Favourites of 2016: Rogue One: A Star Wars Story

After re-watching Star Wars: The Force Awakens recently, I decided to go back and read my article  exclaiming it to be one of my favourite films of 2015. After reading it numerous times and disagreeing with around sixty percent of what I had written, I feel I was too hasty in giving such glowing praise to what was essentially a soft reboot with little originality. 2016 saw the release of the franchise’s first “stand alone” film, Rogue One. And as per usual, the hype and marketing was omnipresent. The trailers looked great, the cast was amazing and director Gareth Edwards was an interesting pick. However I was still sceptical about the Disney’s attempts to revisit old ground, especially with the direct connections to my beloved original trilogy. 

The story, which stems from a sentence in the opening crawl of A New Hope, isn’t one of complex narrative twists and turns: There’s a group of ragtag, good guys. Meanwhile the bad guys have made a destructive weapon that threatens the galaxy. So the good guys have to get the weapon’s secret plans. It’s a safe film that uses the chronological setting to tell an engaging story while introducing characters both old and new. The film fortunately refrains from leaving an abundance of open questions and chooses it’s lasting “franchise significance” in a sensible and intelligent manner. The film finishes, and so too does the tale being told. 

What particularly stands out are the visuals and cinematography. The costly CGI “resurrection” of Peter Cushing’s character Grand Moff Tarkin is astonishing and I personally felt that it was justified in the narrative. But I hope that this doesn’t become a future trend of the film industry. The concept of seeing lost stars such as Robin Williams and Alan Rickman in new projects isn’t one that feels humble or progressive. Elsewhere, one thing that really stuck me was the sense of scale. Gareth Edwards has been notable for his prowess at showcasing scope and perspective. His directorial debut Monsters and reboot of Godzilla managed to successfully convey the magnitude of the events depicted on screen. In Rogue One, the new variation of AT-AT Walkers, Imperial Star Destroyers and especially the Death Star are presented in a way that gives a visual resonance which matches their intimidating presence throughout the film. The Death Star isn’t simply a matte painting, but a looming and ever-present force of terror. From the guerrilla warfare on Jedha to the rebels storming the beaches of Scarif, its hard to deny that Rogue One feels forceful and visceral in its presentation, which is helped by some excellent sound design. 

While I wouldn’t join the masses and exclaim that its a “dark, violent and grim film”, I will emphasis it’s overly-serious approach. Though I quite enjoyed the change of tone, the lighthearted banter and the occasionally quips aren’t enough to give a sense of humanity to the story’s characters, which is a major problem with Rogue One. I’m in complete agreement with the many criticisms surrounding the lack of character development. I’ve mentioned countless times that building engaging and deep characters is an important part of any film, especially one reliant on their motivations to the narrative cause. In a film where the majority of the audience already knows the fate of most of these individuals, it didn’t really do much to encourage any lasting sympathy towards their predictable demise. 

In the end, Rogue One was thoroughly enjoyable. However I’d be lying if my delight didn’t stem from my nostalgia for the franchise, especially seeing the Death Star and Imperial Walkers from the original trilogy. But even with a straightforward story and merely serviceable characters, I think it was definitely one of the best cinema experiences of 2016. 

RespawningCouch Podcast: Final Episode: The Best Films of 2013/Early 2014

We end this "experiment" with a "Best of" list that deals with US release dates. 

Thank you for your continued support and listening. Adios and Cheers. 

Favourite Film and TV Characters: Jaw's Matt Hooper

When thinking about characters in Steven Spielberg’s classic Jaws, many would instantaneously reminisce about Robert Shaw’s Quint. But for me Richard Dreyfuss’s performance as Matt Hooper really captures my love for the film. Jaws is undoubtably an all-time classic and would easily find its way on my Top 5 list, and that’s mainly down to the film’s characters. Even with my strong interest in sharks from my childhood, it was the interactions and contrasting personalities that really attracted me to the film. The three leads present a set of unique and memorable characters that, through the course of the film, form strong relationships and converse in “charming” exchanges. 

