Tag Archives: 2016

Zoolander 2

Genre: Comedy

Director: Ben Stiller

Screenplay: Justin Theroux, Ben Stiller, John Hamburg, Nicholas Stoller, based on the characters created by Drake Sather, Ben Stiller

Cast: Ben Stiller, Owen Wilson, Will Ferrell, Penelope Cruz, Kristen Wiig, Fred Armisen, Kyle Mooney, Milla Jovovich, Christine Taylor, Justin Theroux, Nathan Lee Graham, Cyrus Arnold, Billy Zane, Jon Daly

Running Length:  102 minutes

Synopsis: Derek (Ben Stiller) and Hansel (Owen Wilson) are lured into modeling again, in Rome, where they find themselves the target of a sinister conspiracy.

Review:  Full disclosure: I am a fan of the original Zoolander, and have watched the 2001 film multiple times outside of the cinema (the first Zoolander has the dubious honour of being banned in Singapore, due to its featuring the “Malaysian Prime Minister”). Over the years, the film had built up quite a cult following, and when Zoolander 2 was announced, I (and many other Zoolander fans) was rather stoked. Unfortunately, the sequel is a half-baked, overstuffed movie that proves pretty joyless to watch, despite the copious number of celebrity cameos and a handful of somewhat funny sequences.

One of the biggest issues of Zoolander 2 is the number of things going on at any one time. Not only does the espionage plot make a somewhat unwelcome return, there’s also the Zoolander father-and-son reunion, and then there’s the unresolved grudge between Derek and Hansel, the return of arch-nemesis Mugatu (Will Ferrell) and a whole bunch of other inconsequential plot threads, none of which feel satisfactorily resolved by the end of the movie.

It seems that Ben Stiller and his posse of screenwriters can’t bear to divorce the sequel from the original film, and almost constantly makes references to the 15 year-old movie, which is unnecessary and limits the appeal of the movie even further. Much as Zoolander has a cult following, this unabashed nudging and winking serve nothing more than make the proceedings feel ever more like drudgery, especially after the novelty of seeing these characters back on the big screen fades after the first reel.

It doesn’t help that Zoolander 2 is a little too self-aware for its own good. If everyone is in on the joke – and in this film that’s certainly the case, given the frankly ridiculous number of cameos of both celebrities and fashion industry mavens, even more so than the first film – then the joke ceases to be funny. While it may be a somewhat interesting diversion to spot the cameos (including Benedict Cumberbatch in an appearance that will haunt him for many, many years to come), much of it feels shoehorned into the scattershot scenes, and in the end it just feels like a chain of middling SNL skits stringed into a movie. Zoolander 2 is a sporadically funny film and thus not without merit, but it certainly is questionable if that is sufficient to justify paying the price of entry to watch it on the big screen.

Rating: * ½ (out of four stars)

Standard

Oscar Predictions 2016

The Oscars have been hit with controversy this year, but the actual nominations themselves aren’t particularly surprising. It’s pretty clear that The Revenant is likely to be taking back a bunch of the major Oscars, and Mad Max will end up with a good number of technical Oscars. Once again, given that I am not involved in any Oscar pool this year, I will be abstaining from the documentary and short film categories. Now, on to the predictions:

Best Motion Picture of the Year

Should win: Mad Max: Fury Road

Prediction: The Revenant

Mad Max is hands down one of my favourite movies of 2015, and it had the surprise factor – no one actually thought it would be so good or do so well at the box office. However, The Revenant is more likely to win in this category

Best Performance by an Actor in a Leading Role

Should win: Leonardo DiCaprio (The Revenant)

Prediction: Leonardo DiCaprio (The Revenant)

This is Leonardo’s award to lose this year. The most locked category of the night for sure.

Best Performance by an Actress in a Leading Role

Should win: Charlotte Rampling (45 Years)

Prediction: Brie Larson (Room)

Charlotte Rampling did an incredible job in 45 Years, but arguably the momentum that has been building for Brie Larson is likely to give her the win for this category. It’s a pretty strong list of nominees this year unlike the last, so much so that two actresses were shafted into the Supporting Actress category.

