Tag Archives: Karl Urban

2014 Movie Blitz: Part VII

The Forger (2014)

The-Forger

It feels like John Travolta hasn’t done anything in a while, or at least anything worth mentioning. His latest effort, The Forger, is unlikely to alter that perception.

In this moody crime drama Travolta plays a master forger of masterpieces (I know, he looks just like one, right?), who strikes a deal with nasty gangsters to get out of jail earlier. Of course, it’s because they want him for his skills so they can commit a robbery, but you could forget that watching this film because most of the time is spent on the relationship between Travolta and his son (Tye Sheridan), who sadly is dying from cancer. Christopher Plummer plays Travolta’s dad and Abigail Spencer (from Suits) plays a detective on his track.

As a crime thriller The Forger is terrible. There’s no suspense and no feeling that any of it even matters. It’s no wonder the film is universally panned for how boring it is.

As a father-son drama, on the other hand, I think there are some nice moments stemming from this wish-granting subplot Travolta gets into. Consequently, I don’t think the film is as bad as it has been made out to be.

Travolta is pretty much always the same as he’s always been, though I believe the tragic death of his teenage son a few years back may have prompted him to take on this role and given his performance an added layer of emotion. Christopher Plummer is always good, but it’s Tye Sheridan who stands out by proving once again (after Mud with Mr Alright Alright McConaughey) that he has a bright future ahead of him.

It’s obviously not great, and most critics seem to disagree, but I don’t think The Forger is a bad random DVD hire.

3 stars out of 5

The Loft (2014)

loft

Every now and then you get a film like The Loft — a forgettable B-grade thriller with a roster full of recognisable names and faces. In this case we’re talking Karl Urban, James Marsden, Wentworth Miller, Eric Stonestreet and the Transformers blonde Aussie duo of Rachael Taylor and Isabelle Lucas.

It’s hard to give you an idea of what the film is about without a little detail. Basically, the loft is a sleaze-pad shared by five married friends (the above four actors plus Matthias Schoenaerts) to use for rendezvous with girlfriends, mistresses, one-night stands and so forth. Classy, I know.

But of course, something terrible happens and they have to figure out how to resolve the problem and solve a mystery while they’re at it. It’s actually a remake of a Dutch-language Belgian film from 2008 that must have done well enough to get Hollywood’s attention.

On paper it looks good. Respectable, good-looking cast, a locked room mystery of sorts with flashbacks and a whole load of twists and turns that will kind of keep you guessing. I can see the attraction of such a project.

However, The Loft has a fatal flaw: the characters are just so sleazy, so disgusting, so despicable and such degenerates that they are completely unworthy of sympathy and incapable of invoking any empathy. They’re more than just people with loose morals — some of them are genuinely sick.

As a result you’re just watching a bunch of dickheads get what they deserve and a couple of cardboard female characters act like a couple of cardboard female characters.

That said, you don’t necessarily have to like or care about he characters for a movie to work. Unfortunately, The Loft doesn’t have the requisite elements to qualify as a guilty pleasure. It’s just not satisfying enough, not intelligent enough, not campy enough and not so-bad-it’s-good enough.

Despite all this, the film passes as a watchable DVD or VOD experience owing to its star-studded cast and having just enough intrigue to not be boring. Just don’t expect too much.

2.5 stars out of 5

The Gambler

gambler

I really wanted to give The Gambler its own individual post, but sadly it doesn’t deserve it. I was naturally partial to this film given that it is the follow-up effort of Rupert Wyatt, director of Rise of the Planet of the Apes, and I desperately wanted The Gambler to be awesome.

However, while the film does have some intriguing aspects and nice moments, I can’t in good conscience proclaim it a good movie.

A remake of the 1974 film starring James Caan, The Gambler is the tale of Marky Mark Whalberg’s Jim Bennett, a literature professor with a crippling gambling addiction. He’s one of those “all or nothing” guys who never knows when to quit, and the self-destructive habit pushes him to the edge after he begins borrowing money from the wrong people (John Goodman, Michael K Williams, etc), much to the disappointment of his wealthy mother (Jessica Lange, who is excellent in her few scenes).

