Every so often a movie comes around that just looks interesting, but you are not prepared for just how stunning it truly is. It just seems like another good thriller that might be nicely satisfying, but this movie is far and beyond such meager expectations. Prisoners attracted me because I really love Hugh Jackman. He has such a genuine depth of humanity and intense screen presence in so much of what he does, but even then, I didn’t expect a performance and a film on this level of masterful brilliance.
How far would you go to protect your family? Keller Dover (Hugh Jackman) is facing every parent’s worst nightmare. His six-year-old daughter, Anna, is missing, together with her young friend, Joy, and as minutes turn to hours, panic sets in. The only lead is a dilapidated RV that had earlier been parked on their street. Heading the investigation, Detective Loki (Jake Gyllenhaal) arrests its driver, Alex Jones (Paul Dano), but a lack of evidence forces his release. As the police pursue multiple leads and pressure mounts, knowing his child’s life is at stake the frantic Dover decides he has no choice but to take matters into his own hands. But just how far will this desperate father go to protect his family?
Brought to us by director Denis Villeneuve, Prisoners is undoubtedly the best film I have seen all year. A tight, taut, suspenseful and engrossing thriller that hits powerful emotional chords everywhere. If you thought the trailers gave too much away, you are very mistaken. There is so much more substance and plot nuances that a trailer could never accurately convey. Surely, I will not spoil anything for you, but the mystery of this film is cunningly devised with intelligent turns and a remarkable progression. There are many fine layers of character, emotion, and story here that interweave perfectly and beautifully. We are treated to so many well fleshed out characters inhabiting a story of very intense emotions and radical, unsettling violent actions with nerve racking consequences. You feel every ounce of emotion from these characters, and Villeneuve’s direction shines gloriously in every detail. I also love that nothing in this film is a red herring. Every lead, every piece of evidence, every detail adds to the puzzle which is brilliantly plotted out from a stunningly well written screenplay by Aaron Guzikowski. Prisoners is meticulously mapped out every step of the way, and Villeneuve utilizes all of that emotion and strategic, deliberate pacing to absorb you into the movie.
The cinematographer for this film was Roger Deakins, who also shot Skyfall which was immaculate work, and he does not falter here at all. I was constantly struck by the quality of the compositions as they all hold so much weight. Villeneuve has this shot and edited in a very conservative manner so that the substance of every frame soaks into the viewer so deeply. Early on, I love how fairly brief scenes are played out in wide masters to give you a dramatic and stoic impact on the story. The inspired cinematography constantly envelopes the screen translating the dramatic power of Villeneuve’s cinematic narrative in such exquisite detail and poignancy. The quality of the visuals, how the film is shot, and the style of editing constantly made me feel like this was a very 1970’s thriller with a modern polish. Even the Earth toned color palette reflects that, and the autumn / winter setting adds to the grim, somber atmosphere. Every technical quality of this movie is used to suck you into the depth of what transpires. Even the score is immensely effective, yet subtle. Everything just works with such precision to excellent effect.
I honestly believe that Hugh Jackman could possibly earn himself some accolades come awards season time. My faith in his talent has been paid off time and again, and I love seeing him in these gritty, hard hitting dramatic films. Keller Dover is a man who believes in preparing for the worst while praying for the best, and so, he is used to doing everything possible to protect his family from all dangers. When he feels he must take matters into his own hands, the emotional intensity of the film escalates drastically. Jackman is intensely powerful in this role pushing himself to that extra level that separates great from extraordinary. Pure, raw emotion pours out of him as Keller Dover struggles with doing the right thing for his daughter even though it is the worst, most unimaginable thing he’s ever done. The absolute conviction of what he believes he must do penetrates right through the screen right into your soul. This film constantly pushes this character into further emotionally and morally strained situations that challenge Jackman to deliver on higher and higher levels which he exceeds over and over again. This is why I love Hugh Jackman and why I was drawn to seeing this movie. He’s an incredibly relatable and engaging acting talent who pulls you in based on his depth of humanity, and that is gorgeously on display here in a masterfully crafted film.
Now, I haven’t seen Jake Gyllenhaal in anything since Donnie Darko, and it’s great seeing him in a mature, hard edge role. He is really solid as this vehemently dedicated cop who maintains a level head while remaining fully committed to this case. I love seeing how Detective Loki handles the strained, heated emotions of the Dovers and Birches, and how he manages everything with meticulous perceptiveness and a dogged mentality. It’s a wonderfully written character that empathizes with these hurting people and conveys his confidence with sincerity. Gyllenhaal is intensely compelling and intriguing to watch as the film progresses. From the moment he’s introduced, eating alone at a Chinese restaurant on Thanksgiving, he is complex and unique. I like the nuances added into his character such as the various small tattoos on his hands and neck. They give him a darker, grittier edge along with Gyllenhaal’s sort of dark aura. Yet, he is not a dark character, but is a riveting one that adds his own intensity to the narrative. This is also a marvelous performance that only becomes more fascinating and gripping at the film progresses.
