Review: Brave (2012)

Brave

Scotland gets the Pixar treatment

Released: 13 August 2012

Director: Mark Andrews, Brenda Chapman, Steve Purcell (co-director)

Cast: Kelly MacDonald, Emma Thompson, Billy Connolly, Kevin McKidd, Robbie Coltrane, Craig Ferguson, Julie Walters

Plot: Young princess Merida (MacDonald) breaks a tradition long held by her kingdom, causing uproar amongst her family and fellow Scots. In an effort to change her dull fate, she turns to a magic spell that could alter her destiny for the worse.

WALL-E depicted a dystopian future-scape of the Earth, Finding Nemo the fantastical depths of its oceans, and recent Pixar venture Up explored the Americas, telling the tale of a lonely, stubborn old man’s inventive relocation from bustling, choking city life to peaceful bliss in South American paradise. Brave moves a little further from Pixar’s home: enshrouding itself in the mountainous, watercolour painting style beauty and timeless Celtic history of Scotland. It is no rarity that American portrayals of real life locations are romanticised, and Brave presents Scotland no differently. In interviews, MacDonald expressed that she indeed recognised some landscapes, whereas McKidd, who plays Lord MacGuffin and his son, (whether this name is a nod to film terminologists or not remains to be seen) said that nobody but Disney Pixar could “improve Scotland”. Ultimately, Scotland itself as a setting is vitally important to Brave, since much of it deals with elements of history that require quite a leap backward in time – something America as a setting cannot do.

So, on screen, Brave presents us with an idyllic yet beautiful image of Scotland that required Pixar to completely reprogram its animation system to create more detailed textures and smoother physics, e.g. rippling water or greenery that floats in the wind – though the standout is undoubtedly Merida’s bouncing, vibrant, curly ginger locks exceeding the benchmark- setting aesthetic quality of Monsters Inc.’s Sully’s blue fur. This visual excellence courses through the very veins of the film, enlightening the cinematography in scenes such as Merida’s archery challenge to her suitors, delivering a pinpoint accurate shot that splits the previous bulls-eye arrow in two – in full slow-mo splendour. The ambitions of director Mark Andrews (and co-director Steve Purcell) can clearly be recognised in such creative efforts. Success is also due to Patrick Doyle’s original score, which is composed of conventional Celtic sounds and instruments.

Merida, her mother Elinor (Thompson) and father Fergus (Connolly)

            Merida herself deserves recognition in all her aspects. Firstly, she is the first Disney character to embody an ahead-of-her-time, feminist, independent role, as the studio’s first leading lady (Jessie was added to Toy Story 2 to help the female audience relate better, as was Holley Shiftwell to Cars 2). It is fitting then, that the first female lead defies everything Disney alone has ever presented in feminine attributes – she rejects that she be suited to a prince charming, and ensures she does not suffer the fate her mother in turn attempts to impose upon her (“A princess does not fight”). Brave, indeed. Secondly, and perhaps most importantly considered, are the roots of such politics. Original director Brenda Chapman was controversially fired from the project due to ‘creative differences’, though the other side’s story is more telling of the role gender played in such conflict. Claiming that Pixar was a male dominated environment, Chapman expressed the ‘devastating’ nature of her replacement by a male, since the storyline emerged from a personal place in her life. And yet, who knows if the overall result of such actions was for better or for worse? – (Many fans blame George Lucas’ intervening of his relationship with his adopted son for the failure of The Phantom Menace). Finally, there’s the storyline itself – the premise of which is about a young, rebellious teenage girl single handedly setting out to change her fate – the Katniss Everdeen of the Celts, similarly equipped with masterful archery skills. And once the story comes full circle, it’s easy to see how appropriate a title ‘Brave’ is.

            Elsewhere, the likes of Billy Connolly, Emma Thompson and Kevin McKidd deliver strong supporting roles – Connolly himself born to play the role of Merida’s father Fergus, manifested in much the form that an unaccustomed American audience would swear their bottom dollars on as a digital reconstruction. As characters go, his is the most likeable, a title well contested for by Merida’s three younger brothers of whom the younger audience will indisputably be tipped in favour of. Thompson’s Elinor is the traditional but loving mother who constrains Merida, yet remains on the audience’s good side nonetheless. In fact, Brave sports one of the most lovable Pixar casts yet.

The Lords of Scotland, voiced by Kevin McKidd, Craig Ferguson and
Robbie Coltrane

As ever, the geniuses at Pixar have masterfully conducted a balancing act of comedy, emotion and heart-warming yet serious storytelling, all surfacing at their crucial cues. Listen out for a golden moment in mature comedy after the bear chase through the castle, which is (without giving away too much) in reference to a famous American celebrity politician. For the younger generation, Brave features staple slapstick and rudey- nudey laughs, which, in honesty can be appreciated by any age retaining a compatible sense of humour.

