The Legend of Tarzan

For F*** Magazine

THE LEGEND OF TARZAN

Director : David Yates
Cast : Alexander Skarsgård, Margot Robbie, Samuel L. Jackson, Christoph Waltz, Djimon Hounsou, Simon Russell Beale, Jim Broadbent
Genre : Action/Adventure
Run Time : 1 hr 49 mins
Opens : 30 June 2016
Rating : PG13 (Violence)

 

          Superheroes may reign at the multiplex, but the Lord of the Apes is hoping to reclaim the crown. We find John Clayton III a.k.a. Tarzan (Skarsgård) living a life of aristocracy in London, alongside his American wife Jane Porter (Robbie). It has been years since Tarzan has left the jungle and now, King Leopold II of Belgium has invited him to return to the Congo Free State. Tarzan is initially reluctant to travel back to Africa, but is convinced by George Washington Williams (Jackson), an American diplomat who plans to investigate Leopold’s alleged use of slaves to build a railway through the Congo. Tarzan is unaware that he is being lured back to the jungle by the ruthless and avaricious Belgian Captain Léon Rom (Waltz), who has offered to deliver Tarzan to the vengeful Chief Mbonga (Hounsou) in exchange for diamonds. As Tarzan reunites with the various wild animals he grew up amongst, the people of the Congo must fight for their liberty.

            Edgar Rice Burroughs’ Tarzan is an enduring figure in popular culture, but is now most often viewed as kitschy and campy. Clad in a loin cloth, yelling as he swings through the trees – he’s not exactly the action hero modern-day moviegoers have become accustomed to. Director David Yates, best known for helming the final four instalments in the Harry Potter film series, endeavours for viewers to take Tarzan seriously again. This take on the story is commendable in that it wants to be about something, directly addressing the colonialist politics and the unethical means by which various European nations went about their conquest of Africa. It’s pretty heady stuff and the film’s approach errs on the simplistic side, but there’s enough action to ensure the film doesn’t get bogged down in its sombre themes.

            Yates, working from a screenplay by Craig Brewer and Adam Cozad, approaches this as a work of historical fiction. The primary antagonist, Léon Rom, is an actual historical figure, who was known for keeping severed heads in his flowerbed. In addition, George Washington Williams as depicted in the film is a fictionalisation of a real-life Civil War veteran, preacher, politician, lawyer, journalist and historian. The 1890 setting is established with enough detail, but one does occasionally get the sense that this is an adventure flick putting on stuffy period drama airs.

            Skarsgård beat out the likes of Henry Cavill, Tom Hardy, Charlie Hunnam and swimmer Michael Phelps, who was toying with using this film to launch an acting career, for the title role. We first see Tarzan as John Clayton III, trying to fit in among the upper crust, and Skarsgård ably conveys that this is a man who is not in his element. While Tarzan is traditionally viewed as a feral man, this version portrays him as a person of both instinct and intellect, having mastered multiple languages and well-versed in various cultures. He wants to be seen as more than a mere oddity. Naturally, we get to see him doff his shirt, and any doubts that he wouldn’t be able to pull off the necessary muscled physique are quickly assuaged. For all his efforts, Skarsgård is still encumbered by a certain stiffness, and this reviewer would like to have seen a more passionate, unbridled Tarzan.

            Yates wanted Jessica Chastain to portray Jane and the studio had their eyes on Emma Stone, but it’s Robbie who portrays Tarzan’s lady love. Robbie possesses an irrepressible radiance and imbues Jane with a charming vigour. The film is able to strike a balance between putting Jane in peril, as she is expected to be so Tarzan can rescue her, while also making her a capable character in her own right. She holds her own opposite Waltz, but the scene in which Jane grits her teeth to sit down for dinner with Rom is a pale imitation of the similar scene between Belloq and Marion Ravenwood in Raiders of the Lost Ark.

            There’s no denying Waltz is a talented actor, but by now, audiences have begun to tire of seeing him typecast as the villain, and he does nothing different as Rom. The character is the embodiment of imperialist greed, striding through the jungle with fearsome troops behind him, taking what he wants at will. There’s no nuance here, and Waltz often seems extremely close to twirling his moustache. Hounsou strikes an imposing presence as the tribal leader who has a long-standing vendetta with Tarzan, but gets too little screen time for their conflict to take hold. Jackson is entertaining as Williams and the character gets a moment to reflect on his own history and explain his motivations. However, his performance can’t help but come off as anachronistic, and Williams is very much a wise-cracking buddy cop sidekick, which can pull one out of it at times.

            There is a great deal of visual effects work and a multitude of computer-generated animals required to populate the Congo. Unfortunately, some of these beasts look sillier than others, and several sequences, particularly a railroad ambush and an ostrich stampede, lack polish. Tarzan calls on his animal friends for assistance during the climax, and for a film purported to be a more serious telling of the Tarzan tale, it is a little goofy.

            The world was never aching for another Tarzan movie, but this one justifies its existence by incorporating historical elements and setting out to make a statement about man’s relationship with nature. This is complemented by a blend of National Geographic-style panoramic vistas and moderately exciting action beats. While it lacks the heart of the animated version the target teen audience might be most familiar with, it’s a fine addition to the Tarzan movie canon, and definitely ranks far above the risible 2014 animated take.

