The Grey – A Review

January 29, 2012

 
There are ways of dying that shouldn’t exist anymore; like being shot with an arrow, or run over by a medieval siege tower.  Being eaten by wild animals is right near the top of that list.  I can never quite imagine how you break the news, when “Chet” (hypothetical web designer and Apple enthusiast) gets gobbled up mid-Tweet: Lotta growling round here LOL…  And the next thing: Chet’s lunch.  Death should keep pace with the times.  You shouldn’t be able to buy an iPad in the same era when you can be eaten by wolves.  Unfortunately, the majority of scary beasts don’t own a calendar.  Whether it’s 2012 or the Bronze Age; to a wolf, we’re still man chow.  We always have been.  It’s only iPhones the wild animals can’t stomach.

Joe Carnahan’s The Grey is set in Alaska, the frozen armpit of America.  Liam Neeson wants to die, so naturally he lives here.  In the first five minutes of the film, Liam puts a gun in his mouth.  He’s tired of his job: lone wolf hunter for a big oil company.  When his plane crashes on the way home, it almost comes as a relief.  Now Liam is stranded on the snowy wastes with six other male survivors.  Their only companions are man-hungry wolves.  Apparently, the oil company is too cheap to send out a search party.  So it falls to Liam to teach his new buddies how to fend off a wolf attack and/or, failing that, how to die like a man.  Lucky for them, he brought his knife on the plane.  Luckier still, Liam knows how to go berserk.

If ever a film star had the face of a wolf hunter, it’s Liam Neeson.  He looks prehistoric, like a guy who might befriend a woolly mammoth in one of those Ice Age cartoons.  His nose is like a missing piece from Stonehenge.  You pity the wolf that would try to eat him.  In The Grey, Liam is like David Attenborough crossed with Rambo.  He’s got wolf trivia at his fingertips.  Need to know the “kill radius” for a wolf?  Ask Liam.  There’s never any doubt about who’ll be the last man standing on this hiking trip.  The other dudes are all dog biscuits.  For the audience, the main fun is trying to decide who’ll get it first: the Latino, the black guy, or Dermot Mulroney.  The wolves certainly plan their meals with D-listers for hors d’oeuvres.

This movie is tough as beef jerky.  The plane has barely crashed before the first man gets munched.  As director, Joe Carnahan seems to have spent his entire career living up to his own name.  “Joe Carnahan”, the kind of name they give to teamsters.  You can’t have that name and not be a man.  There’s a scene, in The Grey, where a guy cuts the head off a dead wolf and Liam nods gravely, as if to say: Yes, that’s what a man has to do.  Anything less and you might as well be Hugh Grant.  We’re in Hemingway country for this film.  These men are stronger for being fed to the wolves.  Their hell on Earth is treated as a test of character.  By not weeping, wailing, or crying for mommy; they prove they’ve got what it takes.

The wolves are computer generated, I suppose.  It’s hard to find a good wolf in Hollywood.  Real wolves or no, the film still retains a visceral urgency.  Joe Carnahan has coaxed some fierce performances out of his cast and the plane crash alone is harrowing enough to make you wince.  There’s a shelter-less feeling to this story, as if the world had ended.  I could go right off the deep end and say Liam Neeson was playing Alaska’s version of King Lear.  But future high school students are unlikely to be writing essays on The Grey.  The film does contain some metaphysical stuff, but it’s most there to break-up the feeding frenzy.  This is, foremost, a thriller, where the wolves might as well be hostile aliens.  It’s made with integrity, and the ending isn’t a cop out, but you shouldn’t go looking for meaning in The Grey, beyond the fact that bloodthirsty wolves mean us harm.

There’s a line from an Angela Carter short story: “We keep the wolves outside by living well.”  And it’s true: the best defence against wolves is living in a city, shopping on-line and viewing camping holidays as suicide.  I’ve never trusted nature much.  Even squirrels make me nervous.  The Grey is the kind of outdoorsy Gotterdammerung that looks, not only plausible to me, but inevitable, as far as any visit to the woods is concerned.  I’m pretty sure bareknuckle fighting with wolves is best left to Liam Neeson.  He seems to draw strength from the contest, rather than, for instance, pissing himself.  The question is: Are you man enough for The Grey?  There are thrills in this thing that would scare the cap off Davy Crockett.


Haywire – A Review

January 22, 2012

 
Gina Carano could kick your ass.  I don’t care who you are.  This girl makes the boys from 300 look like a chorus line.  She chokes Michael Fassbender with her thighs.  She leaves Ewan McGregor to die under a rock.  She even makes a Steven Soderbergh movie worth watching.  You don’t need to suspend your disbelief when she launches into action.  Unlike that string bean Angelina Jolie; Gina does all her own stunts.  She’s a Mixed Martial Arts champion, from Dallas County, Texas.  Her demeanour is soldierly, through and through.  In Haywire, her mission is to beat the crap out of male movie stars.  She does so with aplomb.  As the tagline says, “They left her no choice.”  This girl was born to get into fights.

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War Horse – A Review

January 15, 2012

 
As Steven Spielberg’s old pal George Lucas once said: “Emotionally involving the audience is easy.  Anybody can do it blindfolded.  Get a little kitten and have some guy wring its neck.”  By my count, someone threatens the life of the horse (in War Horse) roughly every half an hour.  That’s a lot of mortal jeopardy.  Cynics will argue that Spielberg endangers the animal for the sake of the box office.  But I don’t think cynics should be allowed to see this film.  For while it may well be corn-fed sentimental hokum, every bit as contrived as Lassie Come Home, there’s something undeniably moving about War Horse.  Spielberg is fascinated by our capacity for good.  He might be a sap, but my God he knows how to make a movie.

