Gemini Man (2019)

Three years before Will Smith spectacularly self-harmed Will Smith in front of millions of viewers, Will Smith starred in a film which had him trying to avoid being caused harm by . . . Will Smith. Many might have tried to call Gemini Man a prescient film when it was released, but nobody could have seen just how prescient it ended up being.

A high concept written by David Benioff, Darren Lemke, and Billy Ray, and directed by Ang Lee, Gemini Man is an action thriller based around the sci-fi idea of cloning a top assassin to then kill and take over from that assassin when they have come to the end of their usefulness. Smith plays Henry Brogan, and younger images of him are used to portray Junior (aka the clone). Brogan ends up being targeted when he's due to retire, and he ends up on the run with an agent named Danny Zakarewski (Mary Elizabeth Winstead) as they attempt to stay one step ahead of the soldiers under the command of the ruthless Clay Verris (Clive Owen).

Although this film would have benefited from keeping the central idea a bit more of a mystery (I have mentioned it here because it's on the poster and was all over the marketing), it still manages to be quite good fun when delivering on the action front. Okay, viewers may get a bit impatient while they wait on Brogan to accept the strange reality of his predicament, but Lee and the writers try to keep everyone distracted with a fine opening sequence, a great late-night attempted ambush, and an extended gunfight that is inventive and thrilling. And that's without even mentioning the great moments that have Owen chewing the scenery in a turn that has him one step removed from Dr. Robotnik.

Smith is great in the lead role, and his familiar visage is used well for the younger version of himself. He's always convincing, and this feels like an a-list star doing their best to elevate b-list material. It's a gimmick film, but that gimmick is boosted by Smith's presence. Winstead is very good, and convinces in the action set-pieces, although she has to rely on Smith, sadly, and I still think she deserves a full-on action lead role with franchise potential (Kate came closest, but also seemed to quickly get lost in the sea of wannabe-Wickflicks). As for Owen, see my previous comment about him. It's no criticism. I love his performance here, and he seems to be having loads of fun in his role. The other person worth mentioning is Benedict Wong, playing a good friend/facilitator named Baron who wants to help keep our leads breathing.

It doesn't really matter how good the acting or the action is though. What matters is how convincing the film is when old Will Smith comes face to face with young Will Smith. I would say that, for the most part, it works well enough. Using a variety of tricks to hide his face for certain sections of the film, Smith the younger looks decent enough when finally allowed to be front and centre. There are a few moments that have him looking like a paused videogame character compared to the fully real humans alongside him, but they don't really unbalance the film. Until the very last scenes. I'm not sure if this was shot in reverse order or if the technology couldn't handle showing us this character in full daylight, but the very end of this movie has the worst computer imagery of the entire film, which makes it hard to get through the end credits while remembering the earlier highlights.

There are other mis-steps. Both main Smiths are a bit over-emotional when you consider their occupation, the timeline never feels quite right, and some turns in the third act feel a bit too hasty and implausible. I still rate this as a fun time though. It's not great, but it's good enough to help you pass a couple of hours.

6/10

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Mubi Monday: Gosford Park (2001)

There are many things that could be compared to Gosford Park. It was basically responsible for the hugely successful TV show you may have heard of, Downton Abbey, it explores the class divide in a way that has been a staple of British entertainment for decades (I am sure many came beforehand, but I always view this kind of thing as a relative of the wonderful Upstairs Downstairs), and it shows people bickering and veering off into conversations as they figure out who they are obliged to be nice to and how they can maintain, or improve, their own social standing. I couldn't help thinking of another unlikely comparison point though, and that was Blow-Up. There's a murder at the heart of the plot here, but is it as important as the ongoing hustle and bustle of everyone trying to go on about their lives?

The plot here is quite simple, although things get a bit more complicated in the third act. It's the 1930s. A group of rich and famous (some famous in the arts, some just famous for being rich) gather at a large estate for a weekend of relaxation and shooting, two things that many other people wouldn't assume go hand in hand. Many of those in attendance have their own agendas, whether they are part of the posh crowd or part of the serving staff, and there are one or two people doing their best to portray themselves as something they're not.

