Trailerblazing -- Prisoners

Prisoners -- September 20, 2013 -- directed by Denis Villeneuve -- starring Hugh Jackman, Jake Gyllenhaal, Maria Bello, Terence Howard, Paul Dano, Viola Davis

Gripping is the first epithet that comes to mind. The next thing that pops up is the question "what if this is not the guy?" This story of a father who abducts his daughter's suspected kidnapper is a morality play if ever there was one. Jackman is a terrific dramatic actor, as he has shown in The Prestige and Les Misérables, but he rarely has a chance to showcase his many talents. The same goes for Gyllenhaal and Bello, and this film looks like it will give the actors another opportunity to shine. On another note, I really like the bleak atmosphere of the piece. Isn't it funny how character-driven narratives like Fargo and apparently Prisoners work better in snow-laden, desolate landscapes? Another thing that appeals to me is the prospect of twists and dilemmas all around. I certainly hope that the filmmakers did not create a generic thriller out of an intriguing idea and I look forward to seeing where the story goes. Who are the Prisoners exactly? We are going to find out this September.

Weekly Review -- A fairy tale revised

Hansel and Gretel Witch Hunters (2013) -- From Mirror Mirror to Jack the Giant Slayer, fairy tale reimaginings have become a popular cinema trend in recent years. Now Tommy Wirkola (Dead Snow) has thought up an even bloodier version of "Hansel and Gretel", and the film is fun to watch for much of its running time. As for the rest of the time, well... let me just say that it reaches out of its appealing universe into Slasher Central, with a helping of careless writing. Needless to say, this attempt does not work.

Years after they were kidnapped by a forest witch, Hansel (Jeremy Renner) and his sister Gretel (Gemma Arterton) are known far and wide for their hunting skills. When a new grand witch (Famke Janssen) starts abducting children from the siblings' village, the pair are called into action to find the youngsters and uncover the creatures' plans...

First, the good news. With opulent cinematography by Michael Bonvillain and rich set design by Bernhard Henrich, not to mention the stunning locations, the film has the capability to transport the viewer to an otherworldly time and place. I also appreciate the numerous nods to steampunk, which is a terrific aesthetic to bring in. There is a sense of mythical dread and anticipation that makes Hansel and Gretel Witch Hunters feel like the tale reads. The story offers some unique shifts from the original narrative as well, introducing a diabetic Hansel and a hierarchy of witches. In the fairy tale world, witches have always been mostly one-dimensional, but Wirkola's vision shows them as all-powerful monsters, hating humans with a passion and guarding their realm with fierce supernatural grit. The foundation for the film is an innovative concept that turns the original upside down, while extracting the familiar elements for the viewer and reader to enjoy.

Now the bad news. The screenplay, the screenplay and the screenplay. The writing does not give the protagonists or the villains a chance to fulfill their fun potential and dialogue feels very stiff and clichéd on occasion. Why is the witches' hierarchy not explored further? The announced sequel might do it, but it still feels like we get a whole lot of unanswered questions in this installment. On another note, there is too much brutal violence for this kind of story. I am not talking about slow motion shoot-em'-ups or stylized witchcraft. I am talking about a near-rape pummeling scene that is vicious, unnecessary and entirely out of context. Another flaw is the swearing and contemporary slang that does not fit into the rustic milieu. Should almighty witches really have to use the word "bitch"? One would think that, as apparent rulers of the forest, they would be more creative with their insults. Finally, I cannot understand why everyone uses different accents, with Janssen being the only cast member trying to make hers appropriately unspecified. These distractions drag the film down, almost completely taking us out of the story. 

The cast does all right with what they are given. Arterton and Renner have good chemistry; Arterton in particular is adept at the heroine role. Janssen is an authoritative presence, but she can barely overcome her character's lack of good lines. Peter Stormare is great as the scheming sheriff, although the actor has proved over and over again that he can do this kind of role in his sleep. Pihla Viitala is excellent as a multidimensional love interest and Thomas Mann is endearing as a wannabe hunter. 

Hansel and Gretel Witch Hunters is not quite the thrill ride that it was meant to be. With more attention to detail and less blood lust, it could have been a spectacular fantasy. I do hope that the sequel shows improvement but, as it stands, this film should have left a trail of pebbles in order to return to the sheer escapism of its idea. 

6/10

Summer Review #2 -- Star Trek Into Darkness

Rebooting a franchise as popular as Star Trek was likely a task similar to mastering Klingon -- time-consuming and nearly impossible. Filmmaker J.J. Abrams took on the job and came out swinging, with his 2009 reboot being one of the most innovative reimaginings in a while. Four years later, Star Trek Into Darkness is released and it is a delight. The masterful film boasts the three S's of blockbuster cinema -- it is smart, slick and all around spectacular. In other words, it left me with a smile that I was not able to wipe off my face for a week.

After rogue Starfleet officer John Harrison (Benedict Cumberbatch) orchestrates a terrorist attack on London, Captain Kirk (Chris Pine) and his crew get permission to chase after him to a hostile planet. As they get to know their enemy better and as many truths come to light, they learn that the threat is greater than they thought...

What strikes the viewer instantly is the film's scope. The beauty of Abrams' Star Trek series is that each entry dives immediately into the sprawling fun, taking us to unknown worlds as soon as the events start unfolding. The opening sequence is stunning, both as a plot point and in the technical sense, and the excitement only grows from there. Gorgeous effects and stunts do not dominate the tale, though; they are merely one terrific part of this summer treat and its numerous surprises. This is one of those blockbusters that were made for IMAX 3D, so make sure you see it in this format.

