Ragnarok

Mikkel Brænne Sandemose, 2014

Can I Stream it?

3/5

Archaeologist Sigurd (Pål Sverre Hagen) deciphers an ancient rune that leads him to a remote island on the Russian border. He believes it will guide him to a Viking treasure, but instead leads him to something completely different.

Steven Spielberg is a master craftsman of timing and suspense when it comes to human and beast. He masterfully keeps you on the edge of your seat, with calculated sensory manipulation. Sometimes he's only playing with one of your senses. Sometimes you're just hearing something. Sometimes you're just seeing a shadow, a faint image of something. Sometimes you are just seeing someone else's reaction on their face. Sandemose certainly draws some inspiration from Spielberg's playbook here. Ragnarok provides enough thrills with adequate build up. It combines elements of Jurassic Park, Raiders of the Lost Ark and Lake Placid (and okay... Sharknado too, kind of) all in the backdrop of lushly wooded & rainy Norway. There is family conflict; Sigurd being the single parent father who lost his wife, now married to his job and trying to kill two birds with one stone by having his kids tag along with him on his trip while hopefully getting credit for a vacation. His daughter would rather go to Spain like the other girls at her school. But she has to settle for the remote woods so her daddy can track down what he thinks is a trove of Viking booty. So many times we see the broken father who lost the wife who spends the movie licking his wounds. Sigurd doesn't do this, presumably because he is so obsessed with his work. When they arrive at their destination, it's really when the best pieces of the film are laid out. Ragnarok is a nicely-packed, adventurous monster movie with enough suspense and CGI production (without ever leaning on it too much) to keep you engaged.

Noah

Darren Aronofsky, 2014

Can I Stream It?

2/5

Loosely based on the classic Biblical tale, Aronofsky's Noah tells the story of Noah (Russell Crowe) - a loyal father and husband suddenly served with visions of impending destruction. The earth's creator has grown disheartened with the current state of the human race which has become destructive and violent. Noah realizes that there is an intention to cleanse the Earth of the toxic human race that has spread through the lands. He realizes that it's his duty to salvage Earth's animal creatures and re-establish the human population after the storms have settled.

There are a lot of expectations going into an Aronofsky film. You know that there is going to be a real built-in dim disposition to any of his pictures. Examinations of human morality. Self-serving impulses. Self doubt, regret, weakness. Inner conflict. Interpersonal conflicts. Orchestral scores to assist in manipulating the dramatic tones. There's clearly a lot of these elements in his take on the story of Noah's Ark. But Aronofsky has one leg out of the door from his usual pure-twisted murk and in a more Guillermo Del Toro-imaginary mindset. It's curious as to why filmmakers want to touch religious material to begin with. The amount of scrutiny and inherent controversy raise the expectations so high that it's nearly impossible for the picture to please the masses. This is especially the case when you take on a story like this, a story that's already quite limited in depth in it's original form. Because of this the whole artistic licensing must be used. Aronofsky does this by attempting to make a thorough examination of Noah the character while also employing a considerable amount of CGI and a large cast of familiar faces. A story about a man carrying the weight of the world on his shoulders. Noah is certainly a flawed character, forced to watch the majority of the world quickly die off so he can save his own family and some indifferent beings. He ventures through the crowds of people during the final stages of construction of the Ark. They are greedy, self-serving, malevolent. Willing to kill one another off for a quick meal. They have cheapened the value of human life. But he also sees himself in them, which ultimately causes him to suffer with a sense of survivor's guilt as they all drown in the flooding. Their pleas for refuge are heard through the wooden walls that he has spent so much time building. He struggles with questions of why was he chosen? What is he supposed to do next? Are his convictions correct? The film certainly does a good job of examining Noah the character, with much help from the always-good Crowe. The two standout features of the picture are certainly Crowe's performance and the rather impressive CGI. Quite surprising to discover that not one real-life animal was used in the production, and the digitally-manufactured creations are really as good as Richard Parker in the Life of Pi. The rock-monster-like Watchers may be THE most memorable visual element of the entire picture, assisting Noah in his construction of the sanctuary so that they themselves may be redeemed and return to Heaven.

