JediMoonShyne2
Aug. 2004 ist beigetreten
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'Youth Without Youth' Francis Ford Coppola, 2007
As far as legacies go, New York native Francis Ford Coppola need do little more to better his own. A handful of films cemented in the bowels of great American cinema and five Oscars to his name, it seemed only fair to let the now rotund director retire to his California vineyards. In fact it has been a decade since we saw the name in lights. Yet here we are in 2007, the great man is back and determined to rewrite his efforts post-1990. 'Youth Without Youth' hosts the kind of ambition that a young Francis Ford became known for. This unlimited scope of creative freedom and ideas that encouraged big thinking and - I'm sure just a few - wary producers. It should be known that this is a modest film in every meaning of the word bar 'ambition'. Funded by the very vines to which Coppola has been tending over the past decade, and submitted to one singular film festival despite the pleas of many. It seems in this light that the man is returning, driven by a love for the art - apparently no longer content to just sit back and oversee production on his daughter's movies.
Spanning the mid-twentieth century, 'Youth Without Youth' is a tale of love and life. Particularly the plight of linguistics professor Dominic Matei (played by Tim Roth) and his struggling towards an impossible life's work. This elderly individual has given up hope, when he is quite literally chosen from above and made young once again. Allowing him to chase both love and life from a fresh standpoint and with the ultimate advantage of hindsight. Unfortunately though, with the War raging around him - Dominic becomes the interest of entirely more sinister individuals than impressed language students. With Adolf Hitler himself declaring interest in our seemingly immortal individual. As stated previously, one can easily commend the ambition 'Youth Without Youth' brings to the table. An expansive drama-romance that portrays noir elements and more than a dash of mystery. The fact is that Coppola seems to have taken on too much. There is no definitive genre or direction attended to, therefore the films entire stance becomes muddled. Unfortunately the next logical step produces a fall, a spectacular one maybe - but a fall nonetheless.
It is extremely difficult to pull off a film that moves through nations and nationalities, and these difficulties are highlighted in 'Youth Without Youth'. The correct decision was made to dub those that needed help with the delivery of lines, yet this means nothing when the general support acting is amateur at best. Bruno Ganz, the experience Swiss actor that played the aforementioned Hitler so well in 2004's 'Downfall' struggles through his English, yet even then is given a role as one dimensional as they come. With a character that apparently has no motive whatsoever. Ganz's partner in 'Downfall' was the beautiful and now swiftly rising star of Alexandra Maria Lara (to whom Coppola wrote offering her the role) - here she plays Laura, the object of Dominic's distracted affection. Indeed she does well enough with what she is handed script-wise, but even this seems at points beyond saving as the film lurches onward. Things go from ridiculous to incredulous as science fiction is dragged onto the list of genres on show, with certain aimless chunks of dialogue proving to be a particular low point. So much so in fact that the attempt at including World history seems forced - almost an afterthought from Coppola.
As many may have read already, the saving grace of the film comes in the hunched form of a maturing Tim Roth - who wades his way though pretentious dialogue to hold 'Youth Without Youth' together. There are points at which poor writing rears its ugly head, but when left to his own devices the actor rises to another level. Indeed most of the films finer moments occur when Roth is acting with himself, the maligned Dominic character wrestling with his own split personalities. To say this lead role was a difficult one could be the understatement of this year, yet whatever is thrown at him Roth hurdles. Spitting chunks of tooth onto a rain-soaked Romanian street, or dictating maths in ancient versions of the Mandarin tongue - the actor handles all with a confidence that makes one wonder why he is no Hollywood leading man. As previously mentioned, the ambition of 'Youth Without Youth' is impressive, yet proves ultimately and somewhat ironically to be its undoing. With some incredible acting by our lead still unable to bail out a confused plot and increasingly atrocious dialogue.
