Slow West (8/10): A revisionist and inventive Western with an outstanding cast.

“A jack rabbit in a den of wolves.“

 

After their collaboration together in two short films, John Maclean and Michael Fassbender team up for the director’s feature debut in this originally fresh take on the Western genre. In Slow West we get a different glimpse of the West, avoiding the typical Americana style confrontation between cowboys and indians. Here we are introduced to a world where immigrants are trying to force their way through this lawless land. Surviving in this place has nothing to do with how well of a shot you are, it’s more about luck and being at the right place at the right time. The story, which was written by Maclean, follows the journey of a 16 year old boy named Jay Cavendish (Kodi Smit-McPhee) who has traveled from Scotland to the West in search of Rose (Caren Pistorius), the woman he’s in love with. Along with her father, John (Rory McCann), they had to flee from Scotland after an incident with Jay’s father. Jay is clueless about the West, but determined. He runs into a former bounty hunter named, Silas (Michael Fassbender) who offers his service as his chaperon realizing he will need protection if he wants to survive in this place. What Jay doesn’t know however is that there is a bounty for Rose and her father, and there are many people interested in collecting the reward. Among them there is the eccentric Payne (Ben Mendelsohn) who is an old acquaintance of Silas. 

What the film does extremely well in Slow West is balance the western genre with a dry sense of humor. There are plenty of surprisingly funny moments in this film that help build the story. Through a series of fortunate (and misfortunate) events we follow these characters through their journey. Kodi Smit-McPhee and Michael Fassbender share strong chemistry together and keep us hooked during the slowly paced scene. There is a memorable scene that takes place in a store/bar during the first half of the film and a fantastic final shoot out at the end, which stands out from most Westerns. The film has a unique taste to it and some interesting characters, but the gorgeous cinematography is what stands out in this immense landscape. It’s only 84 minutes long, but it is a perfect fit for this movie which ends in memorable fashion. It took its time to grow on me, but the more I think about it the more I end up liking this film. I’ve always been a huge fan of the Western genre, and adding Michael Fassbender to that mix only makes this an even more rewarding experience. 

Slow West is stylish and uses its gorgeous landscape very well (it was actually filmed in New Zealand), but it also includes a dreamy atmosphere and plenty of humor. There is a scene during the beginning of the film where Jay is looking at the night stars and pointing his gun towards them and as he imaginarily shoots at them, they light up. There are plenty of dreamy sequences like this one, but there is also plenty of dry humor as well. There is a narration over a camp fire about an outlaw who wants his very own wanted poster. Ben Mendelsohn’s eccentric coat is also a feast for the eyes which adds its comedic touch. Slow West has a great cast and it is a film worth recommending. 

Young Ones (6/10): It establishes an interesting futuristic setting, but lacks character development.

"Pray for rain.”

Gwyneth Paltrow’s younger brother, Jake, introduces us to a dystopian future where water is scarce  in Young Ones, his sophomore feature film. The film has style and it is also gorgeous to look at the empty vast dry land (filmed in South Africa, but taking place in an undisclosed American town), but unfortunately the characters did lack some development. This could well be classified as a sci-fi western centering on a family that is struggling to survive under the harsh dry conditions. The always fascinating Michael Shannon plays Ernest Holm, the father of two adolescents who has decided to stay in his dry land hoping he can find water to cultivate his once fertile land. His younger son, Jerome (Kodi Smit-McPhee) is always alongside him as they struggle to find a means for survival. With the help of a robotic donkey carrier, he sends supplies to the workers who extract water from deep wells. His relationship with his daughter, Mary (Elle Fanning), isn’t going too well. She has secretly been dating Flem (Nicholas Hoult), who isn’t someone his father trusts. Flem has plans of his own for Ernest’s land and he will stop at nothing in order to get his way. Aimee Mullins has a supporting role as Ernest’s paralytic wife who lives in the hospital where she can use special equipment to move. 

The film is divided into three chapters centering on each one of the three male characters. The first centering on Ernest, is by far the best thanks in large part to Michael Shannon’s incredible performance. It also sets the rules for this futuristic world and it manages to engage us. But the promising start of the film quickly dies down in the next two chapters with predictable character arcs and familiar storylines. It is a shame because the film did promise an inventive post apocalyptic setting, but other than the fascinating visuals it doesn’t deliver anything fresh. Despite not having much character development I did enjoy the performances from the talented young cast. Nicholas Hoult is solid as the villain, while Kodi Smit-McPhee once again finds himself playing a character in a desolated future (The Road). He delivers one of the stronger roles and did a decent job holding up his own in the scenes he shared with Shannon. Fanning is an actress I have always admired, but her character is the least developed this time and she doesn’t get to do much here. It is a shame Shannon doesn’t get more screen time because the film loses much of its appeal after that first chapter. He always brings an incredible fresh quality to each one of his characters and in a way Ernest was the reason why this dystopian world seemed so fascinating.

