Sister Act: Review of Mistress America

Mistress America

Director: Noah Baumbach

By Alex Watson

Once again director Noah Baumbach has created an original and sharp piece of work that is a return to the great screwball comedies of old. Focusing mainly on two women who are the opposite of one another, a pair of fine lead performances set the scene for a believable yet zany ride. Baumbach has recently been on a fine run of form with his comedies While We're Young and Francis Ha, his new picture Mistress America continues this great run. 

While studying in New York, freshman student Tracy (Lola Kirke) meets with her soon-to-be step sister Brooke (Greta Gerwig). Soon the pair become inseparable and Tracy seems to feed off Brooke endless positive energy. When her plans to open a popular restaurant, Brooke has to borrow money elsewhere. This will lead to a road trip to Greenwich, Connecticut where all things will come crashing together. 

Mistress America's primary function is the study of the relationship between Brooke and Tracy. Living in the Big Apple, Tracy is quickly drowning and latches on to the first guy she meets. She has intent to join a literary society but her writing doesn't seem to make the grade. When Brooke arrives in her life it at first opens up a whole new world for her. Brooke seems to thrive on life itself and she is a woman with endless delusions of making her mark on this world.  The movie's first half centers on the conversations they have. Unveiling a unique wit that is hard to beat, this meeting of opposites is one that becomes memorable quickly.

Slowly Brooke becomes the focal point of Tracy's new short story she is writing and Brooke tries to go ahead with a restaurant-community centre. While Brooke tears through scenes with a boundless energy, there is also a highly self-absorbed feel about the two leads. One scene Brooke finds herself confronted by an old high school nemesis for mistreating her, to which she merely shrugs it off as nothing. Baumbach also smartly asks just what exactly the pair is looking to get of one another? While Tracy has become almost dependent on her future sisters company she also seems to view Brooke more as a material than a true friend. 

The third act of Mistress America plays out almost like a live action stage play as our leads travel to Greenwich, Connecticut. Here Brooke is intent on borrowing money from her old nemesis and her former ex boyfriend. Events in this section are staged perfectly and Baumbach has any number of elements to keep things interesting. A pregnant friend who is always waiting to picked up and a suspicious neighbour are among the quirky characters on display. Wisely although there are confrontations galore, Baumbach wisely keeps a lid on things and it never once descends into a shouting contest. In the midst of the bottled up emotions there are winds of change hanging on air and after this visit, friendships will become changed. 

Baumbach's creative and romantic partner, Greta Gerwig shows just why this guy should cast her in everything. Showing a great comedic touch along with a highly vulnerable feel, Gerwig is very much the movies ace in the deck. Registering almost immediately, she is a tour de force throughout playing both hipster and wannabe business mogul.  Gerwig has the kind of moxie that Academy voters often love. Lola Kirke in a more silent turn is fine in her own right and provides the movie with a more passive feel. Underneath her almost shy and retiring appearance beats the heart of a real creative thinker. Kirke is very much the voice of reason of the two leads. 

Mistress America is a movie that hopefully will a least one name with a nomination this awards season. Ignited by the fine lead turns of Gerwig and Kirke, Baumbach is fast becoming the new indie film king of his generation.

Mean Streets: Review of Straight Outta Compton

Straight Outta Compton

Director: F. Gary Gray

By Alex Watson

Although slightly let down by a slower second half, Straight Outta Compton is still an explosive and arresting look at a musical era that inspired a generation. Director F.Gary Gray isn't afraid to pull the punches the movie needs to show the harsh reality of the 90's hip-hop era. Produced by old boys Ice Cube, Dr Dre and Easy E's widow, Tomica Woods-Wright this charts the fast rise and dramatic falling apart of N.W.A kicks the movie into a high gear. What begins and friends just dropping tracks becomes something far bigger which will lead to egos increasing and rivalries being forged. 

When Compton, CA friends Dr Dre (Corey Hawkins), Ice Cube (O'Shea Jackson Jr) and Easy-E (Jason Mitchell) form the legendary hip-hop group N.W.A, their sound will quickly grab the nations attention. Quickly after releasing their débutalbum, these once solid friends begin to turn against one another as each becomes affected by Jerry Heller (Paul Giamatti). After the mighty triumvirate has fallen, each will take their own path leading to some life altering decisions. 