The rest of the cast is equally as powerful. Mario Bello’s character of Grace Dover deals with this frightening tragedy of her abducted daughter by falling apart, relying on medication, and just becoming a mess. It’s a pure visceral deterioration of a person torn apart by fear and pain for a loved one. Terrence Howard is another actor I just love, and he delivers such vulnerability. The struggle Franklin Birch faces when Keller pulls him into the abduction and torture of Alex Jones is a perfectly human conflict. He wants his daughter back so badly, but almost can’t reconcile the morality of what he and Keller are doing to this man with the IQ of a ten year old. The dynamics between all of these characters and their passionate, pained emotions is magnificent to behold. Even Paul Dano makes you empathize so deeply for Alex. You are never certain whether he is responsible for anything at all, or that Keller is torturing a completely innocent man. The story twists around so beautifully wrapping everyone up in this complex tapestry that any truth is possible. Even more so, nothing is all that clean cut for any suspect, and no one is completely innocent. Everyone has something shameful, shady, or tragic which shows that these are real, textured, flawed people. Every character is written and performed with such substance and rawness that you can never take anything for granted or predict where this story will lead you.
I was constantly pleased with the sophistication of storytelling here. There were times I was a tad apprehensive that the pay-off of the mystery, or that the identity of the abductor would be spoiled too soon. Instead, it was another element of the puzzle being laid out carefully with surprising, unexpected, yet entirely purposeful turns. As I said, nothing is a swerve. You’re not lead down a frivolous path to a false lead. Everything introduced in this story is there for a substantial reason. The ultimate reveal is great allowing for everything to really fall into place, and put certain characters into further, tenser jeopardy. I loved how the final act unfolds. There’s real danger at hand, and nothing proceeds remotely like a cliché. This is a fresh, smart thriller that will captivate your attention for its entire 146 minute runtime. One would think that a deliberately paced thriller with that kind of runtime would lag somewhere or feel drawn out, but Prisoners makes amazingly solid use of every minute of screentime to progress every element of story and character to its ultimate, immensely satisfying and brilliant conclusion.
Denis Villeneuve has just come out of nowhere for me, and now, he has my undivided attention. Prisoners is absolutely perfect. There is not a single aspect of it for me to criticize, only praise. This is an incredible cast delivering amazingly powerful and raw performances in a rattling and haunting thriller. I have never stated in a review of a newly released movie that it is the best one I have seen all year because you never know what else could surprise you in the remainder of that year. However, I cannot imagine what else is possibly going to steal away that title from Prisoners because it is that stunningly impressive without a flaw in sight. Do yourself a great favor and see this movie and support it. I hope you are as enthralled with it as I was.
I grew up in the 90’s watching the X-Men animated series, and that’s what my main knowledge and fandom of the property stems from. It’s been sorry to say that the live action movies have, to me, failed to be remotely as faithful. Simply said, I have had a number of issues with all of the previous films of this franchise, and I was skeptical about The Wolverine going into it. Color me pleasantly surprised – I REALLY liked this movie. I have barely a major issue to levy against this film, directed excellently by James Mangold. While Wolverine has been a very central character in all the previous films, save for First Class, this film actually puts forth the honest effort to make him more than just an action bad ass. Some might find the film less than exciting, but for me, this steers this character into the right direction.
After the events of X-Men: The Last Stand, Wolverine (Hugh Jackman) has become a vagrant lost and detached from society until he is sought out by Ichiro Yashida, the man whose life Logan saved at Nagasaki in 1945. This now powerful businessman seeks to repay this debt to Logan by absolving him of an unending life via his mutant healing factor. Regardless of consent, Wolverine is left physically vulnerable by secretive forces as he attempts to protect Mariko, Yashida’s granddaughter and heir to his empire, from the Yakuza and a band of deadly ninjas. Wolverine is now pushed to his physical and emotional limits as he confronts not only lethal samurai steel but also his inner struggle against his own immortality to emerge more powerful than ever before.
This is one of those reviews where I’ll address my minor issues with the movie first before delving into what I very much enjoyed. The Wolverine has a rather good tone keeping things mainly dramatically based, but it does inject some humor and levity. However, it possibly could have pulled back in a few places. Stuff like Logan and Mariko hiding out in a hotel which ends up being a “love hotel” where couples go to get it on. Some humor comes out of this which is rather gratuitous. The first half of the movie has these moments where there’s already been a fine balance of levity and drama, but adds in just a little more humor that makes it feel a tad extraneous. It throws that balance off just enough to slightly detract from the dramatic progression of the film, but by the halfway point, these issues evaporated.
Also, I wouldn’t begrudge this movie if it intentionally disavowed X-Men Origins: Wolverine from its continuity. I say this because in that film we clearly see that Wolverine’s memories were robbed from him via an adamantium bullet to the head. However, in this film, Wolverine easily remembers events from Nagasaki, 1945, more than thirty years before his memory loss. While the previous X-Men films have shown him recovering memories, particularly from the Weapon X program, it’s a bit of a shady area as to how he is able to so clearly remember these events. Even then, if you went by the continuity of Origins, he was still going by the name James Howlett at that point in time, but Yashida knows him only as Logan, which he doesn’t adopt until the 1970’s. This franchise’s continuity is extremely shoddy, and it’s that reason why I both eager and skeptical about how next summer’s X-Men: Days of Future Past will possibly resolve these continuity issues.