The screenplay by Roberto Orci, Alex Kurtzman and Damon Lindelof is one of the best scripts for a genre film in recent years. The writing injects humor and universal themes like family and friendship into the characterizations and relationships, all the while coloring the story with visuals and twists that are a joy to behold. I also loved the introduction to (slight spoiler alert) the Klingons. With their lack of verbosity and abundance of frightening weaponry, the infamous warriors are incredibly menacing and I look forward to seeing more of them in future installments. In general, Abrams and his team have achieved a tricky task in giving the fans complex stories involving beloved characters, as well as giving newbies an entertaining experience that piques interest in Gene Roddenberry's mythology. 

The cast is well chosen and, this time around, the leads are exploring new dimensions. As the brash and hotheaded Kirk, Pine was a revelation in the 2009 film, and here he uses Kirk's audacity in his quest to save the only family he has. Zachary Quinto is wonderful as the logically minded Spock, whose expression of feelings is more powerful than his crewmates could ever imagine. As the murderous and multilayered villain of the piece, Cumberbatch is fantastic. He uses his smooth, imperial voice as the ultimate harbinger of doom and obviously relishes the physicality of the role. This kind of part suits him to a T and I do hope that he gets to play another intriguing action or science fiction character in the future. The lone weak link is Alice Eve's scientist and, to be fair, it is not the actress's fault. Her character is never given much to do and often seems redundant. Finally, Bruce Greenwood and Peter Weller offer solemn and elegant supporting turns as senior Starfleet officers.

Star Trek Into Darkness is escapism at its finest and smartest. Its story of loyalty, betrayal and protecting the sacred resonates with everyone on a different level, making it a wondrous and timeless film. There should be more marvels like this one playing at the multiplex. Oh, and that smile on my face? It reappeared while I was writing this review and it is not going away anytime soon.

10/10

Weekly Review -- Love before all

Longtime Companion (1989) -- The first wide release film to deal with the subject of AIDS and its impact on the gay community, this Norman René work is a heartfelt ode to the lost generation. René takes an intimate approach to the story, examining the early years of the epidemic through its devastating effect on a group of friends. 

The story starts in 1981. We are introduced to the protagonists, including personal trainer Willy (Campbell Scott), screenwriter Sean (Mark Lamos) and his partner David (Bruce Davison) and actor Howard (Patrick Cassidy). As the group find out about a new virus that is reportedly only attacking gay males, they alternate between fear and aloofness, panic and dismissal. Without information or assistance from the medical community, they slowly start succumbing to the virus, as their families are forced to helplessly watch them wither away...

The title comes from the era's description of AIDS victims' surviving same sex partners, who would never be acknowledged outright. Craig Lucas's screenplay pays a lot of attention to the ignorance surrounding the outbreak -- from the cruel, offensive and illogical "gay cancer" handle to the initial segregation of patients. Contrary to works like And the Band Played On, which delve into different perspectives on handling the crisis, René's film focuses on a close-knit group of ordinary people thrust into extraordinary, horrific circumstances. The chronicle set-up marking the passage of time is the perfect way to show the urgency and tragedy of the situation. As the years go by, the men realize that death is inevitable, and that there is no way to tell when it will strike next. From some of the neutral exchanges among the friends and the occasional optimism that they express, one can extract shreds of hope nestled within pure shock and denial. How can one ever lose hope, even in the midst of demise? It is in our nature to stare adversity in the eye and order it to move out of our path. Hope and longing is the good omen that carries Longtime Companion, making it not only a timeless cinema piece, but also a contemplative slice of history.

On another note, René offers a unique view of grief, always a complex emotion for art to examine. Ever-present throughout the storyline, the sentiment shows the group's isolation and, symbolically, the isolation of the gay community during the outbreak. Not only are the friends dealing with the danger of HIV and general prejudice, it also seems that their pain is insular, restricted to their inner circle. Apart from one of the characters' sister, they appear to be closed off from a world that does not understand their circumstances and does not particularly want to. Their anguish appears to be a foreign entity to the heterosexual and heteronormative populations, which fail to realize in the beginning that a virus does not choose sexual orientation. 

The cast is, for lack of a better word, brilliant. Davison creates an engaging, sympathetic character with his portrayal of David, a carefree socialite whose boyfriend becomes ill. Davison and Lamos's last few scenes are extremely poignant; Lamos himself is incredible as a creative, vivacious man whose life is cut short. Campbell Scott is excellent as a man who sees his circle of friends come apart and the always affecting Mary-Louise Parker is both subtle and ferocious as a sister of one of the men.    

Sometimes beauty is mere aesthetics, a sight pleasing to the eye. Sometimes it is internal or external, a factor that adds to the joy of experience. Real beauty, however, is courage within heartbreak and hope when none is given, both elements that make Longtime Companion the captivating and important film it is. In the past three decades, we have come far in our search for the AIDS cure and in recognizing same sex relationships, but not far enough. There are still longtime companions out there; there is still irrational fear, blind hatred and silent judgment. Until the world wakes up and until some people realize that love cannot be defined by gender, we are going to remain hostages to ideas that drag humanity into the past instead of propelling us into the future.

10/10