Dance, Dance Revolution: Review of Suspiria

Suspiria

Director: Luca Guadagnino

By Alex Watson

While Luca Guadagnino's Suspiria remake attempts to do something bolder, the end result borders on frustrating. Smartly, he doesn't attempt to remake Dario Argento's cult classic shot for shot. Instead, he decides to focus on the political climate of 1970's divided Berlin. However, despite some fine trickery and some fine set designs, his story feels weak and unpolished. Also, although his style is flashy, his techniques often get in the way of the film and frustrate rather than amaze.

Susie Bannion (Dakota Johnson) is an American dancer who has traveled to Berlin to enroll at the Tanz Dance Academy. Despite no formal training, her natural talent dazzles Madame Blanc (Tilda Swinton). The studio is still reeling from the mysterious disappearance of star performer Patricia Hingle (Chloe Grace Moretz). As Susie begins to make her mark and make friends with fellow performer Sara (Mia Goth). It becomes clear this academy has some sinister activity lurking.

Argento's original was notable because of his use of vibrant colors, his mastery of suspense and the screeching and blasting soundtrack by prog-rock band Goblin. Guadagnino to his credit attempts things a little differently. His use of more muted colors fit in well with the grey skies and the continuous rain of a divided Berlin. This version of Suspiria is lacking the needed tension and we are aware of the illicit activities of the academy almost from the get-go. Refusing to conform to horror film standards, Guadagnino emerges the wrong director to helm a slasher remake. His over-focus on the more artistic side prevents the film from making progress. The editing, in particular, is at fault and frequently we see gruesome murder scenes set against any number of flashy dance sequences. Guadagnino's use of voiceover to convey the potentially sinister intentions of the academy leaders often falls flat because the audience is not quite sure what it is supposed to be seeing?

Part of the issue comes from the setting and there appears to be a big focus on the guilt of a nation's past. Setting this movie in the same year of release as the original feels like a clever idea- but this movie doesn't need a political commentary. The character Dr. Josef Klemperer (credited as Lutz Ebersdorf but actually Tilda Swinton in prosthetics) receives particular heavy focus as he reflects on the disappearance of his wife Anke (original Susperia actress Jessica Harper) during WWII. However, this character just feels like an excuse to draw a thin plot out even further and although he adds an element of mystery, you feel this picture could succeed without him. Part of the issue with this remake is the characters themselves are almost like a blank slate. We get glimpses of Susie's Amish upbringing and her fractured relationship with her dying other. Here there are some hints of some supernatural elements. Sadly the plot is sacrificed in favor of design and this gives the movie a rather bland feel. The ending does possess an extremely clever twist, but its executed in such a baffling style that anyone will need multiple viewings to really understand it.

One saving grace from Suspiria is the excellent and often enticing dance sequences. As mentioned before, these frequently tie into some of the pictures most disturbing moments. Particularly when student Olga (Elena Forkina) has her body twisted more ways than a pretzel during one of Susie's dances. While slightly overused, these sequences offer up a bewitching montage which gives a boost to the dark horror surrounding the company. You can almost feel the evil forces lurking and being summoned with each breathless move executed. Guadagnino has some clever ideas for this remake, it's just a shame they are all tied to these moments.

While Dakota Johnson initially impresses as the sheltered Susie, she is unable to completely convince throughout. This role requires an actress with the ability to transform and Johnson is unable to make the character to the extent needed. Previously working with Guadagnino in 'A Bigger Splash' she has shown she is able to manipulate the viewer. In this effort, her character is nowhere near interesting enough for us to care. Tilda Swinton, as usual, is in fine form as the icy Madame Blanc. Interestingly, Swinton gives her enough intrigue that she doesn't serve as the main villain of the piece. Playing instead a woman bound to ancient traditions and forced to resort to underhanded means to make her leaders happy. Chloe Grace Moretz is literally a blink and you'll it miss figure in this remake. Mia Goth, however, is fast becoming a dependable and scene-stealing actress.

Luca Guadagnino's Suspiria is a horror movie with a surprising lack of horror. His aims are admirable but they are also what becomes this remakes undoing.