Best Performance by an Actor in a Supporting Role

Should win: Sylvester Stallone (Creed)

Prediction: Sylvester Stallone (Creed)

This is not a strong category in my point of view, and my vote would have gone to either Stallone or Mark Rylance (for Bridge of Spies).

Best Performance by an Actress in a Supporting Role

Should win: Alicia Vikander (The Danish Girl)

Prediction: Alicia Vikander (The Danish Girl)

Alicia Vikander has had a particularly bountiful year, and honestly her performance in The Danish Girl was the best part of the movie (sorry Eddie). Both her and Rooney Mara rightfully should have been contending for Best Actress, but since they are in the Supporting category, in my opinion Vikander has a better chance.

Best Achievement in Directing

Should win: George Miller (Mad Max: Fury Road)

Prediction: Alejandro Gonzalez Innaritu (The Revenant)

Innaritu’s work on Birdman (to me) was far more exciting than The Revenant, and in all honesty Miller created a modern masterpiece with Mad Max: Fury Road. The odds are still not in Miller’s favour though, and Innaritu is likely to clinch the statuette for a second year running.

Best Writing, Screenplay Written Directly for the Screen

Should win: Inside Out

Prediction: Spotlight

Inside Out was just such an original and well-written movie I feel it should win, but Spotlight is likely to get the “consolation” award here as it is unlikely to win any other major award despite the number of nominations.

Best Writing, Screenplay Based on Material Previously Produced or Published

Should win: The Big Short

Prediction: The Big Short

Almost all the nominees in this category are deserving, but The Big Short is so uniquely written that it stands out from the rest of the field.

Best Achievement in Cinematography

Should Win: Ed Lachman, Carol

Prediction: Emmanuel Luzbeki, The Revenant

Carol is one of the most beautifully lensed movies of the year, and is my favourite. However, any of the nominees here are hugely deserving, and The Revenant’s more challenging vistas mean that Luzbeki stands a better chance here.

Best Achievement in Editing

Prediction: Mad Max: Fury Road

It could not have been easy to edit a coherent two hour film from the constantly moving footage of Mad Max: Fury Road, and Margaret Sixel did a really great job here.

Best Achievement in Production Design

Prediction: Mad Max: Fury Road

The unforgettable production designs in Mad Max should ensure it a win in the category.

Best Achievement in Costume Design

Prediction: Cinderella

Although I think (again) that Jenny Beavan did an excellent job for Mad Max, Sandy Powell’s costume designs for Cinderella are solid and more traditional, which is likely to give her the edge here.

Best Achievement in Makeup and Hairstyling

Prediction: Mad Max: Fury Road

I honestly don’t think The Revenant can win here, and The 100 Year-Old Man Who Climbed Out of the Window and Disappeared is simply not as high profile as the other two nominees.

Best Achievement in Music Written for Motion Pictures, Original Score

Prediction: Ennio Morricone, The Hateful Eight

The very fact that Ennio Morricone had never actually won an Oscar for Original Score (apart from his honorary Oscar) means his chances here are high.

Best Achievement in Music Written for Motion Pictures, Original Song

Prediction: ‘Til It Happens to You

I had thought Furious 7’s hugely popular “See You Again” would have been a shoo-in for this category, but it was strangely snubbed. Personally I felt Sam Smith’s theme song for Spectre was a particularly weak entry, and the combined star power of Diane Warren and Lady Gaga should be sufficient to give the song a win.

Best Achievement in Sound Mixing

Prediction: Mad Max: Fury Road

Best Achievement in Sound Editing

Prediction: Mad Max: Fury Road

The technical difficulties of Mad Max in terms of a good sound mix and edit means the film is likely to win for both categories.

Best Achievement in Visual Effects

Prediction: The Revenant

While Mad Max was impressive for its restrained use of visual effects, that is likely also likely to reduce its chance of winning in this technical category. Sorry Star Wars, but I think The Revenant stands a better chance here.

