina, Greece, the Netherlands, Russia, Slovakia, Bulgaria, Denmark, Estonia, Finland, Iceland, Norway and Spain. It opens on November 29th in Australia, Hungary, New Zealand, Slovenia, Brazil, Lithuania, Sweden, Turkey and Japan.