Film Review: The Walk

The Walk. Rated PG (Mild themes and coarse language). 123 minutes. Directed by Robert Zemeckis. Screenplay by Robert Zemeckis and Christopher Browne. Based on the book To Reach the Clouds by Philippe Petit.

At sunrise on 7 August 1974, 25-year-old French high-wire artist Philippe Petit stepped out onto his high-wire 400 metres above the ground – either end of which was attached to each of New York’s World Trade Center Twin Towers. For the next 45 minutes, Petit would walk backwards and forwards between the towers eight times.

We first meet Petit (Joseph Gordon-Levitt), perched next to the Statue of Liberty’s torch. Behind him, the towers dominate the skyline, something that made them incredibly unpopular with New Yorkers at the time of their construction. Today, seeing them again brings mixed emotions, particularly as their spectacularly brutalist presence dominates every element of the story.

Gordon-Levitt is sensational as the ambitious dreamer, determined to rise to the pinnacle of his death-defying artform. As the collaborators who will be able to bring the artistic and engineering aspects of his feat to reality, Ben Kingsley is in top form as Papa Rudy, a high-wire veteran who takes Petit under his wing, while Charlotte Le Bon is perfect as Annie, Petit’s girlfriend, who refuses to doubt that he will survive the attempt. But the winning support comes from César Domboy’s Jeff, a mathematician who rather unfortunately has a fear of heights. Once we arrive on the roof of the tower, it is Jeff who becomes our terrified touchstone.

Zemeckis (Flight, Cast Away, Forrest Gump) and cinematographer Dariusz Wolski (The Martian, Prometheus, Pirates of the Caribbean) have masterfully recreated Petit’s performance, and their seriously vertigo-inducing camera captures the action from every possible (and some seemingly impossible) angle. But the haunting final word of dialogue suggests that this film is intended to be as much a tribute to the majesty of the Twin Towers as it is to the incomprehensible fearlessness of Philippe Petit.

This review was commissioned by the West Australian Newspaper Group.

Film Review: Black Mass

Black Mass. Rated MA15+ (strong violence and coarse language). 122 minutes. Directed by Scott Cooper. Screenplay by Mark Mallouk and Jez Butterworth. Based on the book by Dick Lehr and Gerard O'Neill.

Based on the true story of ruthless Boston gangster James ‘Whitey’ Bulger (Johnny Depp) and his lifelong friendship with FBI agent John Connolly (Joel Edgerton), Black Mass is a terrifying descent into the world of the consequences of blind and unconditional loyalty. As Bulger snarls to one of his many unfortunate victims, ‘… of course you had a choice … you just made the wrong one.’ What is compelling about this moment, is that Bulger appears to be chastising himself for having done exactly the same thing – knowing there will be no winners.

Masterfully directed by Cooper (Crazy Heart), Black Mass takes place in a world ruled by fear, paranoia and suspicion, superbly established from the opening scene when Bulger’s accomplices are, one-by-one, telling investigators everything they know about his formidable rule of the city. Then, in flashback, we return to the many scenes of the crimes, within a slow boil to an endless, inescapable hell.

Depp’s performance as the tormented Bulger is devastating. Similarly to Charlize Theron’s Aileen Wuornos in Monster (2003), Depp immerses himself entirely into the role, and while his popularity never lets you forget it is Johnny Depp, the emotional and psychological depths to which the actor reaches are astounding.

Within a superb ensemble, Edgerton is outstanding as the brittle, opportunistic special agent who uses his friendship with Bulger to obtain information about the Mafia who rule the city, while conveniently turning a blind eye to his friend’s increasingly megalomaniacal criminal activities.

The growling score by Tom Holkenborg (Mad Max: Fury Road) is as deeply unsettling and relentless as the story, provoking the action to its inevitable conclusion. Be warned. Black Mass is a light and laughter-free zone, and its hold on your increasingly frayed nerves will be complete.

This review was commissioned by the West Australian Newspaper Group.

Film Review: The Martian

The Martian. Rated M (survival themes and coarse language). 141 minutes. Directed by Ridley Scott. Screenplay by Drew Goddard. Based on the novel by Andy Weir.

