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Film Review: Hanna

Hanna is the most distinct and refreshing film to hit the multiplexes this year. Known for his period dramas like Atonement, director Joe Wright has created something very ambitious

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Hanna is the most distinct and refreshing film to hit the multiplexes this year. Known for his period dramas like Atonement, director Joe Wright has created something very ambitious; a breathtaking art-house action film with enough Bourne, Bond and Nikita to please the masses.

Hanna, an average looking young adolescent, played by a mesmerising Saoirse Ronan has been secluded from the world her entire life. Her father Erik (Eric Bana), an ex-CIA operative, has kept her in isolation, training her as a cold killer in preparation for the real world. A world where her father knows Hanna will be hunted and imprisoned as an asset by the CIA and specifically one callous agent Marissa Weigler (Cate Blanchett). Not only is it clear that Marissa has a special interest in Hanna but it is also apparent that Hanna is not your average young girl nor Hanna your average action movie.

Set across breathtaking white snowy Finnish landscapes, Hannastarts with an innocent yet ominous tone not unlike the titular character herself. Ronan, with her white complexion and hair to match, disappears into the scenery in these early scenes but always commands the audience’s attention. Ronan captures the vulnerability and menace of Hanna perfectly. We are never sure what to expect or when to put our guard down. Hanna is a great character, a highly trained killer but still a curious young girl torn between her heart and her instinct. She is unsure of the world outside the facts and figures taught to her by her father and more importantly for Hanna she is unsure of who she is and how she fits. Her father may have prepared her to snap a man’s neck but not for interacting with the world let alone children her own age.

When the chase begins Hanna becomes an unrelenting and exhilarating ride set to a thumping and very fitting Chemical Brothers soundtrack. On the run from Marissa and her goons, one of which is an especially memorable Tom Hollander, Hanna is able to utilise all the skills and knowledge that has been taught to her in order to survive and act out her father’s mission. Similarly Wright is able to use all his skills to masterfully keep the audience glued to their seats. Wright, not known for his high adrenaline scenes approaches the chase with great style and originality. Memorable scenes are filled with great rhythmic editing and stylised shots that compliment the soundtrack wonderfully. While on the flip side Wright also knows when to prolong a scene with no editing building great tension, suspense and realism.

Although overshadowed by Ronan, Bana and Blanchett both give excellent performances as Hanna’s protector and pursuer, albeit very different ones. Bana’s Erik is very reserved but calculated, he is endearing as Hanna’s father and defender even when he probably shouldn’t be, a credit to Bana. While Bana’s performance is noticeably subtle Blanchett’s is not as Marissa the cold hearted ‘wicked witch’ as Hanna describes her. Blanchett’s over the top (with southern accent to match) villain is a perfect mix of obsessive-compulsive, wickedness and a little bit of vulnerability. So good is Blanchett that at times the audience will wonder who is chasing whom, but not for long as Marissa’s ruthlessness is never in doubt.

Once the chase and all its great characters converge in Berlin for the final showdown all the elements that have made Hanna great up to this point come together to produce a heart stopping climax. Wrights amazing imagery, The Chemical Brothers awesome soundtrack and Ronan’s incredible performance all come together to make what is a relatively weak script into a must see film of 2011 for film buffs and action junkies a like.

Verdict: See this.

Joe Wright emerges from the conservative Pride and Prejudice and Atonement and brings the multiplex audience an original stylised action feast that along with a Chemical Brothers soundtrack and an amazing performance by Saoirse Ronan they will not soon forget.

Directed by: Joe Wright
Cast: Saoirse Ronan, Cate Blanchett, Eric Bana, Tom Hollander
Run Time: 111 minutes

Film Reviews

Film Review: It Chapter Two

The sweet spot between Stephen King fans, horror fans and (believe it or not) comedy fans

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The final installment in the It saga is a clever, scary, probably-too-long allegory about the power of friendship — complete with a 20-foot clown spider. Sure, it’s probably a half-hour longer than it really needs to be — but It Chapter Two is still a fantastic film that hits the sweet spot between Stephen King fans, horror fans and (believe it or not) comedy fans.