If there is anyone in the cast list that you dislike, don't worry about that. Like an anthology movie, this is so stuffed with variety that you just need to wait a moment or two until you get to something more suited to your personal preference. I won't summarise every character, and will undoubtedly forget to mention a couple of notable names, but this cast includes the excellence of luminaries such as Maggie Smith, Helen Mirren, Richard E. Grant, Michael Gambon, Kristin Scott Thomas, Kelly Macdonald, Stephen Fry, Jeremy Northam, Bob Balaban, Tom Hollander, Clive Owen, and Ryan Phillippe (don't be too put off by his accent, it's a deliberate choice). Everyone is doing absolutely stellar work, possibly boosted by their chance to work with the celebrated Robert Altman.

As well as directing, Altman gets himself a writing credit alongside Balaban and Julian Fellowes, although it certainly feels as if the majority of the groundwork was put in place by Fellowes. There's the usual busy dialogue, with many conversations continuing as the camera moves to and from wherever it seemingly decides to wander in each scene, and everything is pieced together incrementally to eventually give viewers more information about each of the most central characters and the deadly development that causes the weekend plans to be derailed.

Please don't come to this if you are looking for an intricate and well-plotted murder mystery. Although it has that element at the heart of it, and that was at the heart of the marketing (from what I recall), Altman and co. are much more interested in the relationships between all of the characters, the fragile spiderwebs that wrap around a huge room, sticking together in some places and easily snapping apart in others. 

Much like a wedding at some large country venue, this is a gorgeous affair that gives you time and space to wander around and admire your surroundings, eavesdrop on numerous conversation and make snap judgements about people, and then be stuck there while arguments start to develop and you become increasingly anxious and uncomfortable as nerves fray and composures crack. Not literally, but it does a great job of bringing those feelings to the surface as you watch things unfold from the comfort of your safe viewing environment.

8/10

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Croupier (1998)

Although he doesn’t get an automatic free pass from me, film-maker Mike Hodges is someone who has done enough good work, and at least one classic, that I am always happy to give him some of my time. Croupier is a film I have been hearing praised for decades, but just never got around to seeing, and I finally kicked myself up the behind and got it watched. I’m glad I did.

Clive Owen plays Jack (although he spends a lot of time developing a personality he calls Jake), a young man who is directed towards a casino job by his father (Paul Reynolds). He shows great skill as a croupier, and hopes to earn enough money to afford him to pursue his real passion - writing. Becoming more and more intrigued by those around him, however, Jack soon starts to play with fire, but he’s not the only one who could end up being burned. There’s his partner, Marion (Gina McKee), other staff at the casino, and an intriguing gambler (Jani, played by Alex Kingston) who might not be as cool and collected as she appears.

Written by Paul Mayersberg (someone else with a filmography certainly worth exploring), Croupier is an enjoyably odd film, blending moments of grim realism with plenty of cinematic polish, delivering very familiar fare with laconic wit and a suitably wry performance from Owen. In fact, the leading man is so good in his role that many decided he would be the perfect choice for James Bond at this time. We know that Daniel Craig got the role instead, and I would argue that Owen has given us a number of other treats we would have otherwise been denied (do check out “The Knick”, if you haven’t seen it).

Hodges seems to enjoy wandering through this world, using the mirrored surfaces, security camera placement, and watchful eyes of the main character to show viewers an environment where the line between riches and ruin is about as thin as you can get. Casinos love to be busy, but their success depends on their customer base being happy to lose much more often than they win.

Owen is almost constantly assured and one step ahead of those around him. The couple of scenes that have him on the back foot are fleeting, but his inner sense of panic is easier to notice, due to any unforeseen eventuality being such a rare occurrence. It’s a fantastic performance, he feels at ease and professional when in the casino and has enough charm to keep viewers on his side as he starts to misbehave. Kingston is the other standout, and the chemistry between her and Owen is fantastic. She even does quite well with a South African accent that gives her an extra connection to our lead. McKee gets the short end of the stick, but she does okay with what she’s given, and both Kate Hardie and Nicholas Ball are familiar faces given key roles as they lead Owen’s character away from his rules and his own code of ethics. Alexander Morton is the casino boss, someone who comes across as harsh but fair, although he also seems quite naive when it comes to spotting problems/scams.