But where Aronofsky succeeds in creating a character study he fails at creating a thoroughly engaging story. There is some captivating build-up as Noah works to construct the clock as not only the clock is ticking when it comes to Mother Nature's impending doom but also Tubal-cain's people are knocking at the door. As the clock ticks and the pressure is on Noah, you're right there with the story and engaged. But as soon as the Ark begins to float away the story basically gets lost at sea. It begins to meander, to falter, soon becoming a predictable bore. Aronofsky has to take the blame. Perhaps it was the PG-13 rating, creating too much of a confinement for him. Perhaps it was the studio breathing down his neck, putting too much pressure on the production. It seems quite clear that Aronofsky is better equipped to handle smaller films with more unsettling elements like the unforgettable Requiem for a Dream or the very-compelling The Wrestler. 

The Beach

(REWATCHED)

Danny Boyle, 2000

Can I Stream It?

2/5

Boyle is a great film-maker with a lot of memorable titles under his belt. His early career consist of some dramatic gems in Shallow Grave and Trainspotting (possibly his best work). His later career would evolve into a more ambitious stylistic approach with films like Slumdog Millionaire, 127 Hours, and 28 Days Later. But before he made those also great films, he performed experiments and tested the waters with his film-making like he did with The Beach. Adapted from the novel written by Alex Garland, the film consists of main character Richard (DiCaprio) venturing to Thailand looking for unique adventure. While staying at a hostel one night, he begins talking to crazed-neighbor Daffy (played by Doyle favorite Robert Carlyle) who tells him about a paradise-like island that is hidden from the sea. Richard discounts the island as a myth until he finds a map on his door the next day, and Daffy gone. Richard decides to travel to the island to see if the legend is true. He soon finds that not only is the legend very much true, but there is much more to this island than anyone would expect.

Boyle's experiments with the film for the most part fail because he wastes valuable time on them. Time that would be better spent developing the already confusing characters was spent on visual trickery and recklessly abstract narrative. The film also feels experimental for a young Leonardo DiCaprio. DiCaprio had previously starred in films like What's Eating Gilbert Grape and The Basketball Diaries that showed that he certainly had talent but it needed some refinement and evolution. When we are introduced to DiCaprio, its through an odd narrative where Richard comes off as a bit abrasive. He lives up to that same personality soon after when he meets the young girl staying next to him and he is mildly aggressive with her boyfriend. You would think a young traveler would have a more benign, welcoming demeanor. This aggression is elevated soon after when they are aruging on top of the rock ledge, where things seemed a bit over-dramatized and over-aggressive. His behavior continues to be self-serving, and you never really feel obligated to get behind him as a protagonist. The swerving that sloppily navigates the film through the first two thirds of the film eventually leads to the Richard isolation jungle scenes in the third where it just crashes completely. Boyle's Beach experiment fails because it doesn't focus enough on pure performances and story and instead relies on overindulgence and reckless reverie.

The Hobbit: The Desolation of Smaug

Peter Jackson, 2013

Can I Stream It?

4/5

The second film in the Hobbit trilogy catches up to Bilbo Baggins and his Dwarven companions as they inch closer to Erebor which has been guarded by the legendary dragon Smaug for some time.

The second installment in Peter Jackson's Hobbit trilogy bears quite a bit of resemblance to the Lord of the Rings trilogy, and there is nothing wrong with that. Jackson has a great track record of providing great style with great story, albeit it mostly CGI'd. The alternate universe depicted in Desolation is a much less forgiving one than the first in the series. Enlarged insects. The dwarves find themselves running into old enemies. The orcs build strength. There is an ominous build-up of dark energy. Bilbo is finding himself falling victim to his new-found ring's powers. Even the landscape itself is a much more bleak one. Absent of the vibrant colors shown in the first film, this one is decorated with cobwebs and gray tones. Unlike the first film, there isn't a lot of time for all-night feasts in pubs. The clock is ticking. While Smaug has a more mythical presence in the first film, he is certainly a physical presence in this one. The enormous digitized beast does not disappoint.

