Film, Writing

Film Review: I AM GRETA (2020)

★ ★ ★

Greta Thunberg is, to put it mildly, what we might describe in the U.K. as a ‘Marmite figure’.
To others, polarising would be the better word. Ever since Thunberg sat down in the middle of her hometown of Stockholm with a painted sign saying (in Swedish) ‘School Strike for Climate’, removing herself from education to raise awareness about climate change and global inaction, she has won almost as many detractors as fans. Nathan Grossman’s film, you suspect, wants you to believe more of the world is with Greta and her cause than the opposite. I Am Greta is not exactly a hagiography but it is sympathetic, on multiple fronts; a documentary that follows the 15-year old girl with Asperger’s Syndrome on a remarkable journey over less than three years, but which oddly feels longer.
The issue with I Am Greta, no matter how openly it presents its protagonist, is that it won’t do precisely what Thunberg is devoting her life to: changing minds.
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Film, Writing

Bill, Ted & the Dark Fate of the Legacyquel

With the arrival of Bill & Ted Face the Music, we find ourselves facing down the latest example of what has become known as the ‘legacyquel’.
First coined in late 2015 by Matt Singer in a piece for ScreenCrush, in advance of Star Wars: The Force Awakens, the legacyquel operates from different principles than a traditional, standard follow up. The standard sequel continues the established story introduced in the original narrative – The Godfather Part II, for example. A legacyquel revives a property and the characters we came to know, years after the fact, often once they have been immortalised in popular culture – The Godfather Part III, for example, which gave us the final part of Michael Corleone’s tragic story sixteen years after we last saw him. Such immense gaps of time are common in sequels which are expressly designed to recapture, in the audience, a sense of reconnection with worlds and characters, and indeed the actors who play them, who mean a great deal to us.

This is certainly the case with Bill & Ted Face the Music, which expressly delivers another key aspect of the legacyquel – familiarity. Most legacyquels do not rock the creative boat and if they do, it is for a specific reason; a good example that bucks the trend is Star Trek 2009, which J. J. Abrams uses as both a legacyquel (allowing us to reconnect with Leonard Nimoy) and canonical reboot in which we rediscover Kirk & Spock while experiencing their origin stories. Star Trek in that sense is an aberration, with most legacyquels operating to the Bill & Ted principle: more of the same, with a much longer gap. This is the appeal of the legacyquel. Reboots offer nostalgia while exploring new ideas. Sequels or continuing franchises build on what has come before. Legacyquels are all about bringing you ‘home’ again.
This was, in many respects, the intention behind Terminator: Dark Fate. What saddens me is that it didn’t really work.
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Film, Gemini Man, Reviews

GEMINI MAN is an uncanny 90s action thriller that fell through a time vortex (Film Review)

Somebody on Twitter suggested the tagline for Gemini Man should have been “where there’s a Will, there’s a Will” which not only made me laugh but also could aptly describe Ang Lee’s rather uncanny picture.

Gemini Man infamously resided in Hollywood’s so-called ‘development hell’ for two decades, with Darren Lemke’s idea snapped up by producer Jerry Bruckheimer as far back as 1997. It filtered through multiple directors over the years such as Curtis Hanson and Joe Carnahan, not to mention a galaxy of Hollywood megastars including Arnold Schwarzenegger, Harrison Ford, Tom Cruise, Clint Eastwood, Mel Gibson, even at one time, err, Chris O’Donnell. The list goes on. It even cycled through half a dozen writers – Billy Ray, Andrew Niccol, Brian Helgeland. Gemini Man, in other words, has been through the wringer across twenty years in which mainstream cinema has significantly changed, not being made principally because studios didn’t believe the technology to duplicate a younger version of their headline star was quite there.

Fast forward to the late 2010’s, a world of VR headsets, advanced home computer devices and CG technology which can paint a picture like Avengers: Endgame, in which a legion of superheroes go to war against a super-villain and his space army. If ever there was a time to make Gemini Man, it was now, yet who two decades ago would have imagined Ang Lee—principally a darling of thoughtful character-driven deconstruction—as the director to develop such a high concept as international assassin Will Smith doing battle with his younger, cloned self, all part of an insidious conspiracy within the Defence Intelligence Agency to develop the next generation of soldier hardware. This might have ended up in the hands of a Tony Scott or Roger Spottiswoode had it been made earlier.

