movie taco: november 2013

7/27/2019 Movie Taco: November 2013

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2/22

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5/22

HONEST POSTERS: FALL

2013!S HOTTEST NEW

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6/22

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7/22

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8/22

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9/22

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10/22

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11/22

THE WOLF OF

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12/22

Everyones gotten over The Avengersby now. Thats

he main message that one will take away fromMarvels second post-Whedon film after Mays Iron

Man 3, which unfortunately suffered from a severe

case of This-isnt-as-good-as-Avengers-itus. Some

film had to take the hit of being next in line after The

Battle of New York exploded onto our screens in

Summer 2012, and Shane Black and Robert Downey

Jr drew the short straws. Would Thor: The Dark

Worldbe as thoroughly enjoyable as it is had it been

released in the place of Iron Man 3, well never know,

but its unlikely!

The film, the first of theAvengers-brand movies to

really work as a standalone story since the

original Iron Man, begins as it means to go on- with an

nsanely over-the-top prologue about Malekeith (a

prothetic-heavy Christopher Eccleston) and his Dark

Elves. The detailed, sparsely populated landscape of

The Dark World in question lie before the films chief

villain, designed to perfection by Charles Wood

and Game of Thronesveteran director Alan Taylor.

Throughout the narrative, when the action isnt taking

place in the spectacularly beautiful and deeply

mmersive Asgard or central London, its in The Dark

World. This is the setting for the films midpoint set-

piece and part of its joyfully convoluted and

unexpectedly insane finale, which sees the God of

Thunder himself and Malekeith jump between

ocations by way of a McGuffin device as they battle.

Its about the quietest, emptiest place

youll ever see in a Marvel film, and

its a sign of how much the film sets

itself apart from the overall franchise

that so much screentime is dedicated

to it. Alan Taylor recently spoke of his

dislike of a particular mid-credits

scene which sets up a future Marvel

film, and its easy to see his reasons!Natalie Portmans Jane Foster, Thors

Earth-bound girlfriend from Kenneth

Branaghs 2011 Thor, has moved

from New Mexico to London, hence

preventing another Breaking Bad-

with- superheroes. London is an

astonishingly refreshing setting for the

film, even as it is being somewhatripped to shreds by the final act, as it

was in last years Skyfall. It reminds

one of just how tedious it is to watch

supermen do battle in an obviously

chosen, or worse- fictional, US city

when you see the interesting

locations, angles and twists that can

come with writing a battle scene for acity like London, or in the case of

Guillermo Del Toros Pacific Rim,

Hong Kong. Theres no particular

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13/22

reason for Portmans Jane to be in London, but the setting sets up fairly hilarious

subplots involving a charming but goofy date for Jane (Chris ODowd), an intern

(Jonathan Howard) whom Kat Dennings shockingly charming Darcy falls for, and

Stellan Skarsgrds previously-possessed-by-Loki Selvig being shown on the news

running around Stonehenge naked (and bumping into Stan Lee, topping himself

once again with a brilliant cameo).

Ah, Loki! What of Thors previously villainous brother whom trailers have shown to be

on the good side? Well, Tom Hiddleston does a job as fabulous as usual, cackling

and enunciating his way through every thoroughly fun scene. There is one chat

between the brothers in particular, which I wont spoil, that ends with a CANNILY

good impression of another Avenger. There are a number of almost unfollowable

twists involving Loki, which I still havent quite gotten my head around, which prove

either the genius or insanity of the writers, and that continue until practically the final

frame of the film (par the two post-credits scenes, BOTH of which it is vital to stick

around for).

Elves-wise, they are certainly a more complicated and therefore interesting bunch of

evildoers than The Mandarin and his troupe were, despite not being much fun. In

fact, supervillain Kurse, played by Adewale Akinnuoye-Agbaje (Mr Eko from Lost), is

pretty damn terrifying! Meanwhile, Anthony Hopkins pretty much sleeps his way

through his performance as Odin, Zachary Levy and Jaimie Alexander are pretty but

one-dimensional as Thors Asagard-buddies, and Rene Russo tries her best to livenup proceedings as Thors mother.