Now with fifteen hours of film created, is there anything more thoroughly entrancing than Jackson's wide-screen depiction Middle Earth? Of course people could say Star Wars, or Star Trek, maybe the Harry Potter films or any other franchise with hours and hours of material. But they just don't feel as detailed. While some of the other franchises may have a more complex story-line, an argument can be made that they fall short visually. Jackson has put the Tolkien-created world on film in a way that when you sit down and start watching, depending on your viewing environment (and you aren't watching it on your iPhone with no headphones), you are IN his world. Those three hours fly by. You don't want it to be over. They are always a feast for the eyes. Candy for the cortex. Merrymaking for the mind. You can't blame the guy for building himself his own Hobbit house in New Zealand. He did that, right?

All is Lost

J.C. Chandor, 2013


4/5

A man (Robert Redford) is alone at sea, is startled when a shipping container collides with his yacht. He is quick to mend the situation, but it's the beginning of a series of events that tests his ability to survive at sea.

It's sure to solicit comparisons to similarly-themed survival at sea films like Open Water or Cast-Away. But it has so much more heart and substance than the former and less outrageous and hefty than the latter. You could say it's simply a story about a man and his boat. A man looking for some solitude, some peace, perhaps at a refectory period in his life. And some things just get in the way. Some things like, say, a forgotten Chinese shipping container filled with knock-off sneakers. And other things, like Mother Nature displaying her fury on the sea, turning a beautiful day into a grayish hell. Perhaps it's a lesson in life, that you can't run away from your personal conflicts, because conflict can find you anywhere in the world. How you deal with them when they arise, is possibly the true test of character.

Redford, cast as "Our Man", brings his veteran acting chops to the table as a veteran yachtsman. And he does a damn good job of doing it. There's a lot of things you don't know about the man, and you're left to put a lot of the pieces together. He's used to being at sea. That's quite clear. He appears to take comfort in being alone. Why he's alone is not clearly explained. You hear his narrative early on, and you see his wedding band on his finger so you know he has a family somewhere. He's a man who likes a cocktail (or two), and perhaps that's why he's alone at sea in the first place, especially given the apologetic tone set early on. At first when the metal shipping container pierces the side of the boat, he doesn't panic. He quickly improvises, clearly putting a certain skill-set into action and improvising. Even when the storm comes, he remains collected. But he is an effective hero, because although he doesn't tell you much, you are right there with him on that boat rooting for him.

The minimalism is what makes this film so great. No dialogue, one cast member. That puts a lot of pressure on Redford, but he handles it remarkably. It seems like Chandor must have gone through 100 cameras making this film. As far as the sound goes, the score isn't so pronounced nor does it need to be. Sometimes you just hear the sound of the fierce wind blowing. But when he's in the brunt of the unforgiving storm, there is an ambient resonance that is so perfectly haunting it gives that one particular scene so much more power. That scene, without revealing what happens, is the most memorable of the film. That synergy could be the best attribute of the film, other than Redford's acting. The creaking as the boat rocks back and forth. It becomes such an integral part of the film. You sit in the cabin with him, wondering what could be coming next. The schools of fish gather below the boat, and it may as well be a clock ticking. They grow in number and size. The impending doom. A story of a man's misfortune. A reminder that water can be the basis of one's survival, or one's peril. A tale of time, or the proper use of it. Especially when every minute counts. A test of one's personal fortitude. The possibility of breaking a man.

The Hobbit: An Unexpected Journey

Peter Jackson, 2012


4/5

Bilbo Baggins is surprised to find his normally quiet home suddenly filled with dwarves, at a dinner organized by Gandalf. He learns that his presence is requested on a journey to the Lonely Mountain to reclaim their home that has been overtaken by the dragon Smaug. Hesitant and not so ready to leave his peaceful life, Bilbo realizes that it's a once in a lifetime opportunity that will provide him with a fascinating tale to tell.

