Fury

For F*** Magazine

FURY

Director : David Ayer

Cast : Brad Pitt, Shia LaBeouf, Logan Lerman, Jon Bernthal, Michael Peña, Xavier Samuel, Jason Isaacs, Scott Eastwood

Genre : War/Action

Opens : 22 October 2014

Rating : NC-16 (Violence and Coarse Language)

Run time: 134 mins

The 2^nd Armoured Division was hell on wheels to any Nazis who found themselves in their path. This film, set in April 1945 as the Second World War draws to a close, tells of the fictional five-man crew of a M4A3 Sherman tank christened “Fury”. US Army Staff Sgt. Don “Wardaddy” Collier (Pitt) leads the crew, consisting of Boyd “Bible” Swan (LaBeouf), Grady “Coon-Ass” Travis (Bernthal), Trini “Gordo” Garcia (Peña) and rookie Norman “Cobb” Ellison (Lerman). A typist clerk who’s never been on the battlefield, Norman struggles to confront the horrors of war head-on as he repeatedly clashes with the men who occupy the Fury with him. Facing off against the better-equipped Nazis, the crew of the Fury must make a heroic last stand behind enemy lines.

            Writer-director David Ayer’s films have not been particularly pleasant, from gritty cop thrillers like Street Kings and End of Watch to the nasty Schwarzenegger-starring Sabotage earlier this year. War is never pleasant and Ayer brings a good deal of nastiness to the proceedings. Fury’s depiction of World War II is unflinching in its violence and brutality, containing many shocking moments of heads – belonging to soldiers and civilians alike – being blasted open. On one hand, this graphic approach adds to the film’s believability and makes it clear to the audience that Ayer is not interested in presenting a sanitized, romanticised view of this period of history. On the other, it often feels exploitative, that Ayer is revelling in this carnage and that the “war is hell” message is secondary to bullet hits and blood splatter.

            “Ideals are peaceful. History is violent,” Pitt’s Wardaddy says pithily. Ayer has achieved a grimy, bloody realism befitting the historical but at the same time, it can’t help but feel like a wholly cynical affair. In this day and age, Americans and others around the world have grown jaded with and tired of war. Ayer’s take on the Second World War is bereft of nostalgia or sentimentality, but this works against it. Some audiences might squirm at the film’s depiction of “the greatest generation” taking sadistic glee in slaughtering German troops; others might just cheer along. There are attempts in Fury to tackle ethical quandaries and questions of faith but these moments are presented with far less conviction than those involving flying body parts.

            Even though the soldiers manning the Fury are far from likeable, the performances are solid, with Brad Pitt leading the charge. Wardaddy, as his nickname suggests, is a father to his men, but he also has a cruel streak and isn’t about to mollycoddle anyone. Pitt is sufficiently believable, apart from his constantly perfectly-coiffed hairdo. Bernthal’s Grady is the resident jerk of the crew and he does get on the nerves, though that’s how the part was written. Shia LaBeouf is surprisingly less annoying than this reviewer expected and his scripture-quoting Boyd “Bible” Swan, dedicated to his faith while raking up the body count, is not quite the caricature he should’ve been. Logan Lerman, sometimes characterised as a handsome but boring young actor, is the standout of the cast for this reviewer. Yes, Norman is the audience surrogate character, the fresh-faced new kid yet to be tainted by the horrors of war – we’ve all seen that one before. However, Lerman’s conviction in the part, combined with how out of place he looks in that environment, gives the film its few moments of genuine heart-rending emotion amidst the barrage of gunfire and exploding grenades.

            Perhaps we’re wrong – perhaps we should be glad that a World War II film pulls no punches and isn’t naïvely jingoistic. But it is too much to ask for a film of this genre to highlight nobility and honour, bring a little of the best of humanity to the forefront, feel respectful? There have been several masterfully-made war films which are violent and bloody but also showcase the dignity and heroism of their subjects – Saving Private Ryan comes to mind. Unfortunately, David Ayer seems to have too much fun blowing bodies to bits to present a sombre, well thought-out historical portrait.