            However, what holds Brave from attaining complete five- star greatness is its storyline. The first act is flawless, but the remainders are only good. The foundations are in place for another truly brilliant piece of work, yet Brave sacrifices its confident realism for a Disney/DreamWorks- esque magical scenario when the legendary ‘will-o-the-whisps’ lead Merida to a witch who offers her the chance to change her fate. Playing an underused part (voiced by Julie Walters), the witch simply, and criminally, vanishes from the narrative hereafter. Against prior predictions, though, Brave makes the most of a fairly depraved narrative arc and injects it with raw emotion, never failed by its constant tendency to make you intermittently laugh, smile, and (admit it), choke up.

Verdict: Bearing the humour and sentiment of Up and the graphic spectacle of Wall-E, Brave is a melting pot of Pixar’s consistent qualities and a reminder of its continued brilliance. ★★★★

Review: The Bourne Legacy (2012)

The Bourne Legacy

The Bourne Parallel-ogy 

Released: 13 August 2012

Director: Tony Gilroy

Cast: Jeremy Renner, Rachel Weisz, Edward Norton

Plot: At the peak of Jason Bourne’s actions exposing Treadstone and Blackbriar, another company is forced to bury its misdemeanours by eliminating a lab developing performance enhancement drugs, in which Dr. Schearing (Weisz) is stationed. Meanwhile, agent Aaron Cross (Renner) survives a similar attempt on his life. The two are linked – but how?

THERE was always just one. That was, until the studio decided that the cow that is the Bourne series still had plenty of milk to be suckled. Instead of leaving a great trilogy with its own legacy, it was concluded that the films’ survival would be not in re-viewing and discussion, but in an additional, parallel story. Unfortunately, Legacy is lacking from the starting line – both the absences of Paul Greengrass (director of Supremacy and Ultimatum) and Matt Damon are sorely felt. The lack of Bourne himself as a hindrance was joked about by myself and my accompanying friend, but soon found its way into realisation. There is no doubt as to the talent of Tony Gilroy – who takes over directing privileges here – as is evident in the previous Bourne films, but the creative collaboration that made the former three instalments thrilling is, in hindsight, essential to their successes.

            Renner does a good job at the hardened, resourceful rogue agent, but doesn’t quite fill the hole left by Damon and his strong-headed, ruthless killing machine, instead breaking up the cold, calculated nature of a government assassin with charm and occasional light- heartedness. It works great in any other scenario, but this is Bourne. And the boot doesn’t fit. This arguably applies to the awkward dialogue – many lines go over the head due to narrative confusion or the odd disjointed attempt at comic relief.

            The story itself fits around the events of Ultimatum, where both Treadstone and the Blackbriar projects’ key figureheads are in the process of investigation. Here, assumptions are made about the links between Aaron Cross’ need for ‘chems’, that is, performance enhancing drugs, and the ‘headaches’ mentioned by Identity’s agent played by Clive Owen. This is the narrative road that Legacy takes. Outcome, the company who develop the pills are seemingly at risk of indictment through the actions of Jason Bourne, too – leading the company to be ‘burned to the ground’ as described by Norton’s Col. Byer. In the process, Weisz’ Dr. Marta Schearing escapes assassination, in a scene unrelated to, but chillingly evocative of the recent Colorado shootings, and henceforth she suspects her employer had more to do with it than meets the eyes. Similarly, Cross escapes his death after his cabin explodes. Henceforth the two unite in their desire to hold Outcome to account. The interplay between the two is good, but amounts to nothing, instead becoming a mockery of the premises of the original trilogy.

            The narrative slugs along over a lengthy two hours, and the events within are thinly spread. It is a long time before it makes any sense at all, and the action sequences along the way are hasty and flawed. In fact, it feels as though much of it is saved for a final sequence, but don’t hold your breath: it is a messy, tiring finale that pales in comparison to previous Bourne sequences. A scenario in which Cross saves Schearing in her own house better serves as a smaller scale, understated sequence, likening itself to the final encounter in Identity. But most problematically, Bourne fans will be disappointed with the loose fitting of the two narratives. Bourne is mentioned only a handful of times, and realistically, this film doesn’t even need a parallel set of events from the Bourne universe. In reality, it feels like a half-baked Bond movie with a sketchy storyline, and by the time the signature end- credit theme sounds, audiences will be left sighing.

Verdict: Bourne conventions are washed out by a weak story and a slow pace, which sadly isn’t even compensated for with any great action. A franchise- saving sequel will be a challenge. ★★

Review: Ted (2012)

Ted (2012)

Toy Story with Tourette’s

Released: 1 August 2012

Director: Seth MacFarlane

Cast: Mark Wahlberg, Mila Kunis, Seth MacFarlane (voice), Joel McHale, Giovanni Ribisi, Patrick Warburton, Patrick Stewart

Plot: Thirty- something couple John (Wahlberg) and Lori (Kunis) have a happy, steady relationship, or so it seems. As a childhood loner, John’s wish for his teddy, Ted (MacFarlane) to come alive was granted, who still lives with the pair. But as John and Lori’s relationship grows, which of John’s other halves is the third wheel?