Pig In The City: Review of Okja

Okja

Director: Bong Joon-ho

By Alex Watson

A sweeter and less brutal outing than Bong Joon-ho's last movie Snowpiercer, Okja is a movie that is difficult, to sum up in words. Describing a young girl's love for her genetically modified super pig, Joon-ho alternates between wordlessly beautiful and some gut-wrenching horrors. Together these make for a unique experience no matter what media platform you view it on. Few CGI animals will be as adorable or memorable as this massive pig.

Mija (Ahn Seo-Hyun) is a young girl living in the South Korean countryside with her uncle and giant pig Okja. Bred by the Mirando corporation which is owned by Lucy Mirando (Tilda Swinton), there is a competition to see who can breed the biggest pig. Leaving peacefully and happy life, her joy is disrupted when Mirando demands that Okja be returned to New York. Refusing to let go of her childhood friend, Mija decides to give chase.

The first half hour of Okja gives us all we need to know about our heroine Mija. In a minimum of words, we see the two joyfully playing among the trees. It shows the strength of Mija and her complete love of her creature. Then along comes Dr Johnny Wilcox (Jake Gyllenhaal), an overzealous tv personality who gushes over Okja. Mija, of course, sees right through the facade and soon her worst fears are confirmed as Mirando Corp takes her friend away. What starts as a bright and happy opening quickly switches over into a darker territory.

You get the sense this movie is as much a commentary on the immortality of corporations and the treatment of animals as much as it is about saving a friend. Reaching Seoul, Joon-ho gives us the movies most pulse racing sequence as Mija along with surprise allies the Animal Liberation Front take part in a glorious chase scene. Best of all, it ends with the animal saving them by shooting faeces. Paul Dano's Jay serves as the movie's voice of reason and his fears are well founded. Throughout Joon-ho shows us some truly horrifying visuals of what happens to these animals during the meat production process. Wilcox also reveals a borderline sinister side which conflicts with his 'animal lover' persona.

While Okja doesn't necessarily work on all levels with its uneven tone and phoned in acting, Joon-ho makes it impossible to dislike. This creature shows a remarkable range of emotion and its innocent eyes make us instantly fall in love with it. Like Snowpiercer, this movie is a tough balancing act and there is both bleakness and warmth to found in unlikely places. This filmmaker is one that keeps pushing the boundaries and you never what to expect. Releasing this on Netflix might have been a slight handicap because this would have played out far better with a cinematic release.

The performances of the Hollywood A-Listers are a funny breed, Tilda Swinton is satirically brilliant as the self-obsessed Lucy Mirando.  Deliberately hammy and wonderfully exploiting her characters past issues with her father, Swinton again is the most memorable. Paul Dano in a quieter more intense role equally impresses- Jay is a man whose passion for animal's run thicker than loyalty to his peers. The less said about Jake Gyllenhaal the better. Usually, a movie's strength, his cartoonish caricature Johnny is like nails on a chalkboard! Looking like Dr Robotnik and sounding almost like Richard Simmons, we shudder whenever he enters a room. Ahn Seo-Hyun's brave and bold performance is what you come away remembering and this is one talent to keep an eye out for.

Okja might divide opinion but you cannot deny the originally on display. Bong Joon-ho is quickly becoming one of South Korea's finest, who knows what his next idea will include?

Peace Time Conversion: Review of War Machine

War Machine

Director: David Michod

By Alex Watson

Scoring Brad Pitt's new movie was a major indicator that Netflix is now a main player in the feature film market. While War Machine works well in some areas, Australian director David Michod is seemingly confused whether this is a comedy-drama or a hard hitting satire piece? Despite some great comedic touches, this picture is unable to rise itself about Pitt's excellent performance.

General Glen McMahon (Brad Pitt) has recently been appointed as the command of the US Army in Afghanistan. Keen to make a big impression and admired greatly by those who serve under him, McMahon is disappointed to learn that President Obama plans to withdraw. The General has big confidence in the US coming out on the winning side, but his actions soon find him fighting his own personal war.

After the success of his nail-biting Oscar-nominated crime flick 'Animal Kingdom', Michod feels out of his depth in War Machine. An amusing opening sequence highlights just why McMahon (based on real US General Stanley McChrystal) is the man for the job. Having loyal subordinates including the hot-headed Glen Pulver (Anthony Michael Hall) and slimy civvy PR man Matt Little (Topher Grace). McMahon is an all business leader but early on the communication problems between him and Obama are highlighted. When is unable to get the face time he desires with his own commander, McMahon rashly criticises him on TV. As a result, 40,000 more troops included jaded Sergeant Ricky Ortega (Will Poulter) arrive in Helmand province. McMahon has total faith in his nation's victory, the administration he serves simply wants to end it. While the movie's first half promises a sharp and witty piece- Michod seems confused where to take it from here.