Summary: Those looking for bloody, brutal WWII violence will be satisfied; those looking for respect and dignity to balance that out will not.

RATING: 2.5 out of 5 Stars

Jedd Jong 

Noah

For F*** Magazine

NOAH

Director: Darren Aronofsky
Cast:         Russell Crowe, Jennifer Connelly, Ray Winstone, Logan Lerman, Emma Watson, Douglas Booth, Anthony Hopkins, Leo McHugh Carroll, Nick Nolte
Genre: Drama, Adventure
Run Time: 140 mins
Opens: 3 April 2014
Rating: NC-16 (Some mature content and violence)

“Survival at sea” movies seem to be making a comeback: over the last two years, we’ve seen Life of Pi and All is Lost, with Unbroken due later this year. Darren Aronofsky delivers his take on what might be the original survival at sea story with Noah. It has been ten generations since the creation of Adam and Eve, and Noah (Crowe) receives visions from God foretelling a great flood that will annihilate humankind, who has become wicked and violent. Noah is tasked with building an ark to shelter one male and one female of every animal during the flood. His wife Naameh (Connelly), sons Shem (Booth), Ham (Lerman) and Japheth (Carroll) and Shem’s wife Ila (Watson) help Noah with his divine mission, but they also witness the torment brewing within Noah. The vicious self-proclaimed king Tubal-Cain (Winstone) refuses to acknowledge the prophecy of the flood and leads his men against Noah. The fallen angels encased in rock known as the Watchers, led by Samyaza (Nolte), protect Noah and his family against the hordes as the waters erupt from the ground and fall from the heavens.



Most book-to-film adaptations are of full-length novels, and the first step in such adaptations is often trimming the material down to size and condensing it. The story of Noah is found in Chapters 6-9 of the book of Genesis in the Bible: it’s a short story that’s told matter-of-factly and this adaptation involves a good deal of expansion. Aronofsky set about making a film that would defy expectations associated with a Biblical movie, while staying true to the letter of the text – something definitely easier said than done. This is a filmmaker whose works include the provocative, disturbing likes of Requiem for a Dream and Black Swan and whose most technically ambitious film was the trippy The Fountain, so there’s no way he was going to play by established rules. Paramount got cold feet when test screenings last year generated controversy, but Aronofsky fought hard for the preservation of his cut of the film. The Noah audiences are getting stays true to Aronofsky’s vision, but it is easy to see why the studio panicked, and the multiple fades to black seem to indicate there’s still some re-editing that happened.



We don’t go to the movies to be preached to and Noah definitely isn’t a woefully laughable production the way Kirk Cameron’s Left Behind movies were. Aronofsky and co-writers Ari Handel and John Logan train the story’s focus on the humanity of the characters. The internal conflict that arises within Noah’s family and the external conflict provided by Tubal-Cain’s onslaught drive the narrative. All the players have their flaws, and oftentimes said flaws get magnified. The Bible is not a pretty book; many of the stories within are raw and hard to stomach. Aronofsky wanted to flesh out the darkness supposedly inherent in the story of Noah and the great flood, so the handling of the Watchers is particularly curious. In this film, they are fallen angels cursed to be imprisoned in stone, so they end up as rock creatures particularly reminiscent of Ray Harryhausen-style stop-motion movie monsters. In the Bible however, the Watchers lusted after human women, co-habiting with them and spawning the monstrous Nephilim; God bringing about the flood to wipe these giants from the earth. That Noah does not pursue this inherently juicy and fantastical story thread is puzzling.



There’s a lot of angst in this film, an understandable storytelling choice as angst breeds drama. Russell Crowe’s Noah is stoic but burdened with his divinely-appointed task, and as interpreted here, is intent that human beings not get a second chance. Russell Crowe certainly does “tough” and “angry” well; while this is a good performance, it’s not anything very new for him. Jennifer Connelly, who was also Crowe’s on-screen wife in A Beautiful Mind, is a dependable voice of reason as Naameh, who tries to reassure Noah that he loves his children and therefore cannot hate all of mankind.



