Showing posts with label Alicia Vikander. Show all posts
Showing posts with label Alicia Vikander. Show all posts

Thursday, March 15, 2018

'Tomb Raider' Review

Tomb Raider accompanies Lara Croft, the fiercely independent daughter of a missing adventurer, as she embarks on a harrowing journey to solve the mystery of her father's disappearance. As a result of her perilous quest, Lara winds up marooned on the same island where her father disappeared seven years ago. Suddenly, the stakes couldn't be higher for Lara as she must survive against all odds armed with only her sharp mind, blind faith, and inherently stubborn spirit.
It's no secret that video games haven't quite found sure-fire success in the medium of film. There's yet to be a critical darling and very few have found fortune at the box office (Sorry, but Scott Pilgrim vs. the World and Wreck-It Ralph don't count). Many have dubbed this long running streak of flops to be a "video game curse," and audiences have been eagerly awaiting an entertaining adaptation that would end this jinx and open the door for quality features based on video games. In 2016, there seemed to be hope on the horizon in the form of Warcraft and Assassin's Creed but neither proved worthy of the feat and fell flat critically and financially. Now, eyes have turned upon Tomb Raider to be the breakthrough breadwinner and I suppose you're all wondering if it performed under pressure.
After a longwinded awards season, a palette cleanser in the form of an action-adventure flick is just what one needs to prepare for stacked season of blockbusters. Thankfully, this 2018 reiteration of Tomb Raider proved up to the task! Helmed by Norwegian film director Roar Uthaug with writing credits going to Geneva Robertson-Dworet, Alastair Siddons, and Evan Daugherty, this incarnation serves as both an adaptation of the 2013 video game reboot and a reboot of the Angelina Jolie led Lara Croft: Tomb Raider series from the early 2000s. Talk about rebootception!
Even though I admittedly didn't have the highest of expectations for Tomb Raider due to never having played the game, Uthaug cleared the bar for me and delivered on the exciting action-adventure film I felt the trailers promised. Despite the unpracticality of the film's physics, there was a sense that the stakes were high and characters were vulnerable thanks to the intensity of the action. In the moment, you truly believed Lara could die at any minute because of the suspenseful situations she found herself in. Indiana JonesThe Mummy (1999), and National Treasure all come to mind as comparable franchises in terms of high stakes, enjoyable archeological action-adventure.
Again, while I haven't played the game, a lot of the situations seemed as though they were translating game mechanics anytime Lara solved a puzzle or escaped a perilous predicament, and I found that to only enhance the adventure aspect of things. In truth, this film had just about everything I wanted last year's reboot of The Mummy to deliver on. 
On the flipside, the CGI was wildly inconsistent. There were certain moments with noticeable green screen (as seen above) and others you'd hardly consider to have been altered by a computer. It simply varied from occasion to occasion as is often the case with visual effects in these modern big budget bonanzas. 
Of course, Tomb Raider carries the burden of some pacing problems and uneven storytelling that will leave the viewer to occasionally question why characters didn't simply act another way or do something else to get out of a troubling dilemma. On top of that, the story itself isn't all too original so some story beats come across as genre tropes or cliché in your mind. However, none of this ever compromised the film as a whole and the origin story elements were handled quite well as it's easy to see how Lara went from Point A to Point B when all is said-and-done. In fact, I was able to invest myself in Lara as a character quite quickly largely thanks to Alicia Vikander's strong showing. 
If there was one hurdle this production had to get over above all else, it was the recasting of Lara Croft. While I wouldn't say Jolie's take on the character is quite iconic, audiences are more familiar with that over-sexualized version and the video game itself. As the promotional material for the film made its way online, an unfortunate issue of body shaming across the internet arose that ranged from making fun of the actress' neck to her bust size... Ridiculous... I know. Thankfully, enough internet users stood up to the plate and repelled the criticism quite maturely. 
Anyways, Vikander proves to be more than up to the task of shutting down toxic fans with her committed performance. She not only underwent the necessary training and dieting to properly portray the character's athletic physicality, but took things a step further by performing a number of the stunts herself. Of course, that's all meaningless if she couldn't act... But this is an Academy Award winning actress we're taking about, and Vikander dedicates herself physically, mentally, and emotionally to the role. All in all, Vikander imbues Lara Croft with the proper balance of determination, intelligence, skill, and emotional weight to come out on top as a capable, yet vulnerable female heroine whose abilities are a bit more tempered and realistic than those of the superheroes currently dominating the cinema screens.
As an antagonist, Walton Goggins' Mathias Vogel comes across as a menacing in large part to some great acting from Goggins, but is ultimately underserved by the screenplay to be little more than a two-dimensional baddie on paper. In the ranks of supporting cast members, Dominic West and Daniel Wu do well with their sizable roles and are mostly responsible for the film's comedic and emotional beats where they each are able to excel.
While not quite the game changer many were hoping for, Tomb Raider is a step in the right direction for video game movies. Warner Bros. and Metro Goldwyn Meyer have excavated a forgotten franchise and revitalized it to be one brimming with plenty of exciting possibilities. Under the right guidance, I hope they raid this tomb for all its worth!