Hooper for me, manages to stand out amidst the sheer presence of Robert Shaw’s sublime performance. Sure he doesn’t have the quotable qualities and iconic appearance, but it’s his reactions and mentality to the events that occur that really makes him an engaging character. From his smile to his witty banter, there’s an undeniable charm that resonates and adds humanity into the terror that ensues. To be honest other than Close Encounters of the Third Kind and The Goodbye Girl, I’ve never seen much of Dreyfuss’s other work. While these are arguably his most successful films, I’ve never really followed his career until seeing the dreadful Piranha 3D. That being said, from my limited viewing he always leaves a strong impression. His challenging performance in Close Encounters proved his commitment to a role, and that’s no different here in Jaws. 

Hooper’s introduction into the film is perfect. Amongst the hustle and bustle of fisherman trying to claim the bounty on the shark, there stands Hooper wearing a denim jacket trying to make sense of all the commotion. He’s presented as though he’s the “saviour” of Amity Island, even though nobody can quite quantify it. He also remains the only sane person throughout the first two acts of the film. And therefore there’s an immediately absorbing quality to his character. Additionally Dreyfuss and Spielberg thankfully didn’t simplify Hooper to fill the role of the comedic relief. On the sea, his focus and determination show his understanding of the environment and psychology. What's particularly fascinating about him is the undercurrent of contrast that dynamically makes his entire character. His rugged appearance hides his academic and wealthy background that Quint immediately questions/discredits. The early respect for Brody is flipped when they set sail to kill the shark, as he witnesses his incompetence. His changing attitude to Quint as they share stories starts to show the competition/ similarities between the two. These moulding components speak a lot for Spielbergs’ direction and Dreyfuss's exploration of the character.

Likewise, Hooper’s tone towards the rising body count is somewhat clouded by his love for sharks. And that’s a very interesting facet to him. His to-and-fro mentality throughout the course of the film, sees him constantly shift from “Wow, this is incredible” to “Oh crap, we’re going to die!”. Even with his light-hearted approach to the situation in hand, this never distracts from the film’s construction of tension, but rather enhances it. When the shark expert starts to loose his nerve, then you know for sure that the situation is bad.  

My favourite scene follows Brody and Hooper trying to convince Major Larry Vaughan to close the beaches after their discovery. Their attempts to warn him of an impending catastrophe are futile as  Hooper perfectly says “I think that I am familiar with the fact that you are going to ignore this particular problem until it swims up and BITES YOU ON THE ASS!”. I have a huge grin every single time I watch that moment.

Jaws will always remain a personal favourite. For all the sniggering at the sight of a shark jumping on the backend of a boat, the film still manages to leave a lasting impression. Its premise, its writing, its score and its characters all culminate in a film that’s had a huge impact of many people’s childhood, cinema experiences and exposure to sharks (an unfortunate one during the time of the film’s release). If I’d have been cheap, I would have simply stuck the three leads together because of the fantastic chemistry and “bromance” between them. But narrowing it down, Hooper’s charming and humorous charisma just resonates with me more on a personal level and is one taps into my “inner child” as a shark-lover. 

My 10 Favourite Films of 2012

I think I nailed it, but here are my "favourite films" of 2012 that were released this year in the UK. Sorry if some of these choice seem redundant, but that's UK release dates for you. It wasn't like I was struggling or something......

10. Killer Joe 

William Friedkin directed The Exorcist, The French Connection and To Live and Die in L.A., yet has failed to recapture that same form since the 1980s. Meanwhile Matthew McConaughey’s career has had a resurgence in the last couple of years e.g The Lincoln Lawyer back in 2011. Friedkin’s return back to the director’s chair continues his violent and very uncompromising nature to thriller cinema. The third act in particular is undoubtably one most uncomfortable scenes I’ve seen in a while. However Tracy Letts’ original material, and subsequent screenplay, adds a layer of black comedy that thankfully adds needed humanity to the characters and the film. McConaughey is fantastic in his approach to unintentionally introduce some empathy and intelligence amongst a supporting cast of unlikable and intense personalities, especially Gina Gershon. Juno Temple similarly offers a strong performance as the innocent yet unhinged love interest. Filmed on a small scale, Killer Joe still offers the gritty visuals and tragic temperament we’ve come to expect and still love from Friedkin.  

