Weekly Review -- Dirty martinis and sexy spies

Spectre (2015) -- The long-awaited continuation of James Bond's odyssey is finally here. As we would expect, it is a stunning spectacle of glitz and glam and women and car chases. As we would also expect, it has a dynamic narrative that pulls the viewer in before the famous name is even uttered.

**THIS REVIEW CONTAINS HUGE SPOILERS** 

Following an off-the-books mission, James Bond (Daniel Craig) discovers the existence of SPECTRE, an organization in charge of assassinations, coups and other sinister global events. After clashing with M (Ralph Fiennes), who is trying to save the 00 program, Bond leaves in pursuit of information about SPECTRE and its mysterious leader (Christoph Waltz). Along the way, he evades SPECTRE's killers and meets a doctor (Léa Seydoux), who may or may not know more than she is revealing...    

One of the most intriguing aspects of Spectre is the contrast between Bond as a remnant of an epoch past -- an era of actual people doing the gritty work and sacrificing their lives for their country -- and a new intelligence service rising, one that operates through a mosaic of CCTV footage. We have heard the stories about cameras on every London corner; we constantly see news about a Big Brother type of scrutiny taking over the world. I liked this interplay between the past and the future. With this element as the background, Sam Mendes explores the man himself, looking at Bond through the prism of his job and placing the character under a microscope through artful meta techniques. Like a good Italian suit and the infamous martini, Bond's job is a part of him. As in Skyfall, there is a timely parallel between Bond's role shifting and the advent of our age of surveillance. The film might have been even more engaging if this theme had been explored in the vein of Skyfall's examination of identity and resurrection.

Paradoxically, the villain's backstory is at once clever and slightly implausible. It is clever because it is genuinely unexpected and turns the James Bond universe upside down, making us question every decision that Bond has ever made and see his life from a different perspective. It is somewhat implausible because it is unlikely that Blofeld would have embarked on such an elaborate vengeance quest due to daddy issues, but hey, the guy is obviously insane, so what do I know. Either way, the script paces itself, leading us in different directions and letting us play the guessing game, before focusing on the core of the conspiracy.

As far as the cast goes... wow. Whoever managed to assemble this cast deserves a medal. Craig has already shown that he was born to play Bond and takes the action sequences to a new level in this film, while exploring the agent's trust and commitment issues. As M, Fiennes gets to go deeper this time around, alternately questioning his character's position in the midst of Britain becoming a police state and taking part in shootouts. I know that I am not the only film buff who was dying to see Waltz as a Bond villain, and his Blofeld is an eloquent, elegant and death-obsessed creation. The man can simply do no wrong. Harris reprises her role as Moneypenny, sharing some emotional scenes with Craig and portraying the most sane and down-to-Earth character in the story. I have to say how glad I am that Moneypenny is not stuck behind a desk in her new incarnation, particularly when played by such an effervescent and versatile actress. Andrew Scott is pure charisma and I wish that we could have seen more of his character, but am happy to see that the actor has many more projects in the pipeline. The wonderful Ben Whishaw's Q gets to go out in the field and help Bond directly, again showing the great chemistry that he and Craig share.

Surprisingly, two actors that do not have much to do are Seydoux and Bellucci, even though their characters are part of the story's crux. The more I think about it, the more I believe that Seydoux's Madeleine could have been fleshed out further. However, the actress shows us a vulnerable and relatable woman, a feat not often accomplished in 007 films. It is too bad that the alluring Monica Bellucci barely has around ten minutes of screen time. The trailer and the opening scene hinted that Lucia might be a player of importance; as it is, I feel that the actress's talents are wasted here. On another note, I enjoyed the Inglorious Basterds reunion with Seydoux and Waltz. Go rewatch that masterpiece right now.

If Skyfall was a vehicle that gave Bond a parachute to land in uncharted territory, Spectre pulls the ground out from under him, forcing our favorite secret agent to plummet endlessly into the darkness. Sam Mendes has taken Bond on a more somber journey that any filmmaker ever had, putting the franchise on a new path. Let us hope that the popular series keeps evolving and transforming, entertaining the audiences and subverting expectations. 

9/10

Weekly Review -- Lest we be judged...

Dredd (2012) -- There is a certain kind of texture permeating mainstream comic book adaptations of recent years. Apart from the recent solemn Fantastic Four incarnation, films like Iron Man and Thor stick to the tried and true formula of humor and action. It is the morality aspect of these stories and the fall-from-grace mentality of their (anti)heroes that makes them appealing to all ages and demographics. In short, they are fun rides that often reflect human nature.

However, if you are interested in a dark savior and a shadowy world, check out Pete Travis's Dredd, the other side of the cinematic coin. Being unfamiliar with the source material and the 1995 film, I went into this one with love for the cast and for Alex Garland's slick writing. A stylish piece populated with unsavory characters and drenched in brutalist landscapes, this film is a subtle dig at our own existence, offering up a potential hell of our own making.  