While there are moments of pretty blunt commentary on the US efforts to drag the war out. In one scene McMahon is called out for his actions by a German politician (Tilda Swinton). Michod does well in bringing to light the problems being created instead of a solution, such as the ineffectiveness of counterinsurgency. Problem is that McMahon and his men just come off as total idiots rather than lovable ones. There is also numerous side plots that feel poorly written such as Ben Kingsley impersonation of Afghan leader Hamid Karzai. Unfortunately, this adds little to proceeding other than Kingsley lying around sneezing. There is also a lack of explanation as to just why McMahon has spent so much time away from wife Jean (Meg Tilly)? Michod feels like he is trying to add more material to cover the lack of substance throughout.

Perhaps the most frustrating aspect of War Machine is that we are constantly reminded throughout how impossible the task is yet they proceed anyway. Throughout the picture seems occupied trying to find a reason to explain why this is even worth viewing? The inclusion of Rolling Stone journalist Sean Cullen (Scoot McNairy) who is cynical of McMahon's intentions is where the trouble really begins. Unaware of the consequences the crew starts running their mouths and getting drunk in public. You sense a storm brewing and the already strained relations between the White House and McMahon look ready to collapse. The General comes across as a warrior who doesn't know how to step off the battlefield and in life is always fighting fires.

Brad Pitt does well as the increasingly frustrated McMahon and manages to find the movies funny side. This role is not the deepest or even strongest performance of his career, but it is one that reminds us what presence he can bring. His character sadly doesn't live up his efforts and due to a lack of depth we never really get a full insight into the reasons behind his intentions?

While War Machine offers up some good laughs at the personnel involved and the ludicrousness of the situation, unfortunately, this isn't Netflix's strongest offering.

Strange Days: Review of Doctor Strange

Doctor Strange

Director: Scott Derrickson

By Alex Watson

While it may appear like Inception on acid at points, Doctor Strange is a thoroughly entertaining new Marvel adventure. With a stand out turn by the reliable Benedict Cumberbatch, this tale of sorcery is one that continually surprises us. Derrickson also has the psychedelic element down and over the course of the movie he drags his audiences to dimensions they couldn't possibly dream of. Watching this in 3D is worth the admission fee alone.

Dr. Stephen Strange (Benedict Cumberbatch) is a cocky surgeon known for his magic hands and ability to perform risk operations. After suffering a major car accident, his hands are crushed and the nerves are damaged, leaving him unable to practice. Strange quickly runs out of money finding a cure, until he hears of a place in Nepal that can cure people. When he arrives he meets the Ancient One (Tilda Swinton) who along with Mordo (Chiwetel Ejiofor) introduce him to a form of mystic arts.

Doctor Strange starts like any other origin tale, he is an arrogant doctor that burns through his cash on fast cars, expensive watches and thinks the good times won't end. He has a love/hate relationship with fellow Doctor Christine Palmer (Rachel McAdams) and she is possibly the one person who puts up with him. His car crash is an earth shattering one and Strange descends into near insanity trying to find a way to fix it. After being tipped off by a former patient, he heads to Kathmandu and looks for Kamar-Taj. Arriving here, the film begins to have fun with itself as Strange mocks the Ancient One and her beliefs. Moments later he is knocked out of his corporeal form and sucked into a dimension of vivid colours and crystals, this sequence is trippy to the core, especially when he arrives in a place where little hands start sprouting from his own hands. Arriving back to a smug smile from the Ancient One, you can literally feel his hand expand.

The principal threat comes from Kaecilius, a former student of Kamar-Taj who turned to the dark side of the arts. Seeking an alliance with a demonic force who promises eternal life, this where the story has its most fun. During these battles, we get some of the most awe-inspiring CG of 2016. Entire buildings change form, gateways to different locations are opened with the flick of a wrist and the possibilities are endless. A break from the Avengers norm, Derrickson seeks to give his audience a visual feast and we begin to question what we know of time and space. Big questions of the characters themselves also hang over the film, just how does The Ancient One keep her youthful appearance, will Strange be seduced by the prospect of eternal life? Although the story does drag in places, Derrickson is able to keep this picture on its toes.

