Looper

Regular readers will know I've had a tumultuous relationship with Looper, the third film from writer/director Rian Johnson. I loved Brick, and even wrote a post expressing my excitement and fears for the upcoming film, but alas when I went to see the film the first time around I passed out half an hour in, for reasons as yet undetermined. There's an entire team of doctors and medical students currently scratching each others heads just trying to work out what - or rather, how many things - are wrong with me. But failing to fully see the film first time around gave me an opportunity to see The Brothers Bloom, Johnson's second film, before watching the rest of his third. I have now managed to successfully see the entire film, in one sitting, having paid for a total of four cinema tickets (me + girlfriend first time around, me + friend second time around, Aisha didn't want to see it again). And, personally, I think it was worth it.

Pre-View: Looper

I don't get to go to the cinema too much these days, so to try and make sure I go at least once a month (this month was Brave), this is a new monthly post I'll be doing about the next film to hit the big screen that I will definitely be going to see. My next assured cinematic viewing? Looper.

Unbreakable

Unbreakable is essentially an anti-superhero movie, taking many of the genres staples and applying them to a real-life thriller, years before Christopher Nolan rebooted the Batman franchise with his realistic and plausible worldview. The hero, David Dunn (Bruce Willis) has alliterative initials (Bruce Banner/Peter Parker/Clark Kent), wears a hooded cloak and has a penchant for posing in the rain with a bright light behind him, illuminating a stark silhouette on the screen, yet unlike most comic book heroes, when he tries to chat up a girl (after slyly removing his wedding ring) the attempt fails. That never happened to Tony Stark.  The film is even shot like a comic book, with the aforementioned chat up routine swaying from person to person between seats on a train, and many scenes utilising one bright colour, such a bright orange boiler suit, contrasting against the surrounding dreary muted blacks, browns and greys.

The plot concerns Dunn’s lone, unscathed survival from a horrific train wreck, and his subsequent meeting with Samuel L. Jackson’s Elijah Price, known as the Glass Man due to the brittle nature of his skeleton. Being a Shyamalan film, there is a twist in the tale, and a satisfying one it is too, something hinted at when, as a boy, Price’s mother gives him a comic book, telling him “They say this one has a surprise ending.” This is also a rarity, in that it is a comic book movie, where one of the main characters is obsessed with comic books. The film rewards repeat viewings, as you can see how everything clicks into place with the characters in their respective key roles, and how they play to the genre stereotypes.

Choose Film. 7/10

R.E.D.

Do you want to see Morgan Freeman beat up Richard Dreyfuss? John Malkovich take out a rocket with a single bullet? Helen Mirren threaten to bury someone in the woods before unleashing Hell with a sniper rifle? Of course you do, so you should go and see RED. This movie is all about playing against type, with almost all of the principle cast not being well known for action roles. Bruce Willis, obviously, is the most well known for out-and-out balls to the wall action, and Karl Urban, perfecting his unemoting suit with balls ready for his next role as Judge Dredd, has done his fair share, but personally I’ve never seen Brian Cox unload an uzi on someone.

It’s refreshing too to see Hollywood actors playing their age, knowingly accepting put downs (“I wanted you to have hair”), and for the love interest to be a real, flawed person, albeit ten years younger than Willis, stuck in a dead end job, single with no prospects, plausibly forging a telephone relationship with someone she hasn’t met. It would have been easy to cast a younger, thinner, blonder identikit actress like Katherine Heigl or Rachel McAdams, but instead to use Mary Louise-Parker, more known for her TV work in Weeds and the West Wing, crows’ feet as defined as her comic timing and ability to hold her own with her more, ahem, experienced co-stars, is a welcome touch.

Thanks the heavens for the casting of Ernest Borgnine, deserving of my in-the-air fist-pump every time he came on the screen. The guy’s a legend.