Best Animated Feature Film of the Year

Prediction: Inside Out

It’s a really good mix of nominated animated films this year, but Inside Out ranks amongst one of the best movies I’ve seen in 2015, not just in the category of animated films. It would be a travesty if it lost out to any of the other nominees here.

Best Foreign Language Film of the Year

Prediction: Son of Saul

I have not seen any of the movies nominated for this category, but the Academy always has a preference for movies about the Holocaust.

Standard

Deadpool

Genre: Action, Comedy

Director: Tim Miller

Screenplay: Rhett Reese, Paul Wernick

Cast: Ryan Reynolds, Morena Baccarin, Ed Skrein, T.J. Miller, Gina Carano, Leslie Uggams, Brianna Hildebrand, Karan Soni, Jed Rees, Stefan Kapicic, Randal Reeder, Isaac C. Singleton Jr.

Running Length:  107 minutes

Synopsis: Based upon Marvel Comics’ most unconventional anti-hero, Deadpool tells the origin story of former Special Forces operative turned mercenary Wade Wilson (Ryan Reynolds), who after being subjected to a rogue experiment that leaves him with accelerated healing powers, adopts the alter ego Deadpool. Armed with his new abilities and a dark, twisted sense of humor, Deadpool hunts down the man who nearly destroyed his life.

Review:  There’s no denying that the superhero movie genre is now one of the most popular, and in 2016 alone there are a whopping 7 superhero movies being released from both the Marvel and DC camps, with many more planned in the few years ahead. There’s also no denying that everyone is suffering from a little bit of superhero fatigue, which helps explain why Deadpool is such an appealing movie for many cinemagoers. After all, Deadpool is pretty much an anti-superhero, and together with one of the best movie marketing campaigns in recent years, have left many (including myself) anticipating the film with bated breath. Of course, it also helps that the film is being released in February instead of during the summer blockbuster season, with a much sparser release schedule.

Inspired marketing campaign aside, the actual Deadpool movie is indeed quite a refreshing change of pace, even though beneath that irreverent façade lies a pretty standard superhero origins movie. I’ve never witnessed any superhero (or movie, including spoofs) take so many potshots at the superhero movie genre, and in this aspect Deadpool is a tremendous success. Ryan Reynolds is totally in his element as the wisecracking, manic Deadpool, and his comic timing and delivery is close to flawless. Nothing is spared, and everything is fearlessly skewered – Ryan’s own failure in Green Lantern, the X-Men, even 20th Century Fox, and much, much more.

Deadpool also breaks the fourth wall repeatedly, turning to the audience and addressing them directly multiple times, and in one scene, even managing to break the fourth wall a second time while breaking the fourth wall (it truly needs to be seen to be believed). It’s smart to the point of being smart-alecky, and while a lot of it works, there are times where the self-aware, ironic shtick becomes a little tiresome.

The film is also not suited for everyone, as it is far raunchier and violent than usual superhero films, more than deserving of its R (locally, M18) rating.  However, if you have a stomach for the violence and are a fan of off-kilter humour, Deadpool will be a very rewarding cinematic experience that is refreshingly different from any other superhero movie before it.

Rating: *** (out of four stars)

Standard

Joy

Joy

 

Genre: Drama

Director: David O. Russell

Screenplay: David O. Russell, based on a story by Annie Mumolo and David O. Russell

Cast: Jennifer Lawrence, Bradley Cooper, Robert De Niro, Elizabeth Rohm, Edgar Ramirez, Virginia Madsen, Isabella Rossellini, Diane Ladd, Dascha Polanco

Running Length:  124 minutes

Synopsis: Joy is the wild story of a family across four generations centered on Joy Mangano (Jennifer Lawrence), the girl who becomes the woman who founds a business dynasty and becomes a matriarch in her own right. Betrayal, treachery, the loss of innocence and the scars of love, pave the road in this intense emotional and human comedy about becoming a true boss of family and enterprise facing a world of unforgiving commerce.

