Friday, 16 August 2019

Film Review: "Once Upon a Time in Hollywood" (2019).

"The 9th Film from Quentin Tarantino." This is Once Upon a Time in Hollywood. This period comedy-drama film written and directed by Tarantino. The film visits 1969 Los Angeles, where everything is changing, as TV star Rick Dalton and his longtime stunt double Cliff Booth make their way around an industry they hardly recognize anymore. The ninth film from the writer-director features a large ensemble cast and multiple storylines in a tribute to the final moments of Hollywood’s golden age.

In early July 2017, it was announced that Tarantino had written a screenplay about the Manson Family murders, which would be his next film. Tarantino spent five years writing it as a novel before realising a film script would better suit the material. Tarantino stated that the story consists of multiple parallel stories and is the closest thing to his earlier film Pulp Fiction (1994). Tarantino considers the screenplay as "probably his most personal", as well as his "Magnum Opus" and his love letter to LA. In addition, Tarantino thinks of it as "his memory piece". He even compared it to Alfonso Cuaron's Roma (2018). Tarantino stated in an interview that the director whose work most resembles this film is that of French filmmaker Claude Lelouch. It was unknown at the time whether the The Weinstein Company would distribute the film as Tarantino sought to cast the film before sending out a package to studios. Tarantino had approached Brad Pitt, Jennifer Lawrence, Margot Robbie and Samuel L. Jackson to star in the film. In October, after the wake of the Harvey Weinstein sexual abuse allegations, Tarantino severed his ties with producer Weinstein and sought a new distributor. This would mark the first time that a Tarantino film would not be distributed by the Weinsteins unlike all of his other films. Leonardo DiCaprio was revealed to be among a short list of actors Tarantino was considering for the film. A short time later, there were reports that the studios, including Warner Bros., Universal Pictures, Paramount Pictures, Annapurna Pictures and Lionsgate, were still bidding for the film that Tom Cruise was also in talks for one of two lead male roles. In early November, Sony Pictures announced they would be distributing the film, having beaten all the other studios for the rights. To secure the rights to distribute the film, Sony Pictures had to agree to Tarantino's demands, which included "a $95 million production budget, final cut and 'extraordinary creative controls'", plus 25% of first-dollar gross. Another demand was that the rights to the movie revert to him after 10 to 20 years. This brings Tarantino full circle with Sony Pictures over two decades after TriStar put Pulp Fiction into turnaround, due to its supposed glamorisation of violence and drugs. In January 2018, DiCaprio signed to star in the film, taking a pay cut to collaborate with Tarantino again. It was also revealed that Al Pacino was being eyed for a role. In late February, the film was officially titled Once Upon a Time in Hollywood, with Pitt cast in the role Cruise was also up for. The title is an homage to both Sergio Leone's Once Upon a Time in the West (1968) and Once Upon a Time in America (1984). For Tarantino, the title of the film, in one regard, has "a fairy-tale aspect". On another level, the film is "a Hollywood of reality-but a Hollywood of the mind at the same time". In March, Robbie and Zoë Bell were confirmed to be in the film. In May, Burt Reynolds, Kurt Russell, Timothy Olyphant and Michael Madsen joined the cast. In June, Damian Lewis, Luke Perry, Emile Hirsch, Dakota Fanning, Clifton Collins Jr., Keith Jefferson, Nicholas Hammond, Pacino, and Scoot McNairy joined the cast. Around the same time, with a budget of $100 million, principal photography commenced and wrapped in early November. Filming took place in Los Angeles, California and was shot on Tarantino's preferred 35 mm film. In July, Spencer Garrett, James Remar, Brenda Vaccaro, and Mike Moh were cast. In August, Damon Herriman, Lena Dunham, Austin Butler, Danny Strong, Rumer Willis, Dreama Walker, and Margaret Qualley were cast. In September, Reynolds died before filming any of his scenes; Bruce Dern replaced him. Many famous Los Angeles area locations, archival footage from many films, as well as audio and digital alteration, were utilised for the authentic recreation of 1960s/70s Hollywood. This is the last film to feature Luke Perry, who died in March 2019. The first assembly cut of the film was four hours, 20 minutes. This film was originally scheduled to be released on August 9, 2019, the 50th anniversary of the murder of Sharon Tate, before Sony changed the release date to July 26, 2019.