9. Coriolanus 

Ralph Fiennes’ directorial debut was a fierce, modern adaptation of Shakespeare’s classic tragedy that was overlooked by many. Retaining the traditional dialect, Coriolanus manages to keep the quintessential theatrical feel of Shakespeare’s work but successfully rendered it in a modern day, almost relevant perspective. With the likes of Brian Cox, Jessica Chastain and James Nesbitt, the film is awash with a terrific mix of upcoming and experienced talent. Vanessa Redgrave’s intense and resolute performance perfectly intwines with Fiennes’ own stern and bitter character to form a phenomenally powerful and ardent “mother and son” relationship. Coupled with Barry Ackroyd’s sophisticated cinematography, Coriolanus was another fantastic addition to British cinema and a solid start to a hopefully, successful directing career for Fiennes. It even made Gerard Butler look like a half decent actor.

8. Killing Them Softly 

Missed by many and released on the backend of 2012 in the US, Andrew Dominik’s latest film was met with relatively high praise from the critics. It’s rather simplistic crime/thriller story is perpetuated by strong performances from the likes of Brad Pitt, Scoot McNairy and James Gandolfini, but also by Dominik’s very tight script. Similar to last year’s Drive, Greig Fraser’s superb cinematography, ranging from the skilful camerawork to the proficient use of lighting, really gives Killing Them Softly a sophisticated and polished look. While I still criticise its heavy-handed approach to conveying Dominik’s political and social commentaries on America, the film is a stylish and intense piece of modern-day, noir cinema.

7. The Avengers

In a genuine surprise, Joss Whedon managed to turn the rather mixed efforts of Marvel’s previous films (Thor, Ironman 2, The Incredible Hulk, Captain America) into a thoroughly enjoyable superhero-assemble film. The Avengers has all the distinctive characteristics of a true “Summer Blockbuster”, a competent plot that’s still capable of introducing newer characters, entertaining action set-pieces and a sense of humour. But where the film really succeeds is its ability to merge a set of incompatible personalities into a rather engaging narrative. Sure it takes shortcuts and has its fair share of writing issues, but it’s a great example of establishing and developing characters within a film of sizeable scale. Consequently and thankfully it instilled some faith back into the “Summer Blockbuster” and to Marvel’s film credibility in some style. 

6. Dark Knight Rises 

Christopher Nolan’s revered trilogy concluded with The Dark Knight Rises, and while it wasn’t the sequel Dark Knight “disciples” dreamed of, it still provided a intense and epic experience. Bringing Bruce Wayne to the forefront, and focussing on the symbol of Batman were the right moves by Nolan and provide a “closing” thematic loop for the trilogy. 

However even when introducing more quintessential characters from the source material, Rise remains capable of accommodating those formidable personalities. Tom Hardy’s Bane is genuinely threatening, both vocally and physically, meanwhile Anne Hathaway offers a distinct and respectable take on Selina Kyle. Visually, Wally Pfister’s cinematography continues his dynamic stylings with certain set-pieces looking absolutely fantastic, the sewer brawl between Bane and Batman in particular. Simultaneously Han Zimmer offers his usual heavy and resonant score. Sure it’s riddled with plot holes and questionable choices, but that doesn’t stop it from being an engaging and entertaining blockbuster. While Batman Begins remains my favourite of the three, The Dark Knight Rises offered a compelling and satisfying end to a truly fantastic trilogy. 

5. The Artist 

Released in the UK at the start of the year, The Artist cooked up a storm at Oscars, BAFTAs, Golden Globes etc, and it’s easy to see why. A nostalgic look at the roots of Hollywood’s silent “boom”, Michel Hazanavicius managed to transform a rudimentary plot of romance, drama and glamour with poignancy and overwhelming charm. Jean Dujardin and Berenice Bejo do a terrific job adapting to the requirements of their distinct roles. Their energy and sheer charisma create a set of spirited and compelling characters that were deservedly recognised by the flood of nominations. Ludovic Bource’s music is pinnacle to the success of the entire film and beautifully encompasses the emotional alterations perfectly. It’s an experience that I suspect a repeat viewing will squander, so I’ll just keep those initial, magic memories.

