The A-Team

***

The A-Team was always about the personalities: John "Hannibal" Smith, Templeton “Face” Peck, “Howling Mad” Murdoch and Bosco Albert Baracus (that's "BA" or Bad Attitude"). It’s fairly obvious from the names alone that these are caricatures and not authentic war veterans in the mould of Travis Bickle. So it comes as some surprise that Liam Neeson was cast as ranking officer (and man with the plan) to lead this larger-than-life squad of caricatures onto celluloid. He may be a good actor but, let’s face it, he’s never been the most interesting and here he looks uncomfortable. For knockabout fun like this you need someone with an easy charm and a rogue-ish glint in their eye. It was most likely unsubstantiated rumour but, speaking as a badge-wearing member of his fan club, I was still disappointed when it turned out George Clooney wasn’t playing Smith. Actually, Bradley Cooper is superbly cast as charmer Templeton “Face” Peck, and Sharlto Copley makes an appropriately nuts “Howling Mad” Murdoch but the other two are not great: Neeson we’ve touched upon, and hey, there’s never going to be anyone quite like Mr T. 

Neeson’s casting is reflective of the film in general. It’s all a bit unexciting. Amazing really, how so much can be happening (i.e. ‘splosions) and it is described thus. But if you don’t care about the characters it’s hard to care about what’s exploding. It does, however, have some entertainment value - there are some very creative action set-pieces, and there are a few laughs to be had. It’s a little more grounded in reality than its cartoonish TV incarnation but maybe that takes the fun out of it. The action is transposed to Iraq but the titular team are still accused of a crime they didn’t commit.

Joe Carnahan showed startling promise with his debut, Narc. He switched gears for his next feature four years later, with the lighter Smokin’ Aces. With a gap of four years since he last directed, he is swiftly becoming the Terence Malick of action cinema. (That’s an attempt at humour, by the way.)

Attack the Block

***

Although it comes from the same production team (with Edgar Wright taking an Exec-Producer credit) this is not Shaun of the Dead with aliens. Although comically-inclined, the onus is more on the action than the comedy. Citing the likes of Critters and Gremlins as inspiration, writer and director Joe Cornish wondered, growing up in the eighties, where all the British creature films were. He has a point because there weren’t any.

It’s bonfire night and a South London tower block is being attacked by alien invaders. Mankind’s only hope is a gang of rude boy teens.

The young cast is impressive and most of them first-time actors. John Boyega gives good value for money as brooding antihero and leader-of-the-pack, Moses. Joe Cornish must be praised for a script that is fearlessly uncompromising when it comes to the term “antihero”. There’s nothing cuddly about these kids. The biggest laughs come from the smaller kids who dub themselves the unlikely monikers of Probs and Mayhem.

There’s nothing really wrong with Attack the Block. The story is told competently and it’s cinematic. It all works perfectly well, but for me it’s missing a secret ingredient. It’s good but it could have been delicious. I understand there are budgetary constraints so I wasn’t expecting Independence Day. Budget isn’t everything. On this scale of film-making inventiveness is key, especially with such ambition. But the set-pieces are a little lacking in imagination. It is sporadically amusing but generally the comedy is a bit flat.

Still, it’s a good debut for Joe Cornish. I wish the film well and sincerely hope it finds an audience. (Especially with teenagers. They’ll love it.) With unprecedented high percentages on rottentomatoes.com and a great response at SXSW I’m sure it will.

By the way, the editing is AMAZING. (Awright Amos.)

Away We Go

**** 

Following the heavy main course that was 2008’s Revolutionary Road this is Sam Mendes’s light dessert from 2009. Away We Go is a feel good tale of a couple in their thirties (Maya Rudolph and John Krasinski) travelling around North America looking for somewhere to put down roots. Here’s the kicker: she is six months pregnant with their first child. They visit friends and family in different locales, searching for inspiration as to where to raise a family. Rudolph and Krasinski make a cute couple but their nearest and dearest (mostly) turn out to be vile. The results are comical but the film does possess a strong dramatic bent. It manages to entertain (chiefly through laughs) while maintaining realism and authenticity.

Real life couple (Vendela Vida and Dave Eggers) have written a warm and funny first script and it’s a splendid debut. Sam Mendes displays further versatility as a director. (To emphasise this point, next up for him: Bond 23!) He shows a playfulness we’ve not yet seen him reveal. (While American Beauty is funny it does have an ever-present sense of impending doom.) He also has a very good eye – every shot is thoughtfully worked out and there are some very attractive visuals of that most cinematic of countries.

It’s a perfect film to watch curled up on the sofa with someone you love (as I did with the fragrant Ms. G). It’s also an easy film for both him and her to agree on watching. So put aside Death Commandos 2: Munitions Boogaloo, and there’s always another time to watch Failure to Launch a Wedding Planner in Ten Days. The message here is togetherness so follow its lead and watch it together.

 

The Passenger (1975)

***
Director Michelangelo Antonioni made a challenging film. With its sparse dialogue and pared down action there’s nothing spoon fed to you here.

Disillusioned TV journalist, David Locke (Jack Nicholson) assumes the identity of a dead man in North Africa. As he travels back to, and through, Europe it transpires that the dead man was a gun runner. This also proves to be something of a pay cheque.

For such lurid subject matter it is often a bit dull. And while there are glimmers of genius in the direction some of it is downright clunky. While I understand the meaning (i.e. man’s desire to escape from himself) I don’t understand the behaviour. For example, why in Christ’s name does Locke carry on with his scam when he realises he’s posing as an arms dealer. The associates of this type are likely to be armed. They have the means to kill you very easily. The first whiff of that and I’d have pulled the ripcord. But hey, dramatic cinema would be so much duller were it populated by cowards like me.

