Collateral Beauty

Collateral Beauty is the sort of film that requires a more in depth review to explain just how appalling it really is. This review contains spoilers.

Are you one of the poor souls that went to see the infamous Movie 43? A film with an incredible array of stars, magnificently poor writing and a horrendous sense of direction that left everybody wondering how it was ever funded. Collateral Beauty has been similarly shot down by reviewers, and whilst the obvious comparisons to the aforementioned disaster might be unfitting, the minor glimpses of potential are far overshadowed by the fact that Collateral Beauty gets worse and worse at every turn.

Howard Inlet (Will Smith) is a successful advertising executive who falls apart after the harrowing death of his six-year-old daughter. Depressed, contemplating death, and worst of all, under performing at work, Howard’s concerned “friends” (Edward Norton, Kate Winslet, Michael Peña) worry in supposed equal measure for Howard’s mental state, and the state of their own professional futures. The trio hire an investigator, Sally Price (Ann Dowd) to acquire evidence that would allow them to take control of the company from Howard (with his best interests in mind of course), and they soon find out that he is writing letters to Love, Death and Time – three constructs that he once used in his advertising work and is now blaming for the death of his daughter. With all obvious options ignored, Howard’s “friends” hire three actors (Helen Mirren, Keira Knightley and Jacob Latimore) to each approach him pretending to be one of the constructs, hoping that he will have a public outburst whilst their PI is filming so that they can then - after digitally removing the actors - show it to the board to prove that Howard is unfit to run the company.

*Oh the humanity*

Written by Allan Loeb (Wall Street: Money Never Sleeps, 21) and directed by David Frankel (The Devil Wears Prada, Marley & Me), Collateral Beauty had enough capability behind it to produce at least a half-decent film, but somewhere between the ethically-barren plotline and the kindergarten dialogue, the film collapses into a hilarious smoldering pile of Hollywood farce. The story in full is as unbelievable as it is in summary - a gently sickening ride through saccharine and syrupy messages, superficial plot twists and an array of A-listers trying to act their way out of one of the worst dramatic scripts in recent memory. One horrendous issue is the dialogue, which is more literary abomination than uplifting quotage - when you have Dame Helen Mirren spitting out lines like “Nothing is ever really dead if you look at it right” surely it must be obvious that you’ve created a steaming pile of script.

Putting aside the fact that none of the characters other than Howard are even remotely able to draw empathy from the audience because of their involvement in the repulsive scheme, we also have to sit through the hilariously-poor establishing of these token issues that each of them are struggling with. Norton’s Whit is drifting further apart from his daughter, Winslet’s Claire is running out of time to have a child, and Peña’s Simon is dying - we’re all dying Simon, but you decided to die an arsehole, so I don’t care. The acting is mediocre across the board, particularly when you consider the talent on screen, but the material is so atrociously bad that there’s hardly room for improvement. Will Smith’s is the only half-decent performance, but that’s mainly because he doesn’t have to talk.

There’s a swath of other annoying issues throughout like the fact that the investigator is “secretly” filming in the background with her phone in portrait mode, but when they show the footage to the board it’s in landscape and clearly shot with a cinema camera, or the hilariously stupid idea that they could simply digitally remove the actors without an expensive composite artist. Then when they show it to the board they acknowledge the fact that they’ve hired the actors anyway. What was the actual point of it then? I could go on, if not for the inevitable brain hemorrhage that analysing this excrement would give me.

Somewhere deep in the heart of this film there was a tinge of potential, completely lost in the overblown lunacy of this attempted storytelling. In the end though, watching Collateral Beauty is a bit like pondering how quickly your life is flying by, your crippling debt, the irreparable damage we’ve done to the environment, total nuclear annihilation, the futility of existence, the end of time, a Trump presidency; the more you think about it, the worse it gets.

Everest

I love a good disaster movie, and I absolutely loath a bad one so Baltasar Kormákur's Everest had a lot riding on it for me. Based on the events surrounding the 1996 Mount Everest disaster, the film's stellar cast, chilling story and international production promises a unique and visceral experience. As with all biographical films, if you don't know the story, don't read up on it before going in. Needless to say though, people are gonna die.

