A Walk among the Tombstones (Scott Frank, 2014)

Liam Neeson, hunting down dastardly criminals, is something of a pull at the box-office. From Taken to Non-Stop, Neeson seems to perfectly portray the hero who can save the day. A Walk among the Tombstones seems to seek the pace, and urgency of Taken, but tries to balance it out with a Girl with the Dragon Tattoo-like investigation. A Walk among the Tombstones is a modern example of a star-led drama that, without the star, falls into B-Movie throwaway film fare.

Apart from a 1991-set brief opening, the bulk of the film is set during 1999. Multiple nods to the Y2K virus hint at an end-of-days fear, but this is neither effective nor intertwined with the plot (except the “People are afraid of the wrong things” tag line). The main thrust of the story is the hunting of two serial killers, who expertly target the wives and children of drug-dealers. Matthew Scudder (Liam Neeson), member of alcoholics-anonymous and ex-Police Officer, is sought out to find the culprits of the heinous crimes. Reluctant at first, Scudder is drawn to solving the crimes to atone for his own sins. Due to his lack of computer-skills at the library, he befriends a homeless boy, TJ (Brian “Astro” Bradley) who is street smart and thinks fast, and together they piece together the murders – and work out who might be next…

It is simple thriller-by-numbers. The serial-killers, who ride around slowly in a van, are villains in every way. No nuanced characteristics or well-constructed motives, they’re just evil. Not only do they attack and torture women, but they have a strange fetish whereby they cut off breasts using wire. Scudder, alternatively, is the good guy. The tortured soul who seeks forgiveness (not for the shooting of three burglars without trial it seems, but something “worse”) and spends his days attending AA meetings and eating in greasy-spoons. The opening nods to Dirty Harry, and the pervert-accomplice Jonas (Ólafur Darri Ólafsson), even looks like a tubbier version of the crazed-hippy in Don Siegel’s classic. Eastwood’s iconic role was known for his shoot-first, ask-questions-later form of police work. A Walk among the Tombstones teased the controversial idea that this brutality holds emotional and psychological consequences. Instead, it seems that Matt Scudder is Harry Callahan without the panache.

Unfortunately, reconfiguring and reflecting on the film only highlights further flaws. First and foremost, women are merely victims in the film (failing the known Bechdel test I assume). The opening credits depict glowing white skin of a sexy blonde woman, only to reveal that she is bound by gaffer tape and is in fact a victim to the serial killers. Jonas, the accomplice who, though helpful and a chatty, is also a peeping tom. He is depicted sympathetically and is almost played as a victim of the serial killers himself. Considering his direct connection and assistance in her kidnap, he gets off lightly in how he is treated. TJ, the wonder-kid who should surely be more vital, gets short shrift and could be removed completely from the film with little change to the story itself.

A Walk among the Tombstones, borders on offensive. Its approach to crime and justice is fatally flawed and Matt Scudder, a complicated character, is reduced to simple clichés. It’s worth noting that Matt Scudder features in 18 novels, whereby he attends his first alcoholic anonymous meeting in the fifth entry to the series. Whether his tales could be told better as a television series, or if director Scott Frank simply crammed too much into one film, this current incarnation is a misfire. Surely Scudder deserved better.

Star Wars Episode I: The Phantom Menace (George Lucas, 1999)

"You can't stop change any more than you can stop the suns from setting."

Introduction

The Star Wars franchise has always fascinated me. Not in a dress-up-like-a-Jedi kind of way, but more in a creation-of-a-Universe kind of way. Lucas has developed - across many, many years - a universe with its own languages, races, ethics, politics and characters. Akin to The Lord of the Rings and cult-cinema and cult-TV like Blade Runner and Star Trek, a very simple idea has expanded and expanded and it truly is fascinating to mine the depths of research and art required to create such a monster of a franchise. With this in mind, I held back for the Blu-Ray release of Star Wars as I believed that there would always be a better version. I did not buy any of the DVD versions, but the completist in me decided 'it was time' with the Blu-Ray release and over the next six weeks, each week, I will be writing features on each film on this blog.

As unlikely as it is, I have seen Star Wars Episode 1: The Phantom Menace more than any other Star Wars film. I did not grow up between 1977 and 1983. I was born in 1984, so I was never really part of the craze until the craze was born again in 1999. By this point, I was 14 or 15 and the last thing I was going to be is a Star Wars fan. I was a man - I watched Tomb Raider and The Matrix. But I thought, in all my wisdom, that as they were prequels, I would watch Episode 1-3 and then, only then, would I watch the classic trilogy from '77, '81 and '83. So as I categorically did not watch the later trilogy, the prequel trilogy, if it was on, I would watch comfortably. And I won't lie, The Phantom Menace does not deserve all the hatred it recieves.

