The Jungle Book

The Jungle Book is one of those stories that people of all ages have grown up with, whether it's the books, the original 1967 Disney animated movie or any of the other movie versions that have been released since. The latest version has come along at a time when making a live action version is possible without relying on unpredictable trained animals (like they did in the 90s.) And while there's a lot of good in this movie, there's also a lot of bad.

Mowgli (Neel Sethi) is a young boy who has grown up in the jungle. He was found by the black panther Bagheer (Sir Ben Kingsley) and raised by the wolf Raksha (Lupita Nyong'o). During a peacetime period brought on by drought, Mowgli comes under the attention of the tiger Shere Khan (Idris Elba), who threatens the entire jungle unless Mowgli is turned over to him. Mowgli realises that the best thing for him to do is find his true place in the world and go to the man-village where he was originally from. Along the way, he comes across the snake Kaa (Scarlett Johannson), befriends Baloo the bear (Bill Murray) and angers King Louie (Christopher Walken).

The original Disney animated movie was very much targeted toward kids, no doubt about it. This one, I'm not so sure. Yes, the plot is pretty basic and doesn't need too much attention to follow it, but it is a really intense movie. Every time Mowgli found himself in a dangerous situation, I couldn't help but get caught up in the moment, so I can't imagine how terrifying some of it must have been for kids under ten. The way the world is presented to us is pretty ingenious. Everything seems out of proportion and way bigger than it would be in real life. That's because we're seeing the world through the eyes of a ten year old. Of course elephants will seem like the biggest things in the world. While we're on the topic of the animals, I have to mention how fantastic the visual effects are. So much research must have gone into how each individual animal species moves, because when you see them, you almost forget that they aren't even there with Neel Sethi, yet he reacts amazingly to them.

While all this is great, there are still problems. I felt like some of the characters were only included in the film because the filmmakers felt obliged to put them in there rather than serving any plot points. For me Kaa was the big one. She only appears briefly (basically all her part is in the trailer) and all we want to see from that character is the crazy eyes. The other one is King Louie. I find his character particularly problematic. He doesn't appear in any of the original books, but rather was created for the Disney animated movie. In 1967, I'm sure it was okay to have a parody of a black jazz musician in your movie, but when you've got a very obvious Christopher Walken doing a very obvious impression of a black person (blackvoice?), it goes a bit far. I know Christopher Walken loves to sing, but does he need to? That leads into the next problem. This isn't a musical like the old one, so why shoehorn in two songs. "Bare Necessities" and "I Wanna Be Like You" were the most popular songs from the original sure, but I found that breaking up the action with these songs just pointless.

Overall, the voice cast is pretty solid. Idris Elba and Ben Kingsley are amazing. Elba has a rather menacing voice as it is, but when it's coming from a tiger, well that's just terrifying. Kingsley is such a talented voice actor that you end up paying more attention to his character than the voice. And that's a problem that sticks out with the rest of the characters. The cast is so well known that they become removed from the parts they play. This is most noticeable with Bill Murray who seemed to be playing more of a version of himself than Baloo.

The Jungle Book is hanging in a weird limbo for me. I wouldn't say I particularly enjoyed it, but I wasn't bored. There was always something that was intriguing for me on screen and at times that distracted me from what was going on with the story. I also couldn't help noticing that this movie took some beats from The Lion King, which was a huge distraction.

The Walk

Robert Zemeckis has a talent for telling eccentric stories on a grand scale, be it Back to the Future, Forrest Gump or Castaway. Now he’s adapted Man on Wire, one of the finest documentaries in recent years, into The Walk. 

Standing atop the Statue of Liberty's torch, our story begins with Philippe Petit (Joseph Gordon-Levitt), reminiscing about his incredible experience atop the Twin Towers. Back in 1973, Philippe's livelihood rests on his ability to perform. His street act is filled with juggling, unicycles and of course, wire walking. A visit to the dentist's office however, give Philippe an idea for an incredible feat, a wire-walk between the two tallest buildings in the world (currently under construction).