The film features an ensemble cast that includes DiCaprio, Pitt, Robbie, Hirsch, Qualley, Olyphant, Butters, Butler, Fanning, Dern, Moh, Perry, Lewis, Vaccaro, Hammond, Herriman, Dunham, McNairy, Collins Jr., Walker, Willis, Russell, Bell, Madsen, Remar, Strong, Jefferson, Garrett, and Pacino. The cast gave wonderfully electric and Tarantino-esque performances that further populate Tarantino's amazing universe. DiCaprio's comedically manic and Pitt's stoically cool performances perfectly compliment each other and do make "the most exciting star dynamic duo since Robert Redford and Paul Newman", as Tarantino perfectly put it. Robbie brought an angelic presence that Tarantino described her as "an angelic ghost on earth... to some degree, she's not in the movie, she's in our hearts".

One of the best films of the year, Once Upon a Time in Hollywood is a delirious post-modern mix of neo-noir thrills, pitch-black humour, and pop-culture touchstones. It towers over the year's other movies as majestically and menacingly as a gang lord at a preschool. It dares Hollywood films to be this original. If good directors accept Tarantino's implicit challenge, the movie theater could again be a great place to live in. Tarantino gets lost in a fictional Los Angeles. It is great fun to watch, but the movie is just a bit too long. Nevertheless, it is a classic Tarantino genre-blending thrill ride, it is violent, unrestrained, and thoroughly entertaining. 

Simon says Once Upon a Time in Hollywood receives:

Also, see my review for The Hateful Eight.

Wednesday, 14 August 2019

Film Review: "Diego Maradona" (2019).

"Rebel. Hero. Hustler. God" This is Diego Maradona. This British documentary film written and directed by Asif Kapadia. The film is a look at the career of celebrated football player Diego Armando Maradona. On 5th July 1984, Diego Maradona arrived in Naples for a world-record fee. The world's most celebrated football icon and the most passionate but dangerous city in Europe were a perfect match for each other. The film is constructed from over 500 hours of never-before-seen footage.

Maradona was the first player in football history to set the world record transfer fee twice, first when he transferred to Barcelona for a then world record £5 million, and second, when he transferred to Napoli for another record fee £6.9 million. He played for Argentinos Juniors, Boca Juniors, Barcelona, Napoli, Sevilla and Newell's Old Boys during his club career, and is most famous for his time at Napoli and Barcelona where he won numerous accolades. In his international career with Argentina, he earned 91 caps and scored 34 goals. Maradona played in four FIFA World Cups, including the 1986 World Cup in Mexico where he captained Argentina and led them to victory over West Germany in the final. In the 1986 World Cup quarter final, he scored both goals in a 2–1 victory over England that entered football history for two different reasons. The first goal was an unpenalized handling foul known as the "Hand of God", while the second goal followed a 60 m (66 yd) dribble past five England players.

Maradona is widely regarded as one of the greatest football players of all time, this is thanks to his vision, passing, ball control and dribbling skills were combined with his small stature (1.65 m or 5 ft 5 in). This gave him a low center of gravity allowing him to maneuver better than most other football players. A precocious talent, Maradona was given the nickname "El Pibe de Oro" ("The Golden Boy"), a name that stuck with him throughout his career. This was due to his presence and leadership on the field had a great effect on his team's general performance. In November 2008, Maradona became coach of Argentina. He was in charge of the team at the 2010 World Cup in South Africa before leaving at the end of the tournament. He coached Dubai-based club Al Wasl in the UAE Pro-League for the 2011–12 season. In 2017, Maradona became the coach of Fujairah before leaving at the end of the season. In May 2018, Maradona was announced as the new chairman of Belarusian club Dynamo Brest. He arrived in Brest and was presented by the club to start his duties in July. From September 2018 to June 2019, Maradona was coach of Mexican club Dorados.

As riveting as it is sad, Diego Maradona is a powerfully honest look at the twisted relationship between sport and celebrity—and the lethal spiral of addiction. Maradona's glorious rise and heartbreaking fall is movingly documented by Kapadia.

Simon says Diego Maradona receives:

Wednesday, 7 August 2019

NZIIA Seminar: 'A New Cold War: Assessing the Current U.S.-Russia Relationship.'

