Short review: Cave of Forgotten dreams

Director: Werner Herzog
(2011)

Considering the vast amount of critical acclaim he garners, my expectations for my first Werner Herzog documentary was reasonably high. Matching the supposed calibre of the director was the topic of the film, an examination of the oldest known cave drawings in the world.  While the cave itself-covered with calcium deposits and glorious paintings- is rather captivating, the rest of the doc isn’t. The beauty of the caves is soon abandoned for hideously dubbed scientists. Not that it matters as they mostly talk shit anyways, from one explaining how he searches for caves by smell (and how he’s president of a wine club?!) to another playing tunes on a replica flute. The film is stuffed with boring filler, right down to the 10 minute cave drawing montage we’ve already seen almost a dozen times. Should’ve been a 30 minute short instead of a full on film. Avoid.

Zero Dark Thirty review

Dan: Can I be honest with you? I am bad fucking news. I'm not your friend. I'm not gonna help you. I'm gonna break you

Director: Kathryn Bigelow
(2012)

ZDT kicks off in startling fashion; a black screen reminiscent of Kubrick, the substance of the scene comes not from what we see, but what we hear. Actual audio from the September 11^th attacks on the world trade centre, people screaming, crying, a devastating combination of scared and confused. For a film that charts the journey of the locating and killing Osama Bin Laden, Kathryn Bigelow (The Hurt Locker) takes the bold decision to start at the beginning. What begins is the almost 10 year hunt for the infamous perpetrator, shown through the determination and incredible will of one phenomenally dedicated woman, Maya (Jessica Chastain).

Maya’s journey begins in a detention centre in a CIA blacksite, bearing witness to the torture of Amman (Reda Kateb) a known associate of Al Qaeda. The dirty work is executed by Dan (Jason Clarke), an interrogator who becomes a close ally of Maya’s. Chastain does a wonderful job of showing Maya’s initial fragility, merely a young woman almost fresh out of high school. Dan’s interrogation is successful, giving Maya the name of Abu Ahmed. We follow Maya through her hunt for leads to Bin Laden, a mission she dedicates her life to.

As an audience, we all know how ZDT will end; the conclusion is ingrained in the memory of anyone old enough to remember the horror of 9/11. But the success of Bigelow and Hurt Locker writer Mark Boal is how this conclusion is reached, a strong emphasis on plot over story. Much like her previous film, ZDT can’t be stuffed into a genre like many films; instead it exists in many, ranging from drama to action. The opening, torture focused act makes way for the meat and potatoes of the film, almost an investigative thriller, not to mention a character study of Maya. Its engrossing stuff, riveting to the point of making the spurts of action almost seem dull.

Calling Chastain’s Maya the beating heart of ZDT would be a slightly misleading statement. Once again she steals scenes effortlessly, something she has done in everything appearance from The Tree of Life to Lawless. The talent of the actress isn’t in question here but instead the depth of her character. Maya is a machine, dedicating most of her life to hunting down terrorists. She’s cold, calculating and merciless; one dimensional up until the film’s sensational final shot. Strong female protagonist she might be, but she isn’t a complex one. This is somewhat bizarre, especially considering how brutal torturer Dan has his emotional frailties and intricacies. The fact Maya is based on an actual real life person (or persons) is ever so slightly terrifying.

For the most part Boal's dialogue is gripping and exciting, guiding the audience through the relatively complex plot without resorting to patronising handholding. Yet it has the occasional lapse, moments when he gives talented actors monumentally ridiculous things to say. It’s unfortunate that Chastain’s Maya takes the brunt of the flak, spouting shit such as (“I'm the motherfucker that found this place, sir.”), harmfully stripping away the seriousness of the films events up to this point. These slips into the outlandish aside, Boal has succeeded admirably.

Bigelow shifts gears once again in the final 3^rd, a startlingly accurate of SEAL Team 6’s raid on Bin Laden’s compound. It’s almost shot in real time, minute for minute. The ferocity of doors being breached and the vicious sound of bullets as they tear through the air are impressive, the lack of music amplifying the quality of the sound design, as well as perfectly setting the atmosphere. It’s entertaining, but never cinematic, Bigelow has puts more emphasis on crafting an accurate portrayal rather than an engrossing action scene. While this is admirable, taking some artistic licence with such a pivotal moment would have worked wonders.