After getting kicked out by his parents, he starts to practice at the Circus, where he falls under the watchful gaze of trainer Papa Rudy (Ben Kingsley). Slowly Philippe forms a group of accomplices, starting with fellow performer, Annie (Charlotte Le Bon). The plan is in motion and they all travel to America, now all the group have to do is get to the top.

Considering the quality of the original documentary, it’s difficult to view The Walk as anything but unnecessary. It plays out as a heist film, similar to the re-enactments in Man on Wire, and plays up the theatrics well, with expectedly strong visuals from Dariusz Wolski. But the result is a hollow experience that doesn’t hold up to the whimsicality of Philippe Petit’s story. Zemeckis has bowed to peer pressure and favoured spectacle over story, and he’s done it with a film that should rely so strongly on the development and detail of the feat. 

Perhaps worse than that though, was the decision to cast Joseph Gordon-Levitt as Petit. I think Levitt is an exceptionally strong actor and has clearly trained himself to capture the charismatic essence of Petit, but all the electrifying performances and outrageous French accents can’t change the fact that it’s Joseph Gordon-Levitt in a wig. At least I hope that’s a wig. He never really inhabits Philippe, instead he becomes more of a caricature of him. 

The relationships between the characters also seem skewed, particularly toward the end with the way Phillipe, his girlfriend and his accomplices separated after the event, which is quite an emotional moment in the documentary. Historical accuracy always seems to be an issue with biopics, but here it's less the about inaccuracies and more about the lack of connection to the people that was so well established through the interviews and depictions in Man on Wire. I can't help but feel that perhaps this film would have been in better hands with a French production house like Studio Canal rather than Tristar, or better yet just not made at all. 

If you're recounting events and depicting real people then spectacle needs to be firmed up with half-decent story-telling, and unfortunately Zemeckis only achieves the spectacle. Man on Wire is the only way to go for Petit's story. 

Life

For a movie with such a title, this movie is certainly lacking life. Which is really disappointing considering Anton Corbijn made one of the most vibrant and thrilling movies of last year in A Most Wanted Man. Here he attempts to make a film about one of the most promising young film stars of all time, but somehow it just seems flat and one dimensional.

Dennis Stock (Robert Pattinson) is a young photographer who yearns for more than the work he is doing, which is mainly set photography and photos of actors for studios. At a casting party for the movie Rebel Without a Cause, he meets James Dean (Dane DeHaan), with whom he is immediately intrigued. Dennis wants to photograph James, but is met with resistance from both Dean and his agent John Morris (Joel Edgerton). He finally convinces both and goes to New York to take the photos, but struggles to find purpose in them. Meanwhile, James is struggling to keep studio head Jack Warner (Ben Kingsley) happy.

This film feels like it is struggling to show what it is about. To me it seems like they have taken Stock's iconic photos of Dean and slapped a haphazard story around what might have happened during the time they spent together. Through this speculation it's hard to see what actually occurred in the time that Stock and Dean had together, a fact compounded by the fact that Stock died five years ago and Dean over fifty.

Another thing that annoyed me throughout the film was its look. It was all very plastic and shiny. I know that this is the vision of 50s Hollywood we have, all bright colours and chrome, but it even extends to New York and Indiana in the winter. If Corbijn had have gone with a bit more of a grittier look to some of the sets (and you can tell that they are sets), then maybe it could've come across as more convincing.

Even less convincing in this film is the acting, with a few exceptions. While Robert Pattinson may have carried the desperation that the young Stock had with finding work, I found his accent to be incredibly unbearable and he had little chemistry with his co-stars. Dane DeHaan does a fine impersonation of James Dean, what with the mumbles and worried looks, but I feel as though he failed to capture the essence of Dean that comes across in the few movies he did. Joel Edgerton is somewhat likeable as John Morris despite not having a big part and Ben Kingsley doesn't really commit to his role as Jack Warner, but that's something I have come to expect from him. I really wanted to see more of Alessandra Mastronardi as I felt there was a good dynamic between her and DeHaan and it would have been interesting to explore that relationship.

Going back and looking at the actual photos that were the basis of this film gave me more insight into who James Dean was than watching this film. It also made me realise what a good choice it was casting James Franco as Dean over a decade ago.

