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Monday, 11 April 2022 14:02

Emergency Bay – ‘Ambulance’

There’s a tendency to bemoan the dearth of original films coming out of Hollywood. The IP franchise model has largely taken over the industry, with relatively little room for material not explicitly designed as part of a larger, familiar whole. That desire for standalone offerings is certainly understandable.

What you might not have expected, however, is that Michael Bay would be the one to fulfill that desire for you.

Bay’s new film is “Ambulance,” a heist thriller based on a 2005 Danish film of the same name (although the director reportedly never saw the original nor read the screenplay). It’s the sort of movie we’ve come to expect from Bay, one packed to the brim with over-the-top action set pieces and overwrought interpersonal dynamics while also being somewhat lacking in the narrative cohesion department.

It’s the Michael Bay experience.

You’re not here for explorations of the complexity of the human condition. You’re not here for taut dialogue loaded with subtext. You are here to watch guns being fired, vehicles being crashed and a whole lot of explosions of various sizes and shapes. You know it. I know it. And Michael Bay definitely knows it.

Published in Movies
Monday, 04 October 2021 14:04

‘The Guilty’ answers the call

Limitations can make for fascinating filmmaking. Whether the obstacles spring from outside forces or are self-imposed, it’s often quite interesting seeing how filmmakers overcome them.

Stories that are set in a singular space, for example – narratives that require our protagonist (and often ONLY our protagonist) to be confined to one place by circumstance. The inherent stasis to such a setting presents all manner of challenges – to the director, to the writer, to the actor(s). When those challenges are suitably and fully met, the result can be brilliant.

Alas, the new Netflix film “The Guilty” doesn’t quite get there. The pieces are certainly in place – Antoine Fuqua directed, Nick Pizzolatto penned the script and Jake Gyllenhaal is our lead – but they don’t all fit together in precisely the right way. That’s not to indicate the film is bad, by the way – it isn’t – but that it hits a few bumps along the way.

A remake of a 2018 Danish film of the same name, “The Guilty” is a story of a disgraced police officer stuck on a dispatch desk as he awaits judgment on his questionable acts. A 911 call from a woman claiming to be abducted sends him into a frenzy, pulling out all the stops as he tries to help this woman, even while the qualities and flaws that led him to this place continue to roil and bubble – and erupt.

Published in Movies

It’s tough to argue that the Marvel Cinematic Universe isn’t one of the most monumental achievements in the history of the medium. Regardless of how you feel about the content of the movies – some people just don’t dig superhero flicks – you cannot deny that the unspooling of the MCU saga over more than 20 films is an incredible achievement.

The culmination of that arc was “Avengers: Endgame,” but despite what you might think, that film was not the end of Marvel’s so-called Phase 3.

That honor goes to “Spider-Man: Far from Home,” a film that puts Tom Holland’s excellent Spider-Man front and center once again while also serving to both cleanse the palate and pick up the pieces after the paradigm-shifting events of the previous film. It’s a chance to view the aftermath of what has come before while also laying the groundwork for what comes next.

It’s also a delightful standalone adventure in its own right, a quippy, flippy movie packed with web-slinging action and some first-rate comic beats. In addition, we get our first look at a world still working its way through the everyday logistical chaos left by the Snap – or the Blip, as the kids apparently call it. A first look at a world without Tony Stark.

Published in Movies

Cinematic reunions are rarer than you think. While there are a few Coen-esque or Andersonian (Wes or Paul Thomas, take your pick) stables of performers out there, the truth is that these sorts of filmmaking teams don’t turn up all that often.

That relative rarity is a big part of what makes the new film “Velvet Buzzsaw” so intriguing. Writer/director Dan Gilroy has brought back the two stars of his 2014 offering “Nightcrawler” – Jake Gyllenhaal and Rene Russo – for this one, a genre-bending story of creeping horror set amidst the backdrop of the contemporary art world.

Combining elements of satire and social commentary with horror tropes and a gleefully needling deflation of the self-indulgent self-seriousness of the high-end artistic realm, “Velvet Buzzsaw” is a film that is undeniably itself. The component parts don’t always mesh as well as they might, but the overall experience is an engaging one that will appeal to a weirdly disparate audience.

Published in Movies
Wednesday, 29 March 2017 11:57

‘Life’ and death

Sci-fi horror film familiar, but compelling

Published in Movies

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