Cinema Review: Pirates of the Caribbean - On Stranger Tides (2011)

Can a franchise survive a widely reviled instalment? Jerry Bruckheimer and no doubt many executives at Disney are crossing their fingers right now hoping that the answer is yes. Even behind the scenes it has been admitted that At World’s End, the second Pirates sequel, which was shot back to back with its immediate predecessor, was not up to standard. (Bruckheimer, for example, acknowledged that it was too long, although that was really one of its minor sins.) They’ve gone back to the drawing board this time, actually starting with a complete script in place – now there’s a change – and hiring a new director, Rob Marshall of Chicago fame (and in need of a hit after the misfiring Nine). Thankfully jettisoned too is a lot of the weirdness and impenetrability of the previous outing, the writers – returning duo Ted Elliott and Terry Rossio – opting for more of a straightforward adventure. As teased at the end of World’s End, it revolves around the quest for the Fountain of Youth.

As a plot device, it’s a pretty good one – even if the similarities with Indiana Jones and the Last Crusade’s Holy Grail MacGuffin are evident – and gives the film a good deal more purpose, and significantly less bizarre surrealism, than last time. It belongs more in the territory of the first film: supernatural, yes – this time there are zombie pirates and vicious mermaids – but more of a twist on myth and legend than a major detour into full-on fantasy. Some variety is offered with a bit of geographical scope – a quick prologue finds us in a Spanish palace, before spending the first act with Captain Jack in a well-realised London. There’s no hiding that it lacks the zip and sparkle of the first or even second films in the series, but it’s diverting enough.

Marshall does not seem to boast the comic timing of predecessor Gore Verbinski – jokes tend to fall flat, and twice a person’s face is hidden from view but their identity is blatant even before their reveal. Likewise the action scenes lack a certain flair; they’re efficient and energetic, but feel just like the work of the second unit. An exception is a mid-film sequence involving the aforementioned mermaids, which is this film’s only particularly original addition, innovatively staged and quite suspenseful. It’s much needed to enliven a leaden midsection. Despite the film’s quest for simplicity, the writers still have not been able to eliminate the bloat that has afflicted, in varying degrees, every instalment so far (even the first).

It’s a relief when proceedings finally reach somewhere that could be described as tropical. There’s little ‘of the Caribbean’ about the film, probably because it’s the first film to not actually film there - Hawaii stood in for the island parts. The colour and vibrancy of true West Indian scenery is missed, but even Hawaii is not given much screen time. An infuriating majority of the film takes place at night – perhaps a budgetary issue – which lends itself neither to impressive vistas nor comfortable 3D watching, with the darkening effect of the glasses really straining the eyes after a while. For that matter, the third dimension is barely ever used – this is surely one of the most flat looking ‘3D’ films yet, making practically no use of the technology.

A fixture of these films has always been Hans Zimmer’s jaunty scoring*, the work of the ubiquitous composer representing one of the few high points of the last film. Here, disappointingly, he’s in sleepwalking mode, the soundtrack just sounding like a rehash of previous themes. There’s none of the boundary-pushing experimentation he’s exhibited of late in films such as Inception, Sherlock Holmes or The Dark Knight, and even At World’s End boasted much more variety. It seems he’s lost the creative spark where all things piratical are concerned.

The same could be said, it seems, of Johnny Depp. He's game as ever in the role that propelled him to superstardom, but he does not light up the screen the way he once did. Perhaps it's overexposure, or possibly even the absence of a plank of wood in the form of Orlando Bloom opposite him to play against. (The Orlando/Keira replacements here get scant screen time.) New addition Penelope Cruz threatens to be fiery but her backstory with Jack is not made enough use of, while Ian McShane as Blackbeard, this film's big bad, is oddly restrained and leaves little impression. Thank goodness, then, for Geoffrey Rush, who seems to be having as much fun as ever, his character Barbossa now serving the British crown as a peg-legged privateer. When Rush and Depp share the screen, a sprinkling of the old magic returns.

On Stranger Tides could be accused of playing it safe, and while it's true tha does seem content to retread old ground, it at least isn't as offensively bad as the last time Captain Jack and company reached our screens. It's also welcome that this is, for the most part, a standalone escapade with no larger pretensions to being part of an epic saga. For a franchise built on the lighthearted swashbuckling template, that's certainly the right road to take.

*Zimmer disciple (and Media Ventures cohort) Klaus Badelt was the credited composer for the first film, but really that score was a committee effort with Zimmer's fingerprints all over it, including substantial lifts from Gladiator.



Summary
While On Stranger Tides may not be a runaway success, it does manage to navigate the once-beloved series to calmer waters. Functional, reasonably entertaining, but lacking in inspiration.

Blu-ray Review: The King's Speech (2010)

A film of this quality has compelled me to write a review, yet Joel already adeptly summed up many of my own opinions in his thorough cinema review. The following is newly written, but unavoidably reiterates many of my fellow reviewer's sentiments.