However, a more significant issue is very valid. Wolverine’s healing factor is repressed for the bulk of this film where his wounds heal at the rate of a normal human being. Yet, he is constantly extending and retracting his claws with not a drop of blood or sight of a wound on his knuckles. I did buy many X-Men comics in the 90’s including X-Men #25 where Magneto ripped the adamantium from Wolverine’s body, and his healing factor is overloaded to where to stops working. Thus, his knuckles continually bleed out every time he unsheathes his bone claws, and he keeps them wrapped in bandages. I can understand that the PG-13 rating would never allow Wolverine going around bleeding profusely in graphic fashion through most of the runtime, but it is a serious oversight. It didn’t take me out of the film at all, but it’s a definite flaw in the film’s logic that I felt should be addressed.
Now, onto the good stuff. Undoubtedly, this is Hugh Jackman’s most dimensional performance as Wolverine. The film takes him on a journey from this man living in the wilderness, cut off from everything after Jean Grey’s death, and vowing never to hurt another person. We get an arc for Logan where he rediscovers his purpose, and finds a reason for living. He reinvests himself in a reason to fight for someone else, and become that honorable, yet animalistic warrior that he once was. Jackman does an excellent job showing the rugged anger early on, but he contrasts that with the vulnerable, physically weakened Wolverine. There’s a great balance in his performance that really shines through, likely due to James Mangold’s smart direction. I also like that despite having no healing factor, Wolverine still proves to be one of the toughest bad asses on the planet. He gets shot up, slashed, and beaten, but does he ever push forward with everything he’s got. And of course, Jackman is in the best shape of his life here as he finally achieved the lean, muscular physique he always wanted for Wolverine. He is totally ripped, and that creates a real raw, intimidating presence. The fight scenes are some of the best he’s ever done as this character.
Tapping into the vulnerability of Logan are two women. The first is Yukio who seeks him out, and seems to have a great deal in common with him. They are both warriors who have lost loved ones in their pasts, and are brought together by Yashida as wayward souls. Yukio is able to keep Logan on his toes as she is as smart as she is deadly, but has formed a bond of trust and respect with him. Rila Fukushima does a very, very good job in this role handling all the physical demands amazingly well, and making this a character who is enjoyable as well as dimensional.
Mariko is the one who peels back the vulnerability of Logan’s heart. While there is never an overt romantic connection between them, the film builds an intimacy with these two. They get very deeply involved with each other learning the pain and love that have affected them. Logan is driven to protect her at every cost, and the emotional bond is built up with a lot of subtlety and grace. I really found this to be the main cog towards exploring Logan. Through Mariko, we see the change in him from the lost, fractured man to the fiercely determined warrior. The chemistry between Jackman and Tao Okamoto is really sweet and endearing as the two characters grow closer.
I feel this film is filled with a strong set of characters that are well cast. Will Yun Lee impressed me thoroughly as Harada, a ninja and archer who has dubious allegiances, and demonstrates some amazing physical feats early on. When the Yakuza are chasing Logan and Mariko through the Tokyo streets, he’s jumping and flipping from one rooftop to another and picking guys off with his bow and arrow. To me, he essentially put Jeremy Renner as Hawkeye to shame with just that one sequence. Beyond that, Lee simply grabbed me right from the start with his edge and presence. Plus, Harada has a really enjoyable arc as his loyalties and honor are certainly in question as he is associated with certain underhanded individuals, but has the best of intentions.
There are many characters that have their own personal sense of honor, however misguided it might be, and it creates this very strong gravity to each character. Shingen Yashia, Mariko’s crime boss father, is really damn good exercising authority and conviction with a really imposing presence. Ichiro Yashida is also solidly portrayed with a more honest breadth of honor, but he still has some turns to show for himself later on. These characters all have depth and dimension making them intriguing and engaging.
However, the femme fatale villain of Viper was possibly the least captivating character. The character is very well portrayed by Svetlana Khodchenkova giving her plenty of juicy material to wrap this venomous character up in, but ultimately, she’s just a hired villain with little purpose or motivation of her own. So, she’s not nearly as interesting as all these characters who are enveloped in honor, tradition, culture, greed, and betrayal. Their stories are much more strongly interconnected because there is family involved, and it is all tangled up in a treacherous web of deceit. Regardless, there’s not a single weak link in this cast, and they all put forth great efforts that truly impressed me. I cared about so many of these characters due to the strong performances behind them, and a solid writing by Scott Frank, Mark Bomback, and the uncredited Christopher McQuarrie.
What I really found refreshing in The Wolverine is that is doesn’t feel the need to have to throw action sequences down your throat to engage you. I believe some may disagree and find the film lacking, but it really hit the spot for me. Like I said, these characters are compelling enough all on their own for me, and it is quite a while before we get a real action sequence here. The film invests you in following Logan, and seeing what kind of man he is now. It peers you into his mind and pained heart as its central focus, and introduces action where the story requires it. Especially with superhero films, we tend to see action thrown at us right from the beginning telling you that action is the central focus of this movie. Director James Mangold tells you otherwise with how this film begins and progresses. It has important substance to introduce you to so that when the action occurs, you can be invested in the danger faced by these characters, and that is highly admirable in my view.
And the action here is rather stellar. From the trailers, I thought the bullet train sequence would not be very good, but I was so proven wrong. I found it exceptionally well constructed especially with how Logan and his combatants have to keep dodging the overhead structures that keep flying over their heads. Sometimes they duck, sometimes they jump over top, and sometimes, an unfortunate adversary goes on a very rough flight goodbye. There’s more to it than that, and every clever element just made it work very well for me. While it is all clearly CGI settings and backgrounds, there was still a sense of danger involved considering this is a train rocketing along at hundreds of miles per hour.