A New Cold War is characterised by the increasing US-Russia relationship, which was the topic of tonight’s seminar. Tonight’s speaker, Nicolas Ross Smith used a neoclassical realist framework to argue that such an analogy is significantly misleading. With four crucial dimensions, structural, ideological, psychological and technological, he helped us understand why the original Cold war became a global existential contest between the USA and the Soviet Union.

Firstly, with structural, the Cold War saw the emergence of a bipolar system, with high levels of bipolarization in the 1950s, with bipolarity becoming particularly dangerous due to it leading into an unhealthy fixation. Where as with the current relationship, the current system is probably described best as a uni-multipolar system, the U.S. reached its hegemonic zenith with Iraq, and the US-Russia relationship is regional, not global in scope. Secondly, with ideological, two ideologies remained after World War II; Soviet Union's Marxism-Leninism vs. U.S.'s Democratic Capitalism. The two ideologies were both perceived (by their championing nations) as "universal." As opposed to now where the U.S. has had its liberal hegemony ideology, while Russia, over time, developed an anti-U.S. hegemony ideology. Even though there are clear ideological differences but neither universalist.

Thirdly, with psychological, anxiety, fear and paranoia between U.S. and Russia became more pessimistic by the 1950s, and a mirror image of distorted perceptions emerged with the Cuban Missile Crisis. Where as now positive psychological conditions of initial post-Cold War setting had dissipated altogether in the 2000s. Even though Russia has interpreted Western expansion as imperialistic while U.S. has grown fearful of Russian meddling. The current psychological setting resembles the early days of the Cold War with significant amount of mutual distrust. Finally, with technological, the Cold War saw technological fixation on nuclear weapons, where they were thought of, at first, as offensive weapons then defensive over time. Once nuclear weapons parity was, more or less, achieved, and technological competition moved elsewhere, e.g. space. Now, technological change has continued to an exponential rate, where the digital revolution had moved international politics to new frontiers, such as cyberspace. Though the current relationship is most fiercely contested online, the fears of nuclear war still looms in the background.

Through a comparative examination of the fifteen-year period of the Cold War, and of the current US-Russia relationship, he concluded that despite cooling of the US-Russia relationship, the term New Cold War mistakes the reality of the relationship. The Cold War became a content of global significance because of the underpinning geopolitical structure. As well, ideological differences and strong threat perceptions were present on both sides. The technological dimension – especially nuclear arms – significantly affected international politics. The world is structurally transitioning towards multipolarity. A period of US-China bipolarity is likely, with Russia positioned as a declining power. Unlike the Cold War, ideological differences are not as stark, and the threat perceptions are not as bleak. Technology has shifted the competition to new frontiers, e.g. cyberspace. Potential for a New Cold War of global significance remains. The source would potentially be the Sino-US relationship, not the US-Russia relationship.

Smith is an Assistant Professor of International Studies at the University of Nottingham (Ningbo Campus). His Main research interests coalesce around great power competition, with a particular focus on Eastern Europe. He is the author of the book EU-Russian Relations and the Ukraine Crisis (Edward Elgar 2016), as well as articles in journals.

Also, see the previous seminar here.

Monday, 5 August 2019

Film Review: "Fast & Furious Presents: Hobbs & Shaw" (2019).

"This time there is no team." This is Fast & Furious Presents: Hobbs & Shaw. This action film directed by David Leitch and written by Chris Morgan and Drew Pearce. It is a spin-off of The Fast & the Furious franchise. Ever since Hobbs and Shaw first faced off in Furious 7 (2015), the duo have swapped smack talk and body blows as they’ve tried to take each other down. But when an cyber-genetically enhanced anarchist gains control of an insidious bio-threat that could alter humanity forever — and bests a brilliant and fearless rogue MI6 agent, who just happens to be Shaw’s sister — these two sworn enemies will have to partner up to bring down the only guy who might be badder than themselves.