When their Mars mission is hit by a ferocious storm, commander Lewis (Jessica Chastain) makes the decision that the crew leave the planet’s surface and return to the relative safety of their spacecraft, the Hermes. But when the violent windstorm slams a piece of equipment into astronaut Mark Watney (Matt Damon), he becomes separated from the rest of the crew, and electronic signals from his space suit indicate that he has not survived the impact.

Commander Lewis reluctantly makes the decision to leave Watney behind, only to later learn that he has survived and that NASA is preparing a rescue mission. All Watney has to do is work out how to survive alone on the planet for the four years it will take the rescue mission to reach him.

At a running time of two hours and twenty-one minutes, it’s not that hard to know precisely how he feels. Apart from the opening storm sequence, The Martian feels more like an extra special episode of ‘Better Homes and Gardens’, as Watney potters about tending his crop of potatoes, making and repairing things, while recording entertaining entries into the mission’s video log about how ingenious, funny and resilient he is.

Back on Earth, things are equally ordinary, as a terrifically miscast Jeff Daniels plays Teddy Sanders, the Director of NASA, as something like an incredibly bored school principal. What is impressive, in spite of the ordinary performances, is the extent of ground-breaking technological and scientific innovation that figures prominently in the story, both at NASA, in outer space, and on Mars.

But for all that’s a stake, The Martian is a strangely drama- and atmosphere-free zone.

This review was commissioned by the West Australian Newspaper Group.

Film review: Oddball

Oddball. Rated G. 95 minutes. Directed by Stuart McDonald. Screenplay by Peter Ivan.

Based on the true story of Warrnambool chicken farmer Swampy Marsh (played by Shane Jacobson) and Oddball, his Maremma Sheepdog, who together saved a vulnerable penguin colony from complete devastation, Oddball is a delightful little gem of film.

Middle Island, just off the south-western coast of Victoria, is home to a penguin colony that was originally cared for by Swampy’s late wife. Their daughter Emily (Sarah Snook) who inherited her mother’s passion for preserving the penguin colony, is horrified to discover that the population is suddenly being decimated by marauding foxes. If the penguin population falls below ten, the local council plans to shut it down and open a whale-watching visitor centre in its place.

Oddball is introduced as a ‘fairytale’, and the terrific cast play Ivan’s classically structured and involving screenplay for all it’s worth. It’s great to see Jacobson, who first came to prominence in the break-out hit Kenny (2006), on the big screen again, and his performance is pitch perfect. Jacobson is quite possibly one of the most under-rated actors in the country, and his big-hearted Swampy Marsh is a marvellously entertaining character.

Jacobson receives excellent support from Coco Jack Gillies as his granddaughter Olivia, and their shared passion for doing all that it takes to save the penguin colony never feels contrived or anything less than completely genuine. But the undeniable stars of the film are the little cast of penguins, who, courtesy of penguin trainers Katie Brock and John Medland, are guaranteed to waddle and squeak their way into your heart.

Beautifully shot by cinematographer Damian Wyvill, this is a refreshingly unpretentious film, with the perfect blend of comedy, drama and romance that the whole family can simply sit back, relax and enjoy.

This review was commissioned by the West Australian Newspaper Group.

Film Review: Everest

Everest. Rated M (mature themes). 121 minutes. Directed by Baltasar Kormákur. Screenplay by William Nicholson and Simon Beaufoy.

‘Because it’s there!’, a chorus of mountain climbers exclaim when they are asked why they want to climb to the top the world’s highest mountain.

Whether this comparatively short-sighted motivation provides adequate reason for why they choose to take on the well-documented horrors that await them on the ascent and descent from heights ‘equal to the cruising altitude of a 747’ – as their Adventure Consultants tour guide Rob Hall (Jason Clarke) points out – remains a point of conjecture long after the experience of this terrifying film begins to fade.

For someone who finds it hard enough walking up a flight of stairs, Everest is a confronting experience. Armchair Adventurists will also find themselves nodding knowingly at every heavily sign-posted calamity that befalls the ill-fated expedition, which exists of enthusiastic amateurs who are happily escorted, at great expense, to the precipice of life and death.

Within an excellent ensemble, Clarke’s performance as the passionate but ultimately flawed hero is outstanding. When Doug (John Hawkes), a quietly spoken mailman from America who failed to make it to the summit on a previous attempt begs Hall to be allowed to continue, you can see the fear that he might be making the wrong decision written all over his face.