The Fatal Flaws

But, rather than end with a downer, let's finish on a high and get the bad stuff out of the way. Jar-Jar Binks is annoying. I doubt anyone would disagree - and the argument that Chewbacca in the original trilogy was 'annoying' in the 70's is frankly ridiculous. Chewie had so much going for him - whilst Jar-Jar is a clutz. But what is important is how everyone else is embarressed by him - whether they are grabbing his tongue in exasperation (Qui-Gon Jin) or staring out into space, deep in thought about their own destiny (Queen Amidala), whilst Binks rambles on - it is clear that your opinion of Jar Jar Binks is shared by the characters. And that makes a difference. Janice in The Soprano's is annoying and frustrating - but that's what is so much fun about her - Tony loves winding her up in the process. At any rate, apart from a short cameo in Attack of the Clones, Jar-Jar Binks is in only this film and, once its done, it is out of the way. At the time, it was a very special thing that Jar-Jar Binks was the only fully-CGI character in Star Wars, but the blu-ray changes this as the puppet of Yoda has been replaced by a fully CGI version, which, is much better.

Secondly - Jake Lloyd. He ain't great, but c'mon! He's a kid! It's a tough gig - to have the weight of Darth Vader on your shoulder's is a big ask and he could only try. But if we are honest - really honest ... Mark Hamill ain't no Brando either. Rather than pick on the kid, let's put things in perspective - the wee lad is playing the infamous role of Darth Vader alongside Liam Neeson, Ewan McGregor - and only now we can say - Oscar-winning actress Natalie Portman. Even Kiera Knightley is hidden away in the background and, without recognising her, its fair to say she out-acts him.

Then there is the politics. It is clear that with 'the prequels' there is an intention not just to create three films but also create a huge amount of scope for tie-ins - The Clone Wars, and the live-action TV-series that will inevitably hit in a few years. They are setting up a huge amount of back-story and, it does come across as pretty dull. The discussion of 'blockades', the 'republic' and 'the federation' bore the hell out of me. "I was not elected to watch my people suffer and die while you discuss this invasion in a committee!" ... this is frickin' Star-Wars! Let's not get all dramatic!

The Unique, Only-In-This-Film, Major Plus Points

But what puts Star Wars Episode 1: The Phantom Menace high up on the scale are the few factors which feature in no other Star Wars film. In no other film do we see the Satan character himself, personified for Star Wars, in Darth Maul. It''s strange to say that the definition in his colours appear a little out-of-date, but the adaptation of the Christian-image of Satan himself - horns and all - into a fantasy universe bring a new level to representing pure-evil. But, more importantly, it is established from the outset how Darth Maul is merely an apprentice and the true evil is the Master that commands him. Is Lucas presenting a less-than-Christian attitude towards where evil stems from? Is he arguing that evil is not from the depths of hell, but in fact a creation of ours as The Emperor has created this demon to follow his orders. 

On the opposite side of the spectrum, we have Qui-Gon Jin. The Japanese influences stem right back to A New Hope as C3PO and R2D2 clearly represent the two characters than feature in Kurosawa's Hidden Fortress. But this is established further as Qui-Gon Jin maintains a buddhist-belief system. See as he falls to his knee's and peacefuly waits for the shield to simply stop - to allow him to continue his fight with Darth Maul. These samurai themes continue throughout the franchise, but even the small ponytail of Obi-Wan Kenobi ensures that the Jedi's adhere to Eastern philosophy and conduct.

Then there is the final lightsaber fight - I will not describe it, but it is the best lightsaber battle in the entire franchise. A double-ended lightsaber VS two Jedi Knight's. The music, John Williams 'Duel of the Fates' is flawless, alongside the stunning leaps and manouveres of Ray Park (who went on to become 'Toad' in X-Men and 'Snake Eyes' in G.I. Joe).

The lightsabers have brightened a little on the blu-ray version, and the fight does look so much better for it, but the bonus-points do not end there. In high-definition, the architecture of Naboo looks simply incredible - tall classical buildings, built into cliffs with some Giacometti-inspired sculptures thrown in for a little artistic credability. Then there is the pod-race, as completely unneccessary as it may be, it does look flawless in HD. Though the spaceship Qui-Gon Jin and Co fly around within seems to recall the ship from Flight of the Navigator moreso than the Lockheed SR-71 Blackbird that remains the official word on it's influence.