Wyatt infuses the film with a lot of style and a deliberate pace that results in a completely different type of experience to Apes. It’s not unentertaining and never gets dull, but there’s ultimately not enough substance to elevate it to what it could have been.

Part of the reason is that Bennett isn’t a very likable character. He’s interesting, but he’s also a complete asshole, making him hard to root for or sympathise with. Marky Mark is pretty good, so it’s not his fault.

I’m also deducting some points for the film’s depiction of a basketball game, which is so ridiculous and unrealistic that it saps much of the tension of what is supposed to be a climactic part of the film. Thankfully the gambling scenes were executed much better.

I really wanted to like The Gambler more, but unfortunately it’s just an average and somewhat forgettable remake.

2.5 stars out of 5

This Is Where I Leave You (2014)

this-is-where-i-leave-you

This Is Where I Leave You is a “light and nice” family drama film (ie, about a family, as opposed to for the family) bolstered by one of the best ensemble casts of 2014.

It’s based on the novel of the same name by Jonathan Tropper and is directed by Shawn Levy, best known for the Night at the Museum films, Date Night and The Internship. This one is better than all those films because of its depth and cast, but the overall feel is somewhat similar — some humour, a dash of gentle drama, and a sugary vibe that takes the heaviness off its life lessons.

Jason Bateman plays Judd Altman, who returns to his hometown following a death in the family and amid person turmoil in his life. There he is reunited with his three siblings (Tina Fey, Corey Stoll and Adam Driver) and their liberal mother (Jane Fonda), and the film follows their lives over the next few days as they deal with their personal issues and relationships.

Rounding out the amazing cast are names like Rose Byrne, Dax Shepherd, Timothy Oliphant, Connie Britton, Kathryn Hahn and Abigail Spencer.

They laugh, they cry, they fight and they reflect on life, pondering what could have been and where they are heading. Everyone is at a different stage in life and has problems and regrets they must face.

It is, however, nothing like August: Osage County, another recent family drama with a huge cast. That was heavy stuff and full of emotionally-draining drama; this is much mellower and aims for sweet poignancy and sentimental reflection. Some moments work, very well even, while others feel like it’s trying too hard.

The result is a mixed bag. It’s not my type of film, to be honest, but the cast is so spectacular that you can’t help be drawn in. Each actor plays to their strengths when it comes to the comedy, and you can see their respective personalities shining through. The humour is light but it’s funny enough for the most part, and the drama is sufficiently engaging though ultimately fails to offer anything new. It’s unfortunate, because it’s a waste of the massive pool of talent squeezed into the film.

This Is Where I Leave You is not bad, but it’s certainly nothing special. I quite liked it despite feeling underwhelmed by its failure to come close to reaching its full potential.

3.5 stars out of 5

2012 Movie Blitz: Part 14

Movies reviewed: Cloud Atlas, About Cherry, Dredd, To the Wonder

This is probably going to be my last 2012 movie blitz (at least for now) because I’ve promised to do my best and worst of 2012 before the end of this year and the days are running out! I believe I only have about 4 movies left to watch (I’ve discarded the rest), but since none of them will likely make either list I’m just going to leave them for later.

If this is indeed the last one then I’m going out on a high as this blitz is a great one, packed with some high-profile flicks from 2012.

Cloud Atlas (2012)

CloudAtlas-Poster

Cloud Atlas was one of my most anticipated movies of 2012, but for some reason the film either (1) never made it to Taiwanese cinemas; or (2) was only showing for such a short time that I missed it completely. I’m not sure what happened because it had been slated to be Oscar bait and one of the biggest blockbusters of the year, but perhaps it was the furore over the Asian-izing of white actors that sunk the film even before it made its way to Asian shores.

