Previews: Mission: Impossible – Fallout Featurette, More!

Plenty in this week’s preview of coming attractions, including the new Mission: Impossible – Fallout featurette, plus Mortal Engines, Mile 22, and more…

Mission: Impossible – Fallout Featurette

Here is the brand new Mission: Impossible – Fallout featurette. Producer and star Tom Cruise and director Christopher McQuarrie discuss the upcoming film, the sixth in the franchise. What is interesting about the series is that rather than starting off strong, and getting progressively weaker, the films have got better generally (Mission: Impossible – Ghost Protocol is a particular highlight). Mission: Impossible – Fallout will hit UK screens on 25th July 2018.

Mile 22 Trailer

Here is the latest trailer for Mile 22. The action thriller is about an American intelligence officer who must smuggle an informant out of the country. The film stars Mark Wahlberg, Ronda Rousey, John Malkovich, and Iko Uwais. Directed by Peter Berg, Mile 22 is coming soon to UK cinemas.

Black KkKlansman Poster

Above is the latest poster for Spike Lee’s Black KkKlansman. The film is based on the true story of first African-American detective on the Colorado Springs Police Department, who infiltrates the Ku Klux Klan. The film stars John David Washington and Adam Driver. Black KkKlansman is out at UK cinemas on 24th August 2018.

The House with a Clock in its Walls Trailer

The House with a Clock in its Walls is a new fantasy adventure from director Eli Roth. The film is about a young boy who goes to live with his mysterious uncle in a peculiar house. The film stars Jack Black and Cate Blanchett. The House with a Clock in its Walls will be released in cinemas on 21st September 2018.

Mortal Engines Featurette

Here is a new look at the upcoming Mortal Engines. The film is directed by Christian Rivers, and co-written and produced by Peter Jackson. Set in a post-apocalyptic world, the film is about giant cities that roam the Earth, enveloping smaller towns. Starring Hugo Weaving, Mortal Instruments will hit UK screens on 14th December 2018.

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Film Review: Hacksaw Ridge

Mel Gibson’s Hacksaw Ridge is a brutal true story which illustrates the director’s flair for storytelling. Switching between sentiment and violence, the film is utterly compelling at times.

Desmond Doss signs up to join the army during World War II, feeling it is his duty to serve his country as a medic. His religious beliefs mean that he refuses to fire a weapon. Seen as a conscientious objector, Desmond enters a gruelling battle with his regiment…

Hacksaw Ridge is based on the true story of Desmond Doss, who was awarded the Medal of Honour for his bravery in battle. Written by Robert Schenkkan and Andrew Knight, the film focuses on Doss from his early family life to his later heroics in battle. The film is a sincere portrait of an extraordinary individual.

Director Mel Gibson concentrates on a different aspect of Doss’ life in each of the film’s three acts. The first explores the protagonist’s childhood; giving colour to his beliefs and his relationship with his family. There is also an emphasis on his father’s trauma following military service. The story moves on to Desmond as a young man. The scenes in which he woos Dorothy are heady with sentiment. At times the film is aware of this corniness. Nevertheless, the scenes are very watchable.

The mood shifts between this sweet sentimentality and more forceful drama. There is plenty of humour to be found at training camp, but again this switches quickly with the onset of darker scenes. It is the action scenes which are most memorable in Gibson’s film, however. The war sequences are absolutely brutal, offering a dizzying and terrifying depiction of battle. Viewers who have seen Gibson’s The Passion of the Christ will not be surprised by the level of violence, yet Hacksaw Ridge is unrelenting in its portrayal of carnage. At times difficult to watch, the direction, editing, cinematography and sound design create haunting sequences.

Andrew Garfield delivers a convincing performance as Doss. He is cute in the romantic scenes, and very authentic in depicting Desmond’s struggle. Hugo Weaving puts in a great turn as Desmond’s father, and Vince Vaughn is well cast in his role.

With Hacksaw Ridge, Gibson reminds cinemagoers of his adept storytelling abilities. The film is a testament to conviction, as well as the brutality of war.

Film Review: The Dressmaker

The Dressmaker is an amusing comedy drama which offers good performance.

Dress designer Tilly Dunnage returns to her small hometown in Australia for the first time since her childhood. With her stylish wardrobe and talent for design, Tilly certainly turns heads. However, Tilly must confront a trauma from her past…

Based on Rosalie Ham’s novel, The Dressmaker tells the story of an accomplished designer returning to her small childhood home after many years away. Director Jocelyn Moorhouse’s film offers several strands, combining drama with comedy and mystery.

The central narrative in The Dressmaker focuses on Tilly’s return to her hometown and her reasons for leaving many years before. This aspect of the story affords the film an aspect of mystery. The exact details of what happened when Tilly was a girl are not revealed until a good way into the film. Yet, the mystery of the incident is not the crux of The Dressmaker; there is significant action that takes place after the reveal is made.