It’s a story about friendship, and just like the first film, it’s those relationships that make this story so compelling and keep it woven together in a way that you really care about what’s happening to all the folks Pennywise has been menacing across these two films. Sure, Bill Skarsgård’s absolutely terrifying performance as Pennywise is what puts butts in the seats, but at its heart, this is a story about the power of friendship to win out over pretty much anything. If we work together, we can overcome fear, loneliness, doubt, depression — and yeah — even a supernaturally godlike killer clown. Thankfully, all the blood keeps that message from getting too sappy along the way.

The first It in 2017 was a surprise, monster hit — but for good reason. The Stephen King adaptation by director Andy Muschietti is pretty much a horror masterpiece wrapped in a compelling coming of age story. Think Goonies meets a face-eating monster flick with jump scares galore to keep the blood pumping. But, despite a decently-closed ending to the first chapter, the story was always conceived as a two-part film run, which is pretty much the only way one could hope to possibly wrap up King’s massive tome (the studio actually briefly considered splitting Chapter Two into two films, because there’s just so much material). 

It Chapter Two makes a wise decision to keep the stellar younger cast from the first film involved via ample flashbacks, while still providing space for the adult Losers to live and breathe (and, ahem, die) while bridging the gap between who they were and who they all grew up to be. It also embraces the inherent silliness and insanity of its premise to laugh, now seen through the lens of middle-aged adults as opposed to middle school minds. It’s a hard tone to hit, and it arguably might come off with more laughs than scares, but it’s true to the inherent madness of Pennywise.

The adult cast is also a home run by and large. James McAvoy makes for a capable adult Bill; Jessica Chastain is the embodiment of adult Bev; James Ransome nails grown-up Eddie; and Isaiah Mustafa does a capable job providing the necessary info-dumps as adult Mike. But the real breakout is Saturday Night Live alum Bill Hader as grown-up Richie. There’s scattered buzz that Hader could be worthy of an Oscar nomination for his performance, and he deserves every bit of it. We knew Hader had comedy chops, and he uses them plenty to keep this dark tale from getting too dark, but he really taps into the emotion of what it’d be like to go through something so traumatizing. And the moments that break Richie will almost certainly break you, too.

As for the changes to King’s original novel, sure, they’ll certainly be noticeable for fans. That said, the book itself — especially the ending — is absolutely wild and arguably impossible to adapt in a way that could work on the screen. The ending on-screen largely stays true to King’s themes built into the novel, and for the story that’s been told across these two films, it really does work. Hell, even King himself shows up in a cameo to make a joke about just how hard it can be to get an ending right.

Thankfully, despite a few bumps, It Chapter Two pretty much nails the landing. In a world filled more and more with King adaptations, this two-film run will stand as one of the best.

It Chapter Two is in cinemas now

IT CHAPTER TWO
Directed by: Andy Muschietti
Written by: Gary Dauberman
Cast: James McAvoy, Jessica Chastain, Bill Hader, Isaiah Mustafa, Bill Skarsgård
Distributed by: Warner Bros. Pictures
Run time: 169 minutes

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Film Review: Hobbs & Shaw

If you’ve already got the volume at 11, you might as well blast it to oblivion

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Hobbs and Shaw

It is hard to believe that 2001’s The Fast & The Furious was just a film about the underground culture of street racing. Fast forward nearly 20 years later and the films have gotten so ridiculous that the only logical next step for the film series is to blast it into space. Our endless appetite for the series has seen us grown accustomed to cars taking planes out of the sky (Fast 6), cars jumping from one building to another (Fast 7), and cars being remotely controlled to act like a pack of mechanical wild dogs (Fast 8). Ridiculous is not a barrier the film series will ever brake for and so it brings us to this, the biggest spin-off the series has seen, Hobbs & Shaw.