I finally got around to watching it the other day, and my reaction to it is mixed. I can see why it was so polarizing – there are elements about it which are amazing, but on the other hand it felt like an ambitious film like this was doomed to failure from the start. Success or failure, Cloud Atlas is without a doubt one of the most ambitious films ever made, and kudos must go to the Wachowskis (for those who don’t know, they are no longer the Wachowski “brothers” because one of them is now a “sister”) for even attempting a film of this size and complexity.

Spanning nearly 3 hours, Cloud Atlas is an epic set across six time periods, from the mid-1800s to the 24th century. Each period is played by more or less the same set of actors playing different characters, and that is where the ridiculed makeup and special effects come in (I’ll get to that in a sec). The reason why they got the same actors to play characters in different time periods is because they are supposed to be reincarnates from different lives, and the film is pretty much an exploration of the idea that people go through life after life, that they are bound to certain people in each life, and that actions in one life can affect or shape lives in the future.

The narrative jumps around between the six time periods, which can be confusing and daunting for some, but for the most part the Wachowskis do a stellar job of keeping the story flowing and bringing its core concepts to the forefront. That said, with so many interlocking stories and characters, it is difficult to afford all of them enough time to develop, and as a result I found parts of the film unsatisfying and lacking in emotional depth. There is a payoff at the end, but it took a very long time to get there.

The all-star cast is blameless in all of this. Really, how can you complain about the likes of Tom Hanks, HalleBerry, Jim Broadbent, Hugo Weaving, Jim Sturgess, Ben Whishaw, Susan Sarandon and Hugh Grant? Each of them play a wide range of characters from good to evil, and they each do it convincingly, as far as performances are concerned. What didn’t work so well was the makeup and effects needed to transform those actors from one race to another. This was something that didn’t pose a problem in the novel, and it’s hard to fault the Wachowskis for trying to overcome the issue by, for example, turning Jim Sturgess and Hugo Weaving into slanty-eyed Asians, and HalleBerry and Korean actress Doona Bae into white women. As good as makeup is these days, the results were laughable in many of the cases, especially for Sturgess and Weaving, who look like absolute freaks and more Alien than Asian.

But is that reason enough to bash the whole film? I don’t think so. They did the best they could under the circumstances, but for many people it will mean putting aside the absurdity of the characters’ appearances to enjoy the movie.

Like it or hate it, Cloud Atlas is a memorable film. Unfortunately, I don’t think it’s the masterpiece it set out to be, though it is certainly not the spectacular turd that some critics and audiences have labelled it. If you can ignore the freaky faces and immerse yourself into the story, Cloud Atlas could be one of the most enjoyable experiences of the year, complete with well-executed action and eye-popping special effects. I’ve heard on numerous occasions that it is a film that requires multiple viewings to fully appreciate, so on my first (and possibly last) viewing I’ll give it…

3.5 stars out of 5

About Cherry (2012)

cherry

The film is called About Cherry, but it’s really not about much at all. Technically, it’s about a naïve and pretty girl (Cherry — -played by Ashley Hinshaw, who had a small part in the underrated Chronicle) who sinks into the world of pornography, but in reality it’s just about a girl who decided to get into porn for a quick buck.

I thought it would a good, or at least interesting, film because it was backed by a strong cast of supporting stars headed by James Franco, Dev Patel, Heather Graham and Lili Taylor. I’m not sure why they were drawn to this project, the directorial debut of American author, journalist and activist Stephen Elliott, but I doubt this will end up being a film placed high on their respective CVs.

The biggest problem with About Cherry is the titular character, who is played well by Hinshaw but offers no real redeeming qualities or genuine personality. She’s just a girl who wanted to make money, and saw porn as an easy route (no pun intended). There’s no manipulation, no exploitation, no coercion or persuasion – it’s just a consenting adult wanting to make money. And that doesn’t make for very compelling viewing.

Sure, her career creates some friction in her life – with her best friend (Patel) who is painfully and obviously in love with her, a fact she has no trouble using and abusing to her advantage; with her boyfriend (Franco), a druggie lawyer; and her mother (Taylor), a deadbeat alcoholic – but honestly, it’s not that bad.