Other strands concentrate on Tilly’s relationship with her mother, a love interest, and a thirst for revenge. Some of these strands work better than others. The mother-daughter relationship is well-written and well-cultivated. The relationship develops at a good pace, and feels as if it reaches a satisfying conclusion. The love story is less convincing, however. Given the other incidents that occur in The Dressmaker, the love story could have been substituted for something platonic. The film begins as a mystery drama with comedy flecks, and ends up somewhere else by the finale.

Costumes and styling in The Dressmaker are eye-catching. Kate Winslet offers as competent a performance as ever, whilst Judy Davis is a scene-stealer. Hugo Weaving amuses in a supporting role, but Liam Hemsworth is given little depth to his character.

The Dressmaker can feel a little overlong, but for the most part the film entertains. The tone is certainly amiable.

Film Review: Mystery Road

Mystery Road is a brooding crime thriller that does well to engage viewers for the most part.

Jay Swan, a indigenous police detective returns to his Outback town. His first case to solve is the murder of an indigenous girl, whose body is found under the highway. As he struggles to find the killer, Jay feels alienated by the white-dominated police force as well as the indigenous local community…

Ivan Sen’s film lives up to its title, posing a murder mystery than deepens as the narrative progresses. The focus is primarily on the case, although aspects of community relations and family dynamics intwine with the main plot.

Mystery Road is a little overlong overall. The mystery is engaging for the most part, but falters in the middle third. The film offers a number of possible villains, retaining the audience’s interest as the narrative twists.

Sen’s film is successful in exhibiting the issues of the indigenous community in contemporary Australia. Mystery Road offers a nuanced depiction of community tension in the small town. With the various factions at play, most characters are not simply painted as heroes and villains, but rather populate the grey areas.

Mystery Road features a wonderful use of natural lighting and cinematography. There are some striking silhouette. The film makes the most of its landscape. Aaron Pedersen offers a decent performance as Jay Swan. Hugo Weaving is completely believable as the veteran detective.

Mystery Road has an ending that seems slightly at odds with what has occurred before. Nevertheless, the film works as something of a cowboy murder mystery.

Mystery Road is being screened at the BFI London Film Festival in October 2013.

Film Review: Cloud Atlas

Cloud Atlas is an ambitious if not wholly successful project. Some of the film’s strands are definitely stronger than others.

A voyage across the Pacific in 1849, a young English musician trying to compose music in 1936, a journalistic investigation in San Francisco 1976, a book publisher in 2012, a cloned waitress in Korea 2144, and post-apocalyptic Hawaii. All these people and events are connected…

Directed by Tom Tykwer, Andy Wachowski and Lana Wachowski, Cloud Atlas is an ambitious amalgamation of six different stories set at different times and in different locations, with the same actors playing multiple parts. The film has a strong start, but some stories wane as others become more interesting. It is the contemporary-set strand which is most entertaining, given its humour.

With its interwoven stories, it is unclear how the film will map out. Some of the strands are engaging whilst the post-apocalyptic strand in particular fails to capture the imagination. Cutting frequently from story to story, it is difficult to gauge how far along in the narrative the film is at any particular time. As a result, the film feels like it is heading to its conclusion a lot sooner than it actually does. The second half of Cloud Atlas seems sluggish in comparison with the first half. With a running time of just under three hours, viewers will be forgiven for getting restless.

The different eras are given very distinctive looks. Parts of the future-set sequences are highly reminiscent of other films. There is also a part of the narrative that resembles another film, although an overt reference is made to this earlier in proceedings. The score is great, but some of the prosthetics are very noticeable. The changing of races and genders is odd, but adds to the overall theme of the film.

Performances in Cloud Atlas are great for the most part, with a number of the actors taking several different roles. Ben Whishaw stands out in the 1936 strand, while Hugo Weaving is strong in all his roles. Jim Broadbent also delivers strong performances, and Tom Hanks is as solid as ever.

If the cod philosophy is ignored, Cloud Atlas is entertaining enough. Ultimately it is the fact that the film is overlong which lets it down. An interesting concept which would have been wonderful if the directors could have fully pulled it off.

Stuff To Look At

New trailers for Iron Man 3 and Playing for Keeps and a live stream from the Royal World Premiere of Skyfall are featured here for your viewing pleasure…

Skyall

Above is a live stream from the Royal World Premiere of Skyfall, which begins at 5pm (GMT). All the stars of the film are expected to attend, along with a host of other celebrities. Skyfall is released on 26th October 2012.

Iron Man 3

After the enormous success of Avengers Assemble, next up on the Marvel roster is Iron Man 3. Robert Downey Jr. and Gwyneth Paltrow return for the next instalment of the Iron Man series. The film, directed by Shane Black is due for release on 26th April 2013.

Playing for Keeps

Playing for Keeps boasts a stellar cast which includes Gerard Butler, Jessica Biel, Dennis Quaid and Catherine Zeta-Jones.  The film looks like a standard romantic comedy, but it may hold some surprises. Playing for Keeps is due for release on 1st January 2013, an ideal release for light, non-committal post-Christmas viewing.