From the moment that Straight Outta Compton drops the needle, there is an animosity slowly building. This pressure cooker feel reflects the tough existence that growing up in Compton, CA would bring these characters, who were repeatedly harassed by a police-force unable to tell one gang-banger apart from another. N.W.A were a group all about confronting the things they hated in society and their Once such humiliating shakedown while recording in Torrance, California would lead to their anger filled anthem "Fuck Tha Police" which gets them arrested while at a concert in Detroit. Their form of "reality rap" is widely embrace and feared by the public as they encourage violence and standing up against society. As Ice Cube tells one unimpressed reporter "Our Art is a reflection of our Reality!" 

Each character is unique in his own way and F.Gary Gray is able to bring about some astute observations. Easy-E is by far the most engaging of the three heavy players. Underneath his high-pitched voice and street smart persona lies a shrewd and complex character. Dre is the more pacifying element to this group and is a genius producers always on the look out for the perfect sound. The game changing element is very Jerry Heller, a veteran rock producer who lures the boys in boy promising to open the important doors. This man is not made out as the outright villain for this piece, just a man who wanted to keep the big wheel spinning. Whether he had honest intentions or not, Heller would create one hell of a mess through his shady actions. 

The second half of Straight Outta Compton is a slower and times too drawn out affair. It does however give a fascinating look at the groups life after N.W.A. Ice Cube will achieve solo success in the midst of a verbal dissing match with his former group mates. Dr Dre will go on to found Death Row records with Marion "Suge" Knight (R.Marcos Taylor) and discover artists Tupac and Snoop Dogg. Suge's introduction is a thumping and at times terrifying one. At first the kindly and fatherly savior, he helps Dre go his own way. However, when his more violent and tyrannical side is let out the bag, Dre begins to realize his error! Easy-E's downward descent provides the movie with a surprisingly emotional feel as his health deteriorates and his money runs dry. 

For this piece we are given a trio of fine performances by three impressive young actors. Jason Mitchell is this pictures biggest find and gives a stunning turn as the convoluted Easy-E. His strongest work comes in the movies latter half when Easy dissolves into a shell of the man he once was. O'Shea Jackson Jr makes for great casting as Ice Cube because he the son of very same artist! Embodying his fathers hard attitude and his refusal to accept being second best, Jackson Jr makes a fine tough element. Corey Hawkins as Dre is the quieter but more assured voice of the group but he nonetheless has a great presence. Demonstrating his keen ear, Dre is by far the most successful because he doesn't just need to his own voice to succeed. 

Straight Outta Compton is a movie that deserves your time and F. Gary Gray has made one flick that can appeal universally. Forget that your knowledge of the West Coast rap scene maybe zero, this picture is one that will have you improving your ipod playlist urgently the second you get home.

Good Moments In Bad Films

It Came from Below: Deep Blue Sea

In Renny Harlin's unashamed 1999 B Movie, it contains one of Samuel L Jackson' more memorable moments. There's no better end to a monologue than having a shark coming out of nowhere! Better than the entire running time of Snakes on a Plane!

First Person Shooter: Doom

Doom was always going to be a tricky one to adapt for the big screen and to director Andrej Bartkowiak he made an honest stab at it. Having a first person shooter moment was always a must for die hard fans and for a few brief minutes it elevates things. I swear if you listen hard enough, you can hear smiles spreading for the first time in 2 hours.

Penis Song: The Sweetest Thing

These days a Cameron Diaz comedy isn't the sure fire winner that it used to be. In this 2002 effort, the laughs were pretty thin on the ground. One bizarre sequence however was a few moments of funny yet zany bliss. Never thought that anyone could make a song about someone's man-parts, here lies proof that there is an exception to the rule.

Clark Kent v Superman:| Superman III 

The final two installments of the caped crusader were tragically both misfiring efforts. In a movie that is more or less spoiled by including Richard Pryor, Superman III does possess one sequence that stands out. All through the movie, Superman has been wrestling with himself since being infected by Kryptonite. This sequences sees the ultimate battle for his soul and we pray for Clark Kent to be the victor. 

A Cold Front: Batman & Robin 

About the only redeeming feature of Joel Schumacher's campy and embarrassing second Batman outing is the one liners of Arnold Schwarzenegger. As Mr Freeze he seems to be the only one aware of just what a joke the whole thing has become. Where would the entertainment factor be without lines such as "Everybody...Chill!"

