What We Do In The Shadows: Review of Spectre

Spectre

Director: Sam Mendes

By Alex Watson

Although it matches Skyfall blow for blow in the thrills department, the new Bond offering Spectre lacks a certain something. The set pieces on display from returning director Sam Mendes are mind-blowing in places. Perhaps the real problem is the inclusion of the problematic childhood story that its predecessor grabbed so beautifully. Daniel Craig is a force as usual in 007 mode, but this just doesn't feel like the memorable ride that it should have been (and lets not get started on Sam Smith). 

When a vital clue to the secret of his troubled youth is found in the rubble of Skyfall, James Bond (Daniel Craig) begins to go rogue to follow the trail. Despite pressures from new boss M (Ralph Fiennes), Bond stumbles into the path of a powerful secret organization know only as Spectre. Headed by the villainous Franz Oberhauser (Christoph Waltz) who seem to have paid a very close eye on Bond since childhood! 

Making a bright starting with a remarkable long tracking shot during Day of the Dead in Mexico City, Spectre at points is able to shift into excitement overdrive. Sadly Mendes' follow up is never fully able to balance itself out and become the accomplished picture is seeks. Centrally there is a hangover effect still lurking from the prior outing. The script by Robert Wade, John Logan, Neil Purvis and Jez Butterworth doesn't have an immediate spark in draw us in. Bond's hunting high and low for the clues that could explain everything or nothing about his childhood have a stop and go effect on the story. There is also the tricky matter of how Oberhausen and devilishly tricky new boss C (Andrew Scott) and his desire for constant surveilance fit into the picture?

The 24th outing of the Bond franchise does show its unique combination of wit and action. When Bond is grilled on his appearance in Mexico City he coolly remarks "I was taking some overdue vacation." But all the moments that should make this an accomplished thriller are ones that fall surprisingly flat such as car chases through empty cities. As hard as Ralph Fiennes works to fill the void left by Judi Dench, the old girls presence is still badly missed. In this picture the boss is permanently confined to the end of a phone whilst dealing forever making inquiries about Bonds whereabouts to suffering Q (Ben Whislaw) who in this picture literally takes on the problem solver role. "Don't worry Bond, it was only a £3 million prototype!" he bemoans another Aston Martin meets the bitter end. 

There are winks towards the successful Bond formula's of old as such the wordless henchman Mr Hinx (Dave Bautista) who with a crushing unease asserts himself. Lea Seydoux does credit for playing above the typical damsel in distress as Madeleine Swan. With little to work with she is able to crave out a throughly plausible character. Despite a white cat herring to one of the most beloved Bond villains, Christoph Waltz feels wasted in what could have been the meaty nemesis of them all. Confined mainly to the shadows until his third act reappearance, the segway into his personal vendetta against Bond is rather hoaxy and just a little too predictable. Coming across as more comical, Oberhausen lacks the needed icy cold that could have been so memorable. Knowing the kind of charm and unease that a skilled actor like Waltz is able to bring, this feels like a missed opportunity. 

Daniel Craig is again a fine figure to watch as 007 and it seems unthinkable these days just how much doubt surrounded his future to begin with. Able to conjure a rarely seen emotion and angst lurking beneath the cool outlook, Craig has become the cornerstone of this character in the modern-day. Should this be his last outing, whomever dons the tuxedo next will have one hell of a task! 

Spectre despite having the same tools to work wonders with is one effort that doesn't quite hit the high notes. It succeeds a straight forward and entertaining piece of action but sadly is not the pinnacle that we so badly hoped for. 

Eyes Like Saucers: Review of Big Eyes

Big Eyes

Director: Tim Burton

By Alex Watson

Tim Burton makes an overdue appearance on Closer to the Edge this week. His last effort Dark Shadows, was met with a somewhat mixed response due to what seemed to be a confusing approach to his normal zany humor. This week he depicts the real life battle between real life husband and wife Walter and Margaret Keane over art that stunned 1960's California in his movie, Big Eyes.

When Margaret Ulbrich (Amy Adams) flees her marriage and relocates her daughter to San Francisco, she quickly falls in love with charming painter Walter Keane (Christoph Waltz). But soon she finds herself trapped in a nightmare when her beloved Big Eyes paintings are passed off as Walter's own work! Although her life in now financially lucrative, Margaret is living the ultimate lie.