In terms of unheralded success stories, there can be few more heartwarming than that of The King's Speech. A low-budget costume drama about two middle aged men stuck in a room talking (to echo a statement made by Geoffrey Rush), rejected by BBC Films - who normally would jump at this sort of material - and finally endorsed by the now-defunct UK Film Council, The King's Speech became the awards juggernaut that managed to also connect with the public at large. Its main achievement lies in telling the human story in a relatable way. It tells us, via the tried and true medium of an underdog tale, that the royals are as human and fallible as anyone.

Indeed, despite the criticism of historical embellishments that have inevitably been directed the film's way in the wake of its success, the real story seems remarkably dramatic. A prince who was never expecting to be king suddenly thrust into the limelight by the abdication of his divorcee-marrying older brother. A prince who hated public speaking, afflicted by a nervous stammer from childhood. And a prince who would become king as the country was descending into a war against an overwhelmingly better equipped adversary, with no imminent end in sight. Yet the course that screenwriter David Seidler wisely plots through these momentous events singles out the relationship between the Duke of York - later King George VI (Colin Firth, of course) - and his speech therapist, Lionel Logue (Rush).

The structure has been likened to a boxing movie - several minor bouts followed by the championship at the climax - but it's also akin to, of all things, a romantic comedy. In modern lingo, it's a bromance - the story of a platonic, but nevertheless hugely affectionate, relationship between two contrasting men. There's the initial meet-cute (with Queen Elizabeth - now better known as the late Queen Mother - acting as matchmaker), the blossoming friendship, the second-act break-up, and the moving reunion. On repeat viewing the sense of humour emerges as the real star of the screenplay, every exchange playing with royal convention to understatedly comedic effect, the Australian bluntness of Logue playing off against the none-more-proper "Bertie" (as Lionel insists on calling him, much to his chagrin). Firth took home numerous accolades for his performance - well deserved, the stammer never once coming off as an affectation - but arguably the scene stealer is Rush, who is both hilarious and completely endearing. Helena Bonham Carter, as the companion who acts as George's rock and moral compass, also deserves her share of the acclaim.

When the five nominees for Best Director Oscar were announced this year, Tom Hooper became the target of more vitriol than the rest, mainly because Inception's Christopher Nolan was omitted (a massive oversight, admittedly). But the allegations that this was just a 'point and shoot' film could not be further from the truth. Hooper, fresh from impressive work on HBO's John Adams miniseries and footie biopic The Damned United, repeatedly reinforces his knowledge of cinematic grammar with some intriguing stylistic choices. For instance, King George is repeatedly dwarfed by his surroundings in the frame, be it Wembley Stadium or Logue's dilapidated clinic, emphasising his own self-doubt and insecurities. The editing, meanwhile, is precisely honed, each heated exchange between the mismatched pair building in neat stages to the grand finish. The director's evocation of pre-war London, on a minimal budget, is also exemplary, emphasising atmosphere and texture to great effect.

A true gauge of the scale of the film's accomplishments is that, come the end, you are resolutely engaged in the King's battle against his impediment. The final speech, a magnificent fusion of timing, music, history and performance, builds to a wonderful release of emotion. In truth its stirring impact is slightly dulled on second viewing, but the wit and heart is not dampened one iota. It's impeccable craftmanship - a true crowdpleaser in the very best sense of the word.



Release Information
Country: UK / Region: B / Version: N/A / Discs: 1 / Distributor: Momentum

Presentation
First things first. This UK Blu-ray release from Momentum is in 1080i/50hz format. That means it's not "Full HD" (1080p/24). Why Momentum would choose to do this, I can't fathom - there's a 1080p master that could just as easily have been used, and has been for overseas releases - but, in truth, I can't say that I really seems to affect picture quality. The biggest difference is probably the 5% speedup (as it's 25fps). That's not to say that the visuals are flawless, just that they, I feel, reflect the source. Detail is good if not exceptional, while shadows tend to be afflicted by some blue-tinted digital noise. Colours, though, are well conveyed overall, showing off the director's intended tungsten-hued palette. Not a demo disc then, but generally pleasing enough.

The DTS-HD Master Audio should not face any complaints. A dialogue-heavy film will never present the most active soundfield, but all the speakers come into play very effectively when called upon, such as the very first scene when the then-Duke speaks at Wembley Stadium, the satellite speakers spreading the delayed echo around the room. Otherwise, everything is as crisp and precise as you'd want.

Extras
Tom Hooper's commentary (present in uncompressed LPCM 2.0, funnily enough) is insightful, informative, and, yes, a bit dry but still very interesting. Hooper's recent appearances on TV, such as on Newsnight Review, have shown that he is certainly an intelligent, educated man with vast knowledge of cinema, and that comes across in the track. The accompanying Making Of is only 22 minutes long, while the 17-minute interview with Mark Logue (grandson of Lionel) is engaging, but little more than a talking head interspersed with brief film clips. Two of King George VI's actual speeches are included, the outbreak of war speech that concludes the film (a recording of its radio broadcast) and a later wartime one with Newsreel footage. Finally, there are galleries of production sketches and behind the scenes photos. It's a shame that none of the recent TV programmes prompted by the film made it onto the disc, presumably due to rights issues. I could live without the trailers that you have to skip through when the film loads up.