Not naming names, there is a funeral scene about one-third of the way into the film

which, while beautiful (and eerily reminiscent of Portmans in Revenge of the Sith),

from its music to its colours is 100% Lord of the Rings-y, and this blatant copying of


14/22

one and style slightly takes away from the emotion. Some very Star Wars-esque flying-vehicle

cenes midway through are the films action highpoint, and rival Star Trek Into Darknessfor the year

est sci-fi action overall!

aylor has, while not particularly leaving a distinctive mark on the film, made a distinctively standalon

dventure for the always likeable characters. Natalie Portman in particular stands out, holding her o

mongst the tall, strong men and the creepy evil Elves, but Tom Hiddleston as as excellent as befor

nd Chris Hemsworth doesnt let those around him down. The final scenes are far, far more fun

han Man of Steelor even Iron Man 3s could ever have been, in keeping with the films constant

ttempt to be fresh, unique and absurdly brilliant, which it constantly succeeds in doing. Not without i

aws, this could not have been topped, and betters by a good yard Kenneth Branaghs overly

xperimental (for a superhero film) 2011 film. Marvel have once again proven that just because they

ade 2 films a year, those dont have to be clich-ridden piles of rubbish. One to see Thor 5, please!


15/22

One trick that has always been used by Hollywood filmmakers is to introduce the villain from

the point-of-view of the films protagonist, at face value, so that the audience will feel merely

fear of hatred towards the character. In recent years, however, visionaries like ChristopherNolan have shown the audience their first glimpse of the antagonist from the antagonists

perspective to , perhaps unconsciously, make the audience slightly sympathetic towards them.

One could say this is what Paul Greengrass does in Captain Phillips, by setting up the stories

of Tom Hanks Richard Phillips and Barkhad Abdis Somali pirate Muse simultaneously, but

Muse is not the films villain. The villain of this film, though never directly referred to, is the

inequality and cultural issues that force Muse and his team to take Phillips hostage. These

issues are not what Captain Phillipsis about. It is about two men placed in a very intense

situation (by ones doing) and what happens from there, and boy, is it a great film!Greengrass has been making extremely high-quality thrillers for years, most of which have

been better than the last. This continues this trend, bettering both Green Zoneand, in my

opinion, the somewhat overrated Bourne sequels. Despite being over 130 minutes long and

practically set in real-time, at absolutely no point does the pace slow down. This can be

contributed to both the superb performances from the leads and the terrifically well-structured

story and script. Phillips is on his ship within ten minutes, but its another 20 before Muse

arrives, and soon enough the film is finished. The dramatic final scenes are possibly the most

intense of the year so far, as the audiences immediate connection with Hanks character is

made use of. This review was unaware of the details of how this story ended, as many

audience members may be, which helps the film to have a deeper impact that, say, last

years Zero Dark Thirty, the conclusion of which was known to all.


16/22

Barkhad Abdi and the supporting Somali actors were complete amateurs and unknowns prior

to this film, and the fact that Abdi is able to so impressively hold his own beside one of the

most charismatic and experienced actors in the world is a sign of his extraordinary talent. It

would be deeply unfortunate if, like Precious Gabourey Sidibe, The Artists Jean Dujardin and

maybe even Beasts of the Southern Wilds Quevenzhan Wallis, he drifts out of memory in a

few months and falls back on small TV roles- or maybe not acting at all. He will almost

certainly receive a Best Supporting Actor nomination, although the studio should really push

for Best Actor for both he and Hanks.

Captain Phillipscould not be more gripping a drama if Tom Hanks hand reached out of the

screen and grabbed you by the throat, which is at times what you feel this film is doing. Hanks

doesnt exactly give a subtle performance, but thats just not what he does- and its certainly

not what this role requires. For the first time in ages, its safe to say that a film about pirates is

one of the best motion pictures of the year!


17/22

After having massive flops earlier in 2013 with their individual comeback movies Bullet to the

Headand The Last Stand, the two biggest US action stars of the 80s and 90s (the unexpendable

Expendables, if you will) have teamed up for the first time outside of the aforementioned

superfranchise for a clichd, mediocre and forgettable action romp- thats really fun! Sly plays a

man who has made a career out of testing prison security systems, not by twisting around a

screwdriver, but by breaking out of them. As you can see, realism is not Escape Plans

strongest point. His latest prison turns out to be run by the extremely villainous Jim Caviezel

(great on Person of Interest, not so great here) who hams his way through every scene by

dusting his collar and fiddling with his non-existent moustache to make sure the audience is

aware that THIS IS THE BAD GUY! THIS GUY RIGHT HERE! NO, NOT VINNIE JONES! THIS

GUY! THIS MAN RIGHT HERE!