The Balanced Ending

The final act is crammed full of confrontations as we see (1) Qui-Gon Jin and Obi-Wan duel against Darth Maul, (2) Queen Amidala and her army storm the castle, (3) the Gungans face-off against "roger-roger" robots and then, in the final instance, (4) little Anakin saves the day as he inadvertandtly flies off in a military spaceship, destroying the Trade Federation's powerful spaceship that controls the armies and harnesses the power that hold Naboo captive. The childish fun Anakin seems to be having as he changes the future forever seems a little too playful, considering how much-of-a big-deal this is. The very idea of duality is played throughout - in Amidala's dual role as Queen and as Padme, Naboo even inhabits dual-lifeforms on land and under the sea - and yet we are led to believe that this young child will bring 'balance' to the Universe? In fact, by the end, it appears he has brought balance. 

We see a party. Not just any party - a Naboo and Gungan party. The music is awful and the lead Gungan spits all over himself - a real mess. It seems the after-party with Qui-Gon Jin lighting up the place was where it was at as we are told about the duality of the role of the Sith - One Master, One Apprentice... the balance is coming to the Universe, but not yet...

Michael Collins (Neil Jordan, 1996)

"You've got to think of him. The way he was... He was what the times demanded. And life without him seems impossible. But he's dead. And life is possible. He made it possible."

Introduction

I visited Ireland recently. Popped over the day term finished - flight from Gatwick (the worst airport in the world) to Dublin, straight to the pub (Doyles) for a Guinness. I saw U2 in Croke Park on the Saturday, went to Limerick for Sunday to see Mum and Dad, and then saw U2 again on Monday night. We were due to fly out on Thursday so between Tuesday and Thursday Sarah and I intended to be complete tourists and visited all the top spots in Dublin (shout-out to Kev, Maura and family for putting us up for the nights: Fantastic!). We went to the Guinness Storehouse, John Jameson & Son Distillery, Dublin Zoo, National Gallery (lots of Reynolds and Gainsboroughs), Museum of Modern Art (Rachael Whiteread and Richard Long amongst others) and, on our counsin's advice, visited Kilmainham Gaol - a jail in Dublin where the leaders of the 1916, Easter Rising in Dublin, were taken and then, out the back, were shot. My Dad has told me that back when he was a boy - and even now - Irish History was/is taught and, from the small snippets I have heard, it truly is fascinating. I'm not a big history buff- far from it - but when smething interests me I do try and have a gander. This Michael Collins chap was incredibly important with regard to forming unity between Ireland and England and, ultimately, the signing of a treaty that enabled Ireland to become a free-state and then, become The Republic of Ireland that it is today. Obviously, the civil war strife continued and what-not, but there is only so much that can be done. This treaty was the first major step in restoring Irelands independence - and Michael Collins (amongst many other memebers of the Irish Republican Army, pre-1921) was behind that.

Anyway, in Kilmainham Gaol, a lot of these important leaders were killed fighting for their country and their freedom and that struck me quite powerfully. First thing to do was get a basic overview and - upon countless Aunties, Uncles and - most importantly - Mum and Dad's advice I purchased the Michael Collins DVD. I also got In the Name of the Father (I had it on video and studied it for Media studies and it is a bloody good film I haven't seen for a long time) and these will sit next to my Angelas Ashes DVD recommended to me by my Mum - who spent her young teenage years in Limerick herself. But in better circumstances than Frank McCourt (R.I.P).

So plowing ahead with Irish cinema (most likely paid for by American studios), I discuss Michael Collins ...

What I reckon ...

So, the film startsff with the failed showdown in 1916: The Easter Rising. The Irish rebels surrendered and the leaders were found - amongst them Pearse, Plunkett, an injured Connelly, DeValera - and many others. Connelly was badly injured and was held at a hospital while the others were jailed in Kilmainham Gaol. As DeValera (Alan Rickman) had American citizenship he could not be executed - while all the other leaders were taken out the back and shot by court marshal. Even Connelly was specially wheeled in from the hospital and shot. The coverage of this horrendous action by British troops was told around the Ireland and, inevitably, created sympathy for the Irish rebels. Prior to this, they did not have as much support.