Ila’s deal is that she is she is barren from a childhood injury and feels inadequate that she will not be able to provide Shem with children. Emma Watson attempts to give Ila a personality of her own, but it does seem like she’s defined by her role within the family. Logan Lerman’s Ham is the rebellious middle child, in danger of being swayed by the aggression and power Ray Winstone’s Tubal-Cain embodies. Winstone is as imposing and grizzled as he usually is and does make for a believable opponent to Noah, though he often falls into the position of “designated antagonist”. The slightest hint of levity in the film is provided by Anthony Hopkins’ Methuselah, Noah’s grandfather and a Yoda-type sage and mentor who misses the taste of berries.



Ideally, a film of this genre melds spectacle and intimate story-telling. It would seem that Noah accomplishes both, what with location filming in Iceland and on a purpose-built ark set at New York’s Planting Fields Arboretum, in addition to boasting the most complicated rendering in visual effects house ILM’s history. However, it sometimes feels like Aronofsky was reluctant to present a visual epic; that he was so intent on depicting a tense family drama that scenes like the masses of birds flocking into the ark were only included out of obligation. There is a time-lapse-heavy montage telling the creation story and illustrating man’s propensity towards conflict with several inventive touches. Perhaps it’s to do with the tonal approach: there’s a difference between “solemn” and “dreary” and most of the time, Noah leans towards the latter, resulting in a lack of sweeping majesty.

Darren Aronofsky wanted Noah to be “different”, and that it is. Filmgoers should appreciate the fact that a director as talented and as unique as Aronofsky was given around $130 million to tackle a story like Noah, rendering a well-worn story new again. It’s not necessarily going to sit well with the personal beliefs of every viewer out there but then again, that’s part of what sets this apart from the crop of Bible flicks – though it is at the expense of staying true to the source material. While the end result is far from watertight, it is interesting, it is sufficiently thought-provoking and taking a good deal of artistic license, the film explores the text as much as it challenges it.

SUMMARY: Far from the cuddly pleasure cruise drawn in so many children’s picture Bibles, Noah is complex, uneven, patchy but uniquely engrossing nonetheless.

RATING: 3 out of 5 Stars

Jedd Jong

Percy Jackson: Sea of Monsters

For F*** Magazine

PERCY JACKSON: SEA OF MONSTERS

Director: Thor Freudenthal
Cast: Logan Lerman, Brandon T. Jackson, Alexandra Daddario, Jake Abel, Melina Kanakaredes, Brandon T. Jackson, Douglas Smith, Missi Pyle, Yvette Nicole Brown, Mary Birdsong, Nathan Fillion, Stanley Tucci, Anthony Head, Leven Rambin
Genre: Action, Fantasy
Run Time: 106 mins
Opens: 29 August 2013
Rating: PG (Some Violence And Frightening Scenes)

2010’s Percy Jackson & the Olympians: The Lightning Thief was generally written off as a big studio attempt to come out with a franchise to replace Harry Potter, which was nearing its end at the time. However, it did do well enough to warrant a follow-up, based on Rick Riordan’s second Percy Jackson novel, The Sea of Monsters. So, does this seafaring sequel stay afloat or leave the series dead in the water?

The film begins with a prologue depicting the origins of the protective shield around Camp Half-Blood, safe haven for demigods-in-training. When a familiar foe attacks, weakening the barrier and threatening the safety of the camp, Percy Jackson (Lerman), son of Poseidon, sets out to retrieve the fabled Golden Fleece, which will help heal the magical tree that is the source of the force-field. He is accompanied by Annabeth (Daddario), satyr friend Grover (Jackson) and his newfound Cyclopean half-brother Tyson (Smith). Together, they have to traverse the treacherous body of water of the title, more commonly known as the Bermuda Triangle. Percy’s competitive rival Clarisse (Rambin), the daughter of Ares, has also set out in search of the Fleece and must eventually team up with those she has scoffed.