Young Ones is the third consecutive Western I’ve seen and each one has been very different. Once Upon A Time in the West is a masterpiece and a classic spaghetti western, while A Girl Walks Home Alone At Night was an Iranian vampire western that was more atmospheric than anything else. This futuristic western is also gorgeous to look at and introduces a rather interesting premise but it loses its appeal after the first part of the film and heads towards generic and familiar territory. I’d still recommend this film because there are some interesting qualities to it and there is also Michael Shannon of course who always delivers. I loved the landscape as well, but the pacing of the story does get tedious and predictable at times. 

My Review: Dawn of The Planet of The Apes (8/10)

"Apes together strong!"

A decade has passed since the events of Rise of the Planet of the Apes (Rupert Wyatt's 2011 film that successfully rebooted this once beloved franchise from the late 60's) and now we find ourselves in a completely different world. The genetically evolved apes have built a new home in the San Francisco woods and continue to be led by Caesar (Andy Serkis). They communicate through sign language and several can speak. The simian virus that broke out at the end of the first film has practically wiped out the human race and it's been two years since Caesar or any of the apes have seen any human activity. But there are survivors living in the ruins led by a man named Dreyfus (Gary Oldman) and in order to restore power they need to gain access to a nearby hydroelectric dam in ape territory. Caesar's lieutenant, Koba (Toby Kebbell) hates humans and recommends killing them, but Caesar is wise and wants to avoid war. He gives a few men, led by Malcolm (Jason Clarke), permission to work on the dam only for a few days, but this short lived time of peace hangs on a very thin thread.

Matt Reeves was given the director's chair for this sequel and he doesn't disappoint. It's just as entertaining and smart as Wyatt's Rise. There have been several strong blockbusters that have come out this year and Dawn deserves to be considered among the best. What this film does right is focus on the apes allowing us to sympathize with their cause. Andy Serkis delivers a powerful performance once again and he owns this movie, although I would have to say that Kebbell's Koba is so memorable that he may just be the best villain in a film this year. The humans don't get much attention in this film so of course there is very little character development going on with them. Jason Clarke plays the most sympathetic character and perhaps the only human worth carrying about in this film. I was a bit disappointed that Gary Oldman wasn't given more screen time or a heavier role. Reeves also cast Keri Russell and Kodi Smit-McPhee with whom he worked with in Felicity and Let Me In respectively, but they don't have much to work with here either. The true stars of the film are the apes and there is a significant upgrade in the CGI compared to Rise. The apes look and move in an authentic manner. Dawn has everything going for it, great visuals, a fantastic score, a smart script, and some fantastic action scenes. We spend so much time with these advanced apes that by the time we see them riding on horses and carrying machine guns the entire premise seems plausible. 

Dawn of the Planet of the Apes is one of those rare smart blockbusters where the action and visual aren't the only aspect of a film that has been given some thought. The apes are given personalities and the tension between the two sides is palpable. It isn't just a lame excuse to give us great visuals and cool looking action scenes; it is much more complex than that, and by doing so it creates much more tension. We are entertained just as much as we are forced to think. They have managed to turn a franchise I really didn't care for at first into an engaging and gripping one without ceasing to entertain the audience. When you spend some time creating believable and complex characters and combine them with cool looking action scenes you have the recipe for a successful movie that will leave audiences entertained and engaged at the same time. Their eyes won't be the only thing that are blown away, but their minds as well. And that is what Reeves and his team have managed to do with this franchise. It is sort of a Shakespearean drama combined with fantastic action scenes that are shot really well (there is a rotating shot from the point of view of a tank that was spectacular). I had a great time and I'm sure most audiences will as well.

My Review: The Road (8/10)

"I told the boy when you dream about bad things happening, it means you're still fighting and you're still alive."

When trying to come up with one adjective to describe The Road there is no better word than gritty. The Road isn't your usual entertaining post-apocalyptic film, it is much darker and realistic. It's not an easy watch because the tone of the film is very depressing. There are some moments of hope where the main characters find some peace, but it is only temporary as their desperation begins creeping in once they are confronted with their reality. It's a film that will haunt you, but I can't think of another post-apocalyptic film that feels so real and authentic. There are still some survivors left in the midst of all the devastation, but their humanity is gone. Even the main character has lost most of his humanity and capacity for compassion; it's only through his boy that he continues to fight and the few acts of mercy he shows are because of the boy. The two lead performances are what ultimately hold this film together, but the cinematography by Javier Aguirresarobe also helped set the tone for this dark and gritty film. The grey and empty landscapes are gorgeously shot. Director, John Hillcoat (Lawless), has made a depressive but authentic futuristic film, and his greatest achievement was staying true to Cormac McCarthy's novel. 

