Showing posts with label Miles Teller. Show all posts
Showing posts with label Miles Teller. Show all posts

Thursday, 25 August 2016

War Dogs

Movies about getting rich from war are few and far between and when they come out, they aren't exactly hits. The only two that I could think of were Lord of War and Three Kings, both of which show that in the end nothing works out the way you planned. The thing with those movies is that they were completely made up. So what happens when you take one of the real stories about arms trafficking and you make a comedy about it. A whole lot of nothing special.

David Packouz (Miles Teller) is trying to make a living off his massage business in Miami. He wishes things could be better, but he just can't figure it out. That's when he meets his childhood friend Efraim (Jonah Hill) for the first time in years. Efraim has a business in which he sells weapons and various other military equipment to the government through defence contracts. This business becomes quite lucrative and soon they are at the top of the industry. This is until they meet Henry Girardi (Bradley Cooper), who offers them 'help' on one of the biggest contracts in history.

The fact that War Dogs is based on a true story is somewhat restrictive in what you can do with this movie. Todd Phillips has made an attempt to stick as close to the actual story and as a result the movie ends up a little bland. While the story takes the characters to exotic places like Iraq and Albania, Las Vegas and Miami, the events of the movie are kind of boring. A movie like this needs to be crazy and over the top, and this only verges on both of those. A lot of the movie is spent talking about the economics of war and looking at websites for arms contracts and I'm sure a documentary about that would be very interesting, but this is supposed to be an action comedy.

Speaking of the comedy, War Dogs doesn't have too many funny moments and when there are some, they tend to be negated by the seriousness of the events. Todd Phillips' comedy is really about what happens when you put characters in crazy situations and you see their reactions (a road trip to stop a sex tape or experience your baby being born, losing a best friend) and this situation isn't at all surprising or shocking. The funniest recurring thing throughout the film is probably Jonah Hill's choice of laugh, but you know when that's coming.


As for the performances, there isn't anything too exciting going on unless you want to unravel the mysteries of Miles Teller's facial scars that are so distracting. He seems a bit too bland to me, as though he's a blank canvas ready for a character to superimposed, but nothing comes. As I said, Jonah Hill has a very specific laugh that he chose for this movie and that's about the only standout he gives to the character. For me, the most interesting performances were given by Ana de Armas and Bradley Cooper, who both have very little impact on the story. While Ana de Armas, who plays David's girlfriend, gives him a little character motivation, she has a big screen presence. The other presence felt is that of Bradley Cooper, who despite having minimal screen time, is a menacing force throughout the second half of the movie.

Unlike Lord of War, which knew the lives of arms dealers were crazy (why else put Nic Cage in it), War Dogs tries too hard to follow the real events that it's covering, almost as if saying "trust us, true stories are way wilder than something we could come up with". And while that may be true of many crazy real-life exploits, it's not the case with this one. Instead you end up wishing they had made up some more exciting things to pad out the movie.

Saturday, 8 August 2015

Fantastic Four


I think we can all be in agreement now that a Fantastic Four movie will never work. This is the fourth attempt (you think the symbolism of that number would be lucky) and it just didn't work on any level. Even director Josh Trank doesn't like it.

In 1997, new childhood friends Reed Richards (Owen Judge) and Ben Grimm (Evan Hannemann) work on Reed's teleporter. Seven years later, Reed (Miles Teller) and Ben (Jamie Bell) present their science project to their science teacher to a lukewarm reception. They do get the attention of Dr Franklin Storm (Reg E. Cathey) and his daughter Sue (Kate Mara), who are working on the same project: interdimensional travel. They bring Reed to work on their project with the help of Franklin's renegade son Johnny (Michael B. Jordan) and reclusive scientist Victor Von Doom (Toby Kebbell). Once they complete the project, Reed, Ben, Johnny and Victor recklessly use the machine to go to the other dimension, where an accident occurs leaving Victor for dead and the other three with their respective powers. Sue gets hers when trying to bring them back.