Life of Pi

Ang Lee directs Life of Pi, based on Yann Martel’s bestselling novel. Above is a short clip from the film. Due to be released in 3D, Life of Pi‘s visuals are immediately attractive. The film will be released on 20th December 2012.

Rust and Bone

I am disappointed to have missed Rust and Bone at the BFI London Film Festival this year. Rust and Bone won the Best Film Award this past weekend, and has been receiving good reviews. Above is a brief clip from the film. Rust and Bone will be released on 2nd November 2012.

Cloud Atlas

Cloud Atlas is an ensemble piece featuring six different stories. The film stars Tom Hanks, Halle Berry, Hugo Weaving, Susan Sarandon and Hugh Grant. Above is a featurette about the film featuring the cast and crew. Cloud Atlas is due for release on 22nd February 2013.

Film Review: Captain America: The First Avenger

Captain America: The First Avenger ticks all the boxes as far as comic book movies go. Whilst the film does not elevate itself above other good movies in the genre, it is at least distinguishable for its setting.

Despite his slight frame, plucky Steve Rogers is determined to enlist in the US army to fight the Nazis in Europe. Rogers is turned down four times, but still has his heart set on serving his country. At his fifth attempt, an army doctor sees the potential in Rogers and invites him to take part in an experiment to make him a super soldier…

Captain America: The First Avenger follows a fairly standard formula, in terms of Marvel origin stories. Sufficient time is allowed for the protagonist to develop before any super powers are introduced. A familiar narrative then follows, as the hero fights to save the day. The emphasis lies firmly on Rogers, his antagonist and other characters are undoubtedly secondary to his story. Unlike many other superhero films, little time is spent cultivating an origin story for the villain. Instead, Johann Schmidt’s story is told by brief flashbacks and expository dialogue.

Setting the film during World War II works exceptionally well. The patriotism angle is very effective, in a way which would not have been in a contemporary-set film. Captain America is after all the quintessentially American superhero, so it makes sense for him to appear at the most patriotic of periods. This is captured well by the wartime posters and stage shows, as well as his appearance in comic books, which is self-reflexive to say the least.

Joe Johnston directs Captain America with the fluidity it needs. Action sequences are bold and a lot of fun. The more serious or emotional moments are handled with care, but thankfully these are never dwelled upon too much. The film posits a very straightforward battle between good and evil at the centre, which is what this hero is all about.

Special effects in the movie work well, as does the sound. The soundtrack is also very in keeping with the 1940s setting. The use of 3D in the film is appropriate. It serves a purpose, balancing between overly gimmicky and hardly noticeable.

Chris Evans makes a great Captain America, fitting the bill of how this superhero should appear. Hugo Weaving is uncompromisingly bad as Schmidt, while Toby Jones is great as assistant Dr Zola. Tommy Lee Jones makes a convincing colonel, and Hayley Atwell looks perfectly of the period. Sebastian Stan is a welcome addition as Bucky.

It will be interesting to see how the character functions in The Avengers movie, but Captain America: The First Avenger is very entertaining as a stand alone film.

Film Review: Oranges and Sunshine

Oranges and Sunshine is an emotional drama that deals sensitively with real events. It can be difficult to portray such recent events in a cinematic context, but for the most part director Jim Loach handles this well.

Nottingham social worker Margaret Humphreys is approached after work one day by a woman claiming she was sent from the UK to Australia as a child. As Margaret begins to investigate the case, she finds out that the problem was more widespread than anyone could imagine. Her investigations take her to Australia, as she tries to piece together exactly what occurred decades before…

Despite the sheer scale of the child migration schemes, which ran up until 1967, Oranges and Sunshine concentrates on a very personal story. Rather than portraying the scope of events, the film focuses on Margaret Humphreys. Screenwriter Rona Munro weaves the narrative around Humphreys, encompassing the social worker’s family life as well as the lives of those she helps. Oranges and Sunshine concentrates on a handful of characters, presumably representative of some of the wide range of stories out there.

Although the film begins detailing facts about the case, it becomes more of a emotional drama than a historical one. The failure of Oranges and Sunshine is this shift half way through. The film leaves behind the facts and historical detail to concentrate on the emotional toll on Humphreys, her family, and those affected by the forced migration. The film perhaps would have been stronger if the factual grounding had been retained throughout.

At times it feels as if the film is actively eliciting an emotional response from viewers. For example, the intertwining of various stories of similar abuse from different men indicates that audiences should feel sympathy and outrage. However, the actual events themselves are harrowing enough that Jim Loach’s employment of these devices add little power themselves.

The cinematography in Oranges and Sunshine is excellent in the way it highlights the strong contrast between Australia and the north of England. Some of the Australian scenery is idyllic, contradicting effortlessly with the stories of abuse that occurred.

Emily Watson is superb as Margaret Humphreys. Much of the action is viewed through her eyes, and Watson portrays the emotional burden carried by the character well. Hugo Weaving is utterly believable as Jack, while Richard Dillane is solid as Margaret’s husband Merv.

As a film about Margaret Humphreys, Oranges and Sunshine works well. It is a pity that the film did not feature more of the detail of events, as it is certainly a story worth telling.