The answer lies in the fact Gemini Man, for all it’s action thriller trappings, secretly wants to be a philosophical family drama. It just spends much of the running time trying to convince you otherwise.

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Film, Rambo, Reviews

RAMBO: LAST BLOOD is a bloodied, repulsive paean to Trumpism (Film Review)

Last Blood, ostensibly the final chapter of the Rambo saga, serves as a fitting portrait of America’s dark, lumbering national psyche.

In a film which starts predictable and just keeps getting more so, Last Blood gives us a growling, jaded old warrior in John Rambo. Having survived Vietnam (twice), Afghanistan and Burma’s killing fields, this veteran now fights entirely on home turf for the first time since the franchise began. Rambo ranches cattle, looks after his adopted Mexican immigrant family, and for fun appears to build an entire underground lair filled with weapons beneath his traditional American prairie homestead. This isn’t even a Rambo planning for the apocalypse. This is a Rambo living his own eternal apocalypse, trapped somewhere between a grizzled Rooster Cogburn and damaged Captain Willard, living only in the reveries of his tortured past and the hope of a young girl in which he sees a future. Which naturally gets snatched away, as it wouldn’t be a Rambo film if Stallone’s hero didn’t traverse a river of pain to attain some inner peace.

Last Blood, however, maybe unknowingly, doesn’t seem to know if Rambo is a hero at all anymore. As an audience we may appreciate Sly’s innate, snarling Italian-American nobility—in the same manner we consider his Austrian compatriot Arnold Schwarzenegger—but Adrian Grunberg’s film is at pains to remind us this guy isn’t Rocky Balboa. Rambo is psychologically haunted by Vietnam, even all these years later, literally replaying events from First Blood and the conflict in his mind. When Gabriela (Yvette Monreal), his naive ‘ward’, ends up the victim of lawless Mexican organised crime gangsters, Rambo unleashes one-man savagery on anyone even tangentially connected to them. He admits he just wants revenge, pure and simple. He is past healing. He will live in his anger for the rest of his days.

Rambo feels like the haunted reflection of a growling, aged, vicious and vengeful America at the end of a long road. It’s dreams and hopes are dead. Now all that’s left is monstrous.

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Essays, Film

LAST ACTION HERO: A film ahead of and perfectly of its time

Last Action Hero is both ahead of its time and perfectly positioned within the era it was made, such is the paradox of a forgotten curiosity of 1990’s action cinema and the stratospheric career of Arnold Schwartzenegger.

Here’s my story and why I’m writing about Last Action Hero some twenty five years on from its release. I was 11 years old when Last Action Hero was released in cinemas, in the US one week after Steven Spielberg’s decade-defining Jurassic Park. In theory, I was the perfect age to consume a film which is entirely about the youthful obsession of a similarly-aged child, Austin O’Brien’s Danny Madigan, with action adventure cinema. Jurassic Park I badgered my parents to take me to see three times yet I didn’t go anywhere near Last Action Hero. It didn’t even register with me.

It has taken me until age 36 to actually sit down and watch it, and this is after spending at least the last twenty years being an enormous fan of Schwarzenegger’s movies and career. Last Action Hero was always the Arnie film I missed.

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Essays, Film

Cinematic Universes: the divisive wave of cinema’s future

With the advent of Justice League, many fans and commentators are once again discussing the concept of the ‘Cinematic Universe’, given the formative attempts by DC Comics over the last several years to emulate the rampant success of the Marvel Cinematic Universe, the first truly successful and revolutionary cinematic model of an overarching mythological world of characters and narratives informing one another.

Inevitably with the internet, it’s leading to a war of trolls – Marvelita haters and DC sceptics waging a pointless conflict over territorial ownership and trying the answer the utterly subjective question – ‘which is better?’. For every critic who tells you the MCU is technically stronger as a tapestry, you’ll easily find more than enough ‘DCEU’ defenders to race in with their Amazonian swords and claim everything Marvel has done is powerfully overrated.

There can be no victor in such a battle.

In truth, discussion of the Cinematic Universe has never gone away. Hollywood and the blockbuster movie system has been utterly consumed and dominated by the power of a connected storytelling model, following the template Marvel Studios laid down. It has arguably changed the very fabric of the cinematic franchise. Following the essential advent of the ‘blockbuster’ in the mid-1970’s with Jaws and of course Star Wars, it took Hollywood a while to truly embrace the idea of creating what we accept as a ‘franchise’.

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