There are also some excellent fight scenes. I have to love me some samurai sword fights mixed in with perilous acrobatic martial arts maneuvers. When Wolverine faces off with Shingen, claws versus sword, it’s really the moment where the bad ass hero that we know re-emerges, and it’s a great moment and pay-off. There is plenty of slashing and impaling of Yakuza upon Wolverine’s claws early on. Now, I didn’t think of it at the time, but really, Wolverine never gets a full-on bezerker battle with ninjas. I know that’s appalling because that’s practically the signature moment every die hard fan would want to see. There is a confrontation leading into the third act, but there’s very little close range combat in it for Wolverine to start ripping at ninjas. Also, the use of blood on his claws is rather inconsistent. Sometimes, we’ll see blood on them after he impales a guy, but most times, we either don’t get a good look at them or there’s simply nothing shown. James Mangold did do an interview this past week hinting at a bloodier, more violent unrated cut of the film on Blu Ray, but we’ll have to wait and see. He supposedly did remove a more elaborate fight between Wolverine and the ninjas. Why, I couldn’t tell you.
I honestly think this is the best score I’ve ever heard from Marco Beltrami. Up until now, I don’t think he’s ever done anything this diverse or exceptional. He really captures the flavor and feel of Japan in subtle ways throughout his score. He never seemed to go for anything easy or expected in that realm. It’s a very fine piece of work that also highlights some great moments with due weight.
The cinematography is indeed damn good. I had desired a Wolverine film that was dark, gritty, and raw from when Darren Aronofsky was attached, but Mangold and his cinematographer did a lot to make this more polished look work. The Wolverine gives us a strong, vibrant color palette, and the nighttime scenes have a pleasing neo noir quality. It gives the film some mood where needed. I especially found some beauty in the Wolverine / Shingen fight with his dim blue backlight, and the ninjas converging upon Wolverine in the snowy landscape. The action sequences are essentially filmed very well keeping things steady and competent.
I can definitely say that the digital effects of The Wolverine are superior to those of X-Men Origins: Wolverine. Surely, there are places where it’s not superb, but it’s fairly on par with your general effects-heavy summer film. Believe me, I saw worse CGI in the trailers before this film, but there were areas for improvement at times. Frankly, I can forgive some undercooked CGI if the film surrounding it is damn good enough. That very much applies here because this is exponentially superior to its Gavin Hood-directed predecessor on every level.
The Wolverine might not reach the level of greatness, but I feel it is an almost perfectly solid piece of work. The film takes its time to explore its characters, and give us a sense of depth and emotion with its title character. Even the dream sequences with him and Jean Grey are very poignantly handled starting out as something that haunts Logan, but slowly reflecting his ability to absolve himself of the burden he has at the film’s beginning. As you can likely tell, I very much respect and like this film’s focus on character instead of action. It also doesn’t overload us with more and more mutants, trying to cram every last cameo it can into the runtime. It takes the characters it needs, and builds the story around them tightly. I can only imagine how insane X-Men: Days of Future Past is going to be with somewhere in the range fifteen to twenty characters populating the story. Speaking of such things, stick around for a few minutes after the end credits begin. There is a special scene that you will certainly not want to miss that sets up next year’s big sequel.
I’ve really liked this film ever since its theatrical release. It didn’t get good reviews, and was a bomb taking in only $17 million out of its $25 million budget. It continues to show me that while I may love erotic thrillers, they are rarely marketable to a mass audience. However, the sexual aspects of this film are a backdrop for what I view as a fairly solid twisting thriller. What engages me about Deception are the performances of its leads in Hugh Jackman, Ewan McGregor, and Michelle Williams, and the rich, stunning neo noir cinematography by Danté Spinotti. The latter is no surprise as he has shot many Michael Mann films including Manhunter and Heat. I find Deception to be an intriguing thriller that is heavily aided by that striking visual atmosphere, and some smart directing from Marcel Langenegger.
Jonathan McQuarry (Ewan McGregor) is an auditor in Manhattan, moving from office to office checking the books of various companies. While working late, a smooth, well-dressed lawyer named Wyatt Bose (Hugh Jackman) chats Jonathan up, offers him a joint, and soon they’re pals. Jonathan is a very lowly, modest man, but Wyatt soon opens him up to a world of pleasurable desires and sexual confidence. When their cell phones are accidentally swapped, Jonathan answers Wyatt’s phone to a series of women asking if he’s free tonight. He soon discovers it’s a sex club where busy, powerful people meet each other anonymously in hotels for discrete encounters. However, he fully breaks all the rules when he falls for one of the club members, whom he knows only as “S” (Michelle Williams), whom he’s also seen on a subway. Yet, during an intimate night out, she goes missing, patterns emerge, and Jonathan faces demands involving violence, murder, treachery, and a large sum of money.
An excellent neo noir tone of mystery and isolation is struck right from the beginning with the quiet and moody opening title sequence. It’s just Jonathan sitting in a conference room, alone, late at night, but the vibe just sinks in very deeply to establish his isolated nature. He’s isolated from the world around him, always removed from the activity of the offices he’s working at, and has no real social life to speak of. The film is very regularly set in at nighttime inside clubs, hotels, offices, taxicabs, and elsewhere allowing for that dark, subversive tone to seep in. However, even the daytime scenes have a certain drained quality that maintain that atmosphere. The visual tone eases up just enough in those moments allowing you to not get bogged down by the visual darkness. What we get, overall, is a multi-toned film that moves from that lonely isolation to a lively and exciting world that is full of mysterious passion, but then, segues into a very heartfelt romantic connection that becomes the emotionally motivating element of the story. From there, it delves fully into the tense and threatening first, main twist of the film where our villain reveals his true colors.