Playing out at times almost like a parody of neo-noir films, Croupier holds up well precisely because it doesn’t seem to take itself too seriously. The very end of the film mishandles things slightly, with most of the plot strands tied up in a way that feels a bit too flippant, but it mostly succeeds in doing what it set out to do. Which is a good deal more than some manage. Good deal . . . get it? Because croupiers deal cards, and . . . right, I will end things here. Before the whole review turns into a bust.

8/10

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Mubi Monday: Children Of Men (2006)

The first time I saw Children Of Men I wondered what everyone else saw in it that I didn't. It was a good film but everyone else seemed to love it. And now I know why. What once felt like a low-key sci-fi movie that I could never warm to now feels like the kind of sci-fi tale warning us of what could be just around the corner. To be fair, it was probably always that way, it's just that when I first saw it I wasn't taking as much notice of the world around me.

Clive Owen stars as Theo, a man trying to keep his head above the dangerous waters of a society on the brink of collapse. There hasn't been a child born for almost two decades and the UK is dealing with an immigration problem by basically capturing them and keeping them in camps until they can come up with an excuse to send the military in to solve the problem with deadly efficiency. Theo also used to be a political activist, information that is used by his ex-wife (Julianne Moore) when she needs someone she can trust to assist a valuable young woman (Kee, played by Clare-Hope Ashitey) in escaping the country.

Directed by Alfonso Cuarón, who also co-wrote the screenplay with a number of other people (incorporating feedback and ideas from Owen), Children Of Men is a wonderful film that mixes hope and despair in a delicate and thoughtful mix. This is mainly thanks to the central character, an understandable cynic, being constantly surrounded by people who cling on to the smallest silver lining as the clouds gather overhead. It's also thanks to the fact that we can still watch the movie and, I sincerely hope, view it as a low point that we would never want to reach. We're already precariously close to it, in places, but I have faith that those with more common sense and empathy will always outnumber the small-minded bigots and xenophobes who keep trying to drag us further and further down into the mud.

Based on a novel by Ps. D. James (yes, THAT P. D. James), this story layers on the horrible  revelations and realisations as we keep moving towards the grand finale, not sure if this will be able to give us a happy ending, considering the overwhelming odds that keep mounting up against the main characters. There are a number of moments that let the action unfold in a number of impressive tracking shots, contributing an effective air of immediacy akin to the found footage format without really showboating in a way that takes viewers out of the movie (it's worth noting that I didn't notice these the first time I watched the film, I was so engrossed, and it was only in the intervening years that I saw them praised and then knew to look out for them on a rewatch).

Owen is superb in the lead role, he's an actor that is rarely given his due and this is one of his very best roles. Grim and determined, he is dragged into the situation in stages, always resisting right up until he realises that he's the only one who knows how to do the right thing at the right stage in the journey. Ashitey is very good in her role, similar to Owen in the way that she's often passive until the moment when she has to put her foot down, and there are strong supporting turns from Moore, Pam Ferris, Chiwetel Ejiofor, Charlie Hunnam, Danny Huston, and Peter Mullan. There is also a fantastic turn from Michael Caine, playing Jasper, a man who deals cannabis and tries to keep himself hidden away from the urban madness until the day when he hopes things start to get better.

If you think Children Of Men is just a dystopian thriller disconnected from the events of our daily lives then see how you feel during the scene in which the characters discuss how an upcoming major event could be manipulated and "improved" for the public by replacing the face of an immigrant with the face of someone white. Prescient sci-fi? This almost feels like a documentary nowadays.

9/10

You can buy the movie here.
Americans can buy it here.

Netflix And Chill: Valerian And The City Of A Thousand Planets (2017)

A variety of things can save movies from being terrible. There could be one great performance, there could be an enjoyable twist in the third act, there could be some screentime for Diora Baird (what? each to their own, don't you judge me). Valerian And The City Of A Thousand Planets manages to avoid being a terrible movie because of the sheer abundance of visual gorgeousness and design creativity on display. There are also a couple of great supporting turns, but it's the visuals that help to make the 120+ minute runtime much more bearable than it otherwise would be.