4/10
As far as legacies go, New York native Francis Ford Coppola need do little more to better his own. A handful of films cemented in the bowels of great American cinema and five Oscars to his name, it seemed only fair to let the now rotund director retire to his California vineyards. In fact it has been a decade since we saw the name in lights. Yet here we are in 2007, the great man is back and determined to rewrite his efforts post-1990. 'Youth Without Youth' hosts the kind of ambition that a young Francis Ford became known for. This unlimited scope of creative freedom and ideas that encouraged big thinking and - I'm sure just a few - wary producers. It should be known that this is a modest film in every meaning of the word bar 'ambition'. Funded by the very vines to which Coppola has been tending over the past decade, and submitted to one singular film festival despite the pleas of many. It seems in this light that the man is returning, driven by a love for the art - apparently no longer content to just sit back and oversee production on his daughter's movies.
Spanning the mid-twentieth century, 'Youth Without Youth' is a tale of love and life. Particularly the plight of linguistics professor Dominic Matei (played by Tim Roth) and his struggling towards an impossible life's work. This elderly individual has given up hope, when he is quite literally chosen from above and made young once again. Allowing him to chase both love and life from a fresh standpoint and with the ultimate advantage of hindsight. Unfortunately though, with the War raging around him - Dominic becomes the interest of entirely more sinister individuals than impressed language students. With Adolf Hitler himself declaring interest in our seemingly immortal individual. As stated previously, one can easily commend the ambition 'Youth Without Youth' brings to the table. An expansive drama-romance that portrays noir elements and more than a dash of mystery. The fact is that Coppola seems to have taken on too much. There is no definitive genre or direction attended to, therefore the films entire stance becomes muddled. Unfortunately the next logical step produces a fall, a spectacular one maybe - but a fall nonetheless.
It is extremely difficult to pull off a film that moves through nations and nationalities, and these difficulties are highlighted in 'Youth Without Youth'. The correct decision was made to dub those that needed help with the delivery of lines, yet this means nothing when the general support acting is amateur at best. Bruno Ganz, the experience Swiss actor that played the aforementioned Hitler so well in 2004's 'Downfall' struggles through his English, yet even then is given a role as one dimensional as they come. With a character that apparently has no motive whatsoever. Ganz's partner in 'Downfall' was the beautiful and now swiftly rising star of Alexandra Maria Lara (to whom Coppola wrote offering her the role) - here she plays Laura, the object of Dominic's distracted affection. Indeed she does well enough with what she is handed script-wise, but even this seems at points beyond saving as the film lurches onward. Things go from ridiculous to incredulous as science fiction is dragged onto the list of genres on show, with certain aimless chunks of dialogue proving to be a particular low point. So much so in fact that the attempt at including World history seems forced - almost an afterthought from Coppola.
As many may have read already, the saving grace of the film comes in the hunched form of a maturing Tim Roth - who wades his way though pretentious dialogue to hold 'Youth Without Youth' together. There are points at which poor writing rears its ugly head, but when left to his own devices the actor rises to another level. Indeed most of the films finer moments occur when Roth is acting with himself, the maligned Dominic character wrestling with his own split personalities. To say this lead role was a difficult one could be the understatement of this year, yet whatever is thrown at him Roth hurdles. Spitting chunks of tooth onto a rain-soaked Romanian street, or dictating maths in ancient versions of the Mandarin tongue - the actor handles all with a confidence that makes one wonder why he is no Hollywood leading man. As previously mentioned, the ambition of 'Youth Without Youth' is impressive, yet proves ultimately and somewhat ironically to be its undoing. With some incredible acting by our lead still unable to bail out a confused plot and increasingly atrocious dialogue.