Within only fifteen minutes, the film establishes a strong relationship between Jonathan and Wyatt. It hits all the right beats fleshing out their personalities with quick, substantive exchanges, and showing us how Wyatt just pushes Jonathan out far enough to take some chances. He opens Jonathan’s mind to being outgoing and perceiving the pleasures that one can indulge in, when the opportunities arise. This then sets Jonathan off on his own seductive, sexually charged encounters that really liven up his life. The sex and nudity are never raunchy. Everything has a beauty, vigor, and sensual quality that is very elegant and classy. We are given context for this anonymous sex club as it is something for the excessively busy successful person to gain “intimacy without intricacy,” as Charlotte Ramplings’ Wall Street Belle states to Jonathan. Still, for someone like Maggie Q’s Tina, there’s a compulsion to the danger of being with someone mysterious and anonymous. It has an attraction and outlet for almost anyone, and for Jonathan, it builds a more confident man. However, as I said, the erotic elements are merely a backdrop, a facilitating plot element that surrounds the film, but never dominates it. They tie directly back into the plot regularly, and the sex scenes are never gratuitous. They all serve a purpose towards the development of the story or characters. Most erotic thrillers use sex scenes as frivolously as many lower grade action films use action sequences. When they have relevance to the story, they work, but when they are just there to fill the skin quota, that’s when you’ve got a late night Skinemax flick. Deception surely and thankfully fits into the former category.
Furthermore, there is nothing wasted in the run time of this film. The pace is tight with an even rhythm and stellar editing. The plot develops very organically, and progresses without a hitch. It’s never too brisk to sacrifice character, but never lags at the cost of the story. Every aspect of the characters and plot fit in snugly, and propel the narrative forward in every scene. The filmmakers knew how far to weave their plot threads, and never stretched them out or rushed through anything. It’s all evenly balanced to achieve the right pace. The story is rather lean, and maybe some would prefer a little more proverbial meat on the bone of the script. However, it really didn’t require or demand more. What we are given works very well giving us enough substance to make this a full narrative, and avoiding any over complicated indulgences or dragged out sections of the film. We are given a few well placed twists that are well earned, and more importantly, are setup with care and intelligence. The little seeds of knowledge are laid out here and there to make the deceptions solid and convincing. All the qualities of the narrative flow together very smoothly and smartly. The second half of the film shows Jonathan’s development as he has the confidence to take action against Wyatt, and become a more capable protagonist when under pressure. I also think the development of the romantic relationship between Jonathan and S is done beautifully, and brings a warm levity to the right parts of the film. This really sets the film apart from other seductive thrillers as they rarely feature a genuinely decent and charming romantic storyline. Ultimately, it is this element that the film is most concerned with, and does continue to make it a point of importance for the characters.
Ewan McGregor is an actor that I have a true fondness for. While I haven’t seen many of his movies, I do find him an exceptional talent who always shows dedication and enthusiasm for his work. As Jonathan McQuarry, he demonstrates a very modest quality. He’s clearly a man of humble upbringings that’s never been adventurous or daring. His new sexual experiences do energize him, but don’t taint the man he is underneath. He matures into a fuller person not held back by his old timid hesitations, but never loses the decency and heart that define him. When he meets and gets to know S, he is genuinely enamored by her in a touching, heartfelt way. McGregor embodies these endearing qualities authentically and with all the kind-hearted charm possible. There’s nothing disingenuous about his performance. It all comes straight from the heart, and when Jonathan’s forced into the more adversarial aspects of the film, the tension and fearful weight of the plot are carried wonderfully by him. He makes for an engaging and sympathetic protagonist.
I am also highly impressed by Hugh Jackman here, as I usually am. He’s also an actor I believe has incredible talent, and he really sinks his teeth into this role. He starts out as a somewhat charming individual who enjoys indulging in all the lustful pleasures of life. He’s charismatic and quite the arrogant jackass, but he’s able to ensnare Jonathan out of his shell with temptations of new, daring experiences. Despite Wyatt’s abrasive ego, you are able to accept him as an intriguing instigator of excitement in Jonathan’s life. Now, I don’t believe I’ve seen Jackman portray a full-on villain before, but he is intensely intimidating as one here. His manipulative turn later in the film is dark and devilish. There’s enough mystery about his character to make him threatening, but when you find out what he is capable of, that only backs up and enhances the severe, frightening qualities of Jackman’s character and performance. Overall, I think he relished playing every facet of this character, and it really shows through while never betraying the grounded weight of the film. Being a producer on the movie I’m sure only benefitted the quality of his on-screen work.
Michelle Williams puts on a beautiful performance, reflecting her own gorgeous physical beauty. She brings out a warm, soulful depth of heart to S. She just glows on screen with her bright smile and sweet presence. She also presents a sexually confident woman who is sensual and seductive, but not aggressive. Williams has a sparkling, heartfelt chemistry with Ewan McGregor that is the shining quality of this film. They play off each other with such genuine loving emotion that you truly feel how special this is for both characters. She is able to convey a rich array of emotions that really forge a connection with the audience in relation to Jonathan. She is a vibrant ray of light that gives this film an endearing emotional weight that we are regularly reminded of, and really has resonance in the end.