Dane DeHaan is Major Valerian, an agent who works alongside Sergeant Laureline (played by Cara Delevingne). He's also in love with her, but she is wary of his long list of past loves signifying a fear of commitment. More importantly, the two are tasked with a mission that will take them into the city of a thousand planets, hence the title. There are moments of action, many different lifeforms on display, and a race against the clock. That's all you need to know.

Written and directed by Luc Besson, based on a comic book series by Pierre Christin and Jean-Claude Mezieres, this is a film that could have been great. Besson is on good form here, obviously in love with the material and pulling out all of the stops to realise as many vibrant and fully-textured different environments onscreen as he can. He takes time to let the camera soak up plenty of details, but is equally happy to zoom and spin around while following characters through a number of chase sequences. He doesn't do as well with the script but it's standard pulpy sci-fi stuff, and fans of this kind of fare will have endured much worse.

The problem really comes from the leads, who just aren't anywhere close to being charismatic enough to cover over the weaker parts and sell the shenanigans. I like both DeHaan and Delevingne, the former is especially good in the right roles, but neither of them work here. It's not that they're terrible, they're just not a fit for the roles, nor do they work well off one another. That just becomes more and more obvious whenever we get fun turns from Clive Owen, Ethan Hawke, and even Rihanna (yes, she's very good in her small role). Herbie Hancock is a standard, gruff, authority figure, and he's fine in his role, but it's the others who get to look like they're actually enjoying themselves whenever they're onscreen.

There are other problems. The score by Alexandre Desplat doesn't feel right for the visuals (and I know that I don't mention music in films as often as I should, mainly because when it works it's easy to notice it less, like great CGI). It lacks any sense of grandeur or magic, often bringing it to your attention by being so relentlessly . . . flat while the visuals dazzle. It's also too busy at times, in terms of both characters and plot points. An action sequence in the first act never works as well as it should for this reason, although it is still a lot of fun. Last, but not least, you have the same problem that affected the unfairly-maligned John Carter. We've seen a lot of this stuff before, but that's down to the source material being around since the late 1960s, which is some time before many of the movies and stories it may have subsequently influenced.

If you're looking for some smart sci-fi then look elsewhere, but if you're looking for some easy sci-fi entertainment full to the brim with imagination and a sense of fun then this should hit the spot. It's just a shame that it didn't do enough in the other departments to complement the style and visuals.

6/10

Here's a shiny disc available for you.
Americans can get it here.

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Sin City (2005)

Cool, stylish, almost perfectly cast, and with many frames that look ripped straight from the pages of Frank Miller's original work, it's hard not to consider Sin City as one of the best comic-book movies of all time.

Director Robert Rodriguez, helped by Quentin Tarantino, also wrote the screenplay, and sets out from the very beginning to immerse viewers in a stark, black and white world of anti-heroes and villains. There are splashes of colour here and there, depicting bloodshed, strong feelings, or even just a nice pair of eyes. One other bonus, this was one of the last few films made to star Bruce Willis before he decided to sleepwalk into every paycheck.

There are little extra bits interspersed throughout, but the move iss mainly made up of three tales. In one, Bruce Willis plays an old cop who wants to get his man (Nick Stahl) at any cost. His perp is a sicko, but he's a sicko with a rich, influential father (Powers Boothe). In the second tale we get to meet Marv (Mickey Rourke), a big, brute of a man moves to action when he's set up for a murder he didn't commit. The murder of a woman that he felt great affection for. Clive Owen clashes with Benicio Del Toro in the third tale, leading to a situation that could cause a lot of trouble for the deadly working girls of Sin City. And then it's back to that dogged cop, many years later but no less determined.

As well as those mentioned, Sin City also features Josh Hartnett, Jaime King, Michael Clarke Duncan, Rutger Hauer, Elijah Wood, Rosario Dawson, Brittany Murphy, Jessica Alba, Carla Gugino, Alexis Bledel, Michael Madsen, Devon Aoki, and many more. It's certainly a star-studded cast but, more than that, everyone feels perfect for the role given to them.

Featuring his usual cool soundtrack accompanying the visuals, this manages to feel both like a great Frank Miller film and also a great Rodriguez joint. It's almost a perfect marriage of material and director.