Double Edged Sword: Stars Wars Episode I: The Phantom Menace 

This will be the only time that I ever mention the words 'Phantom Menace' with good. Many people have rightfully trampled on George Lucas' unfortunate prequel. One quality it did possess was a decent fight sequence and the moment where Darth Maul (Ray Park) unveil his ultimate fighting weapon still sticks out.

Cold War Collision: Review of The Man From U.N.C.L.E

The Man From U.N.C.L.E

Director: Guy Ritchie

By Alex Watson

Although it suffers from a rather bland story line, Guy Ritchie's adaption of The Man From U.N.C.L.E is a stylish affair that succeeds as pure entertainment. The dream partnership of Henry Cavill and Armie Hammer is one that make the picture click. Ritchie is gradually making a career on steadily paced action flicks and his good run continues here. This perhaps isn't quite the must see blockbuster as originally intended but there is enough thrills and witty banter for us to want a second helping.

During the cold war both CIA agent Napoleon Solo (Henry Cavill) and KGB agent Ilya Kuryakin (Armie Hammer) are forced to work together to stop a fascist group. Hatred and rivalry is still simmering from an unforgettable first encounter in East Berlin. Thrown into the mix is Gaby Teller (Alicia Vikander), the daughter of a renowned Nazi bomb scientist who is a target for both agencies. Can both men work through their animosity and save the world?

A cool and calculated work from the very get-go, Ritchie opens memorably as we play at cat and mouse game in East Berlin. Through rescuing Gaby, both agents become acquainted when Ilya and his 'barely human' abilities are ably demonstrated as he literally rips the tail off Solo's car. When paired together the result is a fine one as Solo's witty yet insolent humour wonderfully plays off Ilya's embittered intensity. Together the men share the shame goals and underneath all the bickering and one upping there is a fine team underneath.  The dueling of minds, car chases and clever tricks from former thief Napoleon give the picture a slick feel that allows it to glide along.

The villains Alexander and Victoria Vinciguerra (Luca Calvani & Elizabeth Debicki) are a little low on taste and have nothing to do little else than look rich and cunning. Centrally the story is one of the few misfires of an otherwise fine ride because outside the cool imagery, it just feels like a standard ride. The original TV series did pride itself on the characters solving a problem a week. This picture though runs out of fuel after a bright start and the picture instead becomes confused on what exactly the prime focus is? Action sequences become less frequent and the picture suffers from a lack of growth through this.

Aside from these forgivable oversights, The Man From U.N.C.L.E is still a great experience and thanks to a wonderful triumvirate it does succeed. Gaby is perhaps the trump card for both men because she truly fears neither. The budding romance between her and Ilya might not completely convince but it does give a great boost in the side laughs department. There is also wonderful late addition of British agent Waverley (Hugh Grant) who shows up to near upstage boyj men with a dry but well-timed sense of funny. Working both as an offbeat buddy comedy and as an action flick, Solo and Kuryakin are a perfect match for one another.

The principle success of Ritchie's film comes from the excellent pairing of Henry Cavill and Armie Hammer. From the start the pair plays off each other magnificently and Cavill's cocky and suave way is matched by Hammer's ferociousness. Refusing to be upstaged, Alicia Vikander holds her own as the tough natured Gaby. Although wanted by both agencies, Gaby firmly makes it clear that she belongs to no one and Vikander gives her a smart edge that helps her stand out. In a brief appearance Hugh Grant also gets a laugh in as Waverley and shows what is perhaps his finest work in sometime.

Guy Ritchie has done a good job developing The Man From U.N.C.L.E and has delivered one of this summers cooler thrillers. It might not be perfect, but it has enough excitement and provides a wonderful threesome to shape a series. Next time it might be a different story... tune in next week to find out!

The Law of 4: Review of Fantastic Four

Fantastic Four

Director: Josh Trank

By Alex Watson

Carrying high hopes, Josh Trank's Fantastic Four reboot falls way short of the mark. From the beginning this film feels clumsily put together and never quite gets to grips with itself. Although this a darker and more ambitious departure from , the characters that Marvel fans have grown to love just do not feel like themselves. A sequel is due after this, but it will have to pull a great magic trick to get the fans to come back again.
Reed Richards (Miles Teller) is a young scientist attempt to perfect human teleporting to another dimension. Along with colleagues Sue Storm (Kate Mara), her brother Johnny (Michael B Jordan) and his old friend Ben Grimm (Jamie Bell), they attempt transporting themselves. When the trip ends in disaster, the group finds themselves with new powers and abilities. Soon they face a threat in the form of their old colleague Victor Von Doom (Toby Kebbell) whose trip to the same planet has altered his life forever.