When the chemistry between The Rock and Jason Statham proved magic in Fast 8, it only took The Rock butting heads with Vin Diesel to see that logically, the series needed a freshness to it. Who better than Dwayne Johnson and Jason Statham? Well, as Hobbs & Shaw proves, if you’ve already got the volume at 11, you might as well blast it to oblivion as the film cares not for subtlety, pouring gasoline on the fire. The film sees the addition of Idris Elba as supervillain Brixton Lore and the effervescent Vanessa Kirby as Hattie Shaw, the sister of Statham’s character. Both characters fit in superbly well to the colorful, over-the-top personas of the series, but with one difference; they haven’t worn thin yet and are extremely likable. The film benefits greatly from the absence of Vin Diesel’s dopey head and the majority of the dopey Fast “family”, instead taking the Fast and Furious formula and giving it a spit shine, turning it sideways, and sticking it right up… well, you know the drill.

Hobbs (Johnson) and Shaw (Statham) play the unlikeliest (but most charismatic) buddy cop twosome since the days of Eddie Murphy and Nick Nolte. Unexpectedly, this film is really quite hilarious- with the two swapping one-liners and jibes that keeps the film light and funny. The two are tasked with stopping global genocide at the hands of the megalomaniacal terrorist organization known as Etheon. The “face” of Etheon is superhuman Brixton Lore (Elba), an agent left for dead and turned into a weaponized cyborg-esque villain using genetic engineering. He’s the “black Superman” as he says, and he’s got an array of tech and gadgets (including a transforming, autonomous motorbike that would have found itself at home in a Transformers movie) that are part of Etheon’s plan to rid the world of the “weak”.

Vanessa Kirby
Vanessa Kirby is one of the highlights of Hobbs & Shaw

Etheon are after a deadly virus that is in possession of Hattie Shaw and what ensues is the expected cinematic equivalent of flexing your muscles and undoing the top few buttons of your blouse soundtracked to explosions, fast machines, and zippy dialogue. Director David Leitch (Atomic Blonde, Deadpool 2) keeps things by the book, and visually it’s all very on brand with the film series. But it is the chemistry and likability of the stars- namely Kirby, Statham, and Johnson- that keeps Hobbs & Shaw light on its feet, big with its set pieces, and never a chore. Kirby, in particular, has shown that her action chops are as deadly as her acting chops (is it too late to make her Black Widow? Or maybe just put her in all the action films). She never spends the film waiting to be rescued and is often the one quelling the childish, but hilarious quarrelling between Statham and Johnson.

The film trades the tired Fast family for real blood family, and while we still get the whole “family” and “heart” spiel that Vin Diesel loves to harp on about in these films, there is definitely a welcome change to the last few films. In fact, the Fast films haven’t been this fun in a long time. Unlike the last few, Hobbs & Shaw knows that the stakes of the film are global, but never does it take that too seriously and we the audience never feel too burdened by the ridiculousness of it all. There are some great cameos (two unexpected stars pop up that add the right comedic touches, plus Helen Mirren is always brilliant) and while the changing of scenery to Samoa is reminiscent of the previous Fast family vacations to South America et al, there’s something spiritual about this trip.

In the end, you don’t even have to turn your brain off because the film is soaked in charm and lightness that makes for a fun, smart enough romp that keeps its two-plus hour run time feeling like quite a breeze. Hobbs & Shaw is what this film series desperately needed. And while we can’t say the appeal will still be there when we’re inevitably sitting through Hobbs & Shaw 2, 3, 4, 5… we can say that for now, we’ll live this life one spin-off at a time.

HOBBS & SHAW
Directed by: David Leitch
Written by: Chris Morgan, Drew Pearce
Cast: Dwayne Johnson, Jason Statham, Vanessa Kirby, Idris Elba, Helen Mirren
Distributed by: Universal Pictures
Run time: 135 minutes

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