“Tomb Raider” Review

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No matter how many attempts are made, it seems increasingly unlikely that there will ever be a truly great movie based on a video game. The best of them are, at most, good. Tomb Raider is…fine.

It’s not surprising that studios continue to push Lara Croft onto the big screen, as she’s arguably the most logical choice for a movie franchise. The character is iconic enough to be recognisable, has a clearly defined personality, and her adventures are vague enough to give screenwriters ample room to create their own story while still fitting into the formula of the games. Oscar-winner Alicia Vikander takes the role of Lara Croft from Angelina Jolie, who last played it in 2003, and her casting is easily the strongest element of Roar Uthaug’s film. The early scenes of Lara in London enable Vikander to display a tremendous amount of charm and humour, even if these qualities don’t get as much focus once her actual adventure begins. In fact, I’ll confess that I actually preferred these establishing scenes more than the main plot, as Geneva Robertson-Dworet and Alastair Siddons’s script sets up a fast-paced world with interesting characters for Lara to interact with before quickly abandoning them. Once Lara finds documents revealing where her missing father (Dominic West) went seven years ago she quickly joins up with captain Lu Ren (Daniel Wu) to sail across to the dangerous island where the legendary Queen Himiko is rumoured to be buried. Unsurprisingly the ship crashes, stranding her with the sinister Mathias Vogel (Walton Goggins) – part of an equally sinister team who seek to unearth Himiko due to her rumoured destructive powers.

Tomb Raider undoubtedly favours its action-packed set pieces over plot, and there are admittedly quite a few impressive ones. Lara struggling to escape a crashed plane dangling precariously over a waterfall and a high-speed bike race through the streets of London are two standout sequences, particularly for how Uthaug seems to prefer practical stunt-work to give each jump, thud, and scrape a physical impact. I did start to lose interest once they get into the tomb at the end, as the trials they face feel a bit too much like video game puzzles, but the script does manage a nice balance between the supernatural mysticism of the games and the more realistic focus of the film. I was frustrated by the decision to lose Lara’s background as an extraordinarily intelligent and educated archaeologist from the games, as while I recognise that this is an origin story more than anything it does leave Lara primarily reacting to other people’s actions or work. Given the blatant sequel hook the film ends on, though, it’s possible they’re working up to that element.

Ultimately, though, nothing in Tomb Raider really felt fully developed. Walton Goggins, who was so effectively sleazy in 2015’s The Hateful Eight, has almost no personality as Vogel. Despite Vikander’s charisma Lara borders on being bratty and entitled at certain points, and the script relies far too heavily on characters happening to run into each other when the plot needs them to. Add in a number of plot holes and unnecessary flashbacks that spell out the obvious twists and one gets the sense that the studios didn’t expect anyone watching this to be using an ounce of mental energy. Which is appropriate, as Tomb Raider is a film best enjoyed with the brain fully switched off.

2 and a half stars.

“A Fantastic Woman” Review

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Films like A Fantastic Woman, which are so centred on a specific character and their unique experience, just can’t work without the right actor in the part. Fortunately director Sebastian Lelio had the insight to give Daniela Vega, who was originally hired as a script consultant, the lead role – and it’s the performance of a lifetime. As a trans woman struggling to deal with both the unexpected death of her partner and the judgement of his family, Vega’s character Marina accepts the abuse thrown at her with an unflinching demeanour and quiet strength. It’s through Lelio’s direction and the cinematography of Benjamin Echazarreta that we see her frustration and the toll it’s taking on her. One brief moment features Marina walking down the street against the wind, the force getting stronger and stronger until it’s nearly blowing her off her feet. Throughout it all Marina holds strong and pushes through. It’s a wonderfully symbolic and understated moment that demonstrates A Fantastic Woman’s strength for drawing upon the audience’s empathy without feeling as though it had to force a message. It simply didn’t matter how different the life experience of a Chilean transgender woman may be from my own – we connect to her so deeply on a purely human-to-human level as an audience that all I wanted was for her to succeed.