In November 2015, series star and producer Vin Diesel first said that possible spin-offs were in early development. The idea of a spin-off featuring Hobbs and Shaw first emerged during filming of The Fate of the Furious (2017), after producers and studios execs took note of the comedic chemistry between the two throughout their scenes together. Plans to actually develop the spin-off were informally green-lit towards the end of filming. In October 2017, Universal Pictures officially announced the spin-off film. In addition, the film was set a with a July 26, 2019 release date, which would ultimately be moved to August 2, 2019, with Chris Morgan returning to write the script. Shane Black was being considered to direct the film before Leitch was confirmed in April 2018. By early September, Idris Elba, Vanessa Kirby, Eiza González, Eddie Marsan, Cliff Curtis, and Helen Mirren rounded out the cast. At the same time, principal photography began and wrapped in late January 2019. Filming took place in London, Glasgow and Kaua'i. This is the first Fast & the Furious chapter to be shot with anamorphic lenses unlike the previous eight films which were shot primarily in the Super 35 format on film and digital. In May 2019, it was announced that Tyler Bates would compose the film's score.

The film stars Johnson, Statham, Elba, Kirby, González, Marsan, Curtis, and Mirren. Despite the oozing star quality, in particular Johnson and Statham, the cast struggle to rise above the limitations of the nonsensical script. Johnson and Statham are far more appealing when they're playing more charming and loveable characters, as they did so winningly in Moana (2016) and Spy (2015). Their antagonism and manly abilities make for an unlikely duo, and we are supposed to feel this. Instead, we're feeling something else for having to sit through this silly movie.

Johnson and Statham inhabit their roles with earnest gusto, but Hobbs & Shaw's tone-deaf script is too self-deprecating and bereft of intelligent dialogue to provide real engaging thrills. The film plays like a collision between leftover bits and pieces of the Fast & the Furious stories. It can't decide what tone to strike. The film proves no more than fitfully satisfying, a character-driven action yarn whose flurry of lazy writing shows in a disjointed plot.

Simon says Fast & Furious Presents: Hobbs & Shaw receives:

Also, see my reviews for Atomic Blonde and The Fate of the Furious.

Sunday, 4 August 2019

NZIFF Classic Film Review: "The Lodger: A Story of the London Fog" (1927).

"Tall he was - and his face all wrapped up." This is the story of The Lodger: A Story of the London Fog. This 1927 British silent film directed by Alfred Hitchcock, adapted by Eliot Stannard, based on the novel The Lodger and the play Who Is He? co-written by Marie Belloc Lowndes. When a landlady and her husband take in a new lodger, they're overjoyed: He's quiet, humble and pays a month's rent in advance. But his mysterious and suspicious behaviour soon has them wondering if he's the killer terrorising local blond girls. Their daughter, Daisy, a cocky model, is far less concerned, her attraction obvious. Her police-detective boyfriend, in a pique of jealousy, seeks to uncover the lodger's true identity.

Published in 1913, the novel was the first book to offer a solution to the Jack The Ripper killings. The book is supposedly based on an anecdote told to the painter Walter Sickert by the landlady when renting a room. She said that the previous tenant had been Jack the Ripper. The book was quite popular in its day, with a comic stage adaptation, co-written by Lowndes and Horace Annesley Vachell, produced. In 1915, Hitchcock saw the play. In 1924, during his tenure at Gainsborough Pictures, Hitchcock was sent to Babelsberg Studios in Potsdam, Germany for the production of F. W. Murnau's The Last Laugh (1924). There, he was exposed to German Expressionism and was keen to incorporate this into his films. Upon his return, he made The Pleasure Garden (1925) and The Mountain Eagle (1926) back-to-back, both were critical and commercial failures. The Lodger was Hitchcock's third feature film. The film marked the first of the celebrated Hitchcock cameo appearances. Hitchcock appears as "Extra in Newspaper Office". Hitchcock's cameo as an extra came by accident when he didn't have enough people for extras in a scene, he decided to help by appearing in the scene. As a result, he decided to turn his appearance into one of his trademarks, with him performing silent walk-on bits in most of his later movies appearing as uncredited extras. The film was released on 14 February 1927 in London and on 10 June 1928 in New York City. It became Hitchcock's first critical and commercial hit. 

