The Bourne Legacy

Running parallel in time to The Bourne Ultimatum, The Bourne Legacy stars Jeremy Renner as black ops operative Aaron Cross. After completing a gruelling hike across the Alaskan wilderness, Cross arrives at an isolated cabin where he meets a fellow operative (Oscar Isaac). Due to events elsewhere, linked to the plot of the first film in the series, the people running the secret Operation Outcome of which Cross is a member decide to shut it down by killing all staff involved. A drone attacks Cross but he manages to escape and tracks down scientist Dr. Marta Shearing (Rachel Weisz) who he hopes can lead him to stocks of the pills he needs to remain a superhuman.

With a plot that I didn’t fully understand and some decent action set pieces, The Bourne Legacy is a film that is not without some merit but overall I could probably have lived without seeing.

One A.M.

Charlie Chaplin’s forth film for the Mutual Film Company is a unique two reeler in which he is almost the only person on screen for the film’s entirety. Apart from an establishing scene featuring Albert Austin as a disgruntled cab driver, Chaplin has the film to himself as he struggles to get up to bed whilst drunk. Chaplin arrives home at 1am to find numerous inanimate objects in his way in his quest for a nights sleep.

In this twenty-six minute short a drunken Chaplin is scared by stuffed animals, baffled by a revolving table, constantly defeated by a flight of stairs before being bested by a fold away bed. Chaplin takes inspiration from the drunken character that made him famous in England with the Fred Karno Company, the very same character that drew the attention of Mack Sennett and gave him his break in the movie industry.

Departures

2008 Oscar winning Japanese film Departures is a deeply moving but sometimes darkly comic look at Japanese funeral ceremonies. Daigo Kobayashi (Masahiro Motoki) is a cellist, playing with an Orchestra in Tokyo until it is shut down due to poor ticket sales. Short of money he is forced to move back to his remote mountain hometown and live in the house that his mother left him when she died. Spotting an advert in the paper for ‘assisting departures’, a job requiring no experience, Daigo goes for an interview. He is immediately hired but soon finds out that the advert had a typo and the job is in fact to prepare the dead for cremation. Daigo keeps his new job secret from his wife Mika (Ryoko Hirosue) for fear that she will disprove and slowly learns the art of the job from his quiet but dedicated boss Shoei (Tsutomo Yamazaki). Despite being initially repulsed by the job, Daigo soon learns to respect the delicate work carried out by himself and his boss but still has to convince his wife and friend Yamashita (Tetta Sugimoto).

Departures is a film that really messed with my emotions. I went from laughing out loud to being close to tears before an emotional but satisfying ending. It is not surprising that the film won so many awards upon its release and continues to be held in such high regard.

Rope

In a New York City apartment a faint scream can be heard as two friends’ murder a third before concealing his body inside a large wooden chest placed prominently inside their living room. The crime is committed moments before people who know the dead man arrive for a party. Lead conspirator Brandon Shaw (John Dall) commits the murder as an intellectual exercise in order to prove his superiority over the dead man and other party guests. Fellow conspirator Phillip Morgan (Farley Granger) is less confident about the crime and much more conscious of having a dead body in his midst. Amongst the party guests are the dead man, David’s parents, girlfriend, ex-classmate and all four friend’s ex-prep school housemaster Rupert Cadell (James Stewart) of whom Brandon is most wary of being able to discover the body. 

The film comes off like a play and is indeed based on a play from the 1920s. The entire plot takes place inside one apartment set and mostly within one room of that apartment. Although characters move about the setting I don’t think the camera ever leaves the living room. Adding to the sense of being a play is the editing. The film is shot as though one long, continuous take though is actually broken up into ten separate takes with each cut being masked by a man’s jacket moving across the screen or the back of some furniture. This allowed the director, Alfred Hitchcock the chance to cut scenes and change the magnificent backdrop which indicates the passing of the day.

The Vagabond

A Musician-Tramp (Charlie Chaplin) leaves town following a chase to find himself in a gypsy camp. There he finds a poor abducted girl (Edna Purviance) who he attempts to cheer up with his music. Having witnessed a savage beating of the girl by the gypsy chieftain (Eric Campbell), the Tramp goes about saving the girl and setting her free. While attempting to woo her, a handsome artist chances by and has Edna sit for a portrait. The portrait attracts the attention of Edna’s estranged family who attempt to take her away from the Tramp for good.

I honestly can’t think of a single Chaplin film during which I’ve laughed so little but on this occasion that is not a negative statement. Here Chaplin provides plenty of his trademark pathos and creates a film which is much more of a romantic drama than romantic comedy or slapstick comedy.

Brave

A young Scottish Princess called Merida (Kelly Macdonald) spends her days fighting against the rules set by her mother Queen Elinor (Emma Thompson) and wishes to be more of a free spirit, able to ride her horse, eat and wear what she wants and most importantly practise her archery skills. A trip to a Witch adds a further twist to the mother daughter relationship and puts both their lives at risk.

