Oblivion Review – Cruise Control


Director: Joseph Kosinski

Writers: Karl Gajdusek, Michael Arndt (screenplay), Joseph Kosinski (graphic novel)

Stars: Tom Cruise, Morgan Freeman, Olga Kurylenko, Andrea Riseborough


Release date: April 19th, 2013

Distributor: Universal Pictures

Country: USA

Running time: 124 minutes


3/5

Best part: Tom Cruise.

Worst part: The slow pace.

With two blockbuster movies under his belt, Joseph Kosinski has now established himself as an auteur. After his first Hollywood flick, the electrifying Tron: Legacy, Kosinski moved on to his pet project. He has now adapted his own graphic novel into a feature film. Written and directed by Kosinski, Oblivion is filled with wonder but is too derivative and contemplative to be as good as it should’ve been.

Tom Cruise.

The film starts off with an exposition-heavy prologue. Jack Harper (Tom Cruise) explains everything we need to know before we are sucked into his post-apocalyptic world. He, and partner Victoria (Andrea Riseborough), are stationed on Earth after the apocalypse. They’re in charge of drone security and maintenance. They pick up the scraps that invading Alien forces have left on Earth. The human race is a mere two weeks away from jetting off to Titan (one of Jupiter’s moons).  Every day, Jack is sent out into the wasteland to search for survivors, fix damaged drones, and eradicate alien scavengers. He wakes up in a cold sweat every night, experiencing the same dream about a woman he may or may not know. One day, a strange spacecraft crash-lands on Earth. After surveying the scene, Jack changes his entire outlook on existence and humanity itself. Jack, reluctantly teaming up with resistance leader Malcolm Beech (Morgan Freeman) and crash survivor Julia Rusakova (Olga Kurylenko), must find out why his existence has turned out the way it has.

Morgan Freeman.

It’s an overwhelming mix of action and sci-fi tropes. It’s derivative of such influential sci-fi films as 2001: A Space Odyssey, Planet of the Apes, I Am Legend, The Terminator, 12 Monkeys and Total Recall. It smashes together so many ideas and concepts from other films that it forgets to craft its own identity. However, there is still joy to be had with this by-the-numbers sci-fi adventure. Kosinski’s new movie has many of the same problems that his previous film had. Both are visually sumptuous but display Kosinski’s lack of care with story-telling and character development. The first third of the film contains many nods to the Pixar classic WALL-E. Unlike the lively, musical-loving little robot of that film, Jack is a dangerous and contemplative individual. Both characters are fun to watch. Jack looks for scraps on the Earth’s surface whilst asking questions about existence and memory. Both he and WALL-E also find the last plant left on Earth. The film’s glacial pacing is a questionable choice. A film such as this should move quickly to keep its audience excited at every twist and turn. Instead, Oblivion spends too much time on strained relationships and philosophical questions. Thankfully, Oblivion doesn’t become pretentious, dumb or muddled like many modern sci-fi flicks (Prometheus).

Olga Kurylenko.

Oblivion has a focused first half and a confusing and plot-hole-filled second. Despite my complaints, it’s nice to see an up-and-coming director with a keen eye for both sci-fi stories and kinetic visuals. The visual style elevates this film above mediocrity. Kosinski’s love of slick lighting and colour patterns brings both Tron: Legacy and Oblivion to life. Every special effect looks smooth and streamlined. Its Apple-like production design beautifully contrasts the Icelandic settings. These atmospheric and multi-layered scenic vistas are gorgeous to study when the camera lingers on certain images. Oscar-winning cinematographer Claudio Miranda (Life of Pi) livens up this cold narrative. Every shot is precise and touching. The movie is particularly effective when the action sequences kick in. Kosinski loves vehicle chases and futuristic weaponry. He re-invented the Tron franchise with an impressive motorbike chase. Here, the aeroplane/drone battle in the canyons is a stand out sequence. Jack’s jet ducks and weaves through every crevasse in spectacular fashion. However, the action only briefly distracts from the exposition-heavy dialogue sequences. Every-time a dull and derivative cliche pops up, there is an intriguing plot point that is left to the waste-side. However, credit should go to Kosinski for providing yet another thumping score. Much like Daft Punk’s Tron: Legacy soundtrack, M83’s music adds both intensity and scale to nearly every scene.

“I can’t shake the feeling that Earth, in-spite of all that’s happened, Earth is still my home.” (Jack Harper (Tom Cruise), Oblivion).

The movie bats you over the head with its environment and political messages. Oblivion soon becomes a haunting reminder of nuclear warfare and enemy invasion. Hopefully, life won’t imitate the events of Oblivion any time soon. Jack is a fascinating character. Despite his philosophical crisis and mental instability, his earnestness and humanistic tendencies make him a likeable character. As usual, Cruise provides enough charisma and magnetism to lift his role. Cruise is lively in some moments and heartening in others. His recollection of the final Super-bowl is a fun moment. Like Solaris, the lead male character falls for a mysterious girl. The love triangle between him, Victoria and Julia could’ve been interesting, but the script fails to develop the female characters. Julia should’ve been a prominent and alluring love interest. Instead, Kurylenko delivers the ‘deer-in-headlights’ look throughout the entire film. Riseborough provides a saucy performance as Victoria. Playing Jack’s friend with benefits and work colleague, Riseborough is much more energetic than Kurylenko. Morgan Freeman makes the most of his underwritten character. He proves that there are many eclectic performances still left in him.

