Steve Jobs

Danny Boyle, 2015

IMDB

4/5

Not many people in our modern age will likely see such legendary status so shortly after their death as Steve Jobs, who passed away in 2011 after a battle with cancer. After his passing we were treated to stories of what kind of person he was, good and bad. Walter Isaacson’s bestselling biography of Jobs was a warts and all guide to the complicated person.

Aaron Sorkin’s screenplay is built upon the material contained in Isaacson’s book. It’s really a bold approach in terms of it’s cinematic treatment, because it doesn’t pull a lot of punches in showcasing some of Job’s faults. It largely focuses on Jobs negative traits. His obsession with control. His bitterness towards those who wronged him. And quite possibly his biggest flaw as a person, his denial of his biological daughter Lisa. The biopic itself was involved in a long game of hot potato in Hollywood. A lot of names were thrown around to play Steve: George Clooney, Ben Affleck, Dicaprio, Christian Bale. All of the big names that seem to come up with any high profile film these days. The choice of Michael Fassbender was an intriguing one. How could a German-Irish who doesn’t possess any of the physical qualities of Steve Jobs actually play him on screen?

Fassbender handles the role quite well. He seemed to have studied Jobs mannerisms through the seemingly endless sources of media available. There are moments where he was able to capture a few sentences where he sounded almost exactly like the real Steve. But Fassbender isn’t really doing a dead-on impersonation of Jobs, it is more of a reinterpretation or a channeling of a person through a series of fictional scenes based on accounts of others.

There is certainly a lack of Danny Boyle’s stylistic personality to the film. The superimposition of the rocket take off on the hallway wall may be one of the only visual elements that feels like Boyle. Because of this, it feels like a film belonging more to Sorkin. Especially with it being so dialogue heavy. Almost as if the script itself was blowing through the alleyways in Hollywood and finally Boyle stepped on it with one foot and decided to pick it up. Sorkin’s script isn’t just normal people talking. It’s people talking to each other in that very intense, very important manner. Everything that comes out of everyone’s mouth is quotable. But with all of that dialogue comes fatigue. By the third Apple event depicted, you are bound to feel winded.

Slow West

John Maclean, 2015

IMDB

2/5

The best way to describe Slow West is to call it a simple love story set in the American West. Undoubtedly guilty of being too light on story, you spend a good portion of the film in a tracking shot as Jay (Kodi Smit-McPhee) and Silas (Michael Fassbender) stroll across the western landscape (which is really amazingly beautiful New Zealand) on horseback. You are treated to flashbacks of McPhee and his love Rose (Caren Pistorius), who were separated in their native Scotland after a freak death forced them to flee the country to seek refuge in America.

Sometimes, quite often actually, the whole style over substance thing can work. But here it does feel like the film could have used a more colorful script. Especially with the level of acting involved. The story is too undeveloped for the actors. Fassbender, McPhee and Mendelsohn all have a lot more to offer and the empty script doesn't really provide them with the vessel to do so. Because of this, the film is more of a visual showcase. Good example of a film that you could follow with the volume completely down. And once again, sometimes that even says a lot for a film. But here it's more of a disappointing factor.

The flashbacks actually feel kind of forced. There are never any real moments where you look back and are fully invested in the love between Jay and Rose. When they are sitting next to each other, it feels like they were instructed to sit next to each other. Not a whole lot of chemistry. The most compelling part of the film is certainly the climax, with a very traditional Western-style gunfight. Not a lot of big moments leading up to that point. Slow West is a good movie if you are comfortable enough spending 90 minutes on horseback with Fassbender mumbling here and there, and McPhee spending a lot of time talking to the stars because his company isn't so conversational.

X-Men: Days of Future Past

Bryan Singer, 2014

IMDB

4/5

The first X-Men film came to screen in 2000 with the original self-titled feature. Since the original there have been 7 films total including this, but it almost feels like there’s been 14 of them at this point. Maybe it’s because they strangely seem to focus on Wolverine a lot, giving him two origin-type films. Hugh Jackman is certainly a good fit for the Wolverine role, but it just seems like they revisit character an awful lot. Bryan Singer has now directed 4 of the films, arguably the best of them. He seems to really understand the true depth of the comic, and how to get the best out of everyone involved. He really delivered the goods when he decided to take a prequel/origin approach with First Class in 2011 and managed to get an ensemble cast that included Michael Fassbender, James McAvoy and Jennifer Lawrence. Of course the big worry now will be whether or not they are able to wrangle in everyone for the next film. Moviegoers certainly don’t want to get comfortable with James McAvoy as Charles only to have someone like Josh Hutcherson playing him in five years.

