The Ides of March – Review

The Ides of March (2011)

Directed by George Clooney. Starring Ryan GoslingPaul GiamattiGeorge ClooneyPhilip Seymour Hoffman

As many before me have pointed out, this film is clearly an early Oscar bait for the forthcoming awards season: it’s slick, handsome, subtle and has some great performances all around.

As a massive fan of the West Wing and political dramas in general, I was always going to like a film that takes place behind the scenes of a political campaign to elect a candidate at the US primaries. But on the other hand, maybe because of my knowledge of the genre, I couldn’t help feeling a certain sense of déjàvu in the depiction of both the plot and the types of characters. Yes, politicians are double-faced, scheming, deceiving, fast talking… This is an immature democracy soaked in disappointments and yet at the same time in colourful optimistic rhetoric.

We’ve seen most of this before, but despite its unremarkable familiar atmosphere, the film looks and feels so good and has enough confidence and tension to keep you thrilled throughout. And just when you’re about to think “this might be a tiny bit slow”, it pulls off a couple of truly unexpected twists and turns it from a political drama into a pulsating thriller. I must confess, at one point I was literally lost as to where it was all heading to.

Clooney co-wrote it, directed it and stars in it too. As a the man behind the camera, he handles it all with great subtlety and films it more as a theatre play, relying on the skills of his actors rather than big actions scenes, or car chases and shootouts. As the man in front of the camera, he takes a step back from the central stage and lets Gosling and the rest of his might cast to do most of the work.

Ryan Gosling in his third movie in a row in little more than a month confirms himself as the actor of the year: his performance is perfectly pitched: strong, charismatic and clever in a way that makes it very easy to like and identify with, despite the weaknesses and darker shades of his character. Paul Giamatti and Philip Seymour Hoffman, unsurprisingly, are perfect as always and Evan Rachel Wood and Marisa Tomei both shine in their limited supporting roles.

In the end Clooney might have more chances at the Oscar with his wonderful performance in the “Descendants” coming out soon (which I’ll be reviewing next), and anyway it’s probably a bit too early to make any Oscar predictions (will people still remember this film next February? I can hardly remember it after just a few days…), but this is still a solid political/thriller of the caliber we don’t get many these days, which treats its audience as thinking human beings capable of actually following a plot without the need to spell it out right from the title itself.

7.5/10

The Adventures of Tintin – Review

The Adventures of Tintin – the Secret of the Unicorn (2011)

Director: Steven Spielberg. Writers: Steven MoffatEdgar WrightJoe Cornish. Stars: Jamie BellDaniel CraigAndy SerkisNick FrostSimon Pegg 

I should probably tell you straight away that I have been waiting for this film for about 3 decades! Yes I know, quite a bold statement which may give away my age, but it will also tell you about my level of expectations for this film. If then you add the fact that I’ve grown up watching Spielberg movies back in his golden years (obviously the 80s) and that I’ve also been an avid fan of all Tintin comics ever since I was a little boy, you can probably get an idea of the kind of palpitations I had when I sat into the theatre and wore my 3D glasses. Having said all that I will still try to give an unbiased and honest review as much I possibly can, praising the (many) merits of the film but also highlighting some of the faults which in my option prevented Tintin from being the masterpiece I really wanted it to be.

For a start I was very  pleased to see how respectful Spielberg was with the handling of the original material. After all, this is the man who wanted to turn Harry Potter into an American, combining several books into one (A bad, bad, bad idea Steven!). The story of this film actually combines several of the Tintin books: ‘The Crab with the Golden Claws’ (in which Tintin befriends Haddock and saves him from smugglers) and the two-parter ‘The Secret of the Unicorn’ and ‘Red Rackham’s Treasure’ (which is the core of the story about the search for the lost treasure). There are also some very small elements and secondary characters from other stories too, but as far as taking liberties that’s where Spielberg stopped. Everything else is precisely how the Belgian creator, Hergé had imagined it: with that same sense of adventure, mystery, intrigue, action and fun. In other words the same mood and atmosphere that made the comics so successful  (at least in Europe) and incidentally, in a way those same elements that were also at the centre of one of Spielberg’s classic, Raiders of the lost ark.  It’s not surprising that Hergé himself, after seeing that film back in 1981 thought Spielberg was the only person who could ever do Tintin justice.

Spielberg pays homage to Tintin’s creator right from the start, not just in the beautifully design title sequence (reminiscent of the one from Catch Me If You Can), where he show us so many elements from all Tintin stories, not just in the colour palette he chooses for the cinematography of the film or in the way each character’s face looks, but he even goes as far as having Hergé himself appearing as a street artist drawing a portrait of Tintin the way we are used to see him in the comics: pure genius!

On the whole I must say that I wasn’t as bothered as I thought I was going to be by the motion capture animation. In fact you stop worrying about it about 5 minutes into the film. The characters look more cartoony than realistic and that helps getting away with the fact that their eyes (especially Tintin’s) are slightly dead. This is first and foremost still an animated film (I can place a bet right now that it’s going to be nominated at the Oscars next year, and probably it’s going to win one too!). One thing is for sure: it does look magnificent! From the moody dark shadows reminiscent of those film noir from the 40s, to the great vistas straight out of a David Lean classic, the impeccable cinematography (Spielberg is even credited as Lighting Consultant) is not just beautiful but impressive and atmospheric.