In some ways, this installment of Fantastic Four is a welcome departure from Tim Story's old kid friendly and cartoonish films of old. At the same time there is a distinct lack of immediate action on display which quickly drains the thrill level. The tinkering of the storyline to make our characters students in a scholarship program doesn't benefit the story. Majority of the screen time is taken up with the planning and executing of inter-dimensional travel. Sounds great for science enthusiasts, but Josh Trank struggles to make this translate into entertaining viewing. Where is the needed whopping of bad guys that the film so urgently needs to inject? Even Tim Story had that base covered!

Another key issue is the characterization and despite having all copious of Marvel stories at their disposal, none of the four characters has the spark to ignite some interest. The new Reed Richards is a little too bland for this films taste and despite some awkward quirks he just doesn't register. The new Thing visually is impressive but he lacks the comedic feel that Michael Chiklis was able to bring last time around. A thumping and large presence throughout, this version makes his impact felt but lacks the memorable quality to stick around in our minds after. Dr Doom lacks any sense of danger of real menace. Trank makes him seem more like pissed off class nerd going on a revenge mission.

The last act of Fantastic Four ensures that events descend into a dull and almost comical mess. Watching a face-off as Doom makes his inevitable reappearance could have been the save this installment badly needed. Instead we are limited to rather lifeless battle, complete with the obligatory booms and pows inter-cut with some laughable dialogue such as "There is no Victor...Only Doom!" This origin story ironically suffers from a lack of story altogether and despite ending with a hopeful feel, we can only wish this had stretched across the previous two hours.

A talented cast isn't able to improve things to the required level and the talented Miles Teller is wasted in a one note role. Teller is never able to fully convince us that Reed is the man to save the universe from danger. This is disappointing as he is one of Hollywood's most engaging new actors. Kate Mara and Michael B Jordan try their hardest breath life into the brother/sister Storm duo but the material just isn't there for them to make their mark. Jamie Bell is one of the movie's stronger notes and he brings across a more believable Ben Grimm. His hurt and betrayed reaction to his new form is a moment of rare emotion in a Marvel film.

Josh Trank after his great work on his cult movie, Chronicle is brought down to earth with a harsh bump here. His Fantastic Four is a misguided effort that is effected by too many details and not enough action. I hope he is able to pick things up for the sequel otherwise "It's clobbering time!"  

Movie Plot Concepts Better Than Finished Film

In Time 

Andrew Niccol's futuristic thriller could have been a great re-doing of Logan's Run had it played its cards right. The concept that in years beyond that time literally is money was one that kept the story moving. But the whole idea that one ages past 25 was a little difficult to swallow, could you believe Olivia Wilde was Justin Timberlake's mum? The main catalyst was the flawed transition for a story of survival to being almost a crime thriller. After an engaging first act we were left with a deflated after effect. It was a shame because on the original idea alone, Niccol could have had a winning horse.

Equilibrium

Setting a story in a world (no Don LaFontaine pun intended) where a totalitarian governments rules supreme and humanity is forced to pacify all emotion was an intriguing one. The game changer here was the unfortunate wayward direction from Kurt Wimmer. Its introduction of the fictional karate/gun shooting style 'Gun Kata' made for thrilling and off beat viewing. These sole moments breathed life into what a movie on life support throughout. Tragically what started as a wonderful and thought provoking concept descended into a mindless action movie. Still it makes an interesting double bill alongside The Matrix though.

Hancock

What could have been one of the more memorable superhero comedies was somewhat hashed by director Peter Berg.  Will Smith gave us a few laughs as drunken hero, Hancock but its confusion over its formula style led to mixed result. Berg seemed to be on the fence about whether this was a comedy or a drama? This indecision meant that many laughs were lost in a haze and its never quite got to grips with itself. Originally intended to be stretched over two installments, the decision was made instead to mash it together in one movie. The great late movie twist is revealed too early and lost any effective touch it could have brought.