But out of all of the X-Men films, this is certainly the best without question. The seamless visual effects that seem to perfectly blend in without seeming gimmicky. Singer manages to juggle an intricate plot with well-constructed pacing. The time travel elements are great. There is a lot of wrong to right, especially after the not-so-great X3: Last Stand film that left a lot of fans of the franchise disappointed. It’s a great example of how if implemented correctly, CGI can be a useful tool for cinematic storytelling. They never use it as a crutch. It feels like we will be able to look back on this in ten years and it won't feel cheesy.

The X-Men storyline one of those vicarious ones that lets your imagination go to work wishing you had some of the abilities. What kind of things you could do if you could slow down time like Quicksilver. Or if you could have the invincibility abilities that Wolverine has. The possibilities are endless. But the story draws upon it much more, and it's evolved to the point in which within the X-Men universe lies a society in which endless variations of superpowers cause a true geo-political divide between the un-afflicted and the outcasts. The story draws parallels to real-life controversies like anti-gay groups, racism and gender issues. Unfortunately we are living in a world of not-great superhero franchises (*cough* Fantastic Four, Spiderman reboots). At least the X-Men franchise seems to be back on the right track.

Frank

Lenny Abrahamson, 2014

Can I Stream it?

2/5

Struggling musician Jon Burroughs (Domhnall Gleeson) is having difficulty finding inspiration in his songwriting. He suddenly finds himself sitting in on a gig with Soronprfbs, an avant garde band with a lead singer who wears a paper-mache mask on his head named Frank (Michael Fassbender).

Abrahamson's Frank character is based on Frank Sidebottom, a persona of late English comic Chris Sievey. Sievey would channel an eccentric energy through his Sidebottom character on English stages from the 1980's to modern day until Sievey's death from cancer in 2010. Frank certainly draws similarities to some of Andy Kaufman's quirky stage work. 

Fassbender's Frank character is mysterious and complicated. He comes off as somebody more than a band leader, actually someone that is more of a cult leader. He never takes the mask off. He sleeps with it on, he showers with it on. He eats and drinks with it on, as manager Don (Scoot Mcnairy) humorously describes the straw and liquid supplementation process to Jon. While the film is a respective nod to Frank Sidebottom, it ventures too far into the world of weirdness. Very much like the music that they perform, it never manages to materialize into anything memorable. The film comes off as Wes Anderson eating mushrooms and having a bad trip. A contemporary British invasion piece with a bad version of Animal Collective leading the way. While it certainly deserves praise for not traveling down the typical Hollywood story path. But that's disappointing, because the group should have become more than a novelty act emitting Hipster frequencies. The final moments of the film are too little, too late. It becomes nothing more than a meditation on the internet's viral video culture and collective hype. It should have been more of a study on mental illness rather than lightly gliding over it like they did. The scenes in the cabin during the album recording were exhausting attempts to make something stick, and then it became claustrophobic. Some of the most humorous moments of the film were rooted in dark humor (mishandling of human remains, surprise suicide), but they were overshadowed by things like Maggie Gyllenhaal's angry character with her persistent rage toward everyone other than Frank. Frank basks in it's own peculiarity, which ultimately might please a Pitchfork reviewer but isn't enough for the audience. 

12 Years a Slave

Steve McQueen, 2013

4/5

Solomon Nothrup is a free man living in Saratoga. A skilled fiddle player, he is convinced by a couple pf men to travel to Washington to perform. Soon after he arrives, he is Shanghaied and sold into slavery. His requests to be freed on the account of being a free man from the north fall on deaf ears.

McQueen's adaptation of the Solomon Northrup memoir is an honest one. A true account of a tragic story. A very raw display of one of the true American horrors. McQueen is a skilled filmmaker and the technique involved in this picture is very deliberate. A lot of close to medium shots. Long takes, a lot of hanging on a shot, longer than one would expect. It's all intentional. He wants to enslave the audience, and he is effective at that. The tendency to cringe at what you are seeing, amd you do. The urge to look away, and you try to. It is also a film that wants to be heard, with Hans Zimmer providing the score. And so the pieces come together and the result is an ominous construct of deception. And the film is not over-stylized like Tarantino's very popular Django Unchained. That makes it feel more personal. While there is plenty of disturbing imagery in the film (possibly some of the worst you'll ever see), what makes the film truly upsetting is the truth behind it. You are seeing what your fellow man is capable of doing. What humanity is capable of. That's what makes it truly horrific. Manipulation, deception, betrayal, heartache, loneliness, theft. And not just theft of a person's livelihood. Not only a theft of a man's name. Theft of the human spirit. Northrup is living an honest life in Saratoga. A threat to no one but a set of fiddle strings. A family man, one who pays his taxes, has an honest job. The separation of North of South feels quite skewed when there is a threat of a southerner making their way up only to double-cross an honest man only because of his skin color. And so he is Shanghaied. He is not stripped of his freedom but his existence.