Self/less

I think at some stage this movie must have had the alternate title of Sense/less because this movie doesn't really make any. I think the process stopped at the stage of finding an interesting premise and just throwing together whatever they could in after to make it a narrative that they think would work.

Damian (Ben Kingsley) is an extremely wealthy real estate who is dying from cancer. He hears about a new technology called shedding, which will put his mind into a healthy, young host body. When he is transferred into his new body, Damian (Ryan Reynolds) begins to relive the memories of his new body and is compelled to find his wife Maddy (Natalie Martinez). On his trail however, is Albright (Matthew Goode), the specialist who conducted the procedure and who doesn't want the secret of how the bodies came to his possession.

The body-switching genre is really nothing new and there's only so many variations that you can try. This one follows the voluntary method of switching, but it seems very anticlimactic. Old cancer patient gets new body: roll credits. It was very predictable in how everything was going to turn out, even the ending wasn't very surprising. I think it had to do with the rather slow pacing of the film. The film devotes a large chunk of time to when Damian first wakes up in his new body, but this is shown in a series of montages one after the other (different montages, not one big one). Even the action sequences seem to take a long time and there is no real feeling of suspense being built up.

Every single actor in this film did it just for the money, I'm sure. Ryan Reynolds is not even trying as hard as he would in his other films, dramatic or comedic. Hell, this isn't even his first body swap movie (see The Change-up). Matthew Goode is a very talented screen actor who can do menacing and scary, but doesn't attempt that here. Natalie Martinez is just trying to get her face on cinema screens after a lengthy television career. That brings us to Ben Kingsley. I kind of expect this kind of thing from him, he needs these smaller little roles to take up his time between the bigger films, although you could almost call his role a cameo.

Another working title for this movie must have been Paycheck but unfortunately that was taken by the Ben Affleck vehicle that is a much better movie worth your time.

War Movie Month: Schindler's List (1993)

"Whoever saves one life, saves the world entire"

Unless you've been living under a rock for the past 75 years, you're probably quite aware of the Holocaust and the horrific events surrounding it. However, you may not be aware of the story of Oskar Schindler, a rich industrialist that used his production empire to save the lives of some 1,200 Jews from certain death. His astounding work is the focus of Steven Spielberg's film, Schindler's List.

At the beginning of World War II, in the Kraków Ghetto, Oskar Schindler (Liam Neeson), a businessman and member of the Nazi Party, opens an enamelware factory, hiring Jewish workers because they are cheaper labour. He appoints a local Jewish man Itzhak Stern (Ben Kingsley) as his managerial assistant, all the while, Oskar maintains his links with local officials and members of the SS, bribing them to allow his workers to stay. A notorious womaniser and drinker, Oskar maintains a high profile and lavish image whilst many of his workers struggle to survive.

With a new concentration camp to be constructed in Kraków, SS member Amon Goeth (Ralph Fiennes) is put in charge of the project. Goeth is relentless in his anti-Semitic actions, often referring to the inhabitants of the Ghetto as "rats" and executing people randomly for his own amusement. When Schindler meets Goeth, he forms a pseudo-friendship with the man, in the hope that he will prove useful down the line. Indeed, towards the end of the war, when Goeth is ordered to send the remaining Jews for extermination, Schindler is able to bribe him into letting him keep his workers. The names of these workers and their families, compiled by Schindler and Stern to send to Goeth, would become known as "Schindler's List".

The film was finally made, largely thanks to Holocaust survivor and 'Schindler Jew' Poldek Pfefferberg, who had been attempting to get the Schindler story made into a film for years with no success. That is, until he met Australian author Thomas Keneally. Keneally wrote the Booker Prize-winning novel Schindler's Ark, which inspired Spielberg to make Schindler's List. Keneally said that what drew him to the story was Schindler's flawed nature,"the fact that you couldn't see where opportunism ended and altruism began". Schindler is portrayed by Neeson as complex and difficult to read, but undeniably charitable. Whether his plan was always altruistic, or simply due to the transformative experience of a country deep in war, his actions permeate a sense of hope from a dark period in history and are presented through Spielberg's poignant biopic.