4. Intouchables 

A box-office smash in France, Intouchables is pure and simple in its approach to the comedy-drama genre. Directors and writers Olivier Nakache and Eric Toledano bring two completely contrasting characters together in a amusing and sometimes poignant narrative. The film doesn’t attempt to bog itself down with frivolous socio-political commentaries as you’d expect, neither does it break any bounds in the comedy department, rather it uses the charisma and charming nature of its two leads. Both Francois Cluzet and Omar Sy provide sterling performances that share a strong, natural chemistry that persists throughout the film. Ludivico Einaudi offers another fantastic score and Mathieu Vadepied’s cinematography offers an beautiful look at Paris from all perspectives and angles. It’s a funny and warm-hearted film that I absolutely loved. 

3. The Raid 

Light on narrative, lacking substantial character development and devoid of engrossing dialogue aren’t necessarily the hallmarks of highly-regarded films, but Gareth Evan’s The Raid instilled enjoyment back to the forefront of the cinema experience this year. Taking a rather basic premise, this Indonesian martial-arts flick is unflinching in its pursuit to get the audience cheering. The crescendo approach to its set-pieces combined with the sheer brutality and intensity to every fight is a true exhibition of the action genre. Similarly, the dynamic camerawork and fierce audio design add another level to the carnage. Beautifully choreographed, savagely visceral and deeply satisfying, The Raid proved to be one of the most enjoyable films of 2012.

2. Argo

Ben Affleck’s career continues to shine, both in front of the camera and behind it. His latest film Argo has achieved a “Top 5” spot on numerous lists and continues to be nominated for various awards. Successfully blended two polar genre’s Argo is an engaging and highly enjoyable film. On one side you have the serious nature of the Iran Hostage Crisis of 1979 and the general risk of the CIA operation, and on the other the fake 1970s sci-fi flick cover-story with John Goodman and Alan Arkin. Affleck manages to retain the intensity and sense of urgency throughout the entire picture, while maintaining the events back in Hollywood. Some great supporting acts from the likes of Bryan Cranston, Scoot McNairy and Alan Arkin, created a firm and determined set of performances that perfectly mingle with those from the leads, Affleck does pretty well. In the end, dealing with a piece of source material only recently release to the public in the last 6 years, Argo was undoubtably one of this year’s best and deserves its high recognition.

1. Shame 

Steve McQueen’s second major release continues his bold approach to dramatic cinema. He and writer Abi Morgan succeed in creating a tragic and intrepid story of troubled individuals suffering from addictions and poor judgement. It’s a powerful film that intimately communicates its messages and difficult personality in every department. From its intelligent writing, to the film’s general restrained nature, Shame is brave in its attempt to take the taboo issue of sex addiction and really show the uncontrollable vulgarness of it all. Michael Fassbender’s “quiet” performance is simply stunning. He perfectly carries the suave and calm exterior with the frantic and tenuous psychology of his character. Carey Mulligan similarly offers a frightening take on a sister condemned to her lack of luck. Meanwhile Shame’s cinematography is beautiful, from the interiors of classy bars to the grey concrete of New York’s alleyways, there’s a distinct richness to every shot. Subtle details and directions are prevalent throughout the picture and give the entire film a sophisticated and intricate level of depth. Shame was my favourite of 2012, and with McQueen currently working on Twelve Years a Slave, another controversial and bold title with an incredible cast, lets hope for more of the same. 

RespawningCouch Podcast: Top 10 Favourite Films of All Time

This week:  Jack and Nick each discuss 5 of their favourite films in no particular order, and with a lot of erms and "I think"s (Apologies)

Nick: Batman Begins, Toy Story, Blade Runner, Brazil and Princess Mononoke

Jack: The Chaser, Jaws, Groundhog Day, Cure and Lost in Translation

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