Given the shortcomings with this disc's interlaced transfer, and relative paucity of extras, I wouldn't be surprised to see a "Royal Edition" or somesuch come along in future. Nevertheless, for a new, very high profile release, the low price point is welcome.



Summary
A majestic showcase of acting, directing and writing, The King's Speech deserves all the plaudits it has received, and maybe more - Geoffrey Rush should have won the Oscar alongside King Colin.

Cinema Review: Arthur (2011)

Ah, another remake. Like the recent saturation of superhero films, Hollywood seems to be obsessed with restyling the old classics and flooding multiplexes with their rehashes. Ironically it seems to be a pretty thankless task when they are inevitably going to be compared to their predecessors and utterly slated. The 2011 version of Arthur, like the original, follows the adventures of the self-titled playboy heir of an enormous fortune as he embarrasses his family one too many times and is forced to make some serious decisions.

Russell Brand’s Arthur Bach is relatively similar to Brand’s own real life persona (pre-Katy Perry) and it doesn’t appear to be too much of a stretch for the comedian as he borrows much of the characterisation from his Aldous Snow guise in Get Him to the Greek and Forgetting Sarah Marshall. Accompanying him during his exploits are Luis Guzman’s Bitterman who, despite clearly being a Latino, inexplicably carries that bizarre moniker and his nanny Hobson (Helen Mirren), the woman who takes care of Arthur the most (and always has), as his mother is constantly working and was clearly almost never in the picture. Having been embarrassed for the last time by her son’s exploits, Vivienne (Geraldine James) gives him an ultimatum – he is to marry Susan (Jennifer Garner), the Bach employee and well-connected socialite who would be good for business, or be cut off from the money that has provided the lavish lifestyle he’s come to enjoy. After agreeing to marry Susan, Arthur meets a native New Yorker named Naomi Quinn (the impossible to dislike Greta Gerwig) and he must face the decision of whether to go forward with his life living for money or for love.

The film is laden with cliché and the performances are not particularly indicative of anyone putting forth much of an effort, save for a select few. Written by Peter Baynham (Borat), the story it tells is formulaic, and anyone who saw the trailer that featured two of the most over-used trailer songs ever (David Bowie’s ‘Rebel Rebel’ and The Who’s ‘Teenage Wasteland’) shouldn’t be expecting anything too original to appear in the film itself – the dual romantic dilemma has been revisited so many times before. Arthur features moments of hilarity (though many more would be very welcome), and some of the overly extravagant set pieces are very cool (should any of us ever become this rich, the film oozes inspiration), but overall the quality as a complete feature just isn’t as good as it should be. The buck ultimately stops with leading man Brand who, unlike his predecessor, doesn’t possess the innate vulnerability or charm which compelled us to care for Arthur as he boozed himself towards oblivion in 1981. Sluggish and shapeless, Arthur has a few nice moments – such as a date at an emptied-out Grand Central Station and the auction for some of Abraham Lincoln’s attire – but they’re overwhelmed by Brand’s braying and Garner’s embarrassing turn as a high-class shrew.

All negativity aside, the film still features the wonderful performances of Helen Mirren and Greta Gerwig. In the last few years, ‘The Dame’ has shown off an incredibly charismatic and humorous side in some of the characters she has played and it is great to see her in more and more comedic roles. Despite the lacklustre nature of this film, she does admirably well, has the best lines and turns granite to gold whenever she’s on screen. In addition, Greta Gerwig, a popular indie actress, is her usual charming self. As Naomi, she exhibits a delightfully doe-eyed and carefree nature and it’s not hard to see why Arthur Bach falls for her. She’s remarkably forgiving of Arthur’s irregularities, considering he has the self-discipline and tact of a Charlie Sheen.

Despite everyone’s best efforts though, the film cannot be saved from a huge dose of mediocrity. In the original Arthur, the film is littered with great moments; in this version, everyone hits their marks, goes through the motions and that’s about it. The spontaneity and gentle whimsy is missing and so is the luxurious wit of Steve Gordon’s original screenplay. Baynham’s script prods along without memorable lines or scenes even when it imitates the original as closely as it can.



Summary
An unnecessary remake filled with crudeness and hit-and-miss wit. It would be wrong to dismiss Brand as a leading man just yet but a few more supporting roles would polish his acting skills and hopefully create a more multi-dimensional nature to his comedic abilities.

Cinema Review: Source Code (2011)

A commuter train slices through the countryside on its way to Chicago. Onboard, a passenger wakes up with a start, looking disoriented. The woman sitting opposite him seems to know him, but he has no idea who she is. She calls him Sean - that isn't his name, he insists. Increasingly confused, he leaves his seat, walks along the train carriage, ducks into the bathroom. The face staring back at him in the mirror is not his. Before he can begin to fathom what is going on, the carriage is annihilated in a massive explosion.