This is the recently-departed Maria Schneider’s “other” film, in that it’s really the only other film of note in her career. (The other one being Last Tango in Paris.) She is completely beguiling in the role and shows maturity way beyond her years. (She was only twenty-two.) It’s a tragedy she was such a troubled soul and a shame for us that we never saw her fulfil her potential.

By no means least, fans of Nicholson will get a kick out of seeing him arguably at his peak. If you’ll allow me to turn into a drooling fan for a moment, it’s an impressive package. The wolfish grin is backed up by the flat stomach he used to have and he rocks an understated (but kickass-all-the-same) wardrobe. The Passenger is, by the way, a delectable seventies time capsule. 

Hanna

****

The precocious talent that is Saoirse (pronounced Sersha) Ronan plays the eponymous heroine. Hanna is a lean, teen killing machine trained secretly from birth in the wilds of Finland by her rogue CIA-op father, Erik Heller (Eric Bana). Now the Bureau wants her and the hunt ensues. Chief Baddie is the deliciously icy Agent Wiegler (Cate Blanchett).

While the film doesn’t entirely subvert the action genre it is a breath of fresh air. First time feature writers, Seth Lochead and David Farr have come up with an original take on the 21^st Century actioner, led by a very different kind of protagonist. While it is likely to be enjoyed by the demographic, it doesn’t appear to be aimed solely at that all-important 16 to 25-year-old male market.

No one can accuse director, Joe Wright of making films that look like telly. The spectacle, as in all his work, is a thing of beauty and best enjoyed on the big screen. However, making it all look good isn’t everything when it comes to action. Although he makes a pretty good fist of the action set-pieces he still has a lot to learn. He papers over the cracks with a lot of sound and fury (i.e. abundant quick edits combined with crash, bang, walloping beats from The Chemical Brothers, who expertly scored the film). But respect is due to the director of Pride and Prejudice, for throwing himself headfirst into yet another genre and really delivering the goods. It is an exhilarating watch, and further affirmation that Wright is a powerhouse of international cinema.

Notable mention to Eric Bana. He’s a big man but he’s in excellent shape. He handles his action scenes well and is proving to be a formidable physical presence on screen.

Annoyingly, a lot of the accents are faintly ridiculous and something of a distraction. A pet hate of this reviewer is actors speaking English but with an accent to suggest they are speaking in a foreign language. Speaking in your own voice is far more honest and effective. Watch, and learn from, Sean Connery, I say. It never did him or his audience any harm.

Quick word on the surprising 12A certificate awarded by our ever-liberal BBFC. I wouldn’t recommend this to any children under 12. There’s a steady stream of nastiness throughout and it’s far-from-comic-book violence.

Submarine

**** 

Submarine is a smartly-observed coming-of-age tale that really captures the essence of teendom - namely that, as a teen, you’re a bit of an idiot. This isn’t to say the film is disrespectful of youth. It heartily celebrates it and does so with panache and a great deal of humour.

Richard Ayoade has adapted Joe Dunthorne’s 2008 novel for his captivating directorial debut. It tells the story of 15-year-old Oliver (Craig Roberts) and his first tastes of romance and the responsibilities that life heaps upon him. He convinces Jordana (Yasmin Paige) to go out with him and they enjoy setting things on fire. Meanwhile, his parents (Sally Hawkins and Noah Taylor) are having marital problems which are not helped by the presence of clownish New Age guru, Graham (Paddy Considine).

It’s a neat trick Ayoade pulls with his lead man. Oliver is something of an oddball and, more notably, not hugely likeable but you do still care about him. And maybe because he is, in his own way, kinda cool. In this respect, he reminds me a little of Bud Cort in 1971’s Harold and Maude (if you haven’t seen it then give yourself a treat). There have been a few unfair accusations of rip-offery made with The Royal Tenanbaums but while there may have been a little inspiration by osmosis, Submarine stands alone as an original film. It has style in droves, is packed with laughs, and is uniquely British.

NB: Alex Turner wrote five songs specifically for the film which is a treat and sets a very particular mood.

And to my American friends, this is due for release in the States on June 3^rd. Hope it makes it to a theater [sic] near you…

Cyrus

*** 

Jonah Hill is surprisingly scary as the above-named problem son. It’s a really strong performance and good to see him branching out in terms of range. Where you might expect the film to be akin to the Judd Apatow projects for which Hill is probably mostly famously known, it’s not. Bit of a stealth attack this one - being more Cassavetes than Apatow.

John (John C Reilly) is a lovable mensch who falls for equally adorable Molly (Marisa Tomei). But he also gets her son thrown into the bargain who does all he can to drive a wedge between them. What may, in the wrong hands, have ended up as a duff high-concept comedy this is a lot more thoughtful. While the route it takes is somewhat dark and disturbing, Cyrus is not short on tenderness. Indie darlings Jay and Mark Duplass share both writing and directing duties. The jerky camera work and crash zooms are a little annoying. It seems they went a bit nuts with the Red camera it was shot on and this distracts from what is happening in the frame. It also cheapens the work, making it look like TV (although it’s a great show, style-wise think Arrested Development). Although, that’s a minor quibble. They draw excellent performances from all: Reilly puts his “well-used teddy bear” of a face to excellent use, gaining some lovely chemistry with Tomei (who’s just on a roll making a lot of good choices these days). Catherine Keener has a smaller role, further cementing the film’s indie credentials. While ultimately the story is a tad slight, it’s a very funny script.

A nice surprise in the credits was to see Ridley and Tony Scott taking Executive Producer roles. Good to see them investing in something so erm, explosionless (Is that a word? It is now.)