What I have just told you is more than half the movie. If you think that that is spoiler-y, let me tell you, there is nothing to ruin about this movie. The climax of this movie happened so suddenly and so soon, that I turned to my friend and said "I think it's finishing". That's because this movie has a big problem with time. Both the shortness of the film itself (it's only 99 minutes) and what it does with that run time. It is about an hour of build up to when the characters get their powers, barely any time to develop the characters, first appearance of the villain (surprise it's Doctor Doom) and then death of main villain. All up I think there are two major action sequences and they don't last very long.

Despite the lack of character and action, the design of the film is pretty nice to look at. All four have a great design in their post accident bodies, but particularly that of Ben Grimm. In the last movies, he was just Michael Chiklis in a rubber suit, so making the character CGI is a big improvement. Also Doctor Doom's design is pretty cool (he has been fused with his spacesuit). While we're on the subject of Doctor Doom, why do all the film iterations try to give him the same origin of powers as the others. He's a witch doctor from Latveria (although they do make an attempt to hint at that).

The actors in this movie don't really get time to develop much of a character at all. Miles Teller disappears for a large chunk of the film, Kate Mara acts rather moody and Michael B. Jordan tries hard (but I feel his best stuff probably ended up on the cutting room floor). Pre transformation Jamie Bell is quite good, but then his performance is lost in the CGI. Toby Kebbell is the same, as he usually gives quite nuanced performances. Reg E. Cathey however will never live up to his character of Martin Querns on Oz though.

Basically just a tease at what could have been a rich exploration into what might have been, Fantastic Four falls dramatically short of any semblance of a good superhero movie.


Sunday, 26 October 2014

Whiplash

"The two most harmful words in the English language are "good job"

Damien Chazelle's Whiplash has established itself a reputation as an anti-inspirational teacher film, with emphasis on J.K. Simmons scalding and sizzling performance as jazz teacher Terence Fletcher. However, this emphasis in wrong, while Simmons is brilliant, but the focus is on Miles Teller's Andrew Neyman and his work behind the drum kit, this much is established clearly in the opening scene. And while the focus on the inspirational teacher-trope is relevant, it is besides the point of  the film, this is a film about dedication, drive, passion, perfection and ambition. Neyman wants to be one of the greats, and so what will he allow to stop him? At New York City's Schaffer Conservatory, Neyman is headhunted into the brutal totalitarian regime of Fletchers Studio Band, and swept in his desire to be in its core competitive band, often putting him at odds with others that he already feels segregated from.

Writer-director Chazelle, with few credits to his name, developed this film from his own 85-page draft and off of the back of a positive response to a related short film that he premiered at Sundance, as well as one of his previous writing efforts, Grand Piano. A single-setting thriller centred around a traumatised pianist (Elijah Wood) playing a concert while being held at gunpoint by a Machiavellian sniper. Whiplash exists in a similar vein to Grand Piano, Neyman is a talented musician held under the thumb of his mentor, and both films have a keen sense of style and direction. Whereas Grand Piano loses itself in it's genre and concept, Whiplash engrosses itself within its own characters passion, dedication and the consequences. And through personal drama, Fletcher's brutal perfectionism, and his own ambition, Neyman grows, challenges, falters and succeeds in equal measure.

Whiplash has a keen directorial style that emphasises the minute details in performance and occasionally life. The short inhale in that one moment of silence before a performance begins, the blood, sweat and tears of dedication, or even the subtle signals of the woman you're on a date with. This film literally emphasises the sweaty passion of these perfectionist musicians and their cutthroat existence at the top, a position rarely earning them any recognition from those outside of the world. Each performance is incredible, and the focus on the drumming, something so naturally bombastic, technically challenging and cinema-friendly, makes for engrossing viewing. The very first performance of the eponymous song is simply incredible, full stop. Each performance is filled with energy and emotion, each struggle with meaning, each moment is therefore life-changing. The focus on solely one character and his experiences actually suits the film, as putting an entire band through the same paces would deny the film of the most vital result of its themes and subject matter, it's undeniable intensity.


And of course I have to post some of my favourite drumming and drummers, sorry, jazz isn't often my thing....,
https://www.youtube.com/watch?v=2PATEO4Uomk
https://www.youtube.com/watch?v=OG8IioX1dHk
https://www.youtube.com/watch?v=hreNWY3Isf8
Well, sorta......
https://www.youtube.com/watch?v=OWKCqn1ExmQ

Jasper Roberts Consulting - Widget