Impressively for a third act, Doctor Strange is able to not to succumb to the typically overblown Marvel endings of late. Derrickson keeps things unpredictable during a Hong Kong set finale, where Strange attempts to go against what he has been taught to save the date. It also features one of the most unexpectedly hilarious sequences, keep a mental note of time loops during this movie it will come in handy. Strange is one character who you will grow to love despite his flaws because underneath his cocky exterior beats the heart of a true hero. This character in the wrong hands could have been a big mistake for Marvel, but Derrickson carries off with such finesse that it is hard to imagine this universe without him.

Benedict Cumberbatch shows his action hero chops and effectively carries off Strange's smug sense of humor. He succeeds admirably at building this character from the ground up during his recovery as he becomes a broken man in every sense of the word. Cumberbatch fits the character like a glove as he grows in confidence, so does his magical abilities. It will be fascinating to see what he does with more installments. Less fortunate are Rachel McAdams and Chiwetel Ejiofor, a great of great actors denied any kind of relevant screen time and given zero to do. Mads Mikkelsen also gets short changed as Kaecilius who is so underwritten that there is little threat to him. Mikkelsen is proven at playing villains and deserves better material.

Doctor Strange alongside  Captain America: Civil War is one of the stronger offerings Marvel will throw our way this year, this will be one piece that demands Blu-Ray purchase in future.

Age of Empires: Review of Hail, Caesar!

Hail, Caeser!

Directors: Joel and Ethan Coen

By Alex Watson

Once more the Coen Brothers turn towards Hollywood's Golden Age in their picture Hail, Caesar! Making great use of constant star cameos, this makes for a great satire picture. Running a major studio can bring all kinds of headaches and there are smart nods to the scandals involving such greats as Clark Gable and Esther Williams. Set against the backdrop of the Cold War where suspicions were heightened and showing the studio system beginning to break down the Coens return to this land is a success.

Eddie Mannix (Josh Brolin) is a 'fixer' for Capitol Pictures who has just run into a major problem. Hail, Caeser! is set to be their biggest picture of 1951 starring Baird Whitlock (George Clooney), the problem is the actor goes missing and a group called 'The Future' is demanding a ransom. Eager to get back Whitlock before all hell breaks lose, Mannix must also deal with pregnant star DeeAnna Moran (Scarlett Johansson) and struggling cowboy actor Hobie Doyle (Alden Ehrenreich).

Although Hail, Caesar! is filled with different story lines, somehow it manages to juggle them all without dropping the balls. The scandal and scare-filled nature of the 1950s are present and correct and Mannix has hands full dispelling rumors. The Coens in their film studio world are able to give nods all kinds of productions such as cheap westerns, well choreographed dance films and lavish aqua themed sets. The kidnap plot is almost secondary to everything else, who precisely are The Future? The big reveal shouldn't surprise many but the bickering between numerous intellectuals will for sure entertain. Mannix knows he has a headache on his hands because Whitlock is known for his binges and affairs but this one might be beyond his control.

The hints towards different scandals show off the Coens movie buff knowledge. DeeAnna wants to adopt her own unborn child to avoid a scandal while Hobie is struggling to play a straight role in contrast to his usual 'singing cowboy' job. Ralph Fiennes shows up here as the thespian director Lawrence Lorenz and incredibly gives a masterclass in comic relief attempting to direct his undertalented star. Also, there is the issue of power hungry identical twins and Thora and Thessaly Thacker (both Tilda Swinton) who are both Hedda Hopper type gossip columnists. With cameos popping a mile a minute including Channing Tatum as Gene Kelly type musical star and Jonah Hill as a cynical surety agent, the Coens are having a blast.

While Hail, Caesar! sings and dances well, there is also the issue of too many cooks spoiling the broth. The third act is possibly the weaker the picture and while it is typically random and unpredictable it perhaps doesn't completely satisfy. However, this is a minor blemish on the Coens good work and they succeed in keeping us entertained. Their ability to be able to hop between both deathly serious and light as a feather touches has really marked them out over time. Delving back into the scandal and red threats of the olden days has been the picture spark into life. Mannix may be always questioning his life, but he cannot function without the thrill of the unknown.