Originally, like the novel, the film was intended to end with ambiguity as to whether or not the lodger was innocent. Reportedly, Hitchcock wanted to film it that way, however, when Ivor Novello was cast in the role, the studio demanded alterations to the script. As the studio felt that audiences wouldn't like a popular star like Ivor Novello to be shown as a possible killer. Hitchcock recalled: "They wouldn't let Novello even be considered as a villain. The publicity angle carried the day, and we had to change the script to show that without a doubt he was innocent." Ultimately, Hitchcock followed these instructions, but avoided showing the true villain onscreen. Upon seeing Hitchcock's finished film, producer Michael Balcon was horrified and furious by Hitchcock's progressive style of filming, not to mention the implications of homosexuality and incest. Ultimately, Balcon nearly shelved it (and Hitchcock's career). After considerable bickering, a compromise was reached and film critic Ivor Montagu was hired to salvage the film. Hitchcock was initially resentful of the intrusion, but Montagu recognised the director's technical skill and artistry and made only minor suggestions, mostly concerning the reduction of the title cards from four hundred to eighty, as well as reshooting a few minor scenes. 

The film, described by Hitchcock scholar Donald Spoto, is "the first time Hitchcock has revealed his psychological attraction to the association between sex and murder, between ecstasy and death." It would pave the way for his later work. The film introduced themes that would run through much of Hitchcock's later work: the innocent man on the run for something he didn't do. Hitchcock had clearly been watching contemporary films by Murnau and Lang, whose influence can be seen in the ominous camera angles and claustrophobic lighting. During his famous interview with François Truffaut, Hitchcock told him that, though he had made two movies prior, but he considered The Lodger his first true suspense film and the first true "Hitchcock film". Beginning with The Lodger, Hitchcock helped shape the modern-day thriller genre in film.

The film Marie Ault, Arthur Chesney, June Tripp, Malcolm Keen, and Ivor Novello. Stellar performances by the talented cast, given the fact that they were silent film stars. Kudos goes to Tripp and Novello especially. Tripp's portrayal of Daisy, like Madeleine Carroll in The 39 Steps (1935), gave birth to the archetypal Hitchcock blonde. A similar sentiment can be said for Novello's portrayal of the titular character, which spawned the archetypal Hitchcock innocent leading man who's on the run for a crime he did not commit.

The Lodger marked Hitchcock's first critical and commercial hit, and it remains famous for its innovations. But it's now more stimulating for its experiment with stylistic visuals and future Hitchcockian themes. Like most of his British films, the film is a sign of things to come rather than Hitchcock at his height, but it shouldn't be missed. It's an early British production by Hitchcock that is truly entertaining. The themes and visual flourishes that we associate with the mature director are already at play. A Teutonic experiment in visual storytelling, Hitchcock's first hit film offers scene upon scene of ingenious synergy of camera and meaning. It's a more than adequate though its primitive murder mystery story that's enhanced by a series of marvelous technical innovations for its time. The film is a better combination of German Expressionist and British sensibilities than any other film of its type we have seen. Hitchcock's first hit is a little clunky, slight and creaky for contemporary audiences, but still manages to truly perturb, play well, enjoyable and entertaining, as well as being a suitable precursor to the master director's later work. Hitchcock's first hit is today largely a historical curiosity, but still worth seeing.

Simon says The Lodger: A Story of the London Fog receives:

Also, see my reviews for Dial M for Murder 3D and The Realm.

NZIFF Film Review: "The Realm" ("El reino") (2018).

"Kings fall. Kingdom survive." This is The Realm (El reino). This Spanish political thriller film directed and written by Rodrigo Sorogoyen. Manuel López-Vidal is a beloved politician in his region: he enjoys a good social position, has a loving family, friends everywhere and plenty of natural charisma. He is also a corrupt man who has been enriching himself with public funds for years. After attempting to cover up for an associate, Manuel is left exposed. To his surprise, the Party’s members seek to place the blame for the entire plot on his shoulders. But he will not surrender. How far is a person willing to go in order to hold on to power?

The film stars Antonio de la Torre, Mónica López, Josep Maria Pou, Bárbara Lennie, Nacho Fresneda, Ana Wagener, Luis Zahera, Francisco Reyes, and María de Nati. The strong cast gave magnificent performances and presented an ethical portrait of politicians; protagonists of corruption, arrogance, vindictiveness, filth and moral decrepitude. Del la Torre particularly gave an exciting performance, where the protagonist really stands out. The film pits him against the world, with only his character's wit. The movie is virtually an anthology of good small character performances. The large gallery of characters makes the film into a convincing canvas, but with a screenplay that developed the story more clearly, this might have been a superior movie, instead of just a good one with some fine performances. It's the performances that make up for a largely uninspired, overly complex, and long movie that nonetheless maintains audience interest.