For the most part, Oblivion is a rollicking sci-fi flick. If you can avoid the flaws scattered throughout the film, you may fall for the charismatic performances and glorious aesthetic. Kosinski has a unique eye for visuals, but let’s hope that his next film will avoid jarring tonal shifts and pacing issues.

Verdict: An energetic yet problematic sci-fi actioner. 

Shadow Dancer Review – Irish Brew


Director: James Marsh 

Writer: Tom Bradby (screenplay & novel)

Stars: Andrea Riseborough, Clive Owen, Gillian Anderson, Aidan Gillen


Release date: August 24th, 2012

Distributor: Paramount Pictures

Countries: UK, Ireland

Running time: 101 minutes


 

3½/5

Best part: Enthralling performances from Riseborough and Owen.

Worst part: The monotonous pace.

Throughout history, Ireland’s lower and middle classes have been embroiled in violent social upheaval. Political thriller Shadow Dancer is based on a novel from the film’s screen-writer Tom Bradby. His Journalistic work for ITV news in 1990’s Northern Ireland was paramount to the success of this authentic and haunting story. The film balances between gritty realism and poetic storytelling, creating a harsh, subtle yet emotionally powerful account of one of the world’s most appalling political conflicts.

Andrea Riseborough.

The film depicts the Irish Republican Army(IRA)’s atrocities from the insider’s perspective. Colette McVeigh (Andrea Riseborough) is a single mother and pawn in a political and familial struggle. Still reeling from her brother’s death decades earlier, her emotional restraints are broken when she fails to follow orders. Arrested after her role in a failed bomb plot on a London underground train, Colette is given a choice by MI5 agent Mac (Clive Owen). She can either aid the British police in capturing important IRA members or spend 25 years in prison. With her son and mother in mind, Colette reports IRA incidents to Mac. When an IRA assassination plot is foiled however, paranoia sets in and everyone becomes a target of republican revenge. Both Colette and Mac must soon face their own problems within separate organisations.

Riseborough & Clive Owen.

Riseborough & Clive Owen.

Shadow Dancer meditatively becomes a heart wrenching slow-burn thriller in the vein of this year’s Tinker Tailor Soldier Spy. Following the film’s emotionally resonant first scene, the sombre tone of these horrific events establishes the core of this IRA thriller. This character study, documenting the separation between the law and anarchy, is defined by the similarities between Colette and Mac. Colette is morally driven and sensitive, determined to help the innocent people in her family by any means. From the nail-biting station sequence, her emotions illustrate the true despair of a broken home and divided country. The unique step this film takes is to develop Owen’s determined and sceptical detective character. Frustrated with his superiors, his paranoia pushes his illegitimate investigation of both Colette’s pressing situation and the practices of his own organisation. Riseborough and Owen are compelling in their chilling roles. Vastly different characters on the surface with similar shades of regret and redemption underneath, their disconcerting relationship brews intensely.

David Wilmot, Aiden Gillan & Domhnall Gleeson.

David Wilmot, Aiden Gillan & Domhnall Gleeson.

Capturing a nation’s identity through familial heartache and violence, Shadow Dancer creates a more contemplative view of crime than similar films such as 2010’s Animal Kingdom. Sharing many similarities with 2008 action-thriller Traitor, personalities and political conspiracies collide into a discomforting and powerfully relevant story. Director James Marsh (Man on WireProject Nim) smartly focuses on the emotional bonds created and then broken between people on both sides of the law. Unfortunately, the film provides a narrow focus on the IRA situation through Collette and Mac’s perspectives. Marsh seems intent on depicting one family’s influential role in the civil unrest; failing to convincingly develop this pressing social affliction. This choice sorely costs vital screen time for talented character actors including Aidan Gillen, Domhnall Gleeson and The Guard‘s David Wilmot as vital IRA members close to Colette. The handheld camera style creates a gritty and atmospheric presentation of certain events. The funeral scene stands out in this case, capturing a breathtaking account of the clash between authority and republican rights.

“Is it just because she has a pretty face?” (Kate Fletcher (Gillian Anderson), Shadow Dancer).

Gillian Anderson.

Gillian Anderson.

Marsh has combined his experience with documentary film-making with the ever advancing possibilities of fictional storytelling. A gritty sense of darkness is born here, as each character must begin to accept the depths they have fallen into along the way. The film becomes a claustrophobic aura of death and emotional despair, despite lacking the political intrigue of IRA drama The Crying Game. Belfast specifically becomes a symbol of Colette’s shattered mind. Decrepit and sombre, Marsh focuses on locations which illustrate the societal impact of a republican force fighting oppression from a first world order. Each interrogation is an enthralling and climactic dialogue sequence. A smoke-like haze covers these scenes creating a significant sense of dread. Each interrogation illustrates Colette’s increasing danger, forcing her to continually look over her shoulder in a cold sweat. The film’s sombre tone is fuelled by a washed out colour scheme. Even in the film’s happiest moments, dark clouds gather over Colette as her paranoia begins to take over.

Breathing new life back int0 Ireland’s film industry, Shadow Dancer depicts a much-maligned sector of the country’s history. Thanks to its refined cast and efficient direction, this stoic crime-thriller picks us up and shakes around throughout its taut run-time. It may even get people invested in this ongoing conflict.

Verdict: An intense and heart-breaking political thriller.