The score was done by Ramin Djawadi, who also later scored the Denzel Washington-Ryan Reynolds thriller Safe House, and he is amazingly consistent in his style and quality. As I mentioned in my Safe House review, his compositions are very evocative of the scores heard in many Michael Mann films such as Collateral. Meshed with Spinotti’s cinematography, that couldn’t have created a more desirable result for me. Djawadi does an impeccable job layering in tension, suspense, and an alluring, elegant mystique to the film. It’s just a work of excellence, in my view, and I’m glad to experience his work regularly on the TV series Person of Interest. He puts so much depth and lush sensuality into the Deception score, and I highly recommend checking out the soundtrack release.
Deception was partially shot on digital video giving a bold, clear visual quality to all these dark environments, and this film pushes the visual darkness to a new, deep level. The strip club scene early on has rich, pristine colors. Yet, other scenes are more muted mostly utilizing soft greens and ambers to evoke a very inviting visual mood. Danté Spinotti’s cinematography just makes such gorgeous use of color, as he’s been doing since Manhunter, and his camera work and compositions are stunningly beautiful. This man makes art out of every frame using light, shadow, movement, and depth of field to masterful extent and detail. The Chinatown sequence is a special favorite of mine that motivated me to visit Chicago’s Chinatown shortly after the film’s release. The Chinese architecture and visual culture really creates a romantic mystique for Jonathan and S’s most engaging encounter. Deception has a visual style that really is a feast and a pleasure for my eyes. It sets my artistic filmmaking imagination on fire. Now, I will admit that the first few times I saw the movie, the scenes in Spain at the end left me wanting from a visual standpoint. The rest of the movie was so rich with seductive atmosphere and shadowy moodiness that the soft, muted quality of the daytime scenes in Spain didn’t do much for me.
The ending in general, story wise, left me a bit unsatisfied for a while as well. I won’t spoil anything here, but I will say that the film deserved a stronger, more intense pay-off. It could’ve used a more personal and emotionally charged comeuppance in light of everything that Jackman’s character had done. On early viewings, it did lack an especially impactful punctuation to that aspect of the story. Ultimately, it’s focused on the relationship between Jonathan and S, and I can surely accept that as a vital part of the story. I just felt that the ending we got just didn’t have as much resonance as I would have wanted between McGregor and Jackman. I’m not sure what that resolution would be, but it seemed like it needed a little more build up and pay-off. Of course, on repeated viewings, I have been able to easily accept it by way of familiarity. I still would prefer a stronger resolution to the adversarial conflict of the film, but I can enjoy the film quite well as it is today.
Regardless of this, I still feel that screenwriter Mark Bomback, along with creative input by director Marcel Langenegger, put together a very well crafted and sharply written script. The characters are fully developed and vibrantly inhabit this world and the story, and the plot is tightly wrapped around them. I think the character of Jonathan McQuarry has a wonderful arc that allows him to fully break free of his meek shell, and into a bright world of possibilities. Yet, he has to trudge through a dangerous and seductive world to get there, but it’s an evolution that he earns. The deceptions that weave into the story are very cleverly threaded, and culminate in some chilling, intimidating moments that sell the danger Jonathan becomes trapped in. It’s surely not the greatest mystery of all time, but for someone that just cannot write a mystery to save his life, I have to commend someone when they achieve a rather intelligently written manipulative tale.
So, the big critics didn’t like it, and many didn’t care to give it a chance. I’m not saying it’s some unsung gem of cinema, but Deception is a fine film handled with care by a lot of exceptional filmmaking talents. I really like the narrative it tells, and the qualities of emotion and heart it focuses on in our loving leads. Unlike many dark, edgy, and dangerous thrillers, it doesn’t delve you into the gritty violence or erotic sleaze. It’s an elegantly made film enveloped in a very shadowy, sultry world of treachery and passion. If you have an appreciation for neo noir, I highly recommend this film for the gorgeous, brilliant cinematography alone. Still, there’s plenty to enjoy and find beauty in, and being a major fan of crime thrillers, I’m very pleased to see this film go into some different directions and find something other than fractured souls and tragic crimes. Of course, that clearly means I’m going to have to review some more Michael Mann movies shortly.
I really liked this movie! It always seemed entertaining, but I was never sure if it was exactly for me. Turns out, it absolutely was, and I wish I had seen it in theatres for that big rousing experience. Real Steel is a heart warming story with a lot of exciting action, lovable humor, and strong emotional drama. This is a crowd pleaser, and a wonderful family oriented film.
In the near future, boxing as we know it has changed from human athletes to robotic competitors. This has left former boxer Charlie Kenton (Hugh Jackman) down on his luck shopping his worn out bot fighter Ambush around to small time fairs and events. He’s broke with large debts hanging over his head to many people, and his con man bravado constantly gets him in over his head. However, his life is about to change when the mother of his estranged eleven year old son passes away, and her sister, Debra (Hope Davis) wants to claim fully custody of Max Kenton (Dakota Goyo). Charlie negotiates a deal with the clearly well-off Uncle Marvin (James Rebhorn) to take the kid for the summer with a $50,000 price tag up front while Debra and Marvin take off to Italy. Charlie uses the cash to buy a new robot, but Max will not be dumped off with Charlie’s girlfriend Bailey (Evangeline Lilly) who tries to keep her late father’s boxing gym open. So, he joins Charlie out on the bot fighting circuit where they constantly come into odds with one another, but when their big time Japanese bot gets mutilated during a main event bout, they head to the junkyard to scrap together parts for a new fighter. Here, Max discovers Atom, an old sparring bot, buried under the mud, and Max dedicates himself to fixing up and championing Atom as their new fighter. Charlie doesn’t have faith that Atom is worthwhile, but eventually, their combined efforts and warming attitudes help lead them all to great success. The two reach great heights with Atom and as a family. Although, they hit many turbulent moments that tear them apart, but also, bring them closer together to forge a father-son bond that is stronger than steel.
