The Nice Guys

Shane Black's neo-noir buddy cop comedy The Nice Guys features good writing, solid acting and as much of a 70s retro vibe as you can handle. With undeniable chemistry between the two leads, this movie is full of quick comments and smart banter alongside great directional and aesthetic style, however it is still far from a perfect flick, with a sometimes messy story and a vibe of wasted potential.

Private investigator Holland March (Ryan Gosling) and enforcer and all-round badass Jackson Healy (Russell Crowe) find themselves buddied up through unlikely circumstances in an investigation for a missing young woman, Amelia (Margaret Qualley). Set in Los Angeles in the 1970s, an overarching conspiracy is revealed, reaching both into the prominent pornographic industry of the time as well as into the happenings of higher powers in the city.

This movie is undoubtedly carried by the chemistry between Crowe and Gosling in their lead roles, as any buddy comedy movie should be. The synergy between the two has allowed for smart writing and witty dialogue to translate well on to the screen, through their improbable pairing in a dire situation. Gosling's Holland March is a lazy, unsuccessful and usually drunk private eye, struggling to make a living with his young daughter Holly, played by Angourie Rice (who is just as impressive in this movie as Gosling and Crowe), and on the flipside, Crowe's Jackson Healy is professional, competent and in control as a hired enforcer, creating a compelling and interesting pairing in a genre defined by character synergy. Despite the heavy use of banter in dialogue between the two, some of their ventures feel quiet and uninspired, creating gaps between moments of enjoyment in the viewing experience. At the same time, while the dialogue is smart and creative, the movie's comedic value does not extend much further than this, and never really prompts more than a slight chuckle from its audience.

Black attempts to revive the buddy cop genre in The Nice Guys with a modern narrative which is more complicated and contains twists and turns which come unexpected in its telling. The vast involvement of the porn industry creates an interesting and enjoyable dynamic and provides plenty of room for the comedy of the film, however at times feels misguided and underutilized. While the story is mostly compelling and interesting, some of its complications feel forced or unexplained at times, leaving both the story direction and audience lost at certain times of the movie. This is not to say Black fails in his role as a writer-director, as the directional style of the film is as commendable as the performances of Crowe and Gosling. The movie's action sequences are well-choreographed and believable, while also effectively integrating physical comedy into character movements. The retro style of aesthetics creates a visually pleasing film, with colourful suits and nice cars as far as the eye can see, successfully pulling of the attempted 70s throwback the film aims for.

While this film sometimes loses its way, you can still expect to come out of a viewing entertained in some way or another, whether it be by the smart dialogue and chemistry of Crowe and Gosling, the pleasing directional and artistic styles, or the complicated crime story itself. Despite attempting to convey too many different themes and genres, and sometimes feeling messy and uninspired, this film is still worth a watch if you enjoy comedy, crime, Russell Crowe, Ryan Gosling, Shane Black, the 70s, or porn.

The Water Diviner

An Australian film that mostly takes place in Turkey, directed by and starring Russell Crowe, 

produced by the Seven Network, and executive produced by James Packer and Brett Ratner. The Water Diviner causes doubts before it's post-Gallipoli drama even begins, so how is it after the opening credits roll?

Crowe plays Joshua Connor, a Victorian farmer looking for water during a dry spell in 1919. After striking a new well, he returns home to his wife who is both grief-stricken and in denial since their sons were reported Killed In Action on the shores of Gallipoli four years earlier. The next day, she drowns herself and Connor vows to bury their sons bones next to her. He embarks a ship bound for Constantinople/Istanbul, and through a series of official refusals, cultural misunderstandings and morbid determination he meets Ayshe (Olga Kurylenko), a widowed hotel owner who refuses to accept her husbands wartime death to herself or her son,  Yilmaz Erdogan's Major Hassan who was the man in charge of the defence of Gallipoli from the ANZAC's and is forever haunted by the devastation of the war, and Jai Courtney's diplomatic Lieutenant Colonel Cyril Hughes, who is charge of the Australian military grave detail and determined to run things as smoothly as possible. During his travels to and beyond Gallipoli, Joshua reminisces about his sons childhoods and imagines their battles and fates away from him.

                              

                                               "Where I come from hope is a necessity."

The Water Diviner is not a bad film, not by any stretch. In fact, it's portrayal of the experiences of the ANZAC's and Turkish soldiers of Gallipoli is brutal and brilliant, and of enemies becoming friends is undeniably heartwarming. It's clear that Crowe's more than 25 years of experience with a wealth of talented local and international filmmakers has given him a leg-up of knowledge as he sits in the directors chair, and he has a lot of potential in this role. The lion's share of fault lies with the script, and some poor decisions in the direction. Connor's wife (Jaqueline Mackenzie) has four lines before she commits suicide, and most of them are non-senisical ramblings from a distraught mother. Additionally, Arthur is the only of the son's ever given more than one real scene in the film. One is shown more as a corpse than he is alive, and the other is only really present during one of the most dramatic moments. The pace at which the moments of establishing a connection not just between the Joshua and his family, but the audience as well, is brief, rushed and often involves poor or cliched dialogue. The film's title leaves much to be desired but it's near-magical tones relate to a frustrating and over-looked aspect of Crowe's character. Connor's love and determination manifest in moments of character development or plot advancement that border on literal magic. We see the tools he uses to find water at the beginning, but when he later describes the process to the young Orhan (Dylan Georgiades) the dialogue is muted and the scene becomes a slightly absurd moment of amusement, and when he searches for his sons, his dream and his intuition lead him to know where they are and it is constantly question and never explained. It could be implied that it's a fathers intuition, but it's more like the character just read the script.

