Director: Peyton Reed
Starring: Paul Rudd, Michael Douglas, Evangeline Lilly, Corey Stoll, Bobby Cannavale, Michael Peña, Abbie Rider Fortson, Judy Greer
You just can’t bet against Marvel Studios at the moment. Every time they announce a new project based on some obscure comic that raises your eyebrows and makes you think, “Surely this is the one that they makes them stumble,” they find a way to make it work. Boy did it work with James Gunn’s Guardians of the Galaxy last year and it has worked again, albeit not to quite as drastic an extent, with Peyton Reed’s Ant-Man, a light, funny and surprisingly heartfelt superhero movie.
Decades ago, when working with SHIELD, Dr Hank Pym (Michael Douglas) invented the Pym Particle, a formula that alters atomic relative distance, reducing the space between atoms while increasing their strength. Using his discovery he became the original Ant-Man. However, after a terrible accident he gave up the superhero life and, concerned by the potential weaponisation of his technology, vowed to keep his formula secret. But now his former protégé, Darren Cross (Corey Stoll), who took over his company Pym Technologies and voted him out, is on the verge of unlocking the secret of the Pym Particle, Continue reading
Director: Will Gluck
Starring: Quvenzhané Wallis, Jamie Foxx, Rose Byrne, Bobby Cannavale, Cameron Diaz
It is the musical remake that nobody was asking for: a loose, modern retelling of Charles Strouse and Martin Charnin’s beloved stage musical Annie. Gone is the traditional red hair and chirpiness of Little Orphan Annie, which this film lampoons in its opening moments. This Annie, played by Quvenzhané Wallis (from Beasts of the Southern Wild), is no orphan, she’s a foster kid and a savvy one at that.
Annie’s life is changed when she is pulled from the path of a car by Will Stacks (Jamie Foxx) – our substitute Daddy Warbucks – a telecommunications mogul running for Mayor of New York. The incident is captured on video and goes viral, giving Stacks a much needed bump in the polls. With Annie seemingly his election trump card, Stacks’ cynical campaign manager arranges for him to foster her for the period of the campaign.
In seeking to modernise the story the filmmakers appear to have forgotten just how important historical context is to Annie’s tale. Continue reading
Director: Woody Allen
Starring: Cate Blanchett, Sally Hawkins, Bobby Cannavale, Andrew Dice Clay, Peter Sarsgaard, Louis C.K., Alden Ehrenreich
There are two types of Woody Allen films: those which are just for the Woody Allen fans and those which are for everyone. I suppose there is also a third group: those which kind of miss the mark and fail to please anyone, but that is forgivable for a filmmaker who has made at least one movie a year for the last four decades. His latest film, Blue Jasmine, is one for everyone due in no small part to a lead performance from Cate Blanchett that is really something quite special.
In a classic tale of riches to rags, we first encounter Jasmine as she arrives in a San Francisco to move in with her working class sister, Ginger. A former New York socialite, Jasmine lost everything – her home, her money, her lifestyle and her mind – when her investment banker husband was jailed for some Bernie Madoff-style dealings. While Jasmine formulates a plan to get her life back on track –she takes a computer course with the ultimate aim of studying interior design online – she causes considerable chaos in Ginger’s life.
Indebted to Tennessee Williams’ A Streetcar Named Desire, Jasmine, the latest in a long line of brilliant female characters written by Allen, is our Blanche DuBois. She is a delusional woman forced to move into her sister’s working class life, surrounded by brutish men and pining for her lost life of privilege. As with Blanche, we find ourselves simultaneously drawn to and repelled by Jasmine. On one level we sympathise with her. She has had the rug pulled out from underneath her and is clearly damaged. But as much as she is a victim of her husband’s crimes, she is also a victim of her own self-delusions. Whether it is turning a blind eye to her husband’s shonky dealings and infidelities or changing her name from Jeanette to Jasmine and devising a colourful story about how her mother gave it to her, Jasmine seems content both to be deceived and to deceive herself, and as such has no problem with being false in her engagement with other people.
While the supporting cast of Sally Hawkins, Alec Baldwin, Bobby Cannavale and Andrew Dice Clay is quite excellent, really, this film is all about Cate Blanchett. She is already an Oscar winner and considered among the finest actresses of her generation, but Blue Jasmine may just represent her best work to date. Blanchett’s performance is layered and multifaceted. Jasmine is at once fragile, vulnerable, arrogant and cruel. The film’s narrative structure jumps back and forward in time between Jasmine’s current situation in San Francisco, and her old life in New York, which means that rather than watching the progressive deterioration of a character, we are jumping back and forth to different points in that deterioration. We see in New York Jasmine evidence of the same insecurity and fragility which will overwhelms and then defines her in San Francisco.
Blue Jasmine doesn’t feel like a normal Woody Allen film. The working class setting doesn’t allow for the rapid, pseudo-intellectualism one usually associates with his dialogue, and while there are moments of humour, this is a serious story. But while it isn’t typical, it is none the less Allen – and Blanchett – in top form.
Rating – ★★★☆
Review by Duncan McLean