As cold opens go, Source Code's is pretty compelling. It's a shame, really, that its impact is diluted by any foreknowledge of the plot; the best way to see the film would probably be completely unprepared. Anyone who's seen a trailer or read so much as one sentence of a synopsis knows what they're in for - a slice of science fiction with a dose of time travel. Groundhog Day meets Inception, it has been called, the most warranted of those analogies being the former. It emerges that Captain Colter Stevens (Jake Gyllenhaal) is a US marine tasked to relive the last 8 minutes of a man's life over and over until he uncovers the identity of the train bomber. Thus we have the same passage of time being repeated numerous times, with differing results - only Punxsutawney Phil is nowhere to be seen. A clever way of introducing the audience to the concept is to make it just as alien to the central character as to us, his bewilderment reflecting ours, and his gradual education also teaching us the rules of the game.

Source Code is the sophomore feature of Duncan "Zowie Bowie" Jones, who made quite the impression with his debut Moon. This time he's more of a director for hire, but the film gives him ample opportunity to continue to exercise his clear passion for science fiction film while also proving he can take confident ownership of material he didn't originate. The film is very tightly constructed, with no padding and a brisk running time. Each iteration of the "Source Code" (the 8 minute window) is fascinating to keep up with, seeing how Steven's actions influence events. The interludes are less compelling, mostly featuring Gyllenhall trapped in a dark metal room talking to military officials (mainly the underserved Vera Farmiga) via a TV screen. Each time you find yourself just wanting to get back to the train. Ultimately, the moments between each time jump to have an important role in the plot, but the film never quite overcomes the fact that it's the time travel stuff that is the most interesting part. Jones doesn't pile on the Groundhog Day-esque repetition as much as he could, which is probably wise to distance the film from its comedic forebear, but it does lessen some of the fun.

Nevertheless, the film avoids certain pitfalls that another comparable effort, Denzel Washington vehicle Déjà Vu, encountered. Namely, it doesn't break its own rules. Of course, the plot is patently preposterous, but it plays everything straight, and doesn't contradict itself come the ending, which is a logical, satisfying conclusion. You find yourself willing Gyllenhaal to succeed, and get the girl too (a charming Michelle Monaghan), despite only having 8 minutes in which to fall for her. It's all down to the actor's commitment and believability. It's easy to buy him as a marine fresh from Afghanistan - having seen Jake in Jarhead possibly helps - as he registers the psychological torment and physicality that experience would entail. The film does not deny his character some very emotional beats too, and the actor (and script) rises to the occasion. Paced efficiently, written economically, Source Code delivers the goods.



Summary
Source Code is action-packed science fiction with both brains and heart. Hopefully Duncan Jones can get his pet project, Mute, off the ground soon - based on his form so far it would certainly be one to look forward to.

News: Tarantino goes west... with Will Smith?

So now we know what Quentin Tarantino's next film will be, and he's staying in genre territory. Following up his war film Inglourious Basterds, "grindhouse" effort Death Proof, and martial arts/action/exploitation/everything-but-the-kitchen-sink Kill Bill, he's heading to the Old West. Can he give the genre the same sort of shot in the arm that he's done before? Does it even need revitalising, the Coens' True Grit having recently become the most commercially successful Western since Dances With Wolves?

The title of the new opus: Django Unchained. That's a reference to trippy 1966 Spaghetti Western Django, directed by Sergio Corbucci. Tarantino's clearly got a liking for the character - he has himself appeared on screen in a film with Django in the title, the Japanese homage Sukiyaki Western Django. But if Basterds is anything to go by, Quentin's probably just using a name and going in a completely different direction with it than the original film. While it would be nice if he stopped his relentless referencing of other movies, there's no doubt he brings a lot of originality to the plate as well. What he could do with the Western is an exciting prospect.

The synopsis we've been given is this: the titular Django is a freed slave who teams with a German bounty hunter in order to reunite with his wife, and take down an evil plantation owner, Monsieur Calvin Candie. (Take it with a pinch of salt, bearing in mind that Basterds was not quite the men on a mission movie we were expecting.) According to The Hollywood Reporter, Tarantino wants Will Smith for the role - the Fresh Prince reportedly has the script and just needs to say yes. If he does, it would not only be quite a coup for QT - getting the biggest, and perhaps only, movie star in the world - but also (probably) give Smith an enjoyably complex role to chew on. Hopefully he'll ignore the fact that his only other venture into the west didn't turn out too well. (*Cough* Wild Wild West.)

Other cast names circling are Tarantino chums Christoph Waltz - pretty much certain as the aforementioned German bounty hunter, and who would probably do anything for the director after a certain Hans Landa won him the Oscar - and the ubiquitous Samuel L. Jackson, as another slave.

Basterds had an impressively quick turn around time, so if this does get the go ahead, expect it to reach fruition - and perhaps the Cannes Film Festival - in about a year's time.