Film Assessment: B

Thursday, September 8, 2016

'The Light Between Oceans' Review

The Light Between Oceans tells the tale of Tom, a World War I veteran who maintains a lighthouse off the coast of Australia with his wife Isabel, the couple longs to have a child but are unable to due to circumstances I won't divulge. One day Isabel stumbles upon a dingy washed ashore and what should be inside but a baby girl. The story that follows involve the complex decisions the couple must make as they continue their life including how to proceed when Tom meets the biological mother. 
The Light Between Oceans is a very beautiful film; it's both well-directed and well-acted, and the cinematography and score are visual/auditory splendors. Derek Cianfrance both writes and directs The Light Between Oceans, oddly enough elevating his own screenplay. Cianfrance roots his screenplay in the original source material, M.L. Stedman's novel of the same name, and maintains consistency throughout the film with a slogging, somber turn of events to have fleeting moments of glee sprinkled within, a case for why The Light Between Oceans doesn't warrant repeat viewing. Cianfrance's screenplay lets down the viewer most by not tugging hard enough at the heart strings in it's pivotal moments, I was on the verge of tears but the droplet never materialized. Cianfrance tackles complex themes at surface level but I would have preferred to see him further explore them rather than just acknowledge the issues. 
Visually, Cianfrance and cinematographer Adam Arkapaw are able to convey serenity amidst chaos using the Australian and New Zealand coast, a nice parallel to the lighthouse couple's relationship. Michael Fassbender and Alicia Vikander are wonderful in the film as the two expertly portray the lighthouse lovers' chemistry. By no fault of their own, the characters of Tom and Isabel felt like hollow dolls to me because they aren't particularly well developed as well rounded characters in the films' script. 
Another enlightening performance was Rachel Weisz's turn as the child's biological mother Hannah Ronnfeldt. Weisz's character brings some intriguing perspective and moral questions to the piece that again weren't covered as extensively as I would have liked but salivated my interests. The Light Between Oceans also features an enchanting score composed by Academy Award winning composer Alexandre Desplat which helps compensate for the film's other shortcomings. 
The Light Between Oceans is comparable to a pretty painting, it's great to look at but doesn't really have the necessary depth. The plot was predictable, the pacing was rather slow leading to a melancholy two hour thirteen minute runtime, and it's only thanks to it's strong performances, focused direction, spellbinding cinematography, and a fascinating score that it becomes a sweet story. 