As Marina’s partner, Orlando, Francisco Reyes makes the most of his limited screen-time to ensure that his presence is felt throughout the entire film. The relationship between the two is quickly and efficiently established as one of mutual love and acceptance, and I appreciated how Lelio depicts the opening scenes through Orlando’s perspective to create an immediate connection with the character before his sudden death. His presence or lack thereof is keenly felt throughout the rest of the film as Marina attempts to mourn him despite his family’s objections, occasionally appearing as either a memory or spectre to offer guidance and support. Unfortunately few of the other people Marina encounters are as accommodating, yet Lelio and Gonzalo Maza’s screenplay finely balances both the blatant aggression with more subtle forms of discrimination. Orlando’s ex-wife Sonia (Aline Küppenheim) weakly prefaces her insults with “no offence” as she refuses to accept Marina’s identity, and even a detective (Amparo Noguera) who claims to be an ally assumes that Orlando’s relationship with Marina must have involved abuse of some kind. It demonstrates how while general public awareness and acceptance of trans people has come a long way, there’s still a tremendous amount of work that needs to be done. Fortunately films like A Fantastic Woman are a good start, marking the first film lead by a transgender character to win “Best Foreign Film” at the recent Academy Awards as well as giving Daniela Vega the honour of being the first openly transgender woman to present.

Throughout A Fantastic Woman both Lelio and Vega are able to find moments of honesty and heart, no matter what trials Marina faces. Without giving anything away the film ends on a moment of serene beauty, with Marina in a state of almost serenity. It was a wonderful scene to leave this character on, demonstrating how this genuinely fantastic woman is strong enough to rise above all those who can’t understand her.

4 and a half stars.

“Annihilation” Review

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In an earlier review I praised the ingenuity behind The Cloverfield Paradox‘s surprise Netflix release and distribution as a clever and inventive way to promote a new blockbuster. Regrettably I don’t feel the same about Paramount Picture’s decision to sell the overseas release of Alex Garland’s Annihilation to the increasingly powerful streaming service, as the technicolour visuals and evocative soundscape beg to be experienced in a cinema setting. Having no other option but to watch it on a smaller screen does rob the creative and refreshing sci-fi of some of its power, but I’ll take the optimistic route and just be happy that it got released at all.

Annihilation is shrouded with mystery from the very beginning. We see a comet crash into a lighthouse, and Natalie Portman’s character, Lena, being interviewed by a dour faced scientist in a full HAZMAT suit. Apparently Lena is the sole returning member of an exhibition to an unknown location, and she doesn’t quite remember what happened to her. Garland’s screenplay jumps back to Lena’s husband (Oscar Isaac) strangely reappearing in their home after a year on a military deployment within a zone known as the “shimmer” – a strange fluorescent field extending from the crashed comet and slowly expanding over the US coast. With Kane remembering nothing of his time within the shimmer, and his body rapidly breaking down now that he’s out of it, Lena joins a five-woman team making their own journey in to figure out what happened and how to stop it. Natalie Portman gives yet another committed and emotional performance as Nina, and it’s nice seeing Oscar Isaac and Garland reunite, but it was Gina Rodriguez as paramedic Anya who had the standout performance for me. Anya starts out as a strong, friendly member of the team who welcomes Nina to the unit, only to get more paranoid and unstable as the effects of the shimmer become more apparent. It all culminates in Annihilation’s tensest scene, and demonstrates Rodriguez’s range extends far beyond the sitcom setting of Jane the Virgin.

