Archive for Doug Liman

Bourne After Reading

Posted in FILM with tags , , , , , , , , , , , , on May 6, 2018 by dcairns

Jason Bourne isn’t really like near-namesake James Bond because he’s a rogue agent, which Daniel Craig only ever pretends to be (but he pretends it A LOT) — Bourne is in the category of amnesiac bad-ass, like Schwartzenegger and his replacement in TOTAL RECALL (whoever played the part in the remake has fallen into my own memory well and I can’t be bothered retrieving him) or Wolverine. Arnie can certainly personate an ambitiously sculpted hard man, and Hugh Jactor certainly looks the part with his adamantium skeleton and Alvin Stardust hair, but Matt Damon is the only one who projects a trace of suitable angst at his brainwashed condition. He has the perfect face for it — the face of an angry toddler lost in thought. He seems perpetually about to push a playschool friend into a puddle.

So, I decided to watch THE BOURNE IDENTITY at last — I gave up after five minutes on a plane once, preferring high anxiety to motion sickness — since the discs were all available for 25p in Leith. But what rotten discs — they don’t reflect the cinematic experience at all, since the subtitles for the foreign-speak bleed out of the widescreen masking. That wouldn’t be allowed in the cinema, the people in the front row would get subtitle all over their shoes.

Joining angry little man in the cast are Franka Potente — very good and natural, even when acting from under a terrible wig — Chris Cooper, Brian Cox, Clive Owen, Julia Styles.Aaaaah — this is the most painful thing ever to happen in a spy film. Worse than the comedy relief sheriff in the Roger Moores.

I once saw Chris Cooper talk about this film, which he did NOT enjoy much. They were rewriting it on the hoof, so he never knew what he was playing. In the finished product, he’s a pretty plain baddie, but it evidently took multiple drafts to achieve that one dimension. Tony Gilroy, one of two credited scribes, wrote the following two entries so I guess he won the fight, perhaps by jabbing a biro into competitor W. Blake Herron’s hand, as Bourne does to an opponent here.

In Doug Liman’s opening film in the series, before he was replaced by Paul Greengrass, Bourne is hunted by his own side and has to square off against three deadly enemies.First is THE DEFENESTRATOR, who attacks Bourne through a frosted glass door, not by shooting him with his assault rifle, which would be too easy, but by crashing through the door and bashing into him at close range so that Bourne can get the rifle off him. This guy must really like crashing through glass. The good news is, he’s in the right film. If he turned up in THE INTERN or DOUBT or PATERSON, he might get to be distracting. Having been bested by Bourne, who stabs a biro into his hand but does not push him into a puddle, he calmly jumps through a closed window, walks into the balcony railing, flops over it, and falls several storeys into the street.Bourne’s second enemy is CRINGEING CLIVE OWEN MAN, who wears glasses and uses a rifle. When he’s fatally wounded, there are no windows handy, so he just starts delivering exposition, almost as if he hadn’t been brainwashed at all, except that all his exposition is about how he was brainwashed.

Fiona walked in right at the end of the film. I started guiltily. Then she started laughing scornfully at Chris Cooper’s dialogue — “You’re a U.S. government property! You’re a malfunctioning thirty million dollar weapon! You’re a total goddamn catastrophe!” — and I realised what a welcome addition she would have been to the whole experience. She was just in time, though, for the final boss of this movie —BANISTER MAN is despatched in a variety of ways, mostly by having his head shoved through one of those fragile movie banisters. Not The Unfeasibly Low Banister of Jeremy Irons, which proves such a hazard in DAMAGE (you MUST see it! it is to laugh!), just a breakaway one. Then, indignity of indignities, Bourne uses him as a kind of cushion, smashing him altogether through the banister, off into the void of the stairwell, Bourne clinging to the guys back and RIDING HIM DOWN, shooting another bad guy as he passes, then landing several storeys down — the impact doesn’t kill Bourne as it did The Defenestrator because he’s got Banister Man to use as a human crash mat. Chris Cooper is furious at himself for hiring such a heavily padded assassin. Basically a space hopper crammed into jeans and a jacket. All this action is terribly cutty. It’s not totally confusing, but it’s not very satisfying. Virtually all the other stuff is shot with a roving steadicam, which is also not very satisfying. Nothing seems thought through. To suggest anything of real importance, all Liman can do is cut even faster, which does work when Bourne’s spidey-sense warns him that The Defenestrator is coming. It gets a bit avant-garde there — I’m sort of hoping for more eccentric choices in the follow-ups. One shot of a car speeding through the night goes wonky at the end. That’s the kind of thing I like to see in my stupid action films.

Moby sings us out. THE BOURNE IDENTITY is not a good film, but now I have to watch at least one Greengrass episode to judge whether he’s a better filmmaker than Doug Liman. Both those guys started out seeming sort of promising.