Rob Hall (Jason Clarke) is a professional mountaineer whose business, Adventure Consultants aims to get people to the summit of Mount Everest, the tallest mountain in the world, and back down again as safely as possible. It's the start of the 1996 season and Hall is leading an expedition of eight clients, including Texan doctor Beck Weathers (Josh Brolin), journalist Jon Krakauer (Michael Kelly) who's documenting the trip, and Doug Hansen (John Hawkes) a mailman who is on his second attempt to climb the mountain. Hall says goodbye to his pregnant wife Jan (Keira Knightley) and the expedition gets underway.

At base camp they meet up with Helen Wilton (Emily Watson) who is managing the Adventure Consultants' tent, and Caroline Mackenzie (Alicia Vikander), the expeditions doctor. Scott Fischer (Jake Gyllenhaal) is running another expedition and is technically a business rival of Hall's. However, since they both aim to summit on May 10, the two decide to team up the expeditions and work together to reach the summit. However, a string of delays and encroaching bad weather ensure that the expedition ends in disaster.

Everest's rocky beginning hints at a relationship-focused but cliche-driven plot. Conversely, its subtle ending is the perfect close to a relentless, spine-chilling, brilliant film. Full disclosure: I saw this one in 3D, which I'm normally not a big proponent for. Its often either too distracting or not effective. However, here it captures the immense scale of the deadly mountain, the depth of the black crevasses, the ant-sized humans tackling an impossible task. The mountain is the star of this movie, it "has the final word", it's the ultimate antagonist. Full credit to DoP Salvatore Totino (Frost/Nixon) and the effects teams on this film for capturing the sheer beauty of such a deadly place. Each sequence is gripping and utterly realistic. At no point could I not suspend my disbelief. The true success of this film is its focus on spectacle, its ability to create an atmosphere and put the audience right in the action. 

Everest divides its time between the seemingly successful training/ascent and the tragic descent. All the while developing its ensemble of characters as we watch on hopelessly. The minutiae of the ascent, little things that ultimately see the characters set up to fail, are presented in an almost documentary-like style. No blame is laid, no message pressed about the fragility of human ambition. Kormákur simply presents the events as they unfolded and we're taken along for one hell of a ride. It's amazing how littered with A-list actors this film is, many of whom get very little screen time. Strong character development is sadly limited to a couple of the key roles, and at times - especially when they're into the 'death zone' and totally rugged up - it's difficult to work out who's who and what their individual slice of the story arc is. 

Jake Gyllenhaal gives a small but lively performance, and Brolin is well-rounded as Beck. Hawkes's Doug Hansen is one of the more interesting and fleshed-out characters, an amateur climber with a quiet persona and a lot of heart. The absolute standout though has to be Jason Clarke in the lead. Clarke has always had a lot of misses for me, especially in his Hollywood roles, but returning to his native tongue (well, New Zealand is close enough to Australia) has certainly paid off, because this is his best performance to date. He portrays Hall as a gentle, kind-hearted man who puts the safety and concern of his clients above all else. He's so good that all you really want towards the end is for him to survive. 

The women however, are left with generally unfulfilling roles. Emily Watson is fantastic as usual, and you really feel for her as she tries to manage the disaster from the base camp, however most of her screen-time she's left trying to communicate to people through a radio. Alicia Vikander does what she can as the expedition's doctor but she too is unable to do much from the base camp. Robin Wright has an unbelievably small role as Beck's wife, similar to Keira Knightley, who can't pull off the greatest of New Zealand accents but is responsible for one half of the film's most heartbreaking conversation toward the end, so she should still get some credit. 

Whilst there are some great portrayals from a stellar cast in Everest, and I think a lot of reviewers are downplaying the character development, this is still a film that's driven by spectacle. Its slightly emotionally-detracted style avoids cliche whilst still doing justice to a thrilling story that captures the essence of the human condition and transports you to the frosty Himalayas. Everest leaves you with both the desire to endeavor to climb it and at the same time, the tragic gut-necessity to stay as far away as possible.

The Imitation Game

"Sometimes it is the people no one imagines anything of who do the things that no one can imagine."