Big Eyes is a sound and well made effort by Tim Burton but sadly it lacks his trademark humor and as a result hardly feels like vintage work by this man. The story is one that easily appeals to Burton's nature in that it is about two people finding something wonderful in an era where female art was typically frowned upon. In fairness, the script by Scott Alexander and Larry Karaszewski does succeed in capturing the snobbishness and the sexiest feel of the times, but doesn't feel nearly meaty enough to make any sufficient ground.

Centrally the relationship between Walter and Margaret is the element that fires the movie and when we first meet him, there is a massively cute feel and it isn't hard to see how exactly he sweeps the lady off her feet. When the cracks inevitably appear, we gradually clue in that this man is little more than a silver tongued trickster. Through his deceit he has now forced Margaret into a corner she will have trouble fighting out of! The potential conflict and controlling nature of their relationship never fully convinces and at times the antics boarder on cartoonish, such as Walter chasing mother and daughter through the house with matches! This feel gradually derails the film and shortens its ability to rise up.

The problem with Big Eyes seems to be that the story is lacking in a key function because it feels uncertain whether it is a comedy, a drama or both? Burton shows touches of his old self such as a borderline terrifying sequence when Margaret sees her painting come almost to life in a supermarket! However, there is not enough of his trademark to elevate this film to where it needs to be. Also although throughout the film we see Margaret painting her large eyed portraits, we never fully learn what has inspired her to paint in this style apart from being told "The eyes are the windows of the soul" 

Amy Adams does succeed in giving an honest and emotionally relevant portrayal of Margaret Keane. Through her soft spoken and gentle nature, she makes it thoroughly convincing just how this woman was duped into living a life of duplicity. One of the more consistent actress of today, Adams shows how she can single handled change a film for the better. Disappointingly the movie is let down by an over the top and almost hammy performance by the normally excellent Christoph Waltz. Although he succeeds in the manipulating side of Walter, his cringing cross examination of himself on the stand gives Burton's film a bad after taste.

It may not be Burton's great piece of work, but Big Eyes is still a movie that is worth viewing because it is incredible how one lie can define the course of somebody's life.

Top 4 Christoph Waltz Moments

Austrian actor Christoph Waltz came onto our screens in a blaze of glory after his stunning turn as clever monster Colonel Hans Landa in Tarantino's Inglorious Bastards. Sporting a unique blend of charm mixed with extreme danger, he has proven to be one of the most able and commanding European actors so far in the 21st Century. Now Sam Mendes has come up with the smart idea of casting him as the new Bond villain in upcoming installment, SPECTRE!

While we light the fires of anticipation, here are four reminders of just why we love this guy so much!

Inglorious Bastards "That's a Bingo!"

Hans Landa all throughout Tarantino's WW2 effort is an unpredictable menace, his memorable entrance sets us on alert early on. However, it is his turncloak effort at the films climax that proves most enthralling, purely for the fact that Landa does it without a second thought. The relish on his face when he says the immortal 'Bingo' line wonderfully turns to borderline embrassment as it falls flat before Aldo Raine (Brad Pitt). Either the making of Waltz was created.

The Green Hornet "Are We Clear?"

In Michel Gondry's hit and miss adaptation of TV's the Green Hornet, Waltz's baddie Chudnofsky proved to be the one solid and plausible element. His opening scene is a masterclass in silent villainy as with minimum of effort (and a two barreled pistol) he easily dispatches fast talking drug dealer Danny Clear (James Franco). Talk about whipping the smirk off the guys face!

Django Unchained "Dr King Schultz"

In his second Oscar winning role under Tarantino, Waltz's garrulous Dr King Schultz stole the show. Once more he proved the master at entrances and this one showed how even a great word smith can be a cracking shot also! Along with his faithful steed, Fritz, this 'dentist' was by far the standout due to his friendly yet resourceful feel. Long may this partnership continue!

Water for Elephants "Fair Warning"

Waltz's role in Water for Elephants probably wasn't the greastest he will ever receive, but he sure made the most of things. The strongest thing was his refusal to abide by the typical abusive husband stereotype. His August character is one of more subtle and viperous threats, in this one key scene, he lets Jacob (Robert Pattinson) know he is aware of his affair with his wife and casually alerts him to the consequences that could follow.