Film Assessment: B-

Monday, August 1, 2016

'Jason Bourne' Review

Jason Bourne is the fifth installment in the Bourne franchise, the fourth starring Matt Damon as Jason Bourne, and the third helmed by director Paul Greengrass arriving nine years after the completion of The Bourne Trilogy in 2007 (The Bourne IdentityThe Bourne Supremacy, and The Bourne Ultimatum) and has no relation to The Bourne Legacy (Thank goodness!). I had high expectations for this film considering I loved the previous two Bourne entries, The Bourne Supremacy and The Bourne Ultimatum, but when I saw the critic reviews drop online I became concerned that this wasn't going to be a high brow intellectual blockbuster like the previous Greengrass/Damon Bourne flicks. 
Thankfully I was wrong, sorta... Jason Bourne has it's merits in show stopping action and enriched vengeance plot. Yes, this is once again another Jason Bourne movie which focuses on a hunt for Bourne from a government organization control room involving action sequences ranging from exhilarating chases to grounded, gritty hand-to-hand combat. That's what makes the film a Bourne movie. Sure, it's formulaic but that's the formula of a Bourne flick we expect to see. Paul Greengrass ensures the pacing is quick, the action is breathtaking, and the plot is engaging. 
Greengrass sets up remarkable large scale action sequences staging them in chaotic environments to increase the stakes and up the tension, two notable action set pieces include a motorcycle chase through large protests in Greece and an insane car chase through the streets of Vegas. Greengrass and editor Christopher Rouse develop a screenplay that feels all too derivative of Bourne's past ventures and includes a tacked-on subplot involving government surveillance to appear relevant. 
This side plot only detracts from the film as it distracts the viewer from Bourne's path of vengeance and feels meaningless as neither writer was able to speak out about their opinions of government surveillance, which I found disappointing considering that it's been done better in Captain America: The Winter Soldier. The misfortune is that this side plot is completely unrelated from Jason Bourne's side of things and only used as a means to the end of the story bringing everyone together for a visceral third act. What holds this mediocre written material together though is the remarkable talent assembled in front of the camera. 
Matt Damon's Jason Bourne is a worn, weary Bourne seeking serenity and Damon isn't afforded the chance to deliver a lot of dialogue but he does an incredible job conveying Bourne's sensibilities through facial expressions and subtle movements. Damon's done more than enough to prove his worth as an action star capable of keeping this franchise afloat. Julia Stiles returns as Nicky Parsons and serves as a nice emotional touchstone to help motivate Bourne and progress the plot and is serviceable in that capacity. 
Alicia Vikander joins the fray as expert CIA hacker Heather Lee and makes for an interesting third party voice between Bourne and the CIA, as her motivations are shifting throughout making her a shady force in the mix of things. Tommy Lee Jones gets to delve into his morally gray territory as CIA Director Robert Dewey and while he's not the best of the enigmatic authoritative figures in opposition to Bourne from a control center, Jones' gravitas makes him a compelling prescence onscreen. 
Meanwhile, Vincent Cassel is "The Asset", an assassin called upon tout down Bourne but unlike the previous ones, there's a mutual vendetta between the two of them that makes him more compelling than the previous Bourne hitmen as he plays by his own rules and will do anything for revenge. Riz Ahmed also delivered a terrific performance as a conflicted tech  billionaire who wants his innovations to aid humanity rather than infringe on their privacy and while his storyline may have been tangential, I'll admit he did a great job with the material provided. 
While I wish Greengrass and Damon had taken the road less traveled by with fresh direction for Bourne to traverse, I can't deny that the familiar, beaten path was a terrible option. Regardless of it's inability to break new ground, Jason Bourne is an enjoyable entry into the franchise that delivers rousing action, engaging onscreen presences and makes sure to leave room for future outings that I'm game to see. 

Film Assessment: B-

Wednesday, January 27, 2016

'The Danish Girl' Review

Nominated For: Best Actor; Eddie Redmayne, Best Supporting Actress; Alicia Vikander, Best Production Design, and Best Costume Design.
Won: Best Supporting Actress; Alicia Vikander.

The Danish Girl is a film adapted from the fictionalized novel which follows the tale of a Danish painter who becomes one of the first transgender icons. I'm sure this film will be a figure of controversy due to it's subject matter but I must say it's a beautifully made film with some stunning performances. Tom Hooper directs and restrains the film from really diving too far into the subject matter so it never really connects with audiences. However he manages to capture some gorgeous imagery through the cinematography. The film also has some elegant costuming and the production design. The film's core cast of Eddie Redmayne and Alicia Vikander are phenomenal. Eddie Redmayne follows up his Academy Award win for The Theory of Everything last year with another transformative performance. Redmayne is incredible as he embraces the dual personality of his character and not only becomes Einar Wegener but allows himself to follow the film's narrative and allow Lili Elbe to be brought to the surface as well. It comes at no surprise that he's received another nomination this year but I'm not quite sure he'll get the consecutive win. However to my surprise, Alicia Vikander was the real standout star and she's had a phenomenal year for film last year starring in Ex Machina and The Man From U.N.C.L.E.. Vikander is given such a compelling character arc throughout the film that really brings out such an emotionally grounded humane performance. Her character is certainly the emotional core of this film and drives the narrative. The Danish Girl is a very beautiful film with some captivating performances but much like The Theory of Everything, I don't think it quite has the depth necessary to cause the subject matter to stick with the audience afterwards.

