Noah Emmerich – Behind the Proscenium

“Warrior”

With Wit, Reviewed By Kimmo Mustonenen

Things are getting heavy.

Summer is at an almost end.

If not for 3D Sharks, I would be singing the award movie song – like internet Karaoke.

Not just yet!

Ass kicking flies from the screen – and into your head.

And it has a name:

“Warrior”.

From time to time, by the merest chance, you come across a film carried by the combat sport that nevertheless manages to find the right balance between drama and action and more importantly (if you’re REALLY lucky), with more drama than action that it becomes a backdrop for everything else.

And then the action has it’s own drama, which makes the action dramatic-er. For it is only when the fighting is justified by a compelling scenario that they become emotionally more intense and rewarding.

Right? Right.

“Warrior” refers to a world of mixed martial arts where the gladiators of the modern clash in a hexagonal cage both feet on the ground, due to gravity.

The creation of an international tournament imagination, “Sparta”, will on the same trajectory Paddy (Nick Nolte), Brendan (Joel Edgerton) and Tom Conlon (Tom Hardy), which are all part of a family torn apart and removed in the past through an excess of favoritism and neglect.

I’m not afraid to say that.

Tom resurfaced in the company to get the help of his father, recovering alcoholic in passing (not recovering in real life), to the physical and mental training for participation in the tournament.

In parallel, Brendan returns sweat in the halls of fighting in the hope of winning the award of $5 million to restore interest in life to his family in need.

I could restore my own interest in life for much less that $5 million – settling for $1.5. Maybe just $1.

However, as would more or less expected, although these two mad dogs will face some of the toughest fighters that MMA has created, the real battle appears to be in them. At each other.

Paddy is fighting for the forgiveness of his son, Tom is fighting to prove to himself that he is strong physically and mentally, and Brendan is struggling to reconcile with his family.

I was fighting the popcorn (note to theater managers – melted butter flavored Crisco is not a substitute for real butter. My mouth is stuck together still with a bad 70’s bathhouse flavor.).

Each brother has his own reasons respectable to face combat, reasons that will divide the audience when it comes time to choose to support one or other of the brother’s finalists.

For its part, the scenario is almost epic, presented in a very committed. Almost epic. Remember this.

Gradually, through his dialogues, we see the past events of this family torn apart and motivations of characters to keep such hatred in them are revealed gradually. This drama is of course made possible and given credibility by the immense talent of these three headliners.

All three, each in their ways, infusing their characters an unwavering charisma. Wavering charisma just wouldn’t cut it and makes sit-coms intolerable.

Nick Nolte had not been touched since the long, very long years (literally – his last mug-shot has him stuck to the internet porn now, and luckily it is free), Tom Hardy, appearing more monstrous than ever physically (biceps!), proves once again that the method of the Method Acting has not finished dazzle us, and in between, Joel Edgerton has not to be ashamed of its performance even if he has to work extra hard not to give way completely opposite to its partners, and in doing so, not suck too much.

Only on the horizon, the role of Jennifer Morrison is under-exploited (Captain Kirk’s mom!) and Nick Nolte seems to have been somewhat forgotten in the last third.

The final could also have been treated differently but how to avoid clichés with a subject that is a cliché in itself (two brothers confronting end up in the same tournament). But a cliché used in the service of a cliché within a cliché? Genius.

Therefore it is appropriate to say that overall, the director is doing very well.

Although much entertained (still angry at the popcorn – screw you, Crisco!) my thumbs aren’t engaged to the level of my brain stem.

Still, the thumbs are fighting gravity to the sky.

“Warrior” is cool.

Kimmo Mustonenen – (Kimmo On Kino) – Behind The Proscenium

P.S. My mind wanders around Patty Smyth. This would make a better movie:

http://www.youtube.com/watch?v=dIDaBF8LILk

The dancers know Bob Fosse Kung Fu!!!!!!

P.P.S. (What is the rule?) Fall TV! Fringe in two weeks! Where is Peter? Or… where isn’t he?!? Guesses are appreciated!

Super 8

With Wit, Reviewed By Kimmo Mustonenen

From the title, Super 8 ad spectacular: we’ll travel through (and in) time.

Indeed, when the Amblin logo fills the screen, supported by a bombastic score and air, we’re back in the early 80s, when Steven Spielberg directed, and edited stories for teens bursting of monsters and wonders (the stories, not the teens so much).

The reference to the glorious era of Gremlins or Back to the Future is fully assumed by JJ Abrams, who grew up before these movies long before he became the instigator of the series Alias and Lost (what the hell – just me, or you, too?), then offer breathe new life sagas Mission: Impossible and Star Trek.

Officially sponsored by the director of E.T., he declares his love here cinematic without ever falling into the trap of slavish imitation or wink supported (with a nudge maybe).

For Super 8 has its own personality and obviously draws much of his inspiration from childhood memories of the filmmaker (which are his).

We are in 1979, at the end of the school year, in a quiet village in Ohio (my city was gone! See that?).

A small group of teenagers, who runs a cheese eating zombie film in Super 8 under the influence of George Romero, is witnessing a train wreck extremely spectacular. Following this accident, the townspeople begin disappearing and strange phenomena are increasing. While the army began to occupy the place and the police seem powerless, our young heroes seem the only ones who can undercover the truth.

While most seem kind of compulsory figures at the rendezvous, JJ Abrams deftly slaloms between all the clichés strewn in his path, refusing archetype (take that, Joseph Campbell!) and a caricature (flights very overrated The Goonies) in favor of a strong dramatic structure protagonists and extremely touching (not like that).

The hair-raising action sequences (the crash of the train is a piece of anthology that will probably date and harm your ear holes) do not ever thus on the characters, vehicles with humor (what?), tenderness and emotion.

Super 8 affirms the move as a real balancing act, halfway between the sincere nostalgia (those who have experienced the joys and frustrations of short films in 8 mm will have their memories refreshed), the constant quest for originality (the scenario does constantly take us by the nose to a climax of beauty – yes!) and assumed tribute to the cinema of Steven Spielberg, whose omnipresent shadow seems to hover over the entire film.

Alternately, Close Encounters Third Kind, E.T., The Jaws, Jurassic Park and even The War of the Worlds (Scientology!)there are visual and thematic correspondences, while the sumptuous soundtrack written by Michael Giacchino pays tribute to the symphonies of John Williams.

However, Abrams keeps the style of its own, both in writing his dialogues in his visual bias (the famous “lens flare” of Star Trek are always of the party – where the guest stay too long and make sick on the toilet).

So this is a work in a state of grace, which almost miraculous alchemy stems both from its authors at its magnificent cast of young actors vying for accuracy and spontaneity.

Apparently there are two Fannings. The world is a better place yet.

Kimmo Mustonenen – Behind The Proscenium

Tag: Noah Emmerich

Warrior [REVIEW]

Super 8 [REVIEW]