I have to hand it to everyone involved in this movie. I don’t think it could’ve been better. Director Shawn Levy (Night at the Museum) certainly had great input from producers Steven Spielberg and Robert Zemeckis to create such a well balanced film. There are many elements in Real Steel that are very akin to the films they made back in the 1980s. It is very heartfelt and endearing with plenty of enjoyable, well developed characters. Listening to Levy’s audio commentary, I can’t help but to love his passion and love for what he does.
I’ll certainly get to Hugh Jackman, but I absolutely wanted to credit Dakota Goyo. This young actor makes this film work beyond expectations. It is so often that child actors grate on an audience’s nerves due to unnatural attitude or overt, sickening cuteness, but Dakota is nothing of the sort. He comes off as a sharp, intelligent, mature, and charming kid. He has vast potential, and so much of that is fleshed out here. He carries his equal weight opposite Jackman, and their chemistry is amazingly fantastic! They keep each other on their toes, demanding higher and higher standards from one another throughout the story. Max brings out the best in Charlie and so many others through his confident, ambitious, yet still youthful spirit. He does have attitude, but it works to show that Max isn’t going to back down from Charlie, who needs someone to kick some sense and maturity into him. And how Max bonds with Atom is amazingly heartfelt, like a boy bonding with his dog. Atom certainly is given that personality of a kid’s best, loyal friend, and the child-like innocence of that relationship is beautifully realized. In the hands of any lesser of a talent, the film would’ve had a fatal weak point, but Goyo truly elevates the film. He projects sympathy at key moments, and while he is a tough kid, he does have his vulnerability. He can elicit a wide range of emotions from an invested audience. I love the fact that Max is just looking for someone who will fight for him, to be needed and loved by someone so bad, and the moment he reveals that is heartbreaking and powerful.
Hugh Jackman gives Charlie Kenton an extra dimension that allows him to be likeable even when, by all rights, he shouldn’t be. Again, with any less of an actor, Charlie would’ve been despicable and obnoxious. Instead, Jackman brings a slightly sympathy to Charlie which allows him to be forgivable and redeemable. This story truly is an evolution for Charlie from a guy at rock bottom that’s entirely self-serving without a genuine, honest relationship to a father who comes to care deeply for his estranged son who wants to do all things right by him. Charlie starts out a little pathetic, but not entirely innocent of the problems that befall him. He talks a good game, but his bravado gets the better of him. He’s a man that had his taste at greatness, but the change in the fight game abruptly ended those dreams. So, he feels broken, and wants to avoid showing his feelings by masking with an arrogant, if immature demeanor. However, the more time he spends with Max, the more Charlie’s hardened swagger softens. Jackman beautifully captures those moments of Charlie’s heart and compassion breaking through the surface such as a moment where Charlie saves Max from a mudslide fall right before they discover Atom. Dakota’s performance pulls out these qualities in Jackman’s character forcing him to come to terms with his past and character flaws. Charlie becomes a better person because of Max, and Jackman plays that subtle development brilliantly. He only puts in what charm and swagger that are needed at any given moment. He finds the perfect balance between the old Charlie and the new Charlie in every scene as he journeys from one end of that spectrum to the other. Beyond all else, Hugh clearly had a fun time making this movie, and shared a lot of respect with Dakota.
The father-son relationship is the entire core of this film, and casting these two deeply talented, smart actors was the best, first step to achieving success. They were fully committed to the story and characters here. Both of their performances become painfully heartbreaking, but also immensely exciting. There is so much nuance to their performances allowing them to work off of each other, and create that charming bond which drives the whole film. I simply cannot say enough about them that you will have to experience them yourself.
Rounding out the core cast, Evangeline Lilly’s Bailey is excellent as well. Bailey tries to keep from having to sell her father’s old boxing gym, but Charlie’s debts to her make that difficult. However, Charlie has enough charm with her to slide by, but she never makes it too easy for him. Evangeline has a lot of energy, enthusiasm, and passion to inject into the movie. She plays off of Jackman exceptionally well as his love interest. The relationship is playful, intimate, and honest. Bailey is an easy going woman that you can entirely see the history and connection she shares with Charlie, and how her hope in him grows as the story builds. She is very easy to connect with, and remains strongly tethered to the heart of the film. Her visceral moments cheering on Atom during the fights are awesome, and that likely reflects the audience’s enthusiasm to see our heroes achieve glorious victory. There is just so much heart and emotion that pours out of this film, and these actors saturate it with incredible performances.