Alan Turing was a remarkable man that made a huge difference to the world, but was persecuted nevertheless. His work in breaking the German Enigma code had a profound impact on the outcome of World War II, yet he encountered extreme prejudice for being a homosexual. Now his story has been transformed into a film in Morten Tyldum's The Imitation Game.

At the height of World War II, Alan Turing (Benedict Cumberbatch), a mathematician and avid crossword enthusiast joins a team of cryptanalysts at Bletchley Park to decipher the German Enigma code, a encoding system that is used on every German message, but which changes daily. Turing immediately gets off on the wrong foot with both his superior, Commander Denniston (Charles Dance) and his colleagues, particularly Hugh Alexander (Matthew Goode).

Whilst they begin originally by attempting to decipher each day's settings by hand, Turing soon designs a machine to calculate the settings quickly and automatically, taking inspiration from a similar Polish machine. Turing fails to get support from either Denniston or his co-workers, but after he sends a letter to Churchill, the project is soon moved forward, with Turing in charge. He develops a crossword designed to find potential candidates for the project, and it is through this that Joan Clarke (Keira Knightley) joins the project. The team continue to develop the machine, with the time pressures of a devastating war looming over them, all the while, Turing is hiding the fact that he is a homosexual, which was illegal at the time.

Mixing together three different periods of Turing's life; his childhood, his work with Enigma, and the period after the war, Morten Tyldum's English debut attempts to summarise the importance of Turing's work in a two hour film. A feat which it manages exceptionally well, albeit whilst following the rules of a typical biopic. Although its attempts to draw importance out of linkages between the different eras of his life can sometimes feel a bit forced, The Imitation Game is strong in structure and incredibly thought-provoking in content. Alan Turing's life has been depicted before, including documentaries, television movies and even a musical, but this film will hopefully draw more attention to the man. The only complaint I have about it, is that his persecution and death are somewhat downplayed and simply presented in what I like to call 'wrap-up text' towards the end of the film. For the sake of an additional twenty minutes, the film could have been more successful in acknowledging the prejudiced state of the world at that time.

In by far his best performance yet, Benedict Cumberbatch is phenomenal as Turing. His ability to transform himself into this unusual man, likely to have been autistic, is quite astounding. He even brings a hint of charm to the role as he delivers insulting but hilarious remarks. He's the one that makes this a fantastic film. Starring next to him, Knightly is also very good as Joan and rarely can anyone fault the stern acting ability of Charles Dance. Goode rounds off the cast as the typically dashing Hugh, and whilst he seems to spent most of his screen time in the corner, shrugging at Turing's unusual decisions, Mark Strong is fine as MI6 Major General Menzies.

The Imitation Game follows the likes of The Kings Speech and Lincoln as one of the great biographical films of recent years. It's skillfully constructed by Tyldum and fantastically acted by Benedict Cumberbatch, who'll likely receive an Oscar nomination for his performance.

Begin Again

Mark Ruffalo's character Dan makes an interesting point about the place music has in our lives. He says that music gives the banality of everyday life more energy. I feel as though this is overall theme of John Carney's Begin Again, to make life more vivid and enjoyable, and he has constructed a beautiful movie to convey those thoughts.

Dan (Ruffalo) is a down on his luck record producer. He has been moving from failure to failure and it's pretty safe to say that he is an alcoholic. Everything changes when he meets Gretta (Keira Knightley), a young singer-songwriter who has come to New York. After listening to her perform he knows that he wants to make an album with her.

This movie is a love letter to music. It really shows the power it has to lift you up when you're down or bring people together. All the music is perfectly co-written by Gregg Alexander (of the 90s band and one of my favourites the New Radicals) and is performed well by the cast.

Ruffalo gives a fantastic performance as Dan and I think he plays the role of dishevelled guy a little too well. Likewise, Knightley is fantastic and displays an amazing vocal talent. Supporting roles from Catherine Keener, Adam Levine, Hailee Steinfeld and Cee Lo Green are enjoyable.

Carney knows how to craft a movie both when it comes to the script and direction. The film is filled with light and poignant moments with a fair few pop culture references thrown in. He does a decent job at making shots that are evocative, but the real joy came for me with the editing. The use of jump cuts was great and makes some of the scenes pop, especially when they were recording songs in the streets of New York.

Verdict: A feel good movie that is perfect if you love music.