This is merely the fast-paced introduction to the film. Michael Collins (Liam Neeson) is assists in the Easter Rising in the film, but is released following a short imprisonment. He travels the country gaining support and, unexpectedly, gains support from one of the spies who are following him. This is Broy (Stephen Rea) who, according to Wikipedia - not a great source but... - was an amalgamation of a range of police informers for the rebels, soon to become the Irish Republican Army. Anyway, Broy lets Collins have access to the police records and, turns out, they have a lot of information on them. So, Collins decides they have to cut out an important part of the police investigation - cut out the spies themselves. The 'Dublin Castle' - the police - are gaining all their information from following the known Irish Rebels. A letter is sent and the IRA hire younger violent sympathisers to kill detectives who continue to follow them - thus sending a clear message that 'the IRA will not tolerate being followed'.

Now, my cousin tells me their are many inaccuracies with tthis film - so bear this in mind because, obviously, I wasn't there, I'm just telling you the plot. I'll try and hurry it up a bit though.

This violence against violence leads to Bloody Sunday - whereby following British troops being sent into Dublin, the IRA killed 14 of these troops. In turn, the British got into their tanks and went down to Croke Park where a gaelic football game was being played and shot at the people there. Killing about 14 themselves - and then they tortured known IRA members in the evening for information also - in the film, Broy, is amongst these tortured and is killed in the process, as a few of those who were tortured indeed did themselves. A horrible day in Irish history (See U2 song...)

Anyway, a failed attack from the IRA akin to what happened in 1916, leave the IRA weak but, strangely enough, Britain call for a ceasefire and Collins goes over to England to sign the treaty - he gets independence, but only for the south of Ireland. Northern Ireland remains tied to Great Britain. De Valera is angered by this, but Collins is adamant that this is the first step t independence. Their are pro-treaty and anti-treaty groups and a civil war breaks out - in the hope of stopping this Collins goes to meet De Valera in Cork - his hometown - whereby prior to meeting him, Collins is ambushed and killed by anti-treaty protestors.

There are love interests and friends who are also a big part of the story - so don't feel that that is all it is, but it summarises the Irish history it covers. It truly is epic in scale and the fact that Julia Roberts is in it, explains how much money was put up behind it to make sure it had every chance of success. You can really feel the support the film had. Interestingly enough, Neil Jordan wrote the film also and so has discussed on the DVD the inaccuracies and explains that in most cases he simply didn't want to have to explain the huge amount of history behind this short period of time as it was only a two hour movie, while his approach showing Bloody Sunday (whereby the tanks enter into the Croke Park football ground, rather than wiat outside and shoot from outside) was changed so the sequence would be shorter and more powerful. The fact that people died and they were civilians is bad enough in my book - and that happened in both cases. Its funny, these technical aspects Neil Jordan talks about should really have been listened to by Zack Snyder on his Watchmen film - too long, too much shit. Someone should have said: cut it down, you have to make it two hours. Would have been alot better. Neil Jordan should of made Michael Collins three hours and then establish alot of inaccuracies.

I think my personal problem was this 'epic' tag it clearly had in pre-production. The finale - as we move from the inevitable tragedy of Collins and then cut to love-interest buying a wedding dress is so cliche. Sarah told me she was glad that the love story didn't overshadow the politics. I think she is right - it could have been alot worse - but, why have it at all. Touch on the fact he had family and a girl - but whats with the love triangle? Too much in my book. I did think about 'improvements' that could be made and, from my knowledge, music is so important and, in hindsight, I don't recall a theme or anything specifically heart-wrenching or emotional about the music. Maybe its me, because rarely do people fault a composer such as Elliot Goldenthal (with Sinead O'Conner doing the odd vocal no less), but then again, rarely do you hear people sing his praises! Not to mention, it seemed very unexpected when he died. I mean, if people are watching the film, they know he died - theres no need for shocks. Maybe a focus on Collins as he knew his time was up, alongside some music that simply makes you feel that its all over would just tip you over the edge with emotion - but what happened seemed as if "its an ambush" and, bang, "no, Michael, no! [its a head wound, he's gone] no-o-o-o-o!". The crying over the corpse and Julia Roberts backing away-because-she-knows-without-him-saying, is just a little obvious. We didn't even see Roberts face when she was told because she was running away from the guy - and from us.

I'm not Neil Jordan and, to be honest, he's a great director (The Crying Game ...), so maybe the whole directing job is actually quite difficult, but I did feel that he might of thought that as it was an epic, he had to do certain things - when it was these things which made it very run-of-the-mill, taking it out of a unique story territory to standard-historical-epic territory.

Note the poster-picture chosen - very 'Liberty Leading the People' Delacroix rip-off... seems to be the new craze, as Coldplay just uses it for every single, album and EP they release!