 With The Realm, Sorogoyen presents an unsettling, minimalist meditation on the hidden dangers of politics, which signals its director as someone who's already marked out his own distinctive style. It's The Firm (1993), but more political and Spanish. Although, the film is soft and lumpy in its plotting and almost silly at times. What starts out as interesting becomes increasingly hokey and silly - where it should be intense and suspenseful. The plot brings up a lot of question that are never really answered.  This is a professional machine of a movie that compresses huge amounts of information into its two and a half hours of screen time. But it's so weighed down by detail, it fails to generate any real suspense. Is this a thriller? You've never scene a 'suspense film' drag its heels so deplorably, enlivened only by some colourful character acting. The film is never boring, but it never really sparkles either. Sorogoyen makes a solid job of it, as does De la Torre  But solid isn't enough when it comes to political thrillers for that matter. Solid is great when it comes to the sets. Nonetheless, it is a moderately entertaining thriller that is well made and exciting with some thought-provoking morality play, even though it does not cover tremendously new territory, nor does it have a lot of substance. It's an everyday political thriller, but a pure and asphyxiating thriller that portrays Spain as a stifling and tormented country.

Simon says The Realm (El reino) receives:

Also, see my NZIFF review for The Nightingale.

Saturday, 3 August 2019

NZIFF Film Review: "The Nightingale" (2018).

"Her song will not be silenced." This is The Nightingale. This Australian period thriller film written, co-produced, and directed by Jennifer Kent. The film centres on Clare, a young Irish convict, who chases a British officer through the rugged Tasmanian wilderness and is bent on revenge for a terrible act of violence the man committed against her family. On the way, she enlists the services of Aboriginal tracker Billy, who is marked by trauma from his own violence-filled past.

According to The Sydney Morning Herald, "deluged" by the film scripts she was sent from Hollywood after the success of her debut film, The Babadook (2014), Kent decided to focus on writing and directing her own projects, this included The Nightingale. In late March 2017, IndieWire reported the principal photography on the film began on location in Tasmania, and wrapped in early June. In early September 2018, the film premiered at the Venice International Film Festival. The film was met with controversy due to its extreme depictions of rape and murder. At its initial screenings at The Sydney Film Festival, approximately thirty audience members walked out of the theatre in disgust. Kent defended the decision to depict such violence, claiming that the film contains historically accurate depictions of the colonial violence and racism that took place against the Australian Indigenous people of that time. The film was produced in collaboration with Tasmanian Aboriginal elders who feel that this is an honest and necessary depiction of their history and a story that needs to be told. While Kent understands why some people reacted in a negative way, believing that they have every right to, she remains enormously proud of the film and stressed to audiences that this film is about a need for love, compassion and kindness in dark times. She said that her commitment to cinema is to make people feel something, even if that's anger at her or the situation.

The film stars Aisling Franciosi, Sam Claflin, Damon Herriman, Ewen Leslie, Michael Sheasby, and Baykali Ganambarr. So amazingly intense and unnerving the performances were that the film's villains and victims are still running amok in my brain. I think they might be there for some time.

The Nightingale is the best rape-revenge creation since Camille Keaton systematically hunted down the four men one by one to exact a terrible vengeance after she was brutally raped and left for dead in I Spit on Your Grave (1978). The film relies on real emotions rather than cheap exploitation—and boasts a heartfelt, genuinely moving story to boot. This is a film that mixes strong-minded storytelling with a clear dedication to craft. It is a non-stop ball of tension from beginning to end, the acting is freaking amazing, and the violence is ghastly. I can't even express how surprised I was by this movie. Almost everything about Kent's film is powerful: the haunting music, the sharp visual sensibility, the tightening tension as Clare's vengeance grows. It is mature and patient and it is, without a doubt, one of the best films this year.

Simon says The Nightingale receives:

Also, see my reviews for The Babadook and Making Waves: The Art of Cinematic Sound.