Summary: Historical elements are cleverly weaved into the familiar Tarzan tale and this is not as much of a re-tread as one might expect, but there’s still a certain vitality missing from this version.

RATING: 3.5 out of 5 Stars

Jedd Jong

Focus

For F*** Magazine

FOCUS

Director : Glenn Ficarra, John Requa

Cast : Will Smith, Margot Robbie, Rodrigo Santoro, BD Wong, Robert Taylor, Adrian Martinez

Genre : Romance/Drama

Run Time : 105 mins

Opens : 26 February 2015

Rating : NC-16 (Scene of Intimacy and Coarse Language)

In Batman Begins, Henri Ducard had this piece of advice for Bruce Wayne – “always mind your surroundings”. In Focus, Will Smith plays Nicky Spurgeon, someone whose stock in trade is preying on those who don’t mind their surroundings. A seasoned, talented conman, Nicky is skilled in the art of persuasion and deception. He’s prepared for everything – everything except Jess Barrett (Robbie), an attractive young woman eager to learn the tricks of the trade and become a grifter herself. Nicky has never let down his guard and let his feelings get the better of him, but Jess gets closer than anyone else does. While Nicky is in the employ of billionaire racing team owner Garriga (Santoro), Jess’ presence threatens to throw him off his finely-honed game.

            Escapism is a large part of what makes going to the movies appealing and there’s an undeniable allure to movies that offer a peek into worlds only the privileged few have access to. Focus very effectively seduces the audience, beckoning them into a dizzying, dazzling world of lies and shiny objects. There are certain dangers associated with the subgenre of conman movies – the audience should feel like they’ve been taken on a ride, but not for a ride, the difference almost imperceptible. Nobody likes the feeling of being invested in a film for two hours only to feel played out by the big reveal. Writing-directing duo Glenn Ficarra and John Requa manage to quite masterfully negotiate that, having a firm grasp on the film’s tone throughout. It’s funny and playfully sexy, but there are stakes and the thrills click right into the proceedings where they could have easily felt out of place.

            The other danger of conman movies is that they can often come off as smug, as if the filmmakers are taking particular delight in feeling smarter than the audience. There is a little bit of that in Focus, to be sure, but that’s definitely better than if it were an altogether dumb affair. Real-life sleight-of-hand artist and “deception specialist” Apollo Robbins serves as the consultant on the film, choreographing the elaborate pickpocketing sequences which are very exciting to watch. While most of the jokes do work, there are a few too many at the expense of overweight comic relief sidekick Farhad, played by Adrian Martinez. The character also supplies more crass sexual innuendo than is strictly necessary.

            Remember how Will Smith tried to play against type as a stern, emotionless father in After Earth, to disastrous results? Focus is far more in his wheelhouse and absolutely plays to his strength as an actor. Three parts charming, one part goofy, it’s very easy to buy Smith as the shark with a heart of gold. He’s also the kind of guy who could go out with a woman 22 years his junior and it really isn’t that creepy because he’s that likeable. Margot Robbie, who impressed in The Wolf of Wall Street, is excellent here as well. Jess is simultaneously an ingénue and a femme fatale, Robbie nailing both aspects of the character. We can’t wait to see them together onscreen in next year’s Suicide Squad. At one point, Ben Affleck and Kristen Stewart were attached to star – I think we can all agree that would have had, uh, markedly different results. The devilishly handsome Rodrigo Santoro makes for a sufficiently formidable romantic rival to Smith. B.D. Wong threatens to steal the show in his one scene as an overly-excited high roller.  

            Ficarra and Requa’s previous film was the romantic comedy Crazy, Stupid, Love, which is considered one of the better examples of the genre in recent memory. With Focus, they have crafted what is almost the ideal date movie. Romantic comedies that crowbar in elements intended to appeal to men have often fallen flat on their faces - This Means War or Killers, anyone? Focus does more than serve up a shirtless Will Smith and Margot Robbie in a bikini, it attains an admirable balance of sexiness, laughs and intelligence and features a central romantic pairing that is unique and happens to really work.

Summary: Focus is sharp, slick and sexy, gliding along on the chemistry of its leads.

RATING: 4 out of 5 Stars

Jedd Jong 

The Wolf of Wall Street

For F*** Magazine

THE WOLF OF WALL STREET

Director: Martin Scorsese
Cast:        Leonardo DiCaprio, Jonah Hill, Matthew McConaughey, Jean Dujardin, Jon Favreau, Kyle Chandler, Rob Reiner, Margot Robbie, Jake Hoffman, Shea Whigham, Jon Bernthal, Ethan Suplee, Kenneth Choi, P.J. Byrne, Christine Ebersole
Genre: Drama, Comedy
Run Time: 175 mins
Opens: 9 January 2014
Rating: R21 (Coarse Language, Sexual Scenes And Drug Use)

We all know the catchphrase popularised by Michael Douglas’ Machiavellein stockbroker character in 1987’s Wall Street, so say it with us: 1, 2, 3: “greed, for lack of a better word, is good”. Part of the controversