Showing posts with label david fincher. Show all posts
Showing posts with label david fincher. Show all posts

Wednesday, June 24, 2009

WADRICK’S THIRTY SECOND FILM REVIEWS


Zodiac (2007)
Jake Gyllenhaal, Mark Ruffalo, Robert Downey Jr, Anthony Edwards, Chloe Sevigny, Elias Koteas, Donal Logue, Brian Cox, John Carroll Lynch & Dermot Mulroney.
Written by James Vanderbilt.
Directed by David Fincher.


He was known as the Zodiac – a psychopath who terrorised San Francisco with a spate of murders beginning in the late 1960s. He sent coded messages and taunting letters to police and to the Chronicle newspaper. And he was never caught. From the outset, the case attracted the attention of a young Chronicle cartoonist named Robert Graysmith, and he spent many obsessive years poring over case files eventually penning a best-selling book. Graysmith declared he had cracked the unsolved case, naming the man he believed responsible for the killings. Based on Graysmith’s book, David Finchers’ long and at times difficult film is nonetheless a visually beautiful piece of work. Detailing (and I mean detailing) the exhaustive investigation and the effect on those involved, Zodiac weaves a serpentine story with an astounding nuance. The cast, production design and direction are all first class, with Fincher providing perhaps his most stylistically impressive film to date. This is, however, an acquired taste, but one of those films that gets better with each subsequent viewing.




Sunshine (2007)
Cillian Murphy, Rose Byrne, Chris Evans, Cliff Curtis, Michelle Yeoh, Troy Garity, Hiroyuki Sanada, Benedict Wong & Mark Strong.
Written by Alex Garland.
Directed by Danny Boyle.


Near-classic sci-fi about a small crew of astronauts charged with delivering a nuclear payload to our dying Sun. When they receive a radio transmission emanating from the idle craft of a failed earlier mission, their decision to investigate and what they discover threatens to sabotage mankind’s only chance of survival. Production details are one of the key elements of this film, providing a consistently believable (if fictional) account of life on a spacecraft. The first half of the film expertly introduces its characters and their environment, allowing the audience to identify and become emotionally involved. This is all thanks to the excellent script from Alex Garland and the dramatic skills of Sunshine’s talented cast. The visual effects are some of the most impressive ever created for a film since the advent of CGI, enhancing the story with subtle power in the deliberate manner of Stanley Kubrick’s 2001: A Space Odyssey. Director Danny Boyle’s often creeping camera affords instant comparisons to Ridley Scott’s 70’s classic Alien, and I would be seriously in error to not also mention the terrific score by John Murphy & Underworld. In all, Sunshine is a work of art, existing in a genre that rarely offers such treats.



Michael Clayton (2007)
George Clooney, Tilda Swinton, Tom Wilkinson, Merritt Weaver, Robert Prescott, Terry Serpico & Sydney Pollack.
Written & Directed by Tony Gilroy.


Arthur Edens (Wilkinson) is the leading defence attorney in a major civil suit being brought against United Northfield - a multinational agricultural corporation. When he suffers a breakdown (crisis of conscience) during a deposition, his New York law firm sends their fixer Michael Clayton (Clooney) to render damage control. When a memo surfaces that threatens to unravel the case, and not content with Clayton’s assurances regarding Arthur’s mental state, U-North’s sycophantic lead council Karen Crowder (Swinton) murderously decides to deal with the matter herself. Michael Clayton is a magnificent film – dark, smart and complex. This impressive directing debut from Tony Gilroy is a no-holds-barred examination of the corruption of the powerful juxtaposed with the indelible morality of the righteous. Clooney, Wilkinson and Swinton (she won an Oscar for her performance) are tremendous in meaty roles and are afforded excellent support from the entire cast. Slick, tense and written with clarity and a poison pen, Michael Clayton is one of the finest American dramas of this decade.

RATINGS CHART...


If you want to watch any trailers/scenes from films reviewed by Wadrick, visit the GritHouse – the GritFX YouTube Channel – and check out Wadrick's Playlist.

Wednesday, February 4, 2009

WADRICK’S THIRTY SECOND FILM REVIEWS (the 1990’s)


Se7en (1995)
Morgan Freeman, Brad Pitt, Gwyneth Paltrow, R. Lee Ermey, John C. McGinley, Richard Roundtree and Kevin Spacey.
Written by Andrew Kevin Walker.
Directed by David Fincher.


A maniac is murdering people in accordance with the seven deadly sins. Somerset (Freeman) is a jaded detective on the brink of retirement who is joined by Mills (Pitt), a rookie eager to “do some good”. The two form an uneasy alliance to track down the murderer – a sinister soul known only as John Doe (a marvellous Spacey). When I walked out of the cinema after seeing Fincher’s Se7en, I can recall being shrouded in a black cloud. What the hell had I just witnessed? In hindsight, it’s easy to understand the power of this film and its subsequent influence. From the skin-crawling effect of the opening credits (which have since become almost a pre-requisite for any film of similar nature) to the uncompromising finale, the film managed to elicit a graphically violent motif without ever having to reveal much at all. Se7en is one dour film, but this production design and the accompanying incessant rainfall gave the film a look that felt far more noir than any noir could. Aside from all of this, the film afforded director Fincher (a) the attention he so obviously deserved; and (b) respect for standing up to the studio execs who wished for a happy Hollywood ending to this unforgiving tale.




Face/Off (1997)
Nicholas Cage, John Travolta, Alessandro Nivola, Colm Feore, Joan Allen, Gina Gershon, Nick Cassavettes and Harve Presnell.
Written by Mike Werb & Michael Colleary.
Directed by John Woo.


An FBI agent named Sean Archer (Travolta) has his face surgically altered to be a dead ringer for a heinous terrorist named Castor Troy (Cage). The plan to infiltrate the terrorists’ gang of cronies goes swimmingly, until Troy decides to have his face altered as well, assuming the identity of Archer and threatening the lives of his family. This laughable film was a substantial hit, sucking in an audience drunk on the Pulp Fiction-inspired resurrection of Travolta. But they were soon sobering up to the fact that Travolta, like his previously faltered career, was grounding his new-found fame in this trash and others like Broken Arrow and Battlefield Earth. The ridiculous style of Asian golden boy John Woo was never more evident than in this unintentionally funny ‘action’ film. Woo’s unbearable penchant for slow-motion reduces the final reel of Face/Off to a truly horrendous ‘opera’ of gunfire (now referred to as “Gun-Fu”). It’s no wonder his career has been conspicuously minor since the mid-90s. Two years after his Academy Award-winning performance in Leaving Las Vegas, Face-Off also signified the initial decline in the quality of Cage’s work (the exception being Spike Jonze’s Adaptation in 2002). You’ll have more fun peeling your own face off than watching this crud.



GoodFellas (1990)
Ray Liotta, Robert DeNiro, Joe Pesci, Lorraine Bracco and Paul Sorvino.
Written by Nicholas Pileggi & Martin Scorsese.
Directed by Martin Scorsese.


Ever since he could remember, Henry Hill (Liotta) wanted to be a gangster. Based on true events, GoodFellas charts the rise of Hill from teenage courier for local mafia captains to his eventual downfall at the hands of the FBI. Accompanying Hill on his violent journey are his psychotic friend, Tommy (Pesci) and Hill’s somewhat mentor, Jimmy (DeNiro). One of Scorsese’s finest films, GoodFellas ripped into the new decade with a bold statement on lives of crime. Powerfully acted (Pesci won an Oscar for his role) and directed (by a filmmaker in his prime), the film resonates with a voyeur quality that has rarely been matched (and perhaps only superseded by Scorsese’s own Raging Bull). From it’s graphically violent opening to its almost iconic final frame, GoodFellas is akin to a kick in the guts (or a cap in the ass), reinventing itself as the story progresses through each sensational act. Employing all the tricks of the trade that he had been honing since Mean Streets, Scorsese’s GoodFellas still remains the yardstick for all subsequent films on organised crime. One of the decades’ best.

RATINGS CHART...


(Wadrick Jones is a freelance writer for GritFX and will post weekly thirty second film reviews on this blog.)