4/10
'American Gangster' - Ridley Scott, 2007
True diversity is a rare buckle in the utility belt of your average mainstream director, yet English-born Ridley Scott has positively paraded this attribute over the years. To make a cult-shaped name for yourself through the genre of sci-fi ('Alien', 'Blade Runner') is difficult enough, but to build on this with drama ('Thelma & Louise') and thriller ('Hannibal', 'Matchstick Men') films requires some grand diversification. Therefore we shouldn't be surprised that his crowning moment came through another genre still - with sprawling Roman epic 'Gladiator' taking best picture and best actor gongs at the Oscars. Well, it's Oscar time again and Mr. Scott is back trying his hand at another foreign genre - the well tested drug/crime flick. 'American Gangster' is based on the true tale of heroin kingpin Frank Lucas - who used the Vietnam War to smuggle great quantities into Manhatten. Lucas is played by Denzel Washington who after tasting success as a villain in 'Training Day' seems intent on repeating the feat. Though as a much more pensive and world-weary criminal. Opposing him is common-man detective Richie Roberts (Russell Crowe), salt of New York's drug-polluted earth and perhaps the most honest of the City's crooked police line-up.
'American Gangster' is a story of two sides - black and white. Not in the literal sense of the words, but instead the black and white of the morality scale. We are told the tale of two powerful characters that face off across a slowly crumbling City backdrop, mostly unaware of one another's presence. Messieurs Washington and Crowe are two of cinema's more traditional actors (of those who remain) and fit their respective roles perfectly. Each reversing their general image to take up positions that both contrast and complement well. We are introduced to them as hero and villain respectively, but as the film rumbles on this outlook inverts back and forth, showing us both the good and bad qualities of each individual - so in the end we are not exactly sure for whom we should root. The showcase of 'American Gangster' is of course this aforementioned stand off between two different but also similar essences of man - yet there is some decent support work to make up our ensemble cast. With Chiwetel Ejiofor impressing once again as Frank Lucas' impressionable young brother Huey, taking to the drawling North Carolina accent with ease. Though for all this impressive talent, the cast does lack a little personality - with perhaps too much time spent on developing the personality of Manhatten itself, instead of its inhabitants.
The bustling streets of seventies' Harlem are shot with a tender justice by Scott, who saturates everything of colour in order to show a City draining of goodness before our very eyes. We have been lucky this year to experience two wonderful reinvigorations of well-trodden genres, with David Fincher's 'Zodiac' joining 'American Gangster' as one of the finest modern portrayals of its respective type. Indeed many comparisons and differences can be drawn between the two. One of the negative aspects of 'Zodiac' was its bloated runtime, and at a lengthy 157 minutes 'American Gangster' could be expected to drag also. But this potential pitfall is skillfully avoided by the director - who's use of a striding score and decidedly restless cinematography ensures that while the film may slow down in places, it never stops outright. The only thing that perhaps proves to be a drawback here is the fact Scott isn't attempting anything drastically new with regard to plot - and although the interesting moral interchange between his two leads is unique enough, the sometimes clumsy dialogue lets the film down in places. An element that can be forgiven however when considering how much focus is placed on action and reaction, body language, expression and emotion.
'American Gangster' is the kind of film that Hollywood built its name upon, yet somewhere along the line forgot how to reproduce. And one that represents another impressively diverse rung on Ridley Scott's film ladder.
8/10
True diversity is a rare buckle in the utility belt of your average mainstream director, yet English-born Ridley Scott has positively paraded this attribute over the years. To make a cult-shaped name for yourself through the genre of sci-fi ('Alien', 'Blade Runner') is difficult enough, but to build on this with drama ('Thelma & Louise') and thriller ('Hannibal', 'Matchstick Men') films requires some grand diversification. Therefore we shouldn't be surprised that his crowning moment came through another genre still - with sprawling Roman epic 'Gladiator' taking best picture and best actor gongs at the Oscars. Well, it's Oscar time again and Mr. Scott is back trying his hand at another foreign genre - the well tested drug/crime flick. 'American Gangster' is based on the true tale of heroin kingpin Frank Lucas - who used the Vietnam War to smuggle great quantities into Manhatten. Lucas is played by Denzel Washington who after tasting success as a villain in 'Training Day' seems intent on repeating the feat. Though as a much more pensive and world-weary criminal. Opposing him is common-man detective Richie Roberts (Russell Crowe), salt of New York's drug-polluted earth and perhaps the most honest of the City's crooked police line-up.