Well, it's been ten years since the last film. And Mr. Jackson, you did it again. You once again bring everyone into Tolkien's world. As the camera flies over the Shire, you look down and pick the dwelling that you would want to occupy. When the dwarves surround the thick wooden table with drink in hand and ready for song, you wish you could be there to join in. It's interesting that Tolkien's world becomes so inviting, because when it comes down to it - it's quite volatile. Even Bilbo himself can't escape the conflicts outside of his small community. This film feels largely consistent with the Lord of the Rings Trilogy, and Peter Jackson has a proven track record of meeting and beating expectations with the films. It's more of a micro story than the very macro feel of the Rings films. Martin Freeman seems like he's born to play Baggins, never missing a cue and delivers a great deal of energy. The film is of course a feast for the eyes. The saturated greens of The Shire, the endless plains, the shadowy forests that are just exuding bewilderment. You venture below ground, to the firelit crevices where the Orcs dwell. Everything feels so elaborate. There's some familiar faces, and of course some new ones. CGI Porn at it's best. There is a sense of refinement to the effects. Perhaps it's because of the advances in technology, or perhaps it's been a while since the last viewing of the Trilogy. The sudden shifts in perspective that the camera makes are so fluid and they never take you out of the moment. There's of course not one bad shot in the film. The Lord of the Lord of the Rings does it again, and why wouldn't he? He's had practice. It's just another great story of the underdog. Themes of loyalty, courage, companionship. Not looking back, pushing forward - even if you're homesick. The universal clinging to materialism. Old grudges. Honor. Drunkenness and dwarf songs. It's all there. And it's put together so nicely.

The Snow Walker

Charles Martin Smith, 2003


3/5

Veteran pilot Charlie Halliday (Barry Pepper) agrees to transport a sick Inuk girl named Kanaalaq (Annabella Piugattuk) along in his bush plane to bring her to a hospital after he makes a delivery to a small tribe. Soon after takeoff the plane crashes and he is left in the frozen wilderness to survive. His friends lose hope of finding him in the tundra, but he is fortunate to have taken the ailing passenger along with him.

Based on the short story "Walk Well My Brother", this drama contains some familiar themes. The American man teamed up with the capable native woman is similar to Dances with Wolves. The plane crashing in the wilderness, forcing the characters to utilize their survival skills is similar to The Edge. But this film certainly has some unique qualities, and it is certainly one of the better Survival dramas made. A few minutes into the film you get a feel for Charlie's character, as he boozes it up while playing pool in the bar. He's full of himself, and everyone knows it. Some of the men around him are bothered by it, while some women are attracted to it. It's similar to his character Frank in Spike Lee's 25th Hour. A man with a clear Inuit descent accidentally bumps into him and is clearly apologetic about it, but Charlie pushes him away with dismissive aggression ("I am NOT your brother..."). This shows the divide between his people and the natives, the natives who he would later come to appreciate for helping him survive. Kanaalaq is at first just a coughing girl wrapped in animal furs, but she soon becomes a rather critical key to his survival. Without her help, he without a doubt would not have made it. Her instincts had a relaxing quality, because she never appears to be out of her element. The plane crashes, she immediately throws a line into the water to catch a fish - knowing that they need to be worrying about their next meal. Her lack of English makes it difficult to communicate at first, but she slowly picks up on some words. Piugattuk was very effective at showing someone who was trying to use the English language but was still getting caught up in some of her native tongue. While the barren landscape at times feels a bit too forgiving and lacking natural predators, it was aesthetically pleasing. There were some really beautiful moments in the film such as one scene where you see a purple sunset combined with an Inuit song playing in the background. In the end Charlie is humbled by his circumstances, while watching you imagine that if he ever makes it home - he's going to be a changed man.

Master and Commander: The Far Side of the World

Peter Weir, 2003


3/5

This epic, based on the book by Patrick O'Brian, follows a British ship as it battles in the open sea against Napoleon's France. With his closest adviser growing impatient with his hunger for war, he continues to struggle to maintain a stronghold in the South American waters and also keep his soldiers morale at healthy levels.

