The Revenant

For F*** Magazine

THE REVENANT 

Director : Alejandro González Iñárritu
Cast : Leonardo DiCaprio, Tom Hardy, Domhnall Gleeson, Will Poulter, Forrest Goodluck
Genre : Adventure/Thriller
Run Time : 2 hrs 36 mins
Opens : 4 February 2016
Rating : M18 (Sexual Scene and Violence)

The untamed wilderness has never been wilder and more untamed than in this survival epic. It is 1823 in the uncharted Louisiana Purchase and a party of fur trappers led by Andrew Henry (Gleeson) is hunting for pelts. The group is ambushed by the Arikara Native Americans and many of their number are killed. Hugh Glass (DiCaprio), a hunter familiar with the terrain of the area, recommends a path through the forest for the survivors to take. John Fitzgerald (Hardy) is antagonistic towards Glass and his half-Pawnee Native American son Hawk (Goodluck). Angry about having to abandon the valuable pelts, Fitzgerald betrays Glass and leaves him for dead after Glass is severely mauled by a bear. Fitzgerald tricks the young trapper Jim Bridger (Poulter), who has volunteered to stay behind and tend to Glass, into going along with his plan. Glass claws his way out of a shallow grave, navigating the harsh landscape in search of shelter and vengeance against Fitzgerald.

            The Revenant is based on Michael Punke’s 2002 historical novel of the same name, which in turn drew on the true story of Hugh Glass. The Revenant will go down in film history has having one of the most arduous shoots ever, with the crew deeming the production process a “living hell”. They had to contend with below-freezing temperatures, director Iñárritu’s preference for shooting the film in chronological order and cinematographer Emmanuel Lubezki’s insistence on only using natural light, be it from the sun or a campfire. In addition, the lack of snow in the Canadian locations resulted in the whole crew picking up sticks and relocating to Argentina. The shoot went over schedule and Hardy had to drop out of Suicide Squad because of it. Defending his decisions and saying he “has nothing to hide,” Iñárritu told the Hollywood Reporter “If we ended up in greenscreen with coffee and everybody having a good time, everybody will be happy, but most likely the film would be a piece of s***.”

            So, was all of that worth it? Short answer: yes. The Revenant is not a story with particularly inventive twists and turns, but even though most audiences would have a general idea of how the story will progress even without prior knowledge of Hugh Glass, it’s very easy to get invested in this yarn. Iñárritu reels the audience in and doesn’t let go, one can almost feel the film’s grip tighten. Wide panoramas of mountain ridges and roaring rivers are contrasted with extreme tight close-ups of bloodied and bruised characters gritting their teeth. Lubezki serves ups beauty without a hint of artificial polish, uncompromising, raw and majestic. Much has been made of the brutal scenarios depicted in the film, but Iñárritu uses the violence such that the audience doesn’t get too comfortable in their plush multiplex seats, and he never gleefully revels in the gore the way Tarantino does. The wince-inducing moments are numerous, as impactful as they are bracing.

            DiCaprio has yet to win an Oscar. That’s the meme that has been run deep into the ground. With all that he’s put himself through to play Glass, The Revenant might finally be his shot at that coveted golden statuette. He calls it the “hardest performance of his career”, and it’s easy to see why: the vegetarian actor had to devour a slab of raw bison liver, learn to fire a musket and build a fire and study the Native American languages of Pawnee and Arikara. We’ve seen heroes who cling to bitter determination against all odds before, but DiCaprio does hammer home the extent of Glass’ ordeal.

Hardy is just as good, even stealing the show from DiCaprio on occasion, as Fitzgerald. This reviewer is of the opinion that Hardy is at his best when playing aggressive, villainous characters and his portrayal of the avaricious Fitzgerald is thoroughly authentic. Gleeson is just the right pitch of noble and Poulter looks appropriately out of his element as the greenhorn Bridger. Goodluck and DiCaprio share just enough of a father-son bond, though the relationship isn’t as believable as it should be. Arthur RedCloud delivers a truly moving performance as a good Samaritan Pawnee man named Hikuc who aids Glass.

            In order to compete with the ready availability of films to watch in various formats at home, movie theatres truck out gimmicks such as 3D, IMAX, Dolby Atmos sound and D-Box motion seats, promising “immersion”. While this reviewer is often a sucker for such gimmicks, few cinematic experiences come close to offering the immersion that The Revenant does. The film certainly has its shortcomings: at 156 minutes, it is too long, though not egregiously so. It is also ultimately more gruelling than rewarding to sit through and doesn’t say anything particularly poignant about the dynamic between Native Americans and the frontiersman who came to mine North America for its natural resources. Taken as a harrowing survival odyssey, The Revenant is quite the achievement.

Summary: A primal, riveting tale of nigh-superhuman perseverance, you’ll be rooting for Leonardo DiCaprio and against Tom Hardy while taking in the splendour of the untamed wilderness and wincing at the effectively gory moments.

RATING: 4 out of 5 Stars

Jedd Jong 

The Chronicles of Narnia: The Voyage of the Dawn Treader

THE CHRONICLES OF NARNIA: THE VOYAGE OF THE DAWN TREADER

2010

Starring: Skander Keynes, Georgie Henley, Ben Barnes

Directed by: Michael Apted

20^th Century Fox/Walden Media

          

  After The Chronicles of Narnia: Prince Caspian, released in the summer of 2008, Disney dropped the franchise. The reasons are not entirely clear, but speculation is rife that the film lost out to the heady competition that season and didn’t make as much money as Disney would’ve liked. Thankfully, 20^th Century Fox has picked up the series and  with The Voyage of the Dawn Treader, we return to the magical land of Narnia.