IF you can count on one man to push the limits of the moral zeitgeist a little further with each creative development, look no further than Seth MacFarlane. In fact, you could argue confidently that he may even have been redefining it for years, post- Family Guy, through into American Dad! and The Cleveland Show. Now the same rule applies for his first crack at the big screen with Ted, a laugh-a-minute comedy about a Boston couple living with one half of their relationship’s inability to grow up – manifested physically in the form of a talking, smoking, swearing teddy bear aptly named Ted (voiced by MacFarlane himself).

            Fans of MacFarlane’s work will adore the sorts of jokes they are accustomed to (as well as indulge in placing the voices of Family Guy regulars) and non- fans alike are in for something profoundly different from their average, ‘safe’ Hollywood humour – Ted speaks of his unorthodox uses for parsnips, smokes pot with hookers, and crosses the line with regards to flirting from a distance. In retrospect, the line is always a step behind Ted.

Ted (Seth MacFarlane) relaxes with four 'friends'.
Friends, hookers, call them what you will

            The script, co-written with MacFarlane’s regulars Wellesley Wild and Alec Sulkin, is relentless, unforgiving and downright ballsy. As per the standard of MacFarlane’s animated shows, boundaries are pushed and no one ethnic, religious, or other social group is exempt from parody or criticism. This is exactly what gives Ted its edge, however. MacFarlane is unafraid for his characters to punch a child, attack a neighbour and his duck (no, not a typo), or do cocaine with Flash Gordon (yes cocaine, and yes, Flash Gordon AKA Sam Jones). However crude or offensive, Ted makes it undeniably funny. Jones himself has a fair portion of screen time for a cameo – obviously a result of MacFarlane’s inner child’s love for the 80s, which resounds throughout the film (a highlight being a recreation of a famous Airplane! scene), brought to life brilliantly. This does mean, though, that many jokes are best appreciated by older audiences, some going awash on younger generations. Similarly, UK audiences are at a loss for some American in-jokes, that is, save for those who keep up to date with US sports, celebrities, politics or other aspects of culture – a problem Family Guy and American Dad! have also had in making the trip across the pond. Fans of the aforementioned will also notice that there are a few recycled jokes thrown in from them, too. That said, the majority of laughs are universally hilarious (unless a prude pair of eyes are watching), and the signature cutaway gags provide genuine laughs.

The beautiful Mila Kunis as Lori

            Major credits are also due to the overlooked talents of Mark ‘Marky Mark’ Wahlberg and Mila Kunis, whose presence match the lovability/hilarity ratio struck by Ted himself. John (Wahlberg) does a great job of portraying a man haunted by his immaturity in the most literal sense, all the while proving himself to be an extremely versatile actor – the trailer- stealing guess-the-white-trash-name scene being a prime example here, sporting verbal dexterity that very few comedy actors can muster. Not faltering throughout, Wahlberg delivers a comedy performance worthy of recognition. Admittedly, Kunis is a little overshadowed by the two other leads, though her character thankfully doesn’t involve completely dismantling Ted and John’s relationship, instead joining in on some banter and portraying a sister/brother- like relationship with Ted. Her share of witty lines is dim in comparison to Wahlberg and MacFarlane’s, but when she gets them, her charm and sweetness adds flavour to the script.

            Also noteworthy is the FX team’s utilisation of motion capture. In Ted, you ask? Yes – Ted is merely a downsized, fluffier, but just as foul-mouthed incarnation of Seth MacFarlane, who acted out all the scenes in full motion capture gear, which is a first in the comedy genre as MacFarlane has noted himself. Had Ted kept up the balance of first class joke- cracking with a decent storyline through to the third act, this would have been a hands down five star comedy. Unfortunately the narrative takes a dive in the form of a needless car chase, which is part of a string of clichéd events thereafter. The jokes though, remain solid (save for the odd curveball) and cameos from the likes of Patrick Stewart (voice) and Ryan Reynolds show that stars worth their mettle aren’t afraid to make fun of themselves in the name of comedy. Ted is fresh and filled with laughs, making a good refinement of a familiar setup.