As with his debut film, Ex Machina, Garland builds his world on familiar and believable foundations before exploring the more fantastical sci-fi elements. The world within the shimmer is earthy and floral, filmed in England’s Windsor Great Park, and cinematographer Rob Hardy emphasises the liveliness of the environment. It’s only as the team gets further in that things start to appear unnatural, represented by different species of plants blending together and creating vibrant mixes of colours along the same roots. The landscape continues to get stranger as the exhibition gets deeper, and all along the danger is visualised through these bright colours and unique floral formations. Production designer Mark Digby and the entire art department have clearly relished in the opportunity to create a world that looks both beautiful and dangerous. Garland uses other filmic tricks to give the shimmer a sense of unease, such as making the film edits themselves part of the story – scenes will start mid-way through with the characters unsure as to how they got there. Even the soundtrack begins to distort as the film progresses, with Ben Salisbury and Geoff Barrow favouring an acoustic guitar to set the tone early on before switching to distorted electronica for the otherworldly climax. It all leaves Annihilation a feeling like a mix between Event Horizon and 2001: A Space Odyssey – raising the deep questions of the former while threatening the nightmarish dangers of the latter.

Garland, having previously written the screenplays for complex films such as Sunshine, 28 Days Later, and Never Let Me Go, has never shied away from exploring deep questions in his work. Annihilation has numerous interesting concepts to discuss, many of which are developed in surprising ways within the film, but the climax does lean more in favour of abstract ideas than an actual resolution. This is hardly unusual in science-fiction, and I’m sure many viewers will embrace the questions the ending provokes, but I confess to preferring the peculiar yet grounded world that had been established prior to that point. Regardless, Annihilation is a promising sign that the strengths Garland displayed in Ex Machina weren’t a fluke, as he continues to create fresh works of science-fiction that aren’t afraid to favour the viewer’s intelligence over special effects.

4 stars.

“Red Sparrow” Review

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I am so sick of films that consist of two hours of their female lead being subjected to horrific abuse yet have the gall to promote themselves as tales of feminist empowerment. Red Sparrow is the latest nauseating example, as Jennifer Lawrence’s character is beaten, raped, tortured, stripped, exploited, and prostituted but comes out the other end a stronger woman. Rather than making me any stronger, I only came out of Red Sparrow furious that what I had just seen could be considered entertainment.

Lawrence plays Dominika Egorova, a famous dancer in the Bolshoi ballet whose career is ended by a tragic accident. Left with no income to support her sick mother, she’s quickly recruited by her sinister uncle to the Sparrows – a team of sexy spies who specialise in seduction to gain access to their targets. The logic of using a famous dancer as a spy is never really addressed, even when multiple characters recognise her from her dance career, but that’s only scratching the surface of the problems with this premise. “The Cold War never ended”, notes Matron – the Headmistress of Sparrow School, and I’ll certainly concede that Francis Lawrence’s directs his Russian characters like they’re taking part in a propaganda video from the 1950s. United in their embarrassment of playing Russian caricatures are two British actors (Jeremy Irons and Charlotte Rampling), an Irish actor (Ciarán Hinds), a Belgian actor (Matthias Schoenaerts), and of course American sweetheart J-Law. When Australian Joel Edgerton shows up playing an American CIA agent I began to suspect the director was playing some sort of elaborate joke with his cross-cultural casting, but no – like everything else about Red Sparrow, the endless English-speaking Russians were played without any sense of humour or self-awareness.

To her credit, Jennifer Lawrence’s Russian accent sounds consistent and accurate without being distracting, and she brings her usual commitment and natural screen-presence to her role, but despite her accomplished filmography I never got the sense that she was cast for her acting ability. One of the first things we hear about the Sparrows is that they’re selected for their beauty, and the camera wastes no time drooling over Lawrence’s revealing costumes or bare skin. Yes, Dominika does object to her treatment at the hands of her superiors, but simply addressing it doesn’t make Justin Haythe’s screenplay any less guilty of subjecting the characters and the viewer to all the abuse that it decries. It was during a lengthy torture scene of Joel Edgerton’s character, coming shortly after a lengthy torture scene of Jennifer Lawrence’s character, that I gave up any hope of Red Sparrow having a point. It seems like Francis Lawrence was aiming to make a stylish and confronting espionage thriller, but like the grey and muted cinematography of the Russian landscape the whole thing just feels cold, cruel, and lifeless. The only relationship that feels warm and real is between Dominika and her mother, and we see maybe four minutes of them together. Every other interaction is muddled through twisting allegiances as Dominika starts to play both the Russian and American agencies off each other, but her plans only work because of such boundless stupidity from both sides that I frankly didn’t care who won as long as it meant the film would be over.