            The Pevensie siblings Edmund (Keynes) and Lucy (Henley) are living in Cambridge during the Second World War, with their precocious but annoying cousin Eustace Scrubb (Will Poulter). Edmund and Lucy are pulled back into the world of Narnia, with Eustace as an unwelcome tagalong.

            The three children board the Dawn Treader, the finest vessel of the Narnian kingdom, and Edmund and Lucy reunite with King (formerly Prince) Caspian (Ben Barnes) and the swashbuckling talking mouse Reepicheep (voiced by Simon Pegg). Caspian tells them that he is searching for the Seven Lost Lords of Narnia; noblemen who had been banished from the kingdom after Caspian’s evil uncle Miraz usurped the throne.

            Edmund and Lucy jump straight into the adventure, while Eustace continues to irk the crew with his reluctance to participate and his refusal to believe in the world of Narnia. Along the way, the crew of the Dawn Treader must deal with slave traders, invisible mischief-makers, sea serpents and an ominous mist that, like the symbiote in Spider-Man 3, brings out the dark side in those in its thrall.

            The film’s trailers piqued my interest mainly because of the ocean setting. The C.S. Lewis-written source material offers much cinematic potential, especially since the makers of the film have decided to go 3D. Sure enough, the film looks gorgeous with its added visual dimension, creating an adequately immersive world.

            While the first two films seemed to offer up a Narnia that felt more real, Dawn Treader gives us a Narnia that seems more theme-park-esque, the titular ship itself reminiscent of Steven Spielberg’s Hook. That is not necessarily a bad thing though; the film retains a buoyant, family-friendly style mood throughout as opposed to the slightly gritty Prince Caspian, and the darker moments are not overwhelming and are well-handled.

           

In the world of visual effects, we seemed to have reached a level where computer-generated characters can hold their ground against live-action actors with acceptable believability. The actors have to be commended for various scenes where they must interact with nothing. Reepicheep looks even better than he did in the film’s predecessor and holds up to extreme close-ups with good facial expressions and nicely-textured fur.

            This instalment is more “adventure” and less “action”, taking a break from the more brutal fantasy violence of the second. The climactic battle with the sea serpent is still a good action sequence though.

            Since messiah-figure Aslan the lion (voiced by Liam Neeson) deemed that the older Pevensie siblings Susan (Anna Popplewell) and Peter (William Moseley) had learnt all they needed to learn from Narnia, the two only appear in brief cameos, and the film is carried by Keynes and Henley.

            Henley has blossomed into a young woman and it does take a while to get used to seeing the cutest Pevensie sibling all grown up, but she maintains the character’s likeable demeanour and childlike wonderment and seems destined to be an ideal leading lady. The film’s subplot dealing with Lucy’s insecurity when it comes to her appearance and her desire to look as beautiful as her sister is handled a tad clumsily, but that is not Henley’s fault.

Keynes, who in the first two films at times verged on irritating as a third wheel to the sibling team, steps up to the plate as the de facto second-in-command to King Caspian, and does a good job. He is no longer an awkward teenager and the two earlier trips to Narnia have seasoned the character into a competent warrior.

            Ben Barnes seems to have improved quite a bit from his stiff-at-times turn in the previous film. He has grown into the role of Caspian and plays well off the Pevensie siblings; they often banter like close friends. It’s quite a relief that Caspian doesn’t stew over his shortcomings as a king, though the story does adequately address the ruler’s struggles. Will Poulter as Eustace is unlikeable to a fault, and it is to his credit that he manages to make the audience despise him utterly, as the character edges towards a possible redemption.

            Simon Pegg, filling in for Eddie Izzard, is a remarkably fun Reepicheep, lending good vocal comic timing to the role. The other main voice role is that of Aslan, and just as he did in the first two films Liam Neeson sounds fatherly, wise and firm yet kind. However, don’t expect to see a lot of Aslan, as he has a fairly minor role in this film.

            Unlike in the first two films, there doesn’t seem to be a solid antagonist for the siblings to work against. The story is more episodic, as the crew of the Dawn Treader sail from small adventure to small adventure, perhaps like levels in a video game. Therefore, the movie feels like it lacks a solid narrative backbone, even though the “levels” are all quite enjoyable.

            Taking over from Andrew Adamson, director Michael Apted (of Gorillas in the Mist and The World is Not Enough fame) treats the film more like an action adventure and less like a fantasy, but has a firmer grasp cinematically on the material, compared to Adamson whose experience was mainly in animation.

            There is, unfortunately, one trait that all the three Narnia films made so far share, the hard-to-shake feeling that it is not an important motion picture event and rather a semi-epic. The theme park feeling comes up again, and for all its visual spectacle and fine performances, this adaptation doesn’t seem to be as grand as the source material deserves.

            The Chronicles of Narnia: The Voyage of the Dawn Treader ultimately makes for a good holiday season family outing at the cinema, and is a fitting end to the Pevensie trilogy-only time will tell if the remaining four books will make it to the screen. It’s not a game-changer as far as fantasy films go, but it is more than passable as an adventure movie and is something everyone, young and old alike, can enjoy.

           

RATING: 3.5/5 STARS