Although the film is being promoted as a total two-header, Sly gets the most screentime by a

good yard, but nonetheless leaves all the acting work to his buddy Arnie. Arnie hasnt acted in a

decade, despite what he may have said come the release of The Last Stand, and although it is

creaky in parts, his performance could be much worse. Hes just so much fun to watch batter

and insult people, he raises the appreciation level of the film to a far higher standard. His best

one-liner: Have a nice day Asshole!

The plot structure and most of the script are laughable, and Caviezel gives probably his worstperformance ever (its still fun to observe), but the incredibly old-fashioned story and chemistry

between the two leading legends are irresistible. Give it a try- you know you want to!

=(;"4% [&".!!!


18/22

he story of The Way Way Backlies somewhere between Adam Sandlers Grown Upsfilms and Wesndersons superb Moonrise Kingdom. It focuses on Duncan, a solemn teenage boy dragged along on a

edious Summer holiday by his mother (Toni Colette) and her horrible boyfriend (Steve Carrell, in one of

s best performances in years). Tab A into Slot B, Duncan meets an unrealistically attractive girl

AnnaSophia Robb) and an eccentric man-child (Sam Rockwell). These are the aspects of the plot Wes

nderson would have so brilliantly brought to the screen, using his spectacularly inventive visual style to

reate a hugely enjoyable and surreal comedy. Unfortunately, despite being great comic actors, first-tim

rectors Jim Rash and Nat Faxon dont do a good job with the filmmaking. Rash plays the

howstoppingly funny Dean Pelton on Community, and fills a similar role here, and Faxon has appeared everything from Reno 911to Bad Teacher. If only they had spent as much of their talent on making an

mpressive film as they did acting on screen, this could have been a bit more special. They may also

eed to attend a Casting Teens 101lecture, as young lead Liam James (2012) is shockingly

ncharismatic, and his insanely depressing demeanour brings the tone of the whole film down, even in

oments that should be uplifting.Rockwell is, as always, a wonderful addition to the adult cast, shooting

ff one-liners and getting his trademark dance moment, but the water-park-set scenes built around his

haracter and his relationship with Maya Rudolphs are, thanks not only to her presence, very Grown

ps-y. If youre making a Sundance-Indie comedy, dont put in sleazy Sandler-esque jokes about

omen in bikinis and token Happy moments with characters achieving tasks that have been set up fro

e start of the film. The Way Way Back was so hard to get wrong, with Carrell, Rockwell and Alison

anney doing great work and two fantastic talents behind the camera, but theyre just not that talented

hen theyre behind the camera.

1% D": D": B";C!!!


19/22


20/22

ts ironic that a man so admired for his wonderful screenplays would, for his third theatrical directing

ob, adapt a renowned, world-famous text to which he would be able to find little fault. However, there is

ttle else Joss Whedon would have had time to construct in the frighteningly short gap between writing

and directing the third-highest grossing film of all time and its sure-to-be-bigger sequel, filmed entirely

n his home and starring a cast of his friends. Mind you, the majority of these friends are very wellknown, and theyre all wonderful actors. Leads Amy Acker (Person of Interest) and Alexis Denisof (How

Met Your Mother, Alyson Hannigans spouse) give career-definingely well-judged performances as

Beatrix and Benedick, using the films quirky, quiet tone to tiptoe around the supporting cast (and

around Whedons home) whilst making the bards classic dialogue their own. There are ocassionally

nes that have been written by Whedon, when the original language breaks for some updated phrasing.

f it were not for these interventions, as well as the use of computers and phones, the films costumes

and setting would have achieved a timeless quality (lets say, it could be set anytime after 1910).

Nathan Fillion, as he always is, is a standout in an unfortunately small role as Dogberry, and manageso liven the mood brilliantly after Heros death.

As with all Shakespeare films, the structure, dialogue and character development is so perfectly in

place in the text, all the filmmaker has to do with these factors is not mess it up. Many have failed this

est, whilst Whedon not only passes, but manages to deal with the original aspects so well that this

becomes the most enjoyable and memorable Shakespeare film in many years. If Much Adohas one

ault, it is that at times it can briefly become a game of Spot The Joss Collaborator,

withAvengers Clark Gregg and Jillian Morgese (Uncredited Woman in Restaurant), Dollhouses Acker

and Reed Diamond and Fireflys Sean Maher in major parts.Joss Whedon is such an exciting filmmaker that oh, hes so exciting!Avengers 2may be his most

high-profile upcoming feature, but hell surely produce something as magical as this during a bathroom

break on Ultrons principal photography!

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21/22

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movie taco: november 2013

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