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The Artist – A Review

January 8, 2012

 
It’s hard to be dapper in the age of rappers.  The whole idea of wealthy chic went out with the top hat, and the art of deference.  Perhaps we had to see the rich like jewels – something rare and precious – in order for them to shine.  In Michel Hazanavicius’ movie, The Artist, we’re tastefully transported back to a time when film stars were treated like aristocrats.  The movie is an air kiss to silent cinema.  In execution, it’s as impeccable as a Cartier watch.  I’m not sure it’s about anything, other than giving pleasure, but I felt about a thousand times more suave for having seen it.  Perhaps it’s enough, to be like a movie-lover of the 1920s: to swoon over trompe l’oeil, and to feel the romance of life in lustrous black and white.

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Freedom by Jonathan Franzen – A Review

December 31, 2011

 
Of all the ways to write about America at the dawn of the 21st century, this is, undoubtedly, the most mediocre.  The phrase “swinging for the fences” is not apt to this book.  Like the dull lives of the middle-class characters it details, exhaustively, over 600 pages, there is very little to make the heart race in Freedom.  You don’t get the swagger of Tom Wolfe, or the indignation of Philip Roth.  What you get is Jonathan Franzen, the milquetoast to end all milquetoasts, painstakingly doling out all the pet peeves of America’s chattering classes.  It’s like reading a blog by the Normals, of Liberalton, where dissatisfaction is as endless as the stream of words.  For all the handwringing, it’s a miracle the author could type.

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The Future – A Review

December 22, 2011

 
This review is dedicated to Tom Wheeler.

Everyone in this movie is waiting for a sign.  The Future is uncertain; it’s like a form of semiotics.  How would a happy couple know each other if they forgot they were a couple?  How do people who want sex attract the likeminded?  How is it that a picture connects with a person?  And what do we want people to understand about us?  The signals are everywhere.  But if we’re too ready, we risk picking up the wrong signals.  If we’re unprepared, we risk sending no signal at all.  We can be forgotten far more easily than we can be understood.  In Miranda July’s sophomore effort as writer/director, everyone wants to communicate their innermost thoughts.  The question is: how do we interpret this sincerity?  As kitsch?

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Sherlock Holmes: A Game of Shadows – A Review

December 18, 2011

 
When I was a kid I was obsessed with two things: Sherlock Holmes and the dubbed English language version of the Japanese TV show, Monkey.  Seemingly, these two things have nothing in common; one is about an aloof, analytical, brilliant English detective – while the other is about an Asian guy in make-up doing bad karate.  However, it’s clear from Sherlock Holmes: A Game of Shadows that director Guy Ritchie has made a connection between these two, and the resulting film is exactly the kind of escapist nonsense that defined British television back in the eighties.  Guy Ritchie’s Sherlock Holmes is like magician David Blaine crossed with Chuck Norris, he’s a cross-dressing bohemian Kung Fu master who also dabbles as a sleuth.

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The Thing – A Review

December 4, 2011

 
Aliens aren’t born; they’re made out of fear.  Sounds ominous, doesn’t it?  Well, don’t worry.  I don’t intend to write a serious review of The Thing.  Movie aliens aren’t projected out of existential dread.  Their origins are rarely so subtle, or enlightening.  Movie aliens are mostly crude manifestations of latent phobias…and blatant prejudice.  Think of the penis-shaped monsters in Alien, or the dreadlocks worn by the Predator.  Hate-filled extra-terrestrials are usually dreamed-up by hate-filled little men.  I’m half-way sure the new version of The Thing is surreptitiously homophobic (but more on that later).  It’s strange the way creatures from other worlds are always made out of the icky parts of things we find on Earth.

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Take Shelter – A Review

November 27, 2011

 
This is a movie about fearing the end of the world.  It’s more about anxiety than the apocalypse.  Whatever metaphors are contained in the script, the sense of impending doom is palpable, and unsettling.  The whole film plays like a bad dream, where hidden meaning is secondary to throat-sucking dread.  All horror films are about the same thing, but they let you off when the nightmare takes shape.  In Take Shelter, fear is amorphous.  We don’t know if the worst is real, or inside a man’s head.  And that uncertainty is the conceit.  Worry drives you mad.  But worry warns you of danger too.  It paralyses you even as it prompts you to act.  That’s why the gift of prophesy is so alluring.  Once you’re certain, you don’t feel angst.

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Shame – A Review

November 20, 2011

 
Yes, you get to see Michael Fassbender’s penis in this movie.  And yes, it’s big.  But full frontal male nudity can’t hide the religious aspect of this film.  I know the guys who made the Narnia movies have an idea of what “religious” means.  But they’re wrong.  Shame is a true religious movie.  And not because anyone in it espouses religion; not because anyone is (I shudder to even use the word) “saved”; but because this film is about being human, because it abides with shame.  Those who know Wim Wender’s Wings of Desire will be hard pressed not to picture an angel sat beside Michael Fassbender as he rides the subway.  Love might be totally absent from this man’s life, but that only makes his struggle more profound.

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