The first film was an entertaining if rather derivative teenage-aimed fantasy-action flick that put several clever spins on Greek mythology, creatively integrating elements like the Lotus-eaters and the multi-headed hydra into a modern-day context. In that regard, this film is very similar, albeit a tad more lighthearted than its predecessor. It’s good to see a young adult novel adaptation that doesn’t take itself so seriously, considering how ridiculously po-faced a lot of them have gotten. It’s paced pretty well, has a straightforward “go get the macguffin!” plot (with the Golden Fleece in place of Zeus’ master lightning bolt) and has enough interesting visuals to hold the attention. For example, there’s a stunning, stylish stained-glass-style animated sequence which brings to mind the “Golden Army” animated prologue from Hellboy II.

Taking over the reins from Harry Potter alum Chris Columbus is Thor Freudenthal, director of Hotel for Dogs and the first Diary of a Wimpy Kid film, whose background is in conceptual and storyboard art. It’s a good thing that, given his résumé, the film doesn’t overly pander to the younger set and still packs decent amounts of excitement for the older kids and parents in the audience. The action set-pieces are not quite as strong as those in the first film, capped off with a slightly anti-climactic denouement set in an abandoned theme park. However, there still are some pretty cool moments, including an attack on the camp by the fire-breathing mechanical Colchis bull that looks like something out of Transformers: Beast Wars, as well as the appearance of the iridescent Hippocampus, a literal “sea horse” that is summoned so Percy and company can hitch a ride.



The central trio of Lerman, Daddario and Jackson appear comfortable stepping back into their roles, Lerman now able to play Percy as a slightly more experienced hero and leader. Newcomer Smith is endearing as the awkward, oafish but good-natured Tyson, who is met with initial hostility from Annabeth. Naturally, we are presented with the moral of learning to look past one’s appearances but hey, better than no character development at all. Rambin has fun with the part of the determined and confrontational warrior – the moral with Clarisse is, of course, the value of humility and trusting in the abilities of others. Thankfully, we don’t get beaten over the head with this. Abel does more unconvincing angsting and flat-line delivery as Luke, but doesn’t get a whole lot of screen time.

This film has to make do without the illustrious supporting cast of the first, the likes of Sean Bean, Uma Thurman, Rosario Dawson, Steve Coogan and Pierce Brosnan (he’s replaced by Anthony Stewart Head) all absent. That’s not to say it suffers overly for this, though: Stanley Tucci is funny as Dionysus, the god of wine, ecstasy and assorted hedonism-turned stir-crazy camp director and christened “Mr. D”. Nathan Fillion also pretty much steals the show in his one-scene cameo as Hermes, functioning as a Q-type character who dispenses a couple of nifty gadgets to Percy and friends. Being the fan-favourite herald of geekiness he is, Fillion gets to do a wink and a nod to the television shows he’s best known for, Firefly and Castle. Also worth a mention are Missi Pyle, Yvette Nicole Brown and Mary Birdsong as the Graeae; the bickering crones re-imagined as taxi drivers.




The film aspires to be nothing more than a fun, entertaining family adventure flick – and that, it is. We’ve seen these character types and story arcs before and yes, it's been scaled back a bit from Lightning Thief, but the decent visual effects work and ADI’s make-up and animatronic effects make this a lively ride. The novelty of a world in which the tales of Greek myth are all true and lurk beneath the surface of our contemporary existence is put to amusing use, and a third film certainly wouldn’t be something we’d be vehemently against.

SUMMARY: A generally enjoyable adventure that, in spite of several well-worn elements, has enough vim and verve to keep audiences, kids in particular, interested. Also, the 3D’s not half bad!

RATING: 3.5 out of 5 STARS

Jedd Jong