Review: If not for the interesting (true but heavily fictionalized) story of Joy Mangano and a riveting central performance by Jennifer Lawrence as the rags-to-riches businesswoman, Joy would have been a much more joyless affair to watch. This is David O. Russell’s first movie centred entirely on a female character, but Erin Brockovich this is not. It’s almost as though O. Russell is unable to make up his mind about how to go about making this “biopic” and the wild tonal and narrative shifts actually detract quite a bit from the cinematic experience.

The ensemble sequences and sprawling narrative in Joy don’t work as well as in O. Russell’s previous films, and his tendency of putting everyone in an enclosed space, shouting at one another really grates after a while. There are also odd surrealist moments that are absolutely unnecessary, jarring viewers out of the moment and probably scratching their heads in puzzlement. Even though many of O. Russell’s alumni make a return in the film, the sparks simply fail to fly in many of the interactions, because the characters are basically reduced to plot-forwarding caricatures this time round.

There is a glorious 30 minutes in Joy in which everything actually comes together, and that is the sequence which traces her first interaction with TV studio exec Neil Walker (Bradley Cooper) to when she makes her first live pitch on QVC. Lawrence’s transformation from unsure inventor to QVC pitchwoman is indeed magical, and her performance really sells it very well. Jennifer Lawrence has established herself as one of the best young actresses around, and her credible and sympathetic turn as Joy Mangano is yet another feather in her cap, though it’s not her best performance thus far.

Unfortunately, after the high of the QVC sequence, the film never finds a sure footing again, with the denouement feeling uncharacteristically rushed (case in point – a haircut is the sole visual shorthand O. Russell employs to signify the change and growth of Joy in a pivotal scene) and somehow inconsequential. While still a sporadically entertaining film, Joy doesn’t measure up to the previous efforts of O. Russell and feels like a rare misstep for the director.

Rating: ** ½ (out of four stars)

Standard

The Forest

Genre: Horror

Director: Jason Zada

Screenplay: Sarah Cornwell, Nick Antosca, Ben Ketai

Cast: Natalie Dormer, Taylor Kinney, Yukiyoshi Ozawa, Eoin Macken

Running Length: 94 minutes

Synopsis: The story is set in the Aokigahara Forest, a real-life place in Japan where people go to end their lives. Against this backdrop, a young American woman comes in search of her twin sister, who has mysteriously disappeared. Despite everyone’s warnings not to “stray from the path”, Saraa (Natalie Dormer) dares to enter the forest to discover the truth about her sister’s fate.

Review: For horror aficionados, The Forest does not bring anything new to the table – it is a run of the mill horror film that, whilst showing some promise and serving up some decent “boo” moments in the first hour, completely unravels in its final reel. While no one expects new ground to be broken in a genre as well-covered as the haunted house (in this case a haunted forest, which isn’t exactly new either), at the very least the film should deliver a coherent plot and a proper denouement. Both are unfortunately missing in The Forest (pun not intended).

While it really may not be the best idea in the world to follow your missing twin sister into a “suicide forest” in Japan (which is a  genuine location, by the way), it’s a somewhat interesting premise to base a horror movie on. Unfortunately, the plot of The Forest is severely muddled, and the film concludes with multiple plot threads still hanging in mid-air, which diminishes the horror element simply because audiences are left puzzling over these plot points than focusing on the horror. For example, it is never clear if there is indeed a presence in the forest that is actively seeking out new victims, or if it is simply an outward manifestation of one’s internal demons.

Natalie Dormer tries her best to put forth a convincing performance, but we’ve definitely seen better work from her elsewhere. Since almost the entire film is focused on Sara, it is almost irrelevant that she is playing two characters in the film (conveniently – and some would say lazily – demarcated by different hair colours). While she does a great job looking scared, there’s very little depth of character to be seen.  Taylor Kinney is ostensibly the romantic interest in the film but comes across as a dimensionless character existing solely to advance the plot at key points in the film.

There’s a sense that too much of The Forest has been left on the cutting room floor – there are moments in which an almost good horror film seems to be peeking out from behind the obfuscated plotting, but the speed at which the film hurtles towards its confusing, unsatisfying conclusion seems to suggest that given a different edit, The Forest would have had more of a fighting chance to leave a positive impression.

Rating: * ½  (out of four stars)

Standard