**THIS REVIEW CONTAINS SPOILERS**

In a nihilistic future United States, the Judges of the Justice Department also serve as jury and executioners. When Veteran Judge Dredd (Karl Urban) conducts an evaluation on new recruit Cassandra Anderson (Olivia Thirlby) during a homicide investigation in a slum tower block, the two are ambushed by a powerful gang and hunted by their ruthless leader and drug lord Ma-Ma (Lena Headey). With the gang armed to the teeth and closing in on the law enforcers, what are Dredd and Anderson's chances? 

Dredd uniquely straddles the line between an entertaining, slam-bang piece and social commentary. Within the shootouts, brain splatter and psychedelic imagery lies a cautionary tale about the journey of our species. Mark Digby's production design and Anthony Dod Mantle's cinematography depict a rough, dehumanizing setting in which life is worthless, traded as currency and lost in an instant. With its concepts of multi-level slums and an all-purpose Justice Department, the story is timely, tapping into topics such as police violence and global poverty under the clever guise of a frenetic actioner. In many ways, we are living the Mega-City One life right now. It is no wonder that Slo-Mo is so popular in Judge Dredd's world -- these people have to escape their grind somehow. On that note, the Slo-Mo sequences are a sight to behold. The drug idea is terrific, tying in nicely with the narrative and not serving as a mere gimmick.

I also like the connection between Dredd and Anderson and wish that it had been explored further. Dredd is the head of the operation, but Anderson is the heart; in fact, she is the only character whose heart is still functioning. While Dredd believes in black and white, law and crime, us and them, Anderson believes in making a difference on her own terms, eventually becoming disillusioned with her prospective employer. I also wish that there had been a brief backstory on Dredd, so that we could see how he became the best at his job. There is a whole arc from being Anderson to being Dredd, and there is no doubt that Dredd sees himself in the rookie on occasion.

The cast is excellent. Urban, who radiated charm and humor in Star Trek and the unfairly canceled "Almost Human", shows that he is a force to be reckoned with, both as an action hero and performer in general. Wearing a helmet for the duration of the film, he is unable to express himself through his eyes, but his rigid and determined body language speaks volumes and his voice is pure ferocity. Thirlby embraces Anderson's empathy, vulnerability and painful past, and Domhnall Gleeson has a memorable turn as the gang's tech genius.

It has to be said, though, that the standout among the cast is Headey. She commands every scene that she is in, only matching Ma-Ma's apathy toward killing with her ruptured cynicism. The forlorn gang leader does not raise her voice once and does not ever have to. Just take a look at the scene in which she carefully scans her tortured techie as he is trying to hack into the building's sound system; she does not even need words to be chilling. Headey's gift is that she is able to find a chink in the toughest armor, thereby making Ma-Ma one of the most compelling and damaged villains in years. The character is an interesting slant on the bad guy trope, since Ma-Ma reclaimed her identity after having been exploited as a prostitute, making us almost comprehend her misanthropy. Skinning and eye-gouging? Eh, not so much, but nobody is perfect. A weak actor may have misunderstood the role, but having Headey is flawless casting.

The aftermath of Dredd makes me wonder about the audiences' attention span. Why is it not getting a sequel? Why are people unable to accept a helping of social justice metaphors with ordnance? Why are all the Saw films on BluRay, yet this one is difficult to find? There are too many whys and too little time but, if you would like to use your brain while delving into a bleak universe, make sure to pay a visit to Mega-City One.

8/10

Trailerblazing -- Gods of Egypt

Gods of Egypt -- February 26, 2016 -- directed by Alex Proyas -- starring Gerard Butler, Brenton Thwaites, Nikolaj Coster-Waldau, Courtney Eaton, Abbey Lee, Geoffrey Rush

Are you ready for an adventure? The era of sword-and-sandal epics is upon us again, if this trailer is anything to go by. This film looks like one of those works that cinemas were made for, boasting eye-popping fight sequences, larger-than-life (literally) characters, flashy sets and a visionary director. Let me first say that Proyas should be making more features. Dark City and Knowing -- to name two -- were haunting mind trips into dystopian dimensions of human existence. Proyas is capable of translating the universal sense of fear and wonder into narrative in a way that not many filmmakers are. The cast is terrific. Butler usually does well as a villain or antihero and has another chance to show off his physical prowess. I have to say, though, I keep waiting for him to holler 'this is Sparta'... never mind, I had to get that out of my system. Thwaites was impressive in The Signal and is on an intriguing artistic path. Coster-Waldau is such a versatile actor and I am glad that he is getting more roles which showcase his aptitude for action and comedy. On that note, Gods of Egypt appears to be made in the vein of classics that millions of us had grown up with, such as the Indiana Jones trilogy. Action, romance and humor is always, ALWAYS a winning combo. In today's world, we need a film like this one and fantasy in general to take us out of our headspace and transport us to a domain where magic is possible. Counting down the days until February 26.