Unfortunately, it doesn't hold up quite as well on repeat viewings. It's still very enjoyable, and consistently gorgeous to look at (seriously, freeze frame it at almost any moment and you get a gorgeous comic panel), but the pacing could have been tightened up slightly to bring the movie in under two hours, with the Owen/Del Toro section of the movie dragging things down badly.

For those who like their movies steeped in traditional aspects of cinema, this is a love or hate film. Shot almost entirely on green screen, with only a few real sets utilised, it's a unique experience, but one that absolutely works, in my opinion, due to the nature of the material.

If you want nuance and realism then feel free to reach for a thousand other movies before this one. But if you want something cool, visually stunning, and with moments of painful ultra-violence, then this might just be the ticket.

8/10

http://www.amazon.com/Sin-City-Blu-ray-Powers-Boothe/dp/B00FAHYNYC/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1408780621&sr=1-1&keywords=sin+city

And UK folks, don't forget to check out a double-bill at the cinema this weekend, while a lot of venues are showing this and Sin City: A Dame To Kill For. Such tickets can be found at sites like this one - http://www.picturehouses.co.uk/cinema/Cameo_Picturehouse/News/item/Sin_City_Sin_City_A_Dame_To_Kill_For/

The Pink Panther (2006)

I know, I know, it's a shocking oversight on my part that I've never actually seen any of the original Pink Panther movies featuring Peter Sellers as Inspector Clouseau (despite owning the boxset). I appreciate that many will feel my ignorance of those movies invalidates my opinion of this movie, and the sequel (review coming soon for that one, too). Well, trust me, despite having not seen the movies yet I AM aware of their prospective greatness. I have seen enough snippets of Sellers in action to know how good he is in the role of Inspector Clouseau, I've seen moments in which Charles Dreyfus (Herbert Lom) is driven round the bend and I know about the friendly fights between Clouseau and his assistant, Kato (Burt Kwouk). Basically, I am emphasising the fact that I know the characters and dynamics even though I've not seen the movies. Yet.

But let's get to THIS movie. Let's get to this interpretation of the character. Inspector Clouseau is still a bumbling, French detective (this time played by Steve Martin), Charles Dreyfus (Kevin Kline) is still being driven up the wall and there's now an assistant named Ponton (Jean Reno) who works with Clousea and deals with surprise attacks. The Pink Panther? Well, it's still a lovely diamond and the cause of a lot of problems. In fact, the disappearance of the gem is the main plot point of the movie, of course. Jason Statham makes a cameo appearance as its owner, Beyonce Knowles plays his partner and Henry Czerny is a suspect in the murder/robbery. Clive Owen has fun as a suave secret agent who inadvertently helps Clouseau to look good, and Emily Mortimer is a lovely young woman who falls for the Inspector, but the majority of the scenes focus on the bumbling nature of the central character and the catastrophes that he causes around him.

Directed by Shawn Levy, this is his typical brand of family-friendly entertainment. I happen to enjoy many of Shawn Levy's movies, but he's not exactly a risk-taker. He's capable enough here, helped enormously by the amusing characters and the script, co-written by Martin and Len Blum. Martin isn't a patch on Sellers when it comes to the character of Clouseau, but he deserves kudos for trying to stay true to the most familiar interpretation of him while also putting his own little spin on things. The fact that he's surrounded by people like Kline, Reno, Mortimer and Czerny helps a lot, and Beyonce does well as a beautiful woman who can make men act a bit funny.

Christophe Beck is the composer, but he uses that classic theme tune by Henry Mancini for both the opening credit sequence and many musical motifs throughout the movie, keeping soundtrack fans more than happy.

As long as you don't keep comparing every moment to the films starring Peter Sellers there ARE many laughs here. Including a very funny fart joke (hey, it's not big, it's not clever, but it's still funny). I'm not going to convince anyone that this is actually a decent comedy and I'm not going to try too hard. I like it, I'd watch it again and I may still like it just as much even after I finally watch my boxset containing the original movies.

6/10

http://www.amazon.co.uk/The-Pink-Panther-Double-Pack/dp/B008N6EUNG/ref=sr_1_6?ie=UTF8&qid=1376345523&sr=8-6&keywords=the+pink+panther