 Taking into consideration the subject matter, Bigelow has succeeds admirably with Zero Dark Thirty. We all knew what the outcome of this 2 and a half hour film would be, but the way this conclusion is reached is engrossing. A fine example of how an excellent plot can infuse life in even the most well known stories.

The New World review

Pocahontas: Come, spirit, help us sing the story of our land. You are our mother. You are our field of corn. We rise from out of the soul of you. 

Director: Terrence Malick
(2005)

There's no doubt that The New World is a Terrence Malick film. There are long moments of silence, sparse dialogue and complex, whispered voiceovers. Almost another member of the cast, the environment once again plays a significant role here. Shots of nature are in abundance, from gorgeous sunsets to murky swamps, snowy barrens juxtaposed with a raging lightning storm, captured remarkably during a scene. This natural beauty that Malick employs in his work is mesmerising, and cinematographer Emanuel Luzbeki captures his director’s vision to a tee. The camera is always positioned perfectly, progressing the plot or raising our immersion in this small patch of Virginia. Luzbeki is quite possibly the finest cinematographer working today, and his talent is reflected in The New World.

The story here will be relatively familiar to many, of John Smith and how he falls in love with the American native Pocahontas. But this is a Terrence Malick film, so proceedings have been altered slightly in accordance with his unmistakeable direction. The natural beauty of Virginia is captured with elegant grace, coupled with otherworldly monologues from both Smith (Colin Farell) and Pocahontas (Q'orianka Kilcher). Calling The New World a slow film is a bit of an understatement, but it never strays into being boring. Its pacing is deliberate and meticulous; plot development is slight and minor. Malick is more interested in his typical, shots of long grass waving in the wind, shafts of light poking through trees and the gentle ripples that disrupt the peace of a river. The New World is a stunning film, and quite possibly Malick’s most visually striking film to date.

The core (and for that matter, the highlight) of the film centres around the love Smith and Pocahontas have for each other. Initially unable to communicate due to speaking different languages, they interact with signs and symbols, taking in each other’s cultures as they go. The natives possess no greed or resent, something that wows Smith, as well as the audience. Scenes that last minutes go by without any dialogue, but are propelled forward wonderfully as the pair interact, understand each other and ultimately fall in love. It’s absolutely stunning, a cinematic moment that I’ll remember for quite some time.

Having witnessed the extended edition of the film, pacing suffers horribly as the final third swings around. After 2 hours of beauty and tenderness, we endure a dull slog of an hour, an hour that possesses none of the films initial brilliance. Our protagonist John Smith disappears and his void is filled by John Rolfe (Christian Bale) for the remainder of the film. Bale does a decent job with what he’s given, but it’s hard to connect with a character that hasn’t been developed earlier in the film. Much like smith, he falls for Pocahontas, but in a contrast to Smiths relationship to her, this bond of love is so very flat.

After such a dull and uninteresting finish, The New World feels like an ever so slight disappointment. The great acting and phenomenal cinematography is a consistent treat compared to the structured and emotionally void final hour. Fans of Malick will get the expected experience, complete with trademark voiceovers, but it doesn’t live up to his previous efforts, or his later ones.

Short review: Defiance

Director: Edward Zwick
(2008)

Set in the forests of Belorussia, Defiance follows 4 brothers (Daniel Craig, Jamie Bell, George MacKay, Liev Schreiber) as they build camps to protect their fellow Jews from the invading Nazi’s. The performances make Defiance work, especially from Craig and Schreiber who have good chemistry together, making their brotherhood seem genuine. Wonderful pacing helps keep events interesting; as essential to the enjoyment of the film as the solid action scenes. Defiance falters by doing little to develop its characters, with a too little focus on supporting characters that often play a lame stereotype. This also applies to the leads, Craig’s character possesses no development, save for getting sick and grouchy half way through. while far from cheery, little is done to make the Germans seem like a threat, making events less distressing. Defiance makes for a solid drama, but not a spectacular one.