Despite being a huge Pixar fan I went into Brave with a small sense of dread. I expected, and as it turned out I was right, that this would be Pixar’s most Disney-like feature to date and that’s something that disappoints me. We already have Disney to bring us fairytales of Princesses and suitors but there are very few studios who are brave enough or mad enough to come up with the likes of Toy Story, Wall-E or Up. For me there was little to distinguish Brave from a modern Disney film along the same lines as Tangled. Despite this, Brave is still a fun film with a lot to like.

Big Miracle

Based on a true story, Big Miracle is about the efforts in 1988 to save three Grey Whales from drowning in frozen seas of Point Barrow, Alaska, one of the most northerly inhabited settlements on Earth. Anchorage based reporter Adam Carlson (John Krasinski) is reporting from Barrow when he spots a small gap in sea ice through which three whales are struggling to breathe. Once his story gets national coverage, thousands of reporters, National Guard and Greenpeace activists including Rachel Kramer (Drew Barrymore) descend on Barrow to cover the story and help set the whales free.  

Although billed as a family film, for me this feels like the next generation disaster movie. We’ve already seen a shift from the terrorist style movies of the 90s towards the 2012 environmental type movies and this feels like the next step. Throughout the film I was constantly reminded of Deep Impact and Independence Day. There are several intertwining stories with overlapping characters, families watching the proceedings on TV, reporters from all over the world lined up in that tracking shot which you always get, enemies coming together, several love stories, tragedy to open the third act and surprising international cooperation saving the day. If you substituted the whales for a meteor or alien invasion then you have the exact same disaster film which everyone has seen before.

The Imposter

In 1994 a thirteen year old Texan boy called Nicholas Barclay disappeared from San Antonio. Three years later his family received a call from a Spanish official, claiming that Nicholas had been abducted by a sex slave ring but was now with him in Spain. Despite Nicholas leaving as a thirteen year old with almost Aryan colouring and returning tanned with dark hair and eyes along with a foreign accent, the family accepted the boy who returned as their son. This documentary tells the story of Nicholas’ disappearance and the extraordinary events in 1997 when it seemed that he had returned.

The documentary is created using a mixture of talking heads; achieve home videos and convincing reconstructions which are themselves combined with the talking heads. Almost all of the major players in the story take part which is a little surprising as by the end hardly anyone comes out with any sort of credibility.

I went into this film knowing the story having read about it recently in a magazine. I knew very little about the film however and wasn’t actually sure if it was a documentary or drama. The film plays its cards very early and it isn’t exactly a spoiler, especially given the title, to tell you that the person who returns home in 1997 is not Nicholas Barclay. The real interest for the first half of the film at least, is how on earth this man managed to convince Spanish officials, the American Embassy and most incredibly the family of the missing boy that he was Nicholas. It’s almost too unreal to be true. Without giving too much away, the man who claims to be the boy is of French-Algerian descent and several years older than Barclay. He looks nothing like the boy.

OSS 117: Lost in Rio

OSS 117: Lost in Rio is the sequel to one of the funniest films I’ve ever seen, OSS 117: Cairo, Nest of Spies and is bought to us by the team behind that film and The Artist, Oscar Winners Michel Hazanavicius and Jean Dujardin. A James Bond pastiche, Dujardin stars as OSS 177, France’s top secret agent. It’s 1967 and he is on a mission to capture a microfilm containing the names of French Nazi collaborators from an ex-Nazi now residing in Brazil. He is joined by a beautiful Israeli Army Officer, Delores Koulechov (Louise Monot) who is tasked with bringing the Nazi back to Israel to face a war crimes tribunal. 117 bumbles his way through Brazil with the help of his Israeli colleague, attracting the interest of various women and the CIA along the way.

I was really excited to see this sequel as Cairo, Nest of Spies is one of the best comedies I’ve seen in the last year. I’d previously read that the sequel wasn’t as well received in France as the original and I’d have to agree with that assessment. It is in no way as good as Cairo, Nest of Spies but is still an enjoyable hour and a half.

The Vow

Around four minutes into The Vow I looked down at the notes I was making and they read “Why sex in the middle of the road?” “How did he get her permit?” “He looks like a potato”. I was tempted to just make that my review but I will go on.

Paige Collins (Rachel McAdams) and her husband Leo (Channing Tatum) are driving back from the movies when she decides to initiate sex at a set of traffic lights. Most people would perhaps wait until they were home or maybe nip down an alley but Paige goes for it in the middle of a snow covered street. After taking her seatbelt off the car is rear ended by a truck which sends Paige through the windshield in ultra slow motion. Once Paige wakes up in hospital with the smallest scars imaginable, we discover that she has short term memory loss and has forgotten her entire life with Leo. He looks like a confused Mr Potato head and runs away but decides to come back and try to get her to remember their life together (without using any photos, videos, texts or facebook updates etc). His quest is complicated with the introduction of Paige’s stuffy parents (Jessica Lange & Sam Neill) who want their daughter back.