boring

Legend

Posted on by Charlotte_Sometimes

Two Tom Hardy’s don’t make for a Legend-ary film

On paper, this film seems like a great idea. The Kray twins were London’s most notorious gangsters – two men who both enjoyed being gangsters and what it entailed. Having Tom Hardy, one of cinema’s men of the moment, felt like a logical next step. After Armie Hammer successfully played the Winklevoss twins in The Social Network, having Hardy playing the central dual role didn’t seem outlandish. In practice, his performances do work. It’s the rest of the film that really doesn’t. With a wealth of material out there on the Krays, with so much of the truth being better than fiction, it’s frustrating how much Legend misses the mark.  Although the film is marked as charting ‘the true story of the rise and fall’ it does no such thing. The ‘true’ bit is questionable after some post-screening research, and ‘the rise and fall’ is false-advertising. The film opens when the Krays are comfortably on the rise (so much so they are under constant police surveillance) and ends just before the start of the fall. The decision to pick these two periods as plot-points seems questionable, as a narrative they are not the most engaging, nor do they provide the audience with enough information to get them engaged. Audience members will be left with countless unanswered questions, no information about how the pair actually achieved this ‘rise’ nor the events or the aftermath of the ‘fall’. It seems ridiculous for a film with a 130 minute running time  to have such serious gaps, even more so when it is filled with such needless fluff that make the film feel boring and far longer than the actual running time.

Our entry character into the world of the Krays is Frances Shea (Emily Browning). Frances meets Reggie Kray (Tom Hardy) as her brother (Colin Morgan) works for Reggie as a driver. It’s heavy-handedly alluded that Frances has a history of mental illness, she’s ‘fragile’ and just returned home after ‘being away’. Little more information or film time is given to this, which is unfortunate as it could have increased the impact of France’s characterisation. It’s also doubly unfortunate as it could have created a nice parallel with the character plotting of Ronnie Kray (also, Tom Hardy). In the film’s single funniest sequence we witness Reggie visiting his twin, whose prison sentence resulted in being institutionalised and being declared certifiably insane. During this sequence we are informed that whenever Ronnie was uncertain or confused by what people said he would respond ‘interesting’. It’s a quirky touch that could have been utilised for greater effect. Their reunion is intercut with a conversation with a Kray heavy negotiating with a physiatrist for an all-clear for Ronnie. Ronnie is released from the mental hospital, leaving Reggie to start balancing loyalties to the two most important people in his life – Frances and his brother. These relationships are the main focus of the film, not the brother underworld careers. If you were looking for a ‘proper gangster’ (a phrase of Ronnie’s) movie, you’ve come to the wrong movie.

Frances and Reggie date for an unspecified amount of time, then become engaged for an unspecified amount of time and then marry for an unspecified amount of time. Not having a timeline for this period is frustrating, and furthers the sense of the film drifting from one sequence to another. This is a fatal flaw for two reasons. Firstly, the film appears to have strived to place character development over story arc yet there is no stand-out antagonist, rarely a clear motivation for character’s actions, and often no clear link between sequential scenes.. The film tries to restrict itself to how these events impacted the relationship between Frances and Reggie. This leads to the film’s second major fault, which makes Legend such a muddled and convoluted mess. If Frances was our entry point, and the focus is on her viewpoint on events, why are we shown events that she was not at and would never have known about? Reggie and Ronnie attend events and confrontations that would have been concealed from France’s knowledge as, in their eyes, she would not have needed to know what was going on. This flawed decision is empathised with the use of voiceover narration, with Frances narrating the majority of events. The use of voiceover narration in Legend is not used to great effect, it’s cloying and sentimental. The fact she narrates over events that would have been unknown to her confuses whether her viewpoint is truly restricted, as it would have been during the time of the actual events, or has been promoted to omniscient which then undercuts the themes and tone of the film.

Watching Legend makes for an exasperating cinematic experience. The cast do a truly fantastic job with the material they have been provided with – Hardy is suitably magnetic as Reggie though a bit of a caricature as Ronnie, Browning gives her best performance to date and Taron Egerton steals every scene as Teddy Smith – but that material is banal and structurally incoherent. Disappointing.