Blu-ray Review: Of Gods and Men (2010)

Of Gods and Men recounts the true story of a group of French Trappist monks who lived in a monastery in mountainous Algeria during the 1990s. Although their faith set them apart from the country's predominantly Muslim population, they co-existed well with their neighbours in the remote town they called home. The first twenty minutes or so of the film depicts the symbiotic relationship they maintain with the locals: they provide free healthcare, clothing, advice and also friendship; in return, their Christianity is accepted. Director Xavier Beauvois is keen to contrast the opposing lifestyles, the reverent silence of the monks' quarters - broken mainly by chanted hymns - juxtaposed against the noise and activity of the generally poor Algerians. The serenity of the Tibhirine monastery and the scenic beauty of the surroundings are emphasised, but not to an idealised or unrealistic extent; one remains aware that there are hardships in the monks' lives too, despite their external tranquility.

Such peace is shattered when civil war erupts in the country, triggered by the murder of several Croatian construction workers by fundamentalist terrorists. As soon as this event occurs, which is depicted rather graphically, the film transforms into a suspenseful battle of wills and opposing beliefs. The monks are immediately identified as a likely target for the terrorists, due to their nationality - France being the former colonial power in Algeria - and relative inability (or unwillingness) to defend themselves. All the monks face an impossible decision: leave Algeria and therefore give up their mission and abandon the local populace who depend on them, or remain and risk death. They initially have wildly diverging opinions on what action should be taken; the middle portion of the film depicts how they eventually reach a unanimous - and very moving - decision to stay put.

There are two faces amongst the cast who will be recognisable to Anglophone viewers, Lambert Wilson (The Merovingian in the Matrix sequels) and Michael Lonsdale (Hugo Drax in Moonraker). Wilson is Brother Christian, the leader of the monks, who is burdened with the final decision on whether to stay or go. The actor depicts the inner turmoil, masked by the outward calm required of a monk, very well indeed; his performance is restrained but never inexpressive or remote. Lonsdale's Brother Luc is effectively the monastery's elder statesman, whose quiet resilience and compassion emboldens the mood of the others. The whole ensemble is beautifully played, each man receiving his own screen time and development, even if following each of their individual arcs during the film is a challenge given their identical attire.

Of Gods and Men is a quiet film (there's no music score and few histrionics), and a generally sombre one. The pacing is methodical and extravagant camera movement or attention-grabbing acting are conspicuous by their absence. The restraint on show perhaps prevents it from forging a strong emotional connection, but depicting these events from anything other than a relatively detached distance could feel exploitative or intrusive. It's a poignant re-enactment of men whose actions are worth remembering, told with poise and sensitivity.



Release Information
Country: UK / Region: Free / Version: N/A / Discs: 1 / Distributor: Artificial Eye

Presentation
Any scenes that take place in daylight are absolutely stunning. Really, the level of detail and the lifelike colour reproduction are beyond reproach. There is some grain - more than in most new films, probably - but it only serves to pick out detail rather than obscure it. The transfer is less successful in darker scenes, however, mainly because there is quite common contrast flutter within shots and detail softens noticeably. The subtitles are large and legible, though not Fixed Image Height-friendly (they often appear in the black bar below the frame).

The soundtrack is offered in DTS-HD in both 5.1 and 2.0 configurations. When listening to the 5.1 track you'd be forgiven for occasionally thinking you had selected the stereo one by mistake, as there is a very limited scope to the soundscape most of the time. However, there are a couple of extremely effective uses of the surrounds that prove that the general restraint is an artistic choice rather than a technical deficiency. One moment involving a helicopter approaching the monastery is particularly potent from an aural standpoint.

Extras
A 20-minute documentary is everything that the film is supplied with, detailing the real men and events on which the film is based. It really does enhance your appreciation of the film itself and therefore is a recommended watch.



Summary
Those with patience and decent attention spans will be rewarded with an enriching and moving film in Of Gods and Men. Artificial Eye are to be commended for releasing this on Blu-ray, and at an affordable price too.

Blu-ray Review: Taxi Driver (1976)

Martin Scorsese's Taxi Driver has already been reviewed on DVD by FilmVerdict's resident Scorsese expert, Joel. As I can not claim to offer anywhere near as much insight, here I'll reproduce his review of the film and offer Blu-ray specific comments below.

Robert De Niro's surprisingly bogus Mohawk hairstyle is certainly not as attractive as say, Marilyn Monroe's wind-blown skirt or Sean Connery's fully-suited and booted James Bond, but to universal filmgoers it's a striking piece of movie iconography. In fact, all 114 minutes of Martin Scorsese's Taxi Driver are remarkable and the chef d'oeuvre will indeed stay with you forever - every time the Big Apple's finest (Bobby and Marty), taxicabs, or even New York are mentioned in your daily routine, flickers from the chronicle of God's Lonely Man will surface.

Travis Bickle (De Niro) is cinema's best-executed and most famous anti-hero. With so many sensational turns during his extraordinary career, one should be excused for labelling Bickle as De Niro's greatest performance because it is seemingly an impossible and immeasurable task, but the Vietnam-vet-turned-chronic-insomniac-cabbie plants the seeds of über violence, alienation and indistinct subjectivity future De Niro characters came to perfect. De Niro makes Bickle into a person uncomfortable to watch - an attribute screenwriter Paul Schrader wanted to inflict upon the viewer as the loner's story is a nightmare without background answers. Why does he want to venture into the ugly societal underbelly of New York? Murder, prostitution, firearms, drugs, and pornography are all explored as Scorsese invites personal interpretation - scars from 'Nam, mental instability, and cultural disillusionment are all subconscious suggestions but are never fully justified causes for his chaotic mind and frenzied actions.