'American Gangster' is a story of two sides - black and white. Not in the literal sense of the words, but instead the black and white of the morality scale. We are told the tale of two powerful characters that face off across a slowly crumbling City backdrop, mostly unaware of one another's presence. Messieurs Washington and Crowe are two of cinema's more traditional actors (of those who remain) and fit their respective roles perfectly. Each reversing their general image to take up positions that both contrast and complement well. We are introduced to them as hero and villain respectively, but as the film rumbles on this outlook inverts back and forth, showing us both the good and bad qualities of each individual - so in the end we are not exactly sure for whom we should root. The showcase of 'American Gangster' is of course this aforementioned stand off between two different but also similar essences of man - yet there is some decent support work to make up our ensemble cast. With Chiwetel Ejiofor impressing once again as Frank Lucas' impressionable young brother Huey, taking to the drawling North Carolina accent with ease. Though for all this impressive talent, the cast does lack a little personality - with perhaps too much time spent on developing the personality of Manhatten itself, instead of its inhabitants.
The bustling streets of seventies' Harlem are shot with a tender justice by Scott, who saturates everything of colour in order to show a City draining of goodness before our very eyes. We have been lucky this year to experience two wonderful reinvigorations of well-trodden genres, with David Fincher's 'Zodiac' joining 'American Gangster' as one of the finest modern portrayals of its respective type. Indeed many comparisons and differences can be drawn between the two. One of the negative aspects of 'Zodiac' was its bloated runtime, and at a lengthy 157 minutes 'American Gangster' could be expected to drag also. But this potential pitfall is skillfully avoided by the director - who's use of a striding score and decidedly restless cinematography ensures that while the film may slow down in places, it never stops outright. The only thing that perhaps proves to be a drawback here is the fact Scott isn't attempting anything drastically new with regard to plot - and although the interesting moral interchange between his two leads is unique enough, the sometimes clumsy dialogue lets the film down in places. An element that can be forgiven however when considering how much focus is placed on action and reaction, body language, expression and emotion.
'American Gangster' is the kind of film that Hollywood built its name upon, yet somewhere along the line forgot how to reproduce. And one that represents another impressively diverse rung on Ridley Scott's film ladder.
8/10
'Atonement' Joe Wright, 2007
To begin with, I should start by mentioning that I'm firmly situated in the minority - being that I haven't read Ian McEwan's bestselling novel upon which this film is based. Now that this seemingly relevant piece of information has been divulged, I can commence properly.
The idea of the 'love story' is as old as time itself. Indeed, peril-fraught romances have had theater-dwellers wiping their eyes for as long as cinema has existed. Romantical films that attempt to pull an audience member into a given tale of quivering bosoms and parted lips, sometimes successfully and sometimes not. History dictates that most of these pictures focus upon a central relationship, and Joe Wright's 'Atonement' upholds this standard. We follow the trials of Cecilia and Robbie - one a wealthy yet bored young heiress to a mansion in England's thirties, the other a son of this mansion's paid servant-family. Their fate is somehow determined by 13-year-old Briony Tallis. Younger sister to Cecilia and as fantastical as you they come. Although this character is key to the plot, the film itself focuses on the young couple, hoping to encourage empathy for their plight - for the ultimate injustice of their lives. It is however clear to me that when attempting to inspire some kind of feeling within your audience, you should start at the very root of the passion - at the grass-green shoots of love. 'Atonement' does anything but this, mentioning the central relationship offhandedly before hurling itself into a tale more lustful than love-full. And one that seems to have very little foundation. I simply cannot comprehend the decision to base a film upon a relationship to which you are going to spend no time rearing - or even detailing why it exists. Leaving this quite critical preamble up to viewer perception, before throwing said relationship to the wolves and expecting your entire audience to dive in after it.