As the less-adventurous guide Guy, whom Hall mocks mercilessly for taking his group on less death-defying climbs, Sam Worthington delivers some of his best work to date. Guy’s conflict between wanting to rescue his close friend while knowing that such an attempt could cost him his own life, is a deeply personal one that lesser actors would struggle to communicate as effectively as Worthington does.

Technically, Everest is a spectacular achievement. Under Kormákur’s inspired direction, cinematographer Salvatore Totino captures every aspect and every angle of the brutally unforgiving environment, while Mick Audsley’s superb editing rarely allows you to draw breath.

This review was commissioned by the West Australian Newspaper Group.

Film Review: Maze Runner: The Scorch Trials

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Maze Runner: The Scorch Trials. Rated M (violence, science fiction themes and sustained threat). 132 minutes. Directed by Wes Ball. Screenplay by T. S. Nowlin. Based on the novel by James Dashner. 

Picking up minutes from where The Maze Runner left us, Thomas (Dylan O’Brien) and his fellow ‘Gladers’ are choppered in to a high-security facility where overseer Janson (Aidan Gillen) assures them they will be safe from harm. 

The facility is free from the effects of ‘the Flare’, the plague that has almost wiped out humanity. It is also apparently safe from the sinister forces of WCKD, the organisation that is hunting the Gladers so their immunity to the Flare virus can be harvested and used to develop a cure.

But when Aris (Jacob Lofland) takes Thomas on a late-night crawl through the facility’s air ducts, the truth of what lies in store for them is revealed. When Thomas makes the decision to escape, the Gladers find themselves at the mercy of Flare-infected Cranks and what remains of a hostile planet.

Ball delivers the gripping horror, suspense and big-action set pieces with supreme confidence, while O’Brien returns to lead an excellent young ensemble with another strong and spirited performance as the leader the hunted Gladers desperately need.

And while the storyline contains little of the ingenuity that made the first film so compelling, Marc Fisichella’s spectacular production design ensures that the many immersive environments in which The Scorch Trials takes place captures and rewards our attention. From decimated cities and derelict shopping malls, to dank tunnel systems, the success of The Scorch Trials is almost entirely about the way it looks.

It is also helped by John Paesano’s thunderingly good score, which not only powers the action, but also contains a thrilling, perfectly timed crescendo that will make you feel like you’re at a symphony orchestra concert.

This review was commissioned by the West Australian Newspaper Group.

Film Review: A Walk In The Woods

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A Walk In The Woods. Rated M (coarse language and sexual references). 105 minutes. Directed by Ken Kwapis. Screenplay by Rick Kerb and Bill Holderman. Based on the book by Bill Bryson.

When author Bill Bryson’s (Robert Redford) disconnection from the world and the people around him results in two very public humiliations, he decides to reconnect with nature, and himself, by hiking the 3,500 km long Appalachian Trail.

His wife Catherine (Emma Thompson) is convinced that the trek is too dangerous alone, so Bryson attempts to have one of his friends come along with him. One by one they refuse, until one of his oldest and forgotten friends, recovering alcoholic Stephen Katz (Nick Nolte), offers to accompany him.

Nostalgia dominates what is essentially a light-hearted stroll along a small section of one of America’s most spectacular scenic trails. Redford, and to a lesser extent Nolte, are cinematic royalty, and all of A Walk In The Woods’ rewards are a result of watching these two old-timers take on not only each other, but also Mother Nature in all her unpredictable glory.

Redford, who has starred in classics such as The Sting, Butch Cassidy and the Sundance Kid, and All The President’s Men to name just three, seems awkwardly uncomfortable for much of his time on screen. There is a level of self-consciousness that sits uneasily on the surface of his performance, as though he is painfully aware that Kwapis and cinematographer John Bailey are determined to capture, in close-up, every intimate detail.

Nolte, though, is simply marvellous as the gruff, big-hearted and seriously out-of-condition Katz. The screenplay provides him with some great lines and all of the comedy, while also providing him with the film’s dramatic highpoint – a scene on a cliff top where he chooses, once and for all, to never touch alcohol again.

This review was commissioned by the West Australian Newspaper Group.

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