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In-Flight Mentaltainment

Posted in Comics, FILM, Television with tags , , , , , , , , , , , , , , , , , , , , , , , , on February 5, 2015 by dcairns

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Movies seen while going to America —

EDGE OF TOMORROW, directed by Doug Liman and written by THE USUAL SUSPECTS’ Christopher McQuarrie along with mockney specialists the Butterworth Brothers, which was really good by big Hollywood standards. Emily Blunt excellent as always — I knew she could do almost anything but I couldn’t have sworn she could be bad-ass. Tom Cruise is also really well-used, and has a huge character arc, starting out a bit like James Garner in THE AMERICANIZATION OF EMILY or if Don Draper got drafted. It’s really funny to see Cruise playing a conflict-averse wuss. And by the end he has of course become an unstoppable killing machine on the side of good. Yes, it’s GROUNDHOG DAY meets INDEPENDENCE DAY, but it’s refreshing to see a film with so many interesting narrative notions.

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By contrast —

The recent GODZILLA remake has a scene with an upturned Eiffel Tower, just like EDGE OF TOMORROW, but the one in the kaiju knock-off is the miniature imitation version in Vegas, which kind of sums up the relationship GODZILLA has to a proper movie. Thanks to some hectic editing they even manage to make Bryan Cranston look like a bad actor. If you’ve ever wanted to see Juliette Binoche outrunning an explosion, this is the film for you, and I hope you choke on it.

Fans complained that there was a bare minimum of the big green guy, and not very much of Cranston. The filmmakers had completely miscalculated their audience’s needs, like the makers of the previous US GODZILLA, who thought the public wanted Godzilla as an atomic bad guy stomping on cities for kicks. The great minds at Legendary Pictures grasped the fact that Godzilla, as he is known and tolerated by millions, is thought of as a benevolent colossus who breaths radioactive fire on other, nastier monsters, and only kills thousands of people by accident, a bit like America or Israel. What they failed to grasp is that audiences want to look at Godzilla doing these things for longer than ten minutes out of two hours. Ideally, what the film should have delivered is a 300 foot tall Bryan Cranston, in his Heisenberg guise (“Say my name!”), fighting the big lizard all over New Mexico. Or else Bryan Craston AS Godzilla, with Aaron Paul as Godzooky*.

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Pierce Brosnan is walking away from this explosion because it Simply Doesn’t Interest Him.

I usually seek out bad movies to watch on planes because I don’t like to see good ones “adjusted to fit my screen” or “edited for content.” THE NOVEMBER MAN isn’t totally awful — maybe it’s the best film Roger Donaldson could make now —  but the only thing that could have made it memorable would be a downbeat, 70s-style ending. A happy ending on a thing like this (spy thriller) suggests that the security services are basically benign and that rotten eggs will be filtered out (with one of those egg filters you can buy in the shops, I suppose — couldn’t find a way to write this sentence without a mixed metaphor) and that leaves the movie feeling pretty inconsequential.

Olga Kurylenko looks amazing, though, and after she gets over a regrettable impulse to smile on one side of her mouth to convey ‘tude, she acts well. Pierce Brosnan is someone I always enjoy, though I’m a bit fed up of him always playing a widower. It’s started to feel like a tacky exploitation of his own biography. He’s a fun presence, though — I watched PERCY JACKSON & THE LIGHTNING THIEF on a plane once, and the sight of him as a centaur was inexplicably hilarious. They should really have cast him as the statue of Talos from JASON AND THE ARGONAUTS though, so they could have the credit “with Pierce Brosnan as Bronze Person.”

Movies seen returning from America —

Flying back home was somehow much quicker. I watched an episode of Louie and one of Veep, neither of which I’d gotten around to. Clearly I will have to see more, they were both excellent. Man with hangover in Veep: “Find me a hamburger made out of aspirin, I’m going to get some air and be sick in it.”

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Then Fiona and I watched HOW TO DRAIN TRAIN YOUR DRAGON II, which was very nice, as good as the first one. Excellent vocal perfs, beautiful images (Roger Deakins advised on the virtual cinematography, as he did on RANGO), great action and storytelling and a lot of emotion. This one felt more like a flattering portrait of America — we always seek peace but if we need to fight, we will kick ass” (like GODZILLA) which made me feel a little uncomfortable. But for sheer craft approaching artistry, I couldn’t fault it.

Then I looked at X-MEN: DAYS OF FUTURE PAST (the title seems a riff on killer Bob’s rhyme in Twin Peaks) which was something of a return to form for Bryan Singer, only the plane landed seconds before it was over. It has the best bullet-time ever, with cheeky Evan Peters running around the walls of a circular room like a cross between Fred Astaire and Gary Lockwood.

The movie is action-packed, has a reasonably complicated story, and the dispute between Professor Xavier’s get-along-with-the-humans philosophy and Magneto’s kill-them-before-they-kill us attitude remains compelling, even as all the other characters are more interesting AS characters. And somehow, Jennifer Lawrence fighting in blue rubber pasties never got boring to look at.

BTW, United Airlines have the best safety film I’ve ever seen. We saw it twice in a week and didn’t get bored. The idea is novel, the production values immense, it’s all very slick, there’s some wit, but what helps most of all are the little non-professional moments, such as the flight attendant at around 1.54 who can’t stop laughing for unknown reasons.

*Purists will say that any miniature Godzilla should be called Minilla, after the pudgy reptile star of SON OF GODZILLA, but I recall the Hanna-Barbera series The Godzilla Power Hour, which, though completely without any artistic merit whatsoever, was, episode by episode, a lot shorter than any Godzilla film from either Toho or Tristar or Legendary.