Film Assessment: C

Monday, January 4, 2016

'Ex Machina' Review

Nominated For: Best Original Screenplay and Best Visual Effects.
Won: Best Visual Effects.

Ex Machina managed to slip under my radar as I didn't begin to hear about it till around December despite it's April release, and I can say that Ex Machina certainly lived up to the buzz. Alex Garland, writer and director, makes his directorial debut and certainly made a huge splash. The film follows a futuristic society in which a young computer coder is invited to a research facility owned by his company's CEO to test an Artificial Intelligence. 
The film centers on a very central core cast of only three characters and all three actors where phenominal. Domhnall Gleeson is essentially the audience's voice throughout the film as he expresses his amazement regarding this technical feat and attempts to rationalize the logistics of artificial intelligence making his character the everyman who is instantly relatable and somewhat likable. Oscar Isaac provides a terrific performance as a very conflicted, foreboding eccentric billionaire that maintains this foreboding mysterious presence throughout. 
Alicia Vikander was so convincing as Ava, the artificial intelligence, providing this neutral realm between human and robot as she must portray an artificial intelligence that is so lifelike yet doesn't quite understand humanity. The visual effects on display in this film were mind boggling. The effects used to create Ava looked really realistic and it was believable that Alicia Vikander was actually this AI inside a humanoid robotic body. One interesting aspect is that the film walks the fine line between science fiction and science exploring something that could certainly happen in real life. 
The moment the credits started rolling I began to consider one of the central themes present regarding the difference between humans and artificial intelligence. The best description I can provide for Ex Machina is that it was a very thought provoking film with incredible visual effects, terrific performances, and a very intriguing premise.

Film Assessment: A

Saturday, August 15, 2015

'The Man From U.N.C.L.E.' (2015) Review

Although The Man From U.N.C.L.E. contains various similarities to other spy films, it proves to be a great love letter to 60's spy films from director Guy Ritchie. It also happens to be the fourth spy film released this year with the new Bond flick Spectre to close out this year of spy movies in November and while I have yet to see Spy I can say that this film didn't really click with me the way Mission: Impossible - Rogue Nation and Kingsman: The Secret Service did as I loved both of those films but for different reasons. This film doesn't quite stand apart from most spy films as seeming to be a generic spy film set in the 1960s during the midst of the Cold War. However I did really enjoy the film and was engaged throughout with fun action sequences, beautiful cinematography, awesome production design, and some great montages. There was some subtle humor and gags that made me laugh but there wasn't really much comedy to the film that I feel could have certainly elevated the fun spy adventure. The film also boasts some great performances. Henry Cavill is certainly a standout as the American spy, Napoleon Solo, who is slick, arrogant and full of more life as compared to his serious performance as the Man of Steel. Armie Hammer is very entertaining as the Russian spy, Kuryakin, and it's interesting to see a little more range from Hammer as he does a fine job portraying a tough Soviet and actually does a great job with his Russian accent as it sounds very believable. The two leads work quite well as a dynamic duo with Cavill playing a clean cut gentleman spy while Hammer is the rough weathered KGB agent. This allows for a little situational comedy when the two are working together and a few quick one-liners from Cavill. Rounding out the central cast is Alicia Vikander as Teller, who turns out to be more than a damsel in distress and makes a capable female lead. The film's main villain, Victoria Vinciguerra, portrayed by Elizabeth Debicki makes for an interesting criminal mastermind but isn't quite given the development necessary to make her a memorable villain. The film does however have an interesting plot with a few unexpected twists and turns along the way to make the film more interesting and make it a little more than a stereotypical spy flick. One part of the film that is used quite effectively is the film's score with some great music choices that work well with the action unfolding onscreen. I wouldn't say the film is the best thing I've seen from Guy Ritchie, since I actually prefer his take on the latest Sherlock Holmes films starring Robert Downey Jr., but it does make for an enjoyable spy popcorn flick.

Film Assessment: B-