If you didn't realise already, Taxi Driver isn't simply a masterclass in acting. With assistance from the other half of the film's majestic partnership, Bickle isn't just De Niro's creation. Borrowing from Antonioni, whilst Bickle is trying to ask Betsy (a hearty Cybill Shepherd) on an unlikely date, Scorsese draws the camera away to focus on an empty hallway. The maestro is symbolically turning away from Bickle's plight and treating his existence as a pathetic lost cause in addition to indirectly saying how using camera time on an empty space is more appealing than watching a loser do what he does best. Every directorial flourish Scorsese contributes is a dazzling triumph. The haunting darkness of the urban mise-en-scène complements Bernard Herrmann's chilling score magnificently, the cadence of Bickle's increasingly eccentric actions matches the intensity of his downward spiral into insanity, his secondary players (Harvey Keitel's Matthew, Jodie Foster's Iris, and even Albert Brooks' Tom) all ooze distressing comedy in different ways and upsetting naivety in the latter two cases, and Marty's knowledge of New York's geography shines through. Sun-kissed 1970s New York has been captured astonishingly - America's premier city is certainly cosmopolitan but Scorsese illustrates an applicable and yet agonising sense of inequality, friction and strife below the tourism guidebooks.

Kudos should also be bestowed upon Schrader's excellent script. Granted, Marty and Bob took the bull by the horns and worked to make Travis and his plight their own, but the talented UCLA alumnus dished up the curveball of originality in the first place when his pen rendition of God's Lonely Man was caressed upon the hit-or-miss format of paper - every screenwriter has a nightmarish headache when he cannot fully express 'faultless' ideas onto the hallowed turf. Luckily for the annals of filmdom, Schrader's determination ran straight over any minor glitches and he punched out movie gold in a few rapid weeks.

With the wisdom of hindsight, Taxi Driver solidifies Scorsese's reputation as one of cinema's greatest ever auteurs with his talents shining through in one of cinema's greatest ever works. De Niro justifies his unchallenged position as one of film's super heavyweight players, and Taxi Driver also kick-started a young Miss Foster's illustrious career. All in all, Marty's case study of Travis Bickle is one of budding torment. The urban psychological drama should be painful to view but it's utterly unmissable.



Release Information
Country: USA / Region: Free / Version: N/A / Discs: 1 / Distributor: Sony

Presentation
Taxi Driver, with its gritty urban milieu, hardly strikes you as a film that would really clean up that dramatically for high definition. Such suspicions are initially borne out by the film's opening credits on this Blu-ray, which are soft, hazy, and generally look rough. But, once the credits are over, and the associated problems of optical compositing no longer intrude, the picture becomes a revelation. The painstaking restoration work that has been done for this release is absolutely visible – Scorsese's masterpiece has never been seen in such clarity. The lurid neon colours of 1970s New York come to all their seedy life, while the grubby environs of Travis' apartment and the taxi office can be inspected in minute detail. For a film of its era, this looks simply incredible; grain is present but never distracting, and shadows remain inky throughout. The Grand Guignol finale, with its desaturated colours (making the blood less pronounced, by decree of the MPAA at the time of the film's release) doesn't quite look as crisp or defined, but that seems fitting given the disturbing events portrayed.

The soundtrack is in DTS-HD 5.1 – expanded from the original stereo recording sensitively rather than distractingly. The surrounds are used subtly to enhance the ambience of the city and to expand Bernard Herrmann's final, brilliant score. Dialogue remains mostly centred, though perfectly audible, while gunshots deliver an appropriate punch.

Sony have done themselves proud – this is a classic given the treatment it deserves.

Extras
First impressions of the packaging are good. Eschewing a normal plastic case, Sony instead present Taxi Driver in an attractive fold-out case made from thick rigid card, adorned with stills from the film. Inside you'll find the single Blu-ray disc and a pocket containing art cards.

In terms of the actual disc contents, this release contains everything found on the previous Special Edition DVD, as well as a couple of welcome additions. The main one is a commentary by Martin Scorsese – recorded by the Criterion Collection for their Laserdisc release in 1986. Also featuring Paul Schrader, the two participants are sadly only edited together rather than engaged in a single simultaneous discussion, but it's still a fascinating listen that fills the track with insight from beginning to end. The other new feature is more of a gimmick but of some interest nevertheless: you can choose to display the script alongside the film as it plays, allowing you to compare and contrast.

The rest are the same as the 2006 DVD, so I'll repeat below, in slightly edited form, Joel's comments on the rest. Incidentally, all the extras made for the Special Edition release are here presented in 1080i HD.