We don’t really gain an insight into why Cherry went down this path or why it escalated from solo pics to real sex, apart from the suggestion that her mother is a loser and she wants to get away from her. And besides, all these relationships are not resolved properly, with the James Franco arc being particularly bizarre, almost as though he decided to quit the film midway through the shoot and they had to come up with a rushed solution.

The film is made slightly more interesting by the presence of Graham, who plays a porno director who becomes infatuated with Cherry to the detriment of her long-term relationship. But the way this part of the story is wrapped up is stupid and could be perceived as an insulting message about the nature of human sexuality.

In the end, apart from the soft core porn scenes there just isn’t a lot to like about the movie. It’s not poorly made, and the performances are decent, but it’s hard to a connect with a film on an emotional level when the characters feel so remote and uninteresting. Maybe I missed the point of About Cherry completely. Frankly, I don’t care.

1.5 stars out of 5

Dredd (2012)

dredd

It’s unfortunate that the comic strip hero Judge Dredd almost always conjures up the image of Sly Stallone mumbling about something incoherent, with Sandra Bullock beside him wondering what the hell she’s doing. This “remake”, just Dredd, probably won’t erase the memory of the 1995 disaster, but it’s nonetheless a much much better film that’s surprisingly effective and exciting.

For starters, Dredd knows exactly the type of action film it wanted to be – brutal, violent, unflinching, dark, gritty and littered with hints of political messages. This time Karl Urban (who never shows his face) plays Dredd, a Judge who plays judge, jury and executioner in a dystopic future world. Most of the action takes place in a massive slum building block controlled by drug lord Ma-Ma, played awesomely by Lena Heady (from 300 and Game of Thrones). Dredd and a new recruit with psychic powers (Olivia Thilrby) are sent to investigate the building after a brutal execution-style killing, and find themselves trapped against a whole army of criminals.

It’s a fairly simple Die Hard premise, though the look and feel of the film is closer to a futuristic version of the 2011 Indonesia masterpiece The Raid: Redemption – and it would be unfair to suggest Dredd is anywhere near as good as either film. But for the most part, Dredd is effective and should appeal to fans of the source material.

While the plot leans close to predictable, the action is explosive and thrilling, the special effects are sharp and the dialogue is darkly humorous. Plus Karl Urban and Lena Heady are just so good. It’s not quite enough to elevate Dredd above the rest of 2012’s top action flicks, but it’s not far too from the apex of the pack.

3.75 stars out of 5

To the Wonder (2012)

TotheWonder

The title of Terrence Malick’s latest romantic drama, To the Wonder, is very apt, as I am still wondering what the hell I watched. I’ve given Malick a lot of tries through the years, starting with The Thin Red Line, The New World and Tree of Life, and I’ve come away disappointed every time despite all the praises and accolades.

Like those films, my guess is that To the Wonder will polarise audiences, with some critics loving it (as evidenced by its Golden Lion nomination at the 2012 Venice Film Festival) and the majority of audiences hating it. I am siding with the latter.

The premise of the film seems harmless enough – a Ukrainian woman played by Olga Kurylenko moves to the US after meeting Ben Affleck’s character in Paris. She feels isolated and she returns to France – during which time Affleck dates Rachel McAdams – and then returns to try and rekindle the relationship.

But in typical Malick fashion, To the Wonder is all about the arty farty, the beautiful imagery, the barely decipherable whispering monologues (luckily this time there’s no Nick Nolte) and people dancing and prancing around in the meadows, staring out the windows, running around and flailing their arms about like lunatics.

All of this is done in rapid cuts (in one instance you get what feels like 100 snippets of two people frollicking through a cornfield) and minimal, almost inhuman dialogue, which makes it an unusual viewing experience but also a very annoying one. In short, To the Wonder is REALLY self-indulgent.