Spielberg in his first animated venture (and his first use of 3D too!) looks like a little boy who’s just been told he can do what he wants for his birthday: he appears to be liberated from any restriction he may have had on a normal feature film and seems to have a lot of fun in finding new beautifully inventive ways to transition from one scene to the next  in a way you could only do in animation (or with a lot of very expensive CGI): Spielberg’s camera floats, glides, flies, moves through glass, shoots straight into mirrors and gives us views which would otherwise been virtually impossible and yet, most of the times it’s never showy, it’s never forced or indulgent (in the same way,it wasn’t forced in ET, when the camera never showed us any adult – mom aside – for most the film and yet it didn’t make it annoying… In fact most of the audience didn’t even notice).

It’s like watching a master at work who knows exactly where the camera should be at which time. It all culminated with one of the most impressive and perfectly executed chase sequence ever portrayed on screen. Impressive not just because of its pace and its edge-of-your-seat thrills, but also for its meticulously choreographed  technique: in fact it takes place in just one impossibly-long shot, which adds to the tension and to the sense of fun. If you ever wondered why didn’t they just film the whole thing for real, that sequence alone (which by itself is worth the price of the entire ticket) should serve you as an answer.

I just wished that same tension and fun of that sequence had been present throughout the rest of the film. Don’t get me wrong, this first adventures of Tintin is a roller coaster ride like few others. Essentially it’s one action set piece after another, and yet somehow I felt there was a strange tendency to resolve problems much too quickly. It’s almost as if Spielberg was so preoccupied to get us to the next action sequence that he almost forgot how to makes  like the one we were watching. I give you a few examples:  a chase sequence at the front of the film, ends much too soon before it has time to climax. Later on there’s a scene where Tintin has to steal a key from a bunch of sleeping goons. A lot of time is spent setting up the dangers and then just when the sequence is about to get fun, Tintin gets the key. There’s another scene where Tintin faints close to the propellers of a plane and once again he gets saved much too quickly.

Whatever happened to those classic Spielberg action sequences that were so tense despite being so simple? I’m thinking of Indy trying to get the antidote to the poison he’s just drunk as the little bottle gets kicked around a room full of screaming people in the Temple of Doom, or fight sequence by the plane in Raiders, or even the glass breaking sequence in the otherwise weak Lost World? (In fact they are too many to even mention).

The pace of the film is strange and a bit uneven. It has moments of long exposition (this is a fault that comes with the source material to be completely fair), then lots of little short action scenes (as I said, slightly too short to feel important. I would have rather had fewer set pieces but longer in their execution) and sometimes it’s even anticlimactic (I’m thinking of the last 10 minutes of the film for example). I don’t think it’s necessarily an editing problem. Since this is animation, there isn’t a lot of extra material that can be added to add tension to scene.

I  am probably picking needles because as I said before I love these stories (and the story-teller) way too much.

The comedy aspect of the film is a bit of a hit and miss: the Inspector Thompson and Thomson are obviously aimed at the younger crowd, but they’re also the weakest characters (we had a glimpse of that in the trailer itself, as one of them falls off the stairs: a scene which in the theatre where I was, full of kids, was received with dead silence), on the other hand Captain Haddock is perfect. I don’t know whether it’s the script, or Andy Serkis’s performance or both, but most of the jokes around him seem to work perfectly. Same goes for the little dog Snowy who is in almost every scene of the film, even if just in the background licking a massive bone in the desert. The audience I was with seemed to love him and so did I.

And finally Tintin himself which in this whole 3D world is probably the most two-dimensional character. Aside from the fact that he seems to get a kick out of solving puzzles and getting into adventures, we know very little about him. I’m not really blaming Spielberg for that, this exactly how Tintin was in the comics, but I do wonder if some character development would have been really seen as sacrilegious by the hard-code fans. Certainly not by me.

Finally I feel I should say a few words about John Williams score, the first one in years (especially if we dismiss the very forgettable one for the 4th Indiana Jones). There’s a very quirky and weird title music (which never really seem to play out throughout the rest of the film) which is the most un-Wiliamesque theme in a while. It’s certainly not bad, but it feels slightly detached from the rest of the film. The Star Wars title music was never repeated throughout the movies either, and yet it felt part of the score. This title music feels like it belonged to can other film (in fact it felt like a non used cue from “catch me if you can”). It’s hard to review the score, because for most of the film I felt it never really had the time to breathe as much as it should have. The comic cues suffered more than the others (the ones for the Inspectors for example), as they were covered by the dialogue and the rest of the sound effects to the point where I even wondered whether any music was needed at all. In fact on the whole I felt there was way too much music in the film (in fact there was hardly a moment without) and yet it had very little time for the music to shine. Having said that, I was still able to hum some of the Tintin action tunes once leaving the theatre… and that’s always a good sign.

To recap, I think Tintin has definitely legs for a sequel and even more than just one. It is a solid action-packed fun-ride for the whole family which is not as loud, dumb and insulting as some of those Pirates of the Caribbean films were (especially the latest sequels). It’s proper film-making with the heart in the right place.

I’ll be looking forward to the next one, even if I am very aware I have now passed the average age of the target audience…

7.5/10

Check out my other reviews of movies by Spielberg: Raiders of the lost art, ET The Extra-Terrestrial, War Horse

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