The excellent 70 minute 'Making Of' [from the first DVD release] featuring all of the main players is still a fixture. The two [further] commentaries are admirable - Schrader obviously knows his stuff with his effort and Robert Kolker (author of "A Cinema of Loneliness") adds yet more information on proceedings with an intellectual edge. "Martin Scorsese on Taxi Driver" is fine as one learns how the director's vision was influenced by Dostoevsky's Notes from Underground, "Producing Taxi Driver" has a nice interview with director Michael Phillips, "God's Lonely Man" is a wonderful exploration of the protagonist's actions and psyche, "Influence and Appreciation" is a grand admiration of Marty's filmography, "Taxi Driver Stories" are fascinating tales from former and current New York cabbies, "Travis' New York" has some good contributions from former mayor Edward Koch about 1970s New York, "Travis' New York Locations" is a decent then-and-now look at the film's Manhattan sites, and the storyboard feature is of interest to view the filmmaking process. This is a great package with everything included that you could ever ask for.

Sony are due to release the film on Blu-ray in the UK (and in cinemas, for a limited time) in June.



Summary
Taxi Driver is absolutely crucial, outstanding, and chilling must-see cinema. Travis Bickle's descent into homicidal madness becomes ever more gripping on repeat viewings. The Blu-ray is a brilliant example of how classic films should be treated, and is exceptional in every department.

Cinema Review: Thor (2011)

Since they started producing their own films in-house with Iron Man, it's been eminently clear that Marvel have one precise goal in mind: the Avengers movie, due next year under the direction of fanboy god Joss Whedon. They've already given Tony Stark and Bruce Banner (A.K.A. The Incredible Hulk) their lead-in movies; this year they slot their final two primary cast members into place, Thor being the first out of the blocks. Having a superhero film whose main character is the Norse God of Thunder certainly makes a change of pace from the typical bitten by a spider/exposed to radiation/is really really rich (i.e. Iron Man, Batman) origin. Thor goes more for the Superman route, treating its main character's home realm, Asgard, as a sort of otherworldly Krypton, and the protagonist as an alien to whom Earth cultures are strange and foreign.

As has already been shown, that sort of fish out of water premise is ripe with potential, some of which Thor attains but not all. In terms of character and wit, director Kenneth Branagh and his team of scripters score highly; there's an appealing sense of humour in many of the Earthbound scenes and the obligatory central love story is played subtly and believably. Aussie Chris Hemsworth grows into the title role well, initially seeming hamstrung by the very Branagh-esque accent he adopts, but apparently relaxes as the story progresses. He certainly looks the part. Natalie Portman is rewarded with the relatively thankless love interest part and manages to be endearing and believable, even if we're not really given any character information other than the fact she's a scientist. She looks much more engaged here than in her last blockbusters, the Star Wars prequels - no wonder.

Branagh was certainly an eyebrow-raising choice as director, and the end result is not far from what you'd expect from past experience. He's confident with dialogue scenes and character beats, less so with the action stuff, which tends to devolve into murky CG-laden mush (particularly an early set-piece on an ice planet). It's not helped by the addition of the third dimension - everything just looks too dark (many of the off-world scenes are quite darkly lit in the first place) and the film rarely makes any use at all of the potential of 3D. The film's attention is divided between Asgard and Earth, the first act being devoted to the former, and despite - or because of - its distinctive art design style the fantastical world never convinces. In both settings, Branagh overdoes the Dutch angles, such framing rarely having any evident justification. The Earth sections are more compelling, but keeping the action centred around a New Mexico desert town makes the film feel small.



Summary
Once again, a Marvel movie feels like little more than a tease for something bigger to come. At least Thor is distinctive and rather original in terms of comic book movies, differing from the familiar template, and the casting is successful. The Avengers had better be a suitably spectacular payoff after all this time and effort.

Blu-ray Review: Tron Legacy (2010)

From my cinema review -- If there was ever a time when it could be said that the music maketh the movie, Tron: Legacy is it. Get rid of the score, and it would become a plodding, murky, too-serious sojourn into basically ridiculous subject matter, with dialogue that often hardly rolls off the tongue and a narrative that feels like box-ticking ("We need a light-cycle chase here! A cool frisbee battle there!"). Add in the bass-heavy notes of French electronica duo Daft Punk, though, and it transforms into a hallucinatory audio-visual feast where the fusion of pictures and music takes the job of the storytelling. The film is a visual marvel, building on the famous Tron look and enhancing it with 28 years' worth of digital evolution.

Tron: Legacy's journey to the screen has certainly been unusual. The sequel to a minor 1982 effort most notable for its groundbreaking use of (now laughably antiquated) CGI, the original Tron has since gained a cult following and its own band of enthusiasts. In fact, its main legacy has been in the technology it pioneered - Pixar's John Lasseter was inspired by the film to experiment with digital animation, and the rest is history. Such is the power of the geek now in Hollywood (Legacy's debutant director, Joseph Kosinski, grew up with the original) that here we find ourselves, 28 years later, treated to a belated follow-up.