No Escape

Posted on by Charlotte_Sometimes

Escape from [insert name of fictional Asian city here]

Considering the plot, characterisation and cinematography this film contains, it is not difficult to imagine it being made in the 1980’s (with Harrison Ford replacing Owen Wilson as the lead hero) or even the 1950’s (starring Jimmy Stewart). This is not a way of complimenting the film and suggesting it is timeless, anything but. This film is dreary, predictable and exceptionally dated. It’s portrayal of foreign conflict and politics is extremely problematic, a one-sided view of global issues that is almost xenophobic in presentation. The only thing that separates No Escape from a B-movie shown on the dark and misty unknown entities of Sky Movies channels after channel 315 is it’s talented cast, who are severely let down by the dross of a screenplay. Having not stayed for the end credits (in my desperation to leave the cinema)  I can only presume my hunch that the ‘research’ for this film was the greatest hits of The Daily Mail is in fact true…
Jack (Owen Wilson), an American engineer, leaves behind a failed business to drag his family to 
Southeast Asia to head his water manufacturing company’s new plant there. When they get there; they seem to be having problems, the electronics don’t work and rarely any cars are seen in the streets. When he goes to the market the next morning, he finds himself caught in the middle of a violent rebellion headed by armed rebels executing foreigners. Unbeknownst to Jack, just days before these armed rebels assassinated their prime minster. Jack must get back to the hotel and with the help of a mysterious British “tourist” (Pierce Brosnan), must get his family to the American Embassy in the midst of the chaos. But is there any escape? 
Firstly, the family. Jack is the archaic kind of hero of cinema long ago. He’s the Everyman. A husband. A father. By agreeing to this new job he has uprooted his family and doesn’t appreciate how they might feel, so he must learn his lesson through enduring this hero’s journey. He has a jarringly good range of survival skills; he knows instantaneously how to survive the most incredible and most ridiculous situations without having to think about it. Most depressingly of all, he is intentionally presented as all charmness and niceties whereas his wife Annie (Lake Bell) spends most of the film crying or with her face contorted into fear/outrage.  And, as bad as it will sound, their children are unbearably annoying. The majority of hurdles the family face are either caused by the children or severely complicated by the children. Pierce Brosnan enters, exits and reenters the film to little effect. His presence here echos something Micheal Caine declared when once asked about his role in Jaws: The Revenge,’ I have never seen it, but by all accounts it is terrible. However, I have seen the house that it built, and it is terrific.’ That must be the only reason that Brosnan is here giving a throwaway performance as a mysterious lothario Cockney.
The film’s biggest error is its portrayal of the ‘enemy’, The way the armed rebels are presented could have been an intelligent examination of ISIS or other militant groups. Instead they reflect the sentiments of those who use the term ‘swarm’ to label those currently seeking European asylum. They are characiatures: nameless, faceless and brainless. They are zombies, an epidemic the hero must save his family from.
No Escape mistakes creating tension by instead creating frustration. It’s one-part popcorn movie to two-parts shameless exploitation.

Fantastic Four

Posted on by Charlotte_Sometimes

An open letter to 20th Century Fox,

[HERE BE SPOILERS!]

Dear 20th Century Fox,

I write this letter/review to you immediately after seeing ‘Fantastic Four’. I’d like to ask to ask you one simple question. How did that happen? How did you manage to make such a mind-blowingly boring superhero movie? The film only lasts 100 minutes, but it felt like so much more. I do not write this to you as a comic book puritan, or as a ‘Fantastic Four’ puritan. I’ve only ever read one or two ‘Fantastic Four’ graphic novels, and I have a rather big soft spot for the 2005 film starring Chris Evans and Jessica Alba (yes, I know it’s pretty awful and dated but it is rather funny and, unlike this movie, rather entertaining.) I’d read the damning reviews of this, but still held out hope that there were some redeeming features within the movie. There really weren’t. The characters were tedious, unlikeable and one dimensional. The Frustratingly-dull Four, sorry ‘Fantastic’ Four (Reed Richards/ Mr Fantastic – Miles Teller, Ben Grimm/The Thing – Jamie Bell, Sue Storm/ Invisible Woman – Kate Mara and Johnny Storm/ Human Torch – Michael B. Jordan) were ill-served. They were given such rubbish material in terms of script that it’s unsurprising there was barely an ounce of charisma between them. But not only was the characterisation within the movie immensely poor – so was the pacing and story-telling. Whilst all films could be divided into acts, as an audience member you shouldn’t be able to see it. With this film there were three clear acts: the bad, the meh and the god-awful. Let’s look at them together…