Presented almost entirely in black and white, the colourless imagery of Schindler's List depicts a low point in recent human history. Spielberg and his regular cinematographer, Janusz Kamiński felt that the black and white gave the film a documentary style, which they tied together with plenty of handheld shots, making it less subjective. However that doesn't make it any less of an emotional viewing experience. Certain elements of shots, including the flame from candles and the red coat worn by a little girl, were left in colour. This involved a painstaking process where the colour shots had to be greyed out, frame by frame, leaving just the desired colour. The result, given the symbolic nature of these moments, is really very moving. The musical score by, you guessed it, John Williams (Spielberg's go-to composer) seems very fitting for the sombre tone of the film and won Williams an Academy Award, one of seven awarded to the film. Schindler's List sends you through a barrel ride of emotion, and much of this is down to its superb presentation.

Spielberg couldn't have chosen a better cast with the then relatively unknown (now major action star) Liam Neeson leading the way as Schindler. Neeson's performance is crucial in creating a character that isn't simply a messiah, but rather has uncertain goals and personal demons to grapple with. Kingsley is astoundingly good as the intellectually brilliant Itzhak Stern, his performance is honest and often touching. Fiennes is very fierce as Goeth, which must have been an emotionally exhausting character to play given his horrific and heartless actions. Supporting them are Caroline Goodall as Schindler's wife Emilie, Jonathan Sagall as Poldek Pfefferberg and Embeth Davidz as Helen Hirsch, the Jewish girl that gained Goeth's admiration's whilst working as his maid.  

Schindler's List is an honest look at the Holocaust, and the man that combated it with his power. Through all the haunting imagery rests a positive message of hope that leaves you both ready to mourn history's victims and celebrate those that try to make a difference. A movie for humans.

Night at the Museum: Secret of the Tomb

Part of me is glad that they have finally put this franchise to rest. Some of this has to do with the fact that it has become a bit stale, there's only so much you can do when a museum's exhibit's have the ability to come to life. The other and more major thing is that it wouldn't be the same without Robin Williams (this is the final onscreen performance he did before his death).

After a disastrous dinner planned at the Natural History Museum of New York, where all the exhibits have gone haywire, night curator Larry (Ben Stiller) discovers that the magic that keeps the exhibits alive is fading fast and journeys to the British Museum to find a solution. He is joined by Theodore Roosevelt (Robin Williams), Ahkmenrah (Rami Malek) and the others to help. Once there he is confronted by Sir Lancelot (Dan Stevens), who believes the magic tablet to be the Holy Grail.

A lot of the jokes in this movie are subpar, if not complete repeats of jokes from the previous movies. Robin Williams, the most seasoned comedian of the group provides the most jokes, even referencing his Oscar winning role in Good Will Hunting ("Once more unto the breach, dear friends"). There are some historical jokes as well, which may float above younger audiences heads. A great example of this is a reference to the Egyptians owning many Jewish slaves, to which Larry replies that they weren't too happy about it.

Apart from Robin Williams, there are no real standout performances. Ben Stiller does his thing, but it just felt like he was recycling his role in The Secret Life of Walter Mitty. He was humourous as the caveman Laa, but this character wasn't exemplary. Rebel Wilson has a small role as the night guard of the British Museum, but I found her over the top English accent unbearable. Skyler Gisondo plays Nick, Larry's teenage son, and I felt like the character was just annoying and unnecessary.

The movie's cameo's are probably more rewarding than the lead roles. Dick Van Dyke makes a small appearance as Cecil, the former night guard, along with Mickey Rooney, who died not long after this film. Hugh Jackman appears as himself playing King Arthur along with Alice Eve as Guinevere. Ben Kingsley plays Ahkmenrah's father, but doesn't stick around too long.

Verdict: Slightly funny, but if you've seen the first one of these films, then you'll know why this one seems redundant. It's very sad and poignant that Robin Williams' final line is "Farewell, good friend".

Exodus: Gods and Kings

Ridley Scott's take on the story of Moses is suitably epic and it would be hard to compare it to his last two movies. But if we go back and look at other historical epics he's done, Gladiator and Kingdom of Heaven, we know there's precedent for him to be better.