Maybe some viewers can appreciate the beauty of it all and understand what Malick is trying to do with this movie, but I found it emotionally unsatisfying and bordering on laughable. I thought I would love a film where Ben Affleck says almost nothing and where Olga Kurylenko and Rachel McAdams are the lead actresses, but for most of the painfully long 113-minute running time I was either confused or irritated by it. Javier Bardem playing a priest who questions his faith was pretty funny though, albeit unintentionally.

Bad films that are supposed to be bad I can take, but pretentious films like To the Wonder really get to me. Or maybe we’ve all been fooled and it’s supposed to be a parody, though that doesn’t make the movie any better.

1 star out of 5

Movie Review: Priest (3D) (2011)

In the space of a few months, Priest went from one of my most anticipated movies of the year to just another film at the cinema.  Happens when the film’s release is delayed by three and a half months in Australia and the reviews are ‘unkind’ at best.

Nonetheless, I tried to keep an open mind about this film loosely based on a Korean comic of the same name, about an alternate world where priests are kick-ass vampire killers in an eternal human-vampire holy war.  The initial teaser trailers I saw over a year ago looked extremely promising — pure horror action, a stylish visual feast and one of my favourite actors, Paul Bettany.

But unfortunately, the critics that saw the film before me were right.  Priest just didn’t have it.  Nice to look at, sure, but it’s the perfect example of a failed comic book adaptation.  A great premise bogged down by a contrived plot, boring characters, poor dialogue and an unnecessary seriousness.  At just 87 minutes, Priest felt overlong, but at the same time strangely incomplete.  The result is an aesthetically pleasing, slick, occasionally frightening/exciting film that is ultimately forgettable and never comes close to living up to its potential.

Bettany did the best he could here, and is clearly the bright spot in an otherwise weak line up.  Karl Urban, Maggie Q and Cam Gigandet were all merely serviceable co-stars and uninteresting characters.

If there is something the film did do right, it’s the freakish vampires, who looked more like the mutated beasts from Resident Evil than Edward Cullen.  Not surprising, considering director Scott Stewart started his career in visual effects and previously directed Bettany in another supernatural action/horror, Legion, which involved angels and demons and has a similar feel.  The creatures in that film were pretty scary too.  Sadly, neither film was particularly good.  On the whole, Priest is probably better than Legion, but I personally thought the best parts of Legion were far better than the best parts of Priest.

I’d say Priest deserves some consideration as a DVD rental, especially when put up against straight-to-DVD films on the shelves, but in all honesty it could have and should have been so much more.

2 stars out of 5

PS: Shockingly, Priest has been released exclusively on 3D over here (at least from what I can gather).  Needless to say, as a post-production conversion, it was no more than another pointless money grabbing exercise.

Movie Review: Red (2010)

Is it just me, or is every second movie these days based on (or inspired by) a graphic novel?  Not that there’s anything wrong with it.  As long as it’s fun and exciting, I’m all for it.

And fortunately, Red is both.  The title is an acronym used to describe Bruce Willis and his ageing superstar secret service buddies, including Morgan Freeman, John Malkovich, Helen Mirren and Brian Cox.

The plot is relatively straightforward — someone is trying to kill former CIA operative Frank Moses (Willis), and he’s trying to find out who it is and go badass on anyway that gets in his way.  A Weed-less Mary-Louise Parker plays the love interest, and Karl Urban is the CIA agent trying to catch him but at the same time putting all the pieces together.

With some many top stars (all of whom I like) crammed into a single film, the result is necessarily lots of fun.  My only complaint is that Morgan Freeman didn’t get nearly enough time to showcase his talents and really copped a bad deal.

Red is essentially an action-packed popcorn movie with a bunch of old people acting cool, shooting and beating up people.  It reminded me of a less sexy version of The Losers, also a comic movie (haven’t had time to review it yet).  While it is by no means a classic, Red provides 111 minutes of solid entertainment…though I still have trouble believing that the film just got nominated for a Golden Globe in the Best Picture Comedy or Musical category.

3.5 stars out of 5!