The supporting cast strongly hold the smaller areas of the film together. Hope Davis as Max’s Aunt Debra is very caring and protective of her nephew. His Uncle Marvin, played by the solid James Rebhorn, is not unappreciative of Max, but is also not ready to drop everything to be his father figure. Kevin Durand portrays the Texan Ricky with a slick, ill-favored attitude, but he’s just enough of an intimidating yet foolish character to be amusing. The smug, arrogant duo of Olga Fonda and Karl Yune as Zeus’ owner and creator, respectively, are great foils for Charlie & Max who are full of humanity and determination. These nicely textured characters, backed by solid acting talents, add a strong foundation to build these great character dynamics upon that are the substance of this film.
Mauro Fiore’s cinematography is stunningly gorgeous and powerful. The frame holds substantial weight and emotion with brilliant, beautiful lighting. The subtle movement in the more tender emotional scenes brings class and sophistication to the film. There are also many great shots that show off the scale, production quality, and depth of the film. Levy and Fiore brought a great artistic detail to the visual quality, and production designer Tom Meyer also deserves credit for creating such a visually appealing world for them to capture. The selection of locations and aesthetics of the slightly futuristic world is highly impressive and enveloping. Each scene is given importance and artistic resonance. The boxing scenes are greatly captured with coherent motion that respects the action it is capturing. Again, the film shoots for higher standards by dismissing cheap shaky cam nonsense for solid camera movement and cinematic integrity.
The robots themselves are such a delight. The personality and fun these filmmakers put into these designs are so pleasing. They are not hard edged designs like Transformers, but more marketable, vibrant, engaging designs that would bring smiles to a wide audience. This gives the film so much character and entertainment value. Every robot boxer has their own distinct identity to give each fight a certain tone. Midas is a very punked-out underground fighter bot that reflects the gritty, dirty environment he battles in. Twin Cities, a two headed bot, is a very inventive design that Charlie & Max have to be innovative in order to defeat. Zeus is effectively intimidating with his bulk, strength, and square jawed design. Charlie’s first bot, Ambush, is like an old faded out car that once had its day, but is far from top of the line now. Noisy Boy, the former big time bot Charlie buys on the black market, is sharply designed with a Samurai motif. He’s very showy with sleek lines and bright LED colored lights, but Atom is the real marvel. He feels like the underdog as he’s not big and bulky or particularly showy, but the strength of the design is how an audience can project whatever they feel into Atom’s face. The big glowing turquoise eyes are very endearing, and the welding scars on its screened face work as a makeshift smile and nose. He’s a little wounded, beat up, but he has an innocent, youthful quality to him. This is also due to the sound design of Atom’s little murmurs and wails. He’s a wonderful creation that embodies the heart and determination of the story, and with his shadow mode, he reflects upon the qualities of Charlie and Max repeatedly.
The effects of Real Steel took a very smart approach by building and using practical robots for many purposes, and interchanging them with digital effects. This ultimately allowed for far more photo-realistic fighting robots that interact with their surroundings seamlessly. They used motion capture on real boxers for all of these fights to give the robots realistic movement and unique personalities. These performers were supervised by the great and legendary Sugar Ray Leonard. Learning that Levy had all these great collaborators on this film, including Leonard, Spielberg, and Zemeckis, that makes it easy to see how Shawn Levy was able to create such a powerful and impressive film. He had the right studio backing him up, and a wide array of fantastic, top line talents guiding the creative process along. These visual effects are excellent standard bearers, and many filmmakers should look to the methods and skills used in Real Steel for future effects-filled features.
Now, I surely must have missed large chunks in the evolution of Danny Elfman’s film composer career. While I know him best from films like Batman, Mission: Impossible, and Spider-Man, I never knew he was capable of something of this caliber. Director Shawn Levy said that the list of composers who could do what Elfman did is extremely short. He creates a wide range of depth to the score between the guitar strumming ambience to the rousing big fight action cues. This entirely compliments the overall emotional landscape of the movie from the visuals to the acting and beyond. How Levy orchestrates the timing of these cues is very original as he delays the punctuation of these moments. I feel this allows the emotional beats to be more raw and tender which only enhances them further. This is really the sign of a great filmmaker with a strong, clear vision of what he wanted to achieve, and he got it.
The story itself is not new, but as is the real skill, it’s how effective and fresh a filmmaker can make a well treaded story which makes it special. I believe that was successfully achieved here. Emotions are finely crafted around the character relationships and internal personalities. And where a normal boxing movie is more violent and brutal, the robot boxing allows for the fights to be fun, exciting, and enjoyable. There’s so much adrenalin pumping action that it is bound to please almost any audience. The film always seems to find character building moments in its plot developments. I also love how the film doesn’t start with a boat load of exposition. It allows an audience to ease into the story and characters, and only later, after they have been comfortably established does the history of robot boxing and Charlie’s own boxing career get detailed. It shows what the true focus is here – the characters, and that it is its greatest strength.
Overall, Real Steel is a real winner! I was thoroughly entertained and surprised by this movie over and over again. The climactic fight between Atom and Zeus is stellar, genius stuff! While the film clearly had templates of other boxing and sports movies to follow, the advantage of the robots and technology allows for an unexpected turn during the final round that gives Charlie his moment to shine and gain redemption for his boxing career. Everything is beautifully crafted wrapped with heart, humor, and humanity. There really is so much I can say, but it’s not easy to articulate it. Sometimes, you just have to experience it to comprehend the depth and excellence of a film. To everyone involved in the making of Real Steel, you have my deepest respect and highest praise! I loved it!