Verdict: Leaping hurdles over the formulaic comedies constantly pumped out by Hollywood, Ted instantly alights the pedestal as the best comedy of the year. MacFarlane has proven himself and his writers formidable adversaries for comedy auteurs everywhere. ★★★★

Review: The Dark Knight Rises (2012)

The Dark Knight Rises
A Bat and his Bane

Released: July 20 2012

Director: Christopher Nolan

Cast: Christian Bale, Tom Hardy, Anne Hathaway, Joseph Gordon-Levitt, Gary Oldman, Michael Caine, Marion Cotillard, Morgan Freeman

Plot: Eight years after Batman took the blame for Two-Face's crimes, Gotham thrives and Bruce Wayne drifts into seclusion. That is, until a masked madman by the name of 'Bane' arrives to wreak havoc, forcing Batman and his allies to once again defend their city from destruction. 

WITH 2008’s The Dark Knight smashing box office records at $158 million on its opening weekend and the celebration of Heath Ledger’s tragically premature final role as Batman’s most famous arch nemesis The Joker, it was clear to Nolan that he had a lot to live up to in the concluding installment of his Batman trilogy. Upon The Dark Knight Rises’ release, however, it is a wonder audiences and critics ever worried at all. Save for the shroud of darkness placed over the film by the horrendous Colorado shootings, the media response to it has been all around positive, and after viewing, it is incredibly easy to see why. Already surpassing the opening weekend takings of TDK by two million, Rises merits additional credit due to its benchmarking accomplishments in directing, acting, screenwriting and use of soundtrack (listen out for the use of Batman and Bane’s individual themes by Hans Zimmer), not to mention photography, costume and stunt coordination. Ultimately Nolan continues his hyper-realistic approach to a classic superhero franchise superbly, bettering this year’s Spider-Man reboot and setting a high standard for the upcoming Man of Steel, which Nolan himself is overseeing.

Tom Hardy as Bane

            Nolan has made it abundantly clear that this shall be his last visit to Gotham, and Bale to Wayne, so knowing that poses questions as to whether the trilogy is wrapped up appropriately. The film makes a terrific job of pulling out elements of Batman Begins, whilst following the events of TDK even with an eight- year narrative gap. As a result, we see a decrepit Bruce Wayne worn down by years lacking training, social interaction (note one maid’s line about his rumored appearance) but all the while cast into loneliness and haunted by irreversible heartbreak due to the death of his childhood love. Of course, Gotham will always need a hero whilst it falls victim to delusional madmen, and thus, the Batman must return after the legacy of Harvey Dent corrodes (Batman’s return scene just one of many peaks in action). Particularly emotional are Alfred’s pleas for Bruce to give up the mask and become a legitimate hero, replacing Dent – Alfred/Caine in fact delivering two emotionally charged pieces of dialogue.

In its prime moments, Rises presents Gotham in anarchy post-Joker, the presence of which is neatly filled by the ferocious Bane, who purports to be ‘returning Gotham to the people’ whilst strategically destroying it piece by piece. Hardy does a flawless job at portraying Bane, particularly considering he has two thirds of his face concealed by a Hannibal Lecter- style mask. Bane also provides some of the script’s most memorable lines, a highlight involving a mid-fight remark of he and the caped crusader’s use of the dark, though at other times it can be difficult to understand exactly what Bane is saying. That said, though, Bane is a character surpassing the Joker in physical and visionary attributes, though the ironic likeability of the latter isn’t quite matched. For the first time, the audience witnesses Batman’s physical superiority outdone: Bane merely biding his time before landing crippling assaults, trumping all of the dark knight’s cards.

Anne Hathaway as Selina Kyle/Catwoman

            Two more great additions from Nolan are that of Hathaway and Gordon-Levitt, who provide unlikely allies to a truly lonely protagonist. Hathaway’s Selina Kyle/Catwoman role, ringing true to her DC comic origins (as ever in the Nolan brothers’ and David S. Goyer’s writing) flip- flops in her loyalty towards Batman, all the while remaining likeable, but also assisting in injecting comic relief into the narrative – a vital element in a relatively dark chapter of Nolan’s trilogy and a balance which is struck with perfection. As ever, Rises is executed with the depth founded by the script and maintained during every stage of filmmaking. The film also benefits from genuinely emotional character dialogue, but unfortunately dissipates into the action packed backgrounds of the second and third acts. Nolan’s nonchalant disposal of some characters can also be irritating, even if they give way to clever dialogue or visual effect. The pace unexpectedly drops due to minor holes in plausibility during the final act, but the film’s conclusion delivers a justified wrapping up of the film’s, as well as the trilogy’s, events – and not once does Nolan lose control of such a large scale, epic piece of work so much so that by its end, general audiences and fans alike will likely leave feeling as though expectations have been thoroughly fulfilled. Contrary to popular opinion, Nolan doesn’t fall victim to setting the bar as high as The Dark Knight did, perhaps not surpassing it, but meeting it spectacularly.

Verdict: A true feat of filmmaking – impeccable narrative structure, scriptwriting and groundbreaking handling of source material, helped by a truly brilliant cast and topped off with sprinklings of genius throughout. Anything looking to come as close to film of the year as this has will prove a colossal challenge. ★★★★★