This is the third film adapted from McCarthy's novels that I've had the privilege to experience and despite the fact that they've been directed by different people I've still enjoyed all of them. They all seem to have a gritty tone. In this film we follow a father (Viggo Mortensen) and his son (Kodi Smit-McPhee) as they walk across the desolated America heading to a warmer climate in the south. Along the way they face hunger, cold weather, and a few surviving lawless cannibals. Humanity has lost all hope and the few survivors have abandoned their morals in order to survive. The father constantly reminds his son that they are the good guys and that he must learn how to survive in this desolated land. We get some flashbacks of the father's past as he recalls brighter days with his wife (Charlize Theron), and in these flashbacks we also learn what happened to her. Some of the encounters the father and son experience along the way will challenge their spirits and there only goal is to survive another day.

The gritty tone of this film slowly sucks you in emotionally and engages you. You feel the cold and hunger these characters are experiencing and ultimately you find yourself submersed in their desolated world. Viggo Mortensen is a force to reckon with, he gives yet another terrific performance, and he carries this film. McPhee also delivers a strong performance playing the young and scared son who can't quite understand the lack of humanity. His father constantly reminds him that they must keep the fire within burning. Their relationship is the true core of this film and the film succeeds thanks to their believable performances. Despite the slow pacing, the film is well crafted and it manages to hold your attention.  It's not an easy watch and it's not a film you will want to visit again, but it is a well crafted film.

My Review: Let Me In (8/10)

¨Do you think there`s such a thing as evil? ¨

Many viewers might consider Let Me In as one of the best films of the year because it is such a great horror-romantic film, but that`s only because they probably haven`t seen the original Swedish version entitled Lat den ratte Komma (Let the Right One In) directed by Tomas Alfredson back in 2008. Both these films are based on the novel of the same name written by Ajvide Lindqvist. The original Swedish film is just breathtaking and an absolutely brilliant film which I didn`t think needed to be remade. It is one of the best horror movies of the decade and without a doubt the best vampire film. When I heard it was going to be remade I was a little disappointed, but I still wanted to see how they went about it. Let Me In is actually a decent remake, but not nearly as great as the original. If you haven`t seen either of these films then I recommend you watching the original one, but if you don`t like having to read subtitles then I guess the American version is worth your time. The story is so powerful that it works in both these films, but of course I already knew what was going to happen so I wasn`t all that blown away by this film as I had been with the original one. Lindqvist actually collaborated with the screenplay of the original film while Matt Reeves adapted the screenplay for the American version. Matt Reeves (known for his direction and collaboration with J.J. Abrams in Cloverfield) directs this film by trying to stay as true as possible to the original film. Many of the scenes are similar in both films and the storyline is pretty much the same with a few minor changes.

As for the plot goes the names of the main characters have been changed. Eli is now Abby (played by Chloe Moretz) and Oskar is Owen (Kodi Smit-McPhee). The story which took place in a Swedish suburb now takes place in New Mexico. Owen is a twelve year old kid who spends a lot of time alone in his house due to the fact that his parents are getting a divorce. He talks to himself a lot and dreams of getting revenge on the kids who bully him at school (who instead of tormenting him to squeal like a pig like they did in the original film, in Let Me In they torment him with telling him to cry like a girl). Owen plays with his knife imagining he is fighting off Kenny (Dylan Minnette), the bully from school, by stabbing a tree and repeating the words cry like a girl. One night in his quiet neighborhood a twelve year old girl moves in to the apartment next door along with who seems to be his father. The girl is Abby (Chloe Moretz) and the guardian`s name is never mentioned (played by Richard Jenkins). We soon find out that Abby is not your normal girl, her guardian actually is a serial killer who drains the blood of his victims in order to feed Abby. The problem is that Jenkins`s character is getting old and sloppy and he is a bit unsuccessful in his few tries. The police officer who is investigating the murders is played by Elias Koteas. We aren`t given his name either, because the central theme of the film revolves around Owen and Abby`s friendship. They somehow discover that they need each other despite their differences.

This film works because it stays true to the original story and central theme of the novel dealing with the bond that Owen and Abby form. It is such a powerful story that raises questions about love, friendship, and morality. Owen loves Abby, but is she evil? That is a question he will have to find an answer to himself. I loved the two kid actors in the Swedish version, and the two American actors are equally as good. Chloe Moretz is just fantastic as Abby. She makes us fall in love with her despite the fact that she is a bloodsucking vampire. There seems to be a sadness and innocence in her face that also captivates Owen. It has been a great year for Chloe as an actress. She was also so good in Kick-Ass one of the most entertaining films of the year. These two roles are very different from each other and Chloe Moretz has proven she belongs in Hollywood. What I really didn`t enjoy as much as the original film was the cinematography. The Swedish film was beautifully shot by Hoyte Van Hoytema (who recently worked in The Fighter) and the scenery was just spectacular. I remember being awed by the white snow contrasting with the dark red blood, especially in the first murder scene. In Let Me In the cinematography (Greg Fraser) just wasn`t as breathtaking. I still think this is a decent remake, but I have to stick with the original. The story just moved and shocked me at the same time, but I already knew what I was getting into in this film so it wasn`t as surprising. If you haven`t seen any of these two movies, see the original Swedish film first, but if you don`t like subtitles Let Me In isn`t a bad choice either.

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