The last scenes of the Water Diviner are by far the most disappointing, after a strong opening and engaging second act. It can really only be described as a okay-enough anti-climax followed by a sweet and happy ending with the weakest performances so far by the male actors. Corr is utterly underwhelming and devoid of all the charm or personality of  the rest of his performance, and it is just indicative of a poor choice. He's injured, though not particularly shell-shocked by his experiences so it makes little sense for his character to be so devoid of emotion, but perhaps a scene was cut. And his father is more emotionally affected at being reunited with Ayshe than he is his own son, though the love story angle between these two widowers is far too forced to begin with. His wife commited suicide weeks earlier and Ayshe cannot admit to her son, her brother-in-law, Connor or even herself that her husband is dead, and yet soon falls for Connor, a man old enough to be her father and who shows little interest in her romantically.

However, the film itself is beautiful to look at, and as an actor-director Crowe gets some very good performances. Jai Courtney puts on one of his best performances seen so far, and Turkish actor Yilmaz Erdogan may only have one emotion (somberness), but he plays it well. His Sergeant and companion played by Cem Yilmaz is much more of a rounded character who may or may not have fought directly against Connor's sons. Crowe as Connor is not any kind of badass or genius, but simply a determined man who occassionally employs some kind of magic. Whilst the pace was often too fast, the first act of the Water Diviner is excellently arranged, beginning with the retreat of the ANZAC's from Gallipoli from the Turkish perspective and then changing to Connor digging a well in the bush in Victoria four years later. Cinematographer Andrew Lesnie (LOTR & The Hobbit films, The Lovely Bones, Bran Nue Dae) captures some gorgeous and harrowing cinematography, at times utlising birds-eye-view shots to great effect. The battle scenes often disrupt moments of quiet reflection for Connor, haunting him. This effect of editing, and the scenes themselves are simply brilliant. The fights are full of heroism and brutality, though with little to no gore, and focus primarily on the brothers. Whether they're harrowing or heroic, these are the best moments in the entire film.

As much as this is a film about and dedicated to the ANZAC's, it's mostly about the mending of pains and grievances after a war. There's a focus on the occupation of Turkey and the late addition of Greek antagonists that certainly cause sympathies as it is comparable of the carving up of Germany post-World War Two. There's careful respects paid to the dead of both sides (though obviously Australia with more reverence) but the film is not afraid to meet the honouring of Australia's dead with the reminder that many Turks were defending an invasion. Upon reflection, most real malice, hatred or blame is relegated within two minor characters on either side. This emphasis on healing wounds in a post-war period is another area where the film shines, and leaving some of these conflicts unresolved is oddly satisfying.

Featuring some excellent shots, a genuinely fascinating and relevant social context. mostly good performances and a surprisingly effective debut from it's director, The Water Diviner is a good way for Australian cinema to finish in 2014. It's high-range of emotions, brilliant battle sequences and spirit of forgiveness are reinforce it's colourful and diverse visuals and politics. The Water Diviner is worth the watch before New Year's.

Noah

Epics about biblical characters have been around as long as there has been cinema. And the list of actors who have played them is long, Charlton Heston as Moses, Willem Defoe as Jesus, Graham Chapman as Brian(?) Now to that list we can add Russell Crowe, a man who has long sought to corner the market on historical epics.

I'm going to keep my explanation of the plot to a minimum, partly because the story is so epic and partly because the story of Noah is so well known. After Man has become corrupt and evil from the power it has gained from fallen angels, called Watchers, God (known as the Creator) decides to punish everyone by sending a flood that will destroy all humanity. The Creator picks Noah (Russell Crowe) to build an ark that will carry all the animals of Earth, which the Creator deems to be innocent. Noah travels with his family to his grandfather Methuselah (Anthony Hopkins) who helps him in his task along with the Watchers. King of Men Tubal-cain (Ray Winstone) discover what Noah is doing and rallies Man to stop him.

Surprisingly for a movie based on a religious story, you'll find very little preaching going on. It is an interpretation of what is in the book of Genesis and I can only imagine a fair bit of creative licence. There is a sequence that I thoroughly enjoyed where Crowe narrates the story of Creation and a montage that includes the Big Bang and evolution is played. I thought this was a great merging of religion and science.

One aspect of this film that really appealed to the filmmaker in me was that up until the flood occurs, most of the special effects are done in a practical way and not computer generated images, well I think they were and if they weren't, it certainly fooled me. An example of this are the Watchers. These are huge rock monsters, reminiscent of the Rock Biter in The NeverEnding Story. To me, they looked like they were made with very advanced claymation techniques. Again, I could be wrong.

My feelings toward Russell Crowe have always been a bit tenuous. Everyone loves him for his roles in films like Gladiator and Romper Stomper, but I've never been able to get behind him. However, with this film I think I might have taken a turn. His gruffness turned to softness at parts and he wasn't putting on an affected accent that he does with all his other films.

Emma Watson has really been proving herself the last couple of years outside of the Harry Potter franchise, appearing in films like The Perks of Being a Wallflower and The Bling Ring. Here she plays Noah's adopted daughter Ila and really showcases her emotional talents in the films more pressing scenes. Ray Winstone always is able to throw himself into his roles. He is a perfect pick for the earthy and somewhat demonic Tubal-cain.

Throw in some good performances from Jennifer Connelly, who must like being in Darren Aronofsky's films, and a berry-obsessed and humourous role from Anthony Hopkins.

Verdict: A good biblical epic that doesn't preach too much about the story's original message.