I’ve seen worst films than Red Sparrow but I can’t remember the last one I hated this much. I’ve sat through more sexually explicit movies with no objection, and I’ve delighted in works with much more extreme violence. I’ll even defend Mother!, which faced its own accusations of undeserved cruelty towards Jennifer Lawrence’s character, as at least there I felt that Darren Aronofsky had something to say. Red Sparrow just seems to want to see how much physical torture and sexual assault its audience can sit through, and by doing so reveals itself to be nothing more than a worthless piece of exploitative propaganda.

½ a star.

“The Square” Review

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I find it more than a little bit amusing that the winner of the Palme d’Or at the 2017 Cannes Film Festival, a festival that (deservedly or not) has a reputation for promoting subversive and confronting art films, was a picture satirising the attempts of a museum to create subversive and confronting pieces of art. Nearly every aspect of the art scene is skewered in Ruben Östlund’s The Square, from exhibitions that accidentally get swept up by the cleaning crew to performance art pieces to end in physical assault, and much like any good artwork seems more concerned with provoking discussion than providing a simple explanation. This is a film that asks questions that I don’t have the answers to, and I’m not even entirely certain I understood the question, but I’m still thinking about them long after leaving the theatre.

Despite marketing that emphasises the roles of American stars Elizabeth Moss and Dominic West, The Square largely follows the day-to-day life of Christian (Claes Bang) – the curator of Stockholm’s X-royal art museum. Despite his stylish and trendy appearance Christian is first seen passed out on the couch in his office before conducting an interview where he struggles to explain his own vague quote regarding a previous instillation. Things don’t get much better for him when his wallet and phone is stolen on the street through a con that qualifies as a rather clever piece of performance art in its own right, while the marketing team working on the titular exhibition bemoan the lack of any controversy that would cause it to go viral. What I found interesting is how throughout Christian’s problems Östlund takes the time to focus on various members of Stockholm’s homeless population, who are either ignored by Christian or used for his own purposes. It effectively demonstrates the gap between the lower class and the upper, particularly those in power who claim to be making art that speaks for the ignored and unrepresented without any idea of how to actually interact with them. This theme becomes more evident as The Square progresses and Christian engages in a spectacularly ill-conceived plan to retrieve his stolen goods, while the advertising for the new exhibition receives the controversy the marketing team was hoping for.

Östlund’s previous film, Force Majeure, demonstrated the director’s knack for the uncomfortable that is again demonstrated here. The camera will linger on characters as they dig themselves deeper with pathetic acts of desperation or misunderstood interactions, and scenes extend well beyond the point where the viewer would expect them to finish. A post-coital argument between Christian and Elizabeth Moss’s character is possibly the funniest argument about condoms ever put on screen, and an excruciatingly long sequence of Terry Notary performing as an ape at a black-tie dinner could serve as a brilliantly provocative short film itself. As The Square progresses the gorgeous production design and elegant cinematography that is so striking at first seems to fall away to reveal the shallowness and emptiness of Christian’s life, with Claes Bang masterfully exposing more of his character’s vulnerabilities and insecurities as the film progresses.

Throughout its lengthy two hour twenty minute runtime The Square explores topics as ranged as homelessness, social media, the class divide, bystander syndrome, the role of art in society, freedom of speech, casual sex, and more. Not every scene relates to the overarching story, and indeed certain moments are never brought up again, and yet not a single moment seems wasted – throughout it all, The Square always feels like it has something to say.

4 Stars.