Russell Crowe stars as Captain Jack Aubrey, a veteran captain who has lived through many battles and served under many famed leaders. You get the feeling that he doesn't like the feel of soil, it seems as if his true comfort zone is on his ship. There is a noticeable benevolence that he shows to the youngsters on his ship, with the hopes that he can set a good example for them as they will lead one day themselves. He clearly sees a lot of himself in them, and treats them to stories of his early days as he sips his wine. The film is not just a lengthy war movie, it's a character study of Captain Aubrey - and his interminable hunger for battle. He obviously wants to make his mark in the history books.

The film won Oscars for Best Cinematography and Best Sound Editing. The camera work is very impressive, seeing as the entire movie is shot in the obvious presence of water - which at times is delivered in the form of violent storms. The ship itself feels like it's in another world at times. Almost other-dimensional, like in Valhalla Rising. The cabin is beautifully constructed with some memorable shots of the camera moving through battle scenes, showing cannon fire and soldiers frantically rushing to their posts. Shots of the foggy horizon, with the sudden orange glow of an impending onslaught. While the loaded dialogue is difficult to keep up with at times, the film is still quite alluring. Weir effectively develops characters that you take a genuine interest in.

Touching the Void

Kevin MacDonald, 2003


3/5

Using first-hand interviews interlaced with accurate reenactment footage, this docu-drama covers the story of Joe Simpson and Simon Yates, a pair mountain climbers who run into trouble when one of them falls and breaks their leg while attempting to climb the west face of the Siula Grande in the Andes mountains in 1985.

It is undeniably a story worth telling. Using the technique of reenacting the journey, it certainly puts you in the action. The camera is not just fixated on the side of the mountain either. Unique locations like elevated above the climbers, down at the base of the snow where you see chips of ice falling on the lens. It makes the work much more cinematic, more entertaining than if you were just sitting watching two veteran climbers reflect on their journey. When the heavy snow is pinning them to the sides of the cliff at night while they look above with miner's lights on their helmets - you really get a sense of the comradery involved. Connected by a piece of rope, their lives are really in each others hands. The sudden decision made by one of the climbers is made in a few seconds but is clearly a life-changing one. It certainly presents a moral dilemma to the film that leaves the viewer wondering what he or she would do in the same situation. When the film makes a shift into a more survival-based theme, its very reminiscent of the struggle in Danny Boyle's 127 Hours. Like that story, there is a focus on the resilience of the human body. The film certainly explores the concept that perhaps there are parts to this world that are not meant to be accessed. But that wouldn't be human nature would it? We are curious creatures, bound to take risks. We are eager to put our foot in virgin soil. We want to make our mark.

180 Degrees South

Chris Malloy, 2010

3/5

A quick watch 90 minute documentary about a group of buddies trip to Patagonia, South America. The trip is inspired by the same journey made in the 60's by Yvon Chouinard and Doug Tompkins, the founders of Patagonia gear and The North Face. They bring a camera along for the ride as they mountain climb, surf and hike... and the result is a life insurance actuary's worst nightmare. Cinematography was done by Daniel Moder, that proved to be a good grab because there is really impressive camera work in this film. I am a sucker for time lapse shots and there was a beautiful one of a South American city skyline with an orange luminescent glow to it. The camera work as they are mountain climbing is also really impressive, they must have had the camera roped off behind them. What's most impressive is all of the amazing footage of the Patagonian mountains and the countryside itself. I am not a beach guy, and THIS would be my version of paradise. There is a cedar-shake cabin that reminded me a bit of a Vermont sugar shack that I would move into in a SECOND if I had the chance. There is a message to the film, the push for Land Conservation in South America. Also a lot of anti-industrialization and anti-urbanization dialogue. That message seemed to be a little blurry and was distracted by the other elements of the film. I really liked the B&W hand-sketch overlay's that they show, along with the old footage from Chouinard's/Tompkin's original trip that is overlaid periodically throughout the film. Overall, its good Nature Porn with enough activity that it would appeal to adrenaline junkies/adventure sports fans.