Great performances throughout. Chiwetel Ejiofor is well equipped to play Northrup. He will likely earn an Oscar nomination, and the praise is well-earned. Paul Dano plays the chilling Tibeats. Avenging after being undermined, he holds a grudge and doesn't value any real principles. Paul Giamatti plays a horrible slave trader Freeman, pawning off humans as if they are livestock, even if it involves separating mother from child. McQueen once again works with Michael Fassbender, who has appeared in all three of his feature films. Fassbender is so wonderfully despicable here. Hidden under the false charm of his Southern regalia, he puts the slaves in strict competition over cotton volume and on lonely nights forces them to dance to his own amusement while he stands around in bare-feet and loose garments. His temper is short and can be triggered by his repellent wife (played by the great Sarah Paulson). 

A story of perseverance, personal fortitude, but also one of shame. Germany may have the scar of Nazism on its face but we will always have slavery on ours. While the title of the film may give the ending away, it's not only about whether or not Solomon Northrup is eventually freed. There is no happy Hollywood ending to this piece. Taking 12 years away from a man not only strips him of time he cannot get back, it strips him of a certain freedom for the rest of his life. And what justice can be made for such time? Hard to quantify it. That's what makes it such a true American tragedy.

Prometheus

Ridley Scott, 2012


4/5

A group of scientific explorers descend on a planet that they believe may be the key to understanding the birth of our existence. As they land on the volatile surface of the planet, they realize that finding those answers is not going to come very easy, if at all. 

Ridley Scott spent more than 10 years developing this Sci-Fi thriller, a loose prequel to the Alien films. The lengthy production time certainly shows. The final product is a visually stunning, suspenseful picture that feels very much like Scott's past films. Intricate set design rivals all of his past work. The film shows off technology that would make Tim Cook jealous. Holograms, stasis pods, dream readers, mapping sensors. They say film can predict future technology, and this would certainly be a great example of it. The array of high-tech gadgets make it feel like Minority Report blended with the original Alien. It's certainly a film built for the big-screen. Some may accuse the film of biting off more than it could chew. Probably because it attempts to tackle those age-old philosophical questions. Where do we come from? Why are we here? Rather than have a crew land on a planet to be eaten alive by whatever native creatures exist, it's good that there's some complexity to the mission - despite how grandiose it is.

The tension builds as the Prometheus lands on the foreign ship, with the crew looking for The Engineers. The pace effectively picks up, and the applied tension through the rest of the film is very well-placed. While the dialogue isn't exactly mind-blowing, the acting is impressive. Michael Fassbender is perfectly cast as the android David. Charlize Theron is effective as cold-mannered ship captain Meredith Vickers. Noomi Rapace (Lisbeth in the original Dragon Tattoo films) is also particularly impressive as Dr. Shaw. When the first unfriendly creature appears, a wave of familiarity washes over you. It feels very Alien-like, you welcome it with open arms. Once that door opens, it does not close. While the film may have it's flaws, one of them is not a lack of ambition. Scott is likely the only living filmmaker who could make a picture with so much detail. He is willing to put in the time to make sure his distinct style is all over the place. Almost like a James Cameron from space, Scott has a history of putting together a beautiful ship, only to deconstruct it piece by piece with damage and still maintain the aesthetics.

Shame

Steve McQueen, 2011


3/5

          Brandon (Michael Fassbender) is a man living in New York in his mid-thirties. During the day he has a sleek office job. At night he scours the darker side of New York looking to feed his sex addiction. His all-consuming proclivity spills into every facet of his life. His steady routine becomes disjointed when his unstable sister shows up, unannounced and uninvited, to his small apartment to crash on the couch to try and get over a recent breakup.
          It's probably the most courageous role seen from Fassbender, who figuratively and literally exposes himself quite a bit in the film. His character Brandon is heavily flawed, but effectively draws sympathy as you see there is nothing fun about his disease and that its a ever-going struggle. Brandon is vulnerable, presumably dealing with issues that go back to his childhood. The tension between the two siblings is so evident you could cut it with a knife. Sissy (Carey Mulligan), Brandon's sister, clearly has issues of her own but doesn't have the domestic comforts that Brandon can escape to. Instead, her escape is to run to him but it's not well-received. You get the feeling that Brandon is not able to associate any interpersonal relationship with anything other than a lack of a control of his sexual impulses - therefore, he keeps his distance when it comes to anything else.
          McQueen has a seemingly mature and experienced approach to his film-making. Even though the film is very bleak and disturbing at times, it's very nice looking. McQueen relies on a lot of beautifully glowy night-lit shots of New York juxtaposed with the not-so-nice features. Some gorgeous modern-decor martini bars but contrasted with cold fluorescent lit steel subway cars. The day-time scenes are very deliberately overcast. This is not a film where you will see blue skies and sunshine, people holding hands while joyfully singing in the middle of Times Square.