Exodus tells the story of Moses (Christian Bale) and how he gathered the Hebrews to escape the Egyptians. We see his exile from Egypt by the Pharaoh Ramesses II (Joel Edgerton), the plagues of Egypt and the crossing of the Red Sea. Depending on your background, this is probably a familiar tale and will be easy to follow, even guess what is going to happen next.

As stated above, Scott is fairly adept at making an epic film and this movie certainly does tick all the boxes. While it doesn't necessarily push the envelope in the storytelling department, it makes up for it with some amazing visuals and action set pieces. The sets of Memphis, the capital of Ancient Egypt are amazing and are backed up with some wonderful CGI images of the pyramids under construction. The deserts of Spain make a fantastic substitute for Egypt and match all the rocky crags that one might imagine from biblical myths. There are some amazing battles scattered throughout that display the amazing numbers that the armies of the time would have had.

In terms of acting, this really is a two-horse show for both Bale and Edgerton. Their performances aren't great, but that has to do with limited character development and that's alarming given the amount of supporting characters in the film. The stars playing the minor characters (Sigourney Weaver, John Turturro and Sir Ben Kingsley) are all given remarkably little to do but display a seemingly talented backdrop. The only person who I thought tried with his character a little was Ben Mendelsohn, who plays a slightly effete Egyptian viceroy.

Verdict: An overall good and suitably epic tale, but doesn't push the boundaries or throw you anything that you wouldn't have expected.

Iron Man 3

It's taken three movies but I think I finally see the appeal of Tony Stark. His abrasiveness and bluntness add to his charm. Over the course of the last two Iron Man movies (and that massive Avengers flick), I have to come to love the man in the Iron mask.

In this first post-Avengers movie, Tony Stark (Robert Downey Jr.) is suffering from PTSD caused by the events that happened in New York. He spends most of his days tinkering with his many Iron Man suits with the help of his robotic assistant Jarvis (Paul Bettany). Stark's girlfriend Pepper Potts (Gwyneth Paltrow) is running Stark Industries. And Stark's best friend Col. James Rhodes (Don Cheadle), AKA War Machine AKA Iron Patriot, is working for the US Government.

In recent weeks, attacks by a shadowy terrorist known as the Mandarin (Sir Ben Kingsley) have been ramping up in their intensity. Pepper Potts is in talks with Aldrich Killian (Guy Pearce), a scientist who was once ignored by Tony, about some new biotechnology he has engineered.

The shit hits the fan when an attack by the Mandarin hits Tony's old bodyguard Happy Hogan (Jon Favreau). Tony reacts to this attack by saying that he is going to take revenge on the Mandarin and even goes so far as to give him his home address (via the means of good old fashioned media). The Mandarin responds in turn by attacking Stark's cliffside mansion.

Tony's suit breaks down and decides to fly across the country. He wakes up in Tennessee and finds refuge with a young boy who helps repair his suit. Once this is done, he teams up with Rhodey to take the Mandarin out.

I think what I enjoyed so much about this film is the fact that it wasn't directed by Jon Favreau (not that he's a bad director). Shane Black brings some fresh ideas and they definitely show through his directorial style.

Ever since I saw 2002's Kiss Kiss Bang Bang, I have always had faith in RDJ. He brings lightness to roles that would otherwise be quite depressing (because let's face it, Tony Stark is Bruce Wayne or vice versa). As I said earlier, Tony Stark is quite blunt and has no qualms about driving off and leaving a kid in the cold snow.

I have found that putting Ben Kingsley in a movie is great marketing (that this film doesn't really need), but he has only ever played a handful of dramatic roles. This is one of those borderline roles and once you see the film, you will agree that he is a fantastic actor. I have always been a fan of Guy Pearce (one of the first films I ever saw being made had him in it). In this movie, his devious Aldrich does whatever he wants to get his way.

Of course the most important element of these Marvel films is the stunning visuals. The seen where Tony's mansion is falling into the see is fantastic to look at and the climax of the film is even better.

Verdict: A fantastically entertaining superhero romp that is better than the last two Iron Man films combined. Lots of hilarious dialogue between RDJ and Paul Bettany.