So begins a tale of envy, jealousy, bravery, lust, and pride. We are introduced to and released from 'Atonement' through the eyes of younger sister Briony. Who sets the wheels in motion so spectacularly with her unfounded yet life-changing accusations. Much of the events that occur in the film seem unpredictable, making it even more surprising then that the plot itself comes off as rather linear. An inadequacy that director Wright attempts to distract from by altering the film's timeline, often unnecessarily. The acting on show is altogether unremarkable and unabsorbing, with Miss Knightley's well-practiced pout as metallic as it ever was. James McAvoy who shares the lead does well enough with what he's given, but neither actress nor actor are aided by a plot that is somewhat transparent in places. This lack of plot-strength is stunningly covered up however by some quite beautiful cinematography. The entire film is confidently shot with a graceful style, and without giving too much away there is a certain singular long take focusing on Dunkirk beach that will make the eyes water (in a good way). That said, it had no bearing on the story itself - neither did it convince me that the oft-glaring plot holes could be ignored for more than a few pretty and technically wonderful minutes. 'Atonement' is a well-packaged semi-failure. It flaunts romance that has very little foundation or means to deserve empathy, yet it does so while trying to breath new life into a genre it has so utterly forgotten the fundamentals of.
5/10
To begin with, I should start by mentioning that I'm firmly situated in the minority - being that I haven't read Ian McEwan's bestselling novel upon which this film is based. Now that this seemingly relevant piece of information has been divulged, I can commence properly.
The idea of the 'love story' is as old as time itself. Indeed, peril-fraught romances have had theater-dwellers wiping their eyes for as long as cinema has existed. Romantical films that attempt to pull an audience member into a given tale of quivering bosoms and parted lips, sometimes successfully and sometimes not. History dictates that most of these pictures focus upon a central relationship, and Joe Wright's 'Atonement' upholds this standard. We follow the trials of Cecilia and Robbie - one a wealthy yet bored young heiress to a mansion in England's thirties, the other a son of this mansion's paid servant-family. Their fate is somehow determined by 13-year-old Briony Tallis. Younger sister to Cecilia and as fantastical as you they come. Although this character is key to the plot, the film itself focuses on the young couple, hoping to encourage empathy for their plight - for the ultimate injustice of their lives. It is however clear to me that when attempting to inspire some kind of feeling within your audience, you should start at the very root of the passion - at the grass-green shoots of love. 'Atonement' does anything but this, mentioning the central relationship offhandedly before hurling itself into a tale more lustful than love-full. And one that seems to have very little foundation. I simply cannot comprehend the decision to base a film upon a relationship to which you are going to spend no time rearing - or even detailing why it exists. Leaving this quite critical preamble up to viewer perception, before throwing said relationship to the wolves and expecting your entire audience to dive in after it.
So begins a tale of envy, jealousy, bravery, lust, and pride. We are introduced to and released from 'Atonement' through the eyes of younger sister Briony. Who sets the wheels in motion so spectacularly with her unfounded yet life-changing accusations. Much of the events that occur in the film seem unpredictable, making it even more surprising then that the plot itself comes off as rather linear. An inadequacy that director Wright attempts to distract from by altering the film's timeline, often unnecessarily. The acting on show is altogether unremarkable and unabsorbing, with Miss Knightley's well-practiced pout as metallic as it ever was. James McAvoy who shares the lead does well enough with what he's given, but neither actress nor actor are aided by a plot that is somewhat transparent in places. This lack of plot-strength is stunningly covered up however by some quite beautiful cinematography. The entire film is confidently shot with a graceful style, and without giving too much away there is a certain singular long take focusing on Dunkirk beach that will make the eyes water (in a good way). That said, it had no bearing on the story itself - neither did it convince me that the oft-glaring plot holes could be ignored for more than a few pretty and technically wonderful minutes. 'Atonement' is a well-packaged semi-failure. It flaunts romance that has very little foundation or means to deserve empathy, yet it does so while trying to breath new life into a genre it has so utterly forgotten the fundamentals of.
5/10