‘The origin story’
Well first of all you stumbled at the first hurdle. Origin stories are problematic and require a careful balance. Whilst you want to introduce a mainstream audience who may not have any prior knowledge of the characters or their humble beginnings, you also want to placate the fans who are already well-versed in the mythology. I doubt you appeased either of those audiences. For one thing, the ‘Fantastic Four’ have a rather simple origin story – an experiment goes wrong and four scientists end up with superpowers. Done. It doesn’t require 30 minutes of screen-time to set this up, dating from childhood to the present day. It’s a bold decision, which requires a degree of audience sympathy to establish deep sympathy. Instead Reed Richards is established as a character of utter pity, presented in an unsympathetic portrayal of nerdom. He feels alone and an outcast (no points for originality here!) with his only supporter being his loyal best friend Ben Grimm. It’s at this point, 20th Century Fox, that you lost the majority of any fan-boy/girl loyalty. ‘It’s clobberin time’, The Thing’s battle-cry, his trademark for the past 54 years is established as the phrase Ben’s abusive brother uses as code that he is about to be beaten up. WHAT?!?! No. You took such a beloved catchphrase and tainted it, needlessly, utilising it as a symbol of darkness and pain. It many ways it’s the film’s Grimm-est (apologies, just trying to lighten the tone…) and one which would have alienated any of the ‘Fantastic Four’ fans who risked trailing this remake.
Conclusion: I care about Batman’s origins. I somewhat care about the Avenger’s origins (to varying degrees). I don’t care about Fantastic Four origins.
Finally the film gets to the should-be-good stuff with Reed, Ben and Johnny joined by Victor Doom (the only marginally interesting character, played by Toby Kebbell) use the machine they have created to enter another dimension, later named Zero. As made clear by the trailer (and known to anyone who knows even a small amount about comic books) it all goes wrong. The sequence itself is presented reasonably well and adequately (if not particularly subtlety) explains why each of the group got their particular power. Things seemed to be picking up…
 ‘Aftermath’
It’s at this point in the film that should I be forced, against my will, to retrospectively chose my ‘favourite’ five minutes, I would chose the first sequence of act two. The sequence where the three survivors, and the infected Sue Storm, are revealed to be being held at ‘Area 57’. They way their new powers are revealed to the audience, and their father figure Franklin Storm, hints at the film this could have been. The camera acts like a voyeur, examining these wounded figures and revelling in the grotesqueness of their new abilities. It’s almost like a David Cronenberg movie, with Reed’s stretched limbs, Sue intermittently fading out of existence, Johnny’s constant rage of fire and Ben’s hulking mass of boulders. They are treated and presented like the aftermath of a failed science experiment – which they are.
 ‘Showdown’
This sequence is cut bitterly short with Reed running away, promising to solve everything. Cut to black, ‘one year later’, then we have five minutes of exposition where we can see what the others three characters have spent the past year doing and how they can now harness their abilities. Then we have five minutes of a chase movie, where it’s proven to the viewer that Sue Storm is ‘smart’ as she can type furiously into a computer. Reed is located, returned to Area 57 and swiftly fixes the technology to revisit Zero. The human guinea pigs (some may call them idiots) who arrive at Zero are greeted by a seemingly injured Victor Doom. They bring him back to Earth and a dull-but-important man in a suit tells him that he plans to use Victor and the resources from Zero to create more human weapons. Victor does not react well to this and decides to wreak havoc on the facility and Earth itself. His proceeding actions, his Walk Of Pain if you will, are incredibly violent and rather shocking.
 In fact it makes the film’s 12A rating seem pretty, erm, mind – blowing (sorry…)
We then have 15 minutes of a battle sequence. This fails for two reasons. It’s plotted in a way that induces battle fatigue, ‘wow, looks explosions and things being destroyed!’ and is scripted in a toe-curlingly clumsy manner. Highlights include,
‘It’s Victor! He’s the power source!’ and  ‘He’s stronger than any of us!/Yes. But he’s not stronger than all of us!’ Victor is defeated and the four return home. They are given a new base of operations and discuss having a team name (yep, this film really favours subtlety…) Ben then reflects on his BF’s journey and says, ‘It’s just fantastic’ (spoken after he has literally been turned into a walking talking rock pile and just been used by the US military as a weapon for the past year. Reed pauses and says, ‘Wait. Say that again…’ And thus, in this ham-fisted manner, the team no-one really cares about is born and the film ends. No after-credit sequences, which this film could have really used.
All in all, 20th Century Foc, this film was bad. It was dull, boring, clunky and a poor attempt at a comic book adaption. One of the worst there has been for a long time. The fact that you made this film as a cynical way of holding onto the rights to the franchise, instead of letting them slip into the grasp of your mortal enemy (the immensely more successful Marvel Studios) make this an even more bitter cinematic experience. It’s sad to think of what might have been. You, perhaps over-eagerly, pencilled in a sequel before this film even came out. Good luck with that. It’s going to require more restructuring of both crew and cast than I think you have the balls for.
Best of luck,
Charlotte Sometimes