Josh Brolin makes for an engaging and capable lead, his dour yet excitable edge makes Mannix come alive. Smartly linking his guilt for continually abandoning his family for the chase to this devout catholicism, Brolin is the very presence the Coens need. Supported ably by George Clooney who is a wonderful mix of arrogance and cluelessness, his Baird Whitlock is a great nod to leads such as Kirk Douglas. His gradual reawakening to a new found cause sets him on a slippery slope. The real star of the picture is Alden Ehrenreich because easily he matches the big stars blow for blow and comes out with the pictures strongest performance. Hollywood take note of this one.

Hail, Caesar! may not win the battle of the box office against Deadpool or Zoolander 2 but it is still a funny and smart picture that deserves your attention. The Coen Brothers are always unpredictable, who knows what era that will focus on next time?

21st Century Girl: Review of Trainwreck

Trainwreck

Director: Judd Apatow

By Alex Watson

Judd Apatow seems to have a knack for being able to realistically examine modern day relationships and this trend continues with Trainwreck. Capturing a raw hilarity mixed with a slightly superficial tone, Apatow bring us one of the more ruder comedies of 2015. This is in part thanks to an excellent script by star Amy Schumer which essentially flips her directors usual man-up stories on its head. Prepare for some shocking debauchery to follow.

Amy Townsend (Amy Schumer) is a 20 something girl who lives life to the fullest. That is she likes to hook with any number of random men and refuses to settle down. She works as a writer for a men's magazine, S'Nuff under her ruthless editor Dianna (Tilda Swinton). Soon Amy is assigned to cover sport's doctor, Aaron Connors (Bill Hader) despite her lack of interest in sport. As the pair become acquainted a possible relationship begins to develop. Is Amy mature enough to finally work past her fears and commit to a monogamous relationship?

From the outset of Trainwreck Amy's love of sex is made abundantly clear, an opening sequence sees her taking the walk of shame on the Staten Island Ferry. Smartly this often rumbustious and fun-loving character is not one dimensional. Back in her youth when her parents divorced, her philandering and obnoxious father Gordon (Colin Quinn) set her 9 year old self straight on his belief on how "Monogamy isn't realistic". Because of this belief she openly mocks her contented and married sister Kim (Brie Larson). In short, Amy is afraid to embrace long term because simply, she does what she wants.

With Aaron in the picture, finally a real shot appears unlike her tepid romance with self-serving body builder Steven (John Cena). After cruising through life and its opportunities, Amy's reaction to this one is one of alarm. One scene sees her panicking when Aaron calls her post coitus, leading her airhead colleague Nikki (Vanessa Bayer) telling her that he is sick. Amy has a constant need to feel worthy of someone's love which Aaron attempts to overcome. Their love in the first half of the movie makes the movie run smoothly compared to an awkward second act. When a tragedy is involves it both advances and hinders the movie. Though intelligently, it forces the characters to think harder about themselves which brings about the question of whether this pairing is meant to be?

As this is an Apatow film, the funny is a very smart type and he is able to find comedic moments everywhere. The relationship between Amy and Aaron is very much the catalyst and it has sufficient charm to power the movie. The little moments alongside this are the ones that make film tick. From LeBron James 'accidentally' forgetting his wallet to dinner with Aaron or Dianne and the other writers of S'Nuff spit balling ludicrous ideas like "Ugliest Celeb Babies Under Six". Length wise, the movie is perhaps longer than it needs to be, but Apatow want us to feel involved in this world. Moments such as Amy's foul mouthed but sincere and loving eulogy at her father's funeral are too good to miss.

Unashamedly this movie is very a star making vehicle for Amy Schumer, which she dominates with ease. Fans of her comedy series 'Inside Amy Schumer' will be familiar with her approach to crude humour. Schumer gives us a modern day girl who isn't striving to make a living, she is attempting to be something she isn't familiar with- being faithful. Underneath it all, Schumer has written a wonderful and painfully real version of her experiences. Bill Hader is also finally given a more extended character than he is accustom to receiving and he equally anchors the film. LeBron James however, nearly steals the show playing a self-absorbed and possessive version of LeBron James! Apatow has made great use of him and it may make us want to see him in future efforts.

When Judd Apatow makes a comedy, you can usually expect a fun ride. Trainwreck may be filthy and course in places, but otherwise it is one ride you will come out of smiling. Relationships are a funny thing and might cause any number of ups and downs. Out there though, there is someone for everyone.