The crucial player in its revival has been Jeff Bridges, who resurrects his character from the first film and was involved in the development of the sequel, agreeing to appear in a short film that Kosinski used to pitch to the studio. Bridges has an accordingly mythical, Godlike presence in the final film, appearing as both an aged version of Kevin Flynn and villain Clu, a version of Bridges that CG boffins have de-aged to around his age in the original. The effects are not seamless (the Benjamin Button team are responsible, where the use of the technique was more careful and successful) but it somehow works, given that most of the film is set within a virtual environment where nothing is actually real anyway. The creation of the virtual world itself is superb, bringing the wonderful art direction to life now that almost anything is possible to recreate on screen. The look - mostly blue, black and orange - does get a little tiresome and oppressive after a while, but that may be a consequence of the 3D dimming. [Blu-ray viewing note: In 2D on my TV I never once tired of the look. 3D therefore detracts from this movie.]

Bridges is reliably enjoyable, bringing more than a hint of The Dude to the Flynn character ("You're messing with my Zen, man!"), and Olivia Wilde (TV's House and The O.C.) is delightful as his naively wide-eyed companion. Wilde quickly becomes the heart and soul of the picture once she appears. The main plot revolves around Sam Flynn's (Garrett Hedlund) attempt to rescue his long-lost father from being trapped in the digital realm, but despite his solid work, Quorra is the most affecting character, her arc providing the biggest emotional payoff. The storytelling is sometimes ponderous but certain scenes stand out as particularly well-directed, such as a tense dinner table conversation just after Sam and Kevin are finally reunited, with Quorra is an awkward third party. Similarly the film excels in action scenes, standouts being the iconic light-cycle battle and a brawl in a glitzy nightclub run by a manic Michael Sheen. There's a cameo in that scene by Daft Punk, wearing custom made Tron suits - they're the club DJs - and despite all the visual spectacle it serves as an apt reminder as to the number one reason that the film works.



Release Information
Country: UK / Region: Free / Version: Double Play / Discs: 1 BD, 1 DVD / Distributor: Disney

Presentation
Smooth - that's the word that comes to mind when describing both the look and sound of the film on Blu-ray. The visuals superbly replicate the rounded, sleek art design of the film. What's more, given the emphasis on light in the Tron world, they seem perfectly suited to being watched on a TV, which emits light, rather than a projector screen which simply reflects it. It makes for a much more vivid, enveloping experience. (Admittedly, I did not see this film in IMAX, which must have been incredible.)

The soundtrack is similarly "smooth" in that rather than battering you over the head with sheer volume, it gradually builds and builds (much like the music, which is very prominent throughout) to reach several high points and then a stunning crescendo in the finale. Directional sounds are used to phenomenal, immersive effect. Delivered in DTS-HD 7.1, it's the sort of soundtrack that will test the mettle of any sound system - mine couldn't quite cope with the ending.

Extras
Disney have been a bit on the skimpy side here, unfortunately. No commentary or PiP options are offered. There are three featurettes of around 10 minutes each - focusing on the project's genesis, casting, and design - and a 3-minute piece showing the San Diego Comic-Con audience being recorded for the crowd scenes. The most interesting revelation is how many of the sets and costumes - and their lighting effects - were done practically, without CGI. "The Next Day: Flynn Lives Revealed" is an interesting piece, a 10-minute prequel/expansion of sorts to the events in the movie, giving extra background to what happened in the years between the two movies, and featuring cameos by some of the actors. I'm sure Tron geeks in particular will get a kick out of it. Otherwise, there's a Daft Punk music video, and a trailer for a new Disney cartoon series, Tron: Uprising.



Summary
Competently made, well acted, masterfully scored - Tron: Legacy is a success on a surface level. It never particularly engrosses, but it looks pretty and sounds great. The Blu-ray provides possibly the best audio-visual presentation I've yet seen; at points it's nearly overwhelming. The film benefits significantly from it.

News: Zemeckis returns to live action

After dallying in motion-capture CGI for the last decade, Robert Zemeckis - the genius behind Back to the Future, Who Framed Roger Rabbit?, Forrest Gump and more - is looking like he'll return to real flesh and blood actors for his next flick.

Chud.com reports that he's in talks to direct a movie called Flight, about an airline pilot who becomes a hero after a successful emergency landing, but he's wracked by guilt afterwards because he was (unbeknownst to the general public, it seems) on drink and drugs at the time. Denzel Washington may play the lead, who also has another interesting-sounding thriller on the way at the moment, Safe House.

To me the real news is that Zemeckis is intending to drop the motion capture technology. He's been a technological pioneer since he hit big with the time-travelling DeLorean, but his recent output has left me cold, and his apparent goal of making photo-real CG humans looks no closer to being realised now than it did when he made The Polar Express. His last live action film was Cast Away in 2000 - no classic, perhaps, but certainly a very good film, and far better than anything he's made since then (though I haven't seen his A Christmas Carol). The final straw for Disney, his backers, has been the complete failure of Mars Needs Moms, a recent mocap effort which Zemeckis produced.

Zemeckis, at his best, is a true visionary, and I firmly believe he has shown the talent in the past to forge a career similar in standing to Steven Spielberg's. Now his experimentation in digital toys is (hopefully) out of the way, he can get back to making great movies again.