Prometheus 

The principle issue with this movie's build up was that it was expected by many Alien fans to be another series installment. When it was revealed as a whole new concept, this led to cries of despair. Despite have a potentially great build up to finding out about the Xenomorph's origins, a poor script and some blurred lines of story let the side down. Ridley Scott attempted his best to bring a positive spin on what is a visual effects masterclass. But no amount of sparkle and a fine Michael Fassbender android turn could mask the fans disbelief.

The Men Who Stare At Goats 

When the trailer for Grant Heslov's comedy first debuted, it looked a sure fire hit. His idea of a journalist (Ewan McGregor) following a former psychic spy (George Clooney) and learning the secrets of his life less ordinary seemed a ready-made idea. Disappointingly what followed was a rather drab and flat finished product that failed to live up to the hype. Heslov's movie has some great individual moments and a stunning supporting cast. Despite this it failed to cross over into the critically acclaimed section.

Back In The Saddle Again: Review of Mission Impossible: Rogue Nation

Mission Impossible: Rogue Nation

Director: Christopher McQuarrie

By Alex Watson

After an uneven last couple of outings, Mission Impossible: Rogue Nation restarts this franchise in breathtaking style. Making a stunning opening with the now notorious shot of Ethan Hunt hanging from an airplane, director Christopher McQuarrie shoots to thrill. Although continually ringing the box office bell, critics were quick to point out signs of wear in this spy series. The after effect of the IMF team's fifth adventure is that we are now eagerly anticipating a sixth outing.

After the IMF is dissolved by CIA chief  Hunley (Alec Baldwin), Ethan Hunt (Tom Cruise) must now contend with an enemy group named 'The Syndicate' led by Solomon Lane (Sean Harris). Along with fellow agents Benji (Simon Pegg), Luther (Ving Rhames) and Brandt (Jeremy Renner), Ethan faces a tough fight against an organization intent on causing chaos worldwide. Not to mention the tricky business of ambiguous agent Ilsa Faust (Rebecca Ferguson).

From the beginning of Mission Impossible: Rogue Nation, McQuarrie quickly gets down to business. Throwing aside any temptation for drawn out narrative or lengthy back stories, the former writer turned director sets about just making a great thriller. Any logic flaws in the story are happily overlooked during a stunning first act set against the opera in Vienna. Watching Ethan Hunt involved in a fight while hanging above a stage as 'Nessun Dorma' is in full swing is bound to broaden smiles all around. Paced to perfection cleverly following the sheet music to the crescendo, this moment is but a snapshot of what is to come later.

More than anything, this fifth installment shows that it hasn't lost its ability on the set piece front. One sequence has Ethan diving into secure underwater server beneath a Casablanca power station to retrieve a super secret red box file. This act is presented beautifully and as Ethan runs dangerously low on oxygen, we hold our breath with him. Not one to hold back, McQuarrie follows this up with one of this year's finest car chases. This moment proves everything effective that a chase should have, including some witty lines. Seeing the exasperation on Benji's face when Ethan asks if he is wearing a seat-belt is priceless. "ARE YOU ASKING ME THAT NOW!" he bellows while the car flies backwards through the air.

What perhaps makes Mission Impossible: Rogue Nation is the mystery surrounding it. On dual duty as both writer and director, McQuarrie succeeds in creating a wonderful uneasy feel. What exactly are 'The Syndicate'? And why does Ethan obsessed with pursuing them? Ilsa however, is the biggest puzzle piece of all. Continually throughout this adventure we find ourselves assumptions about this woman stumped. An irresistible presence and a magnificent femme fatale character, Ilsa is possibly the closest that this series will come to a co-anchor. As a villain, Solomon Lane has presence and his icy chill he brings along with it is truly stirring.

Tom Cruise once more proves that the Mission Impossible series definitely belongs to him. In a performance that is self-assured and surrounded by an easy cool like his first installment, it demonstrates that Ethan Hunt still merits a place in the film world. Rebecca Ferguson nearly steals the film from under Cruise in a sizzling turn. A bold and sexy presence, Ferguson marks the strongest female presence in the series so far. The chemistry between the two runs like a charm and we can only hope she returns in future installments.

Finally the Mission Impossible series has found the right formula and style that makes it successful. Previous efforts have tinkered with a number of ideas (including a Limp Bizkit opening track) and has remodeled Ethan Hunt. Mission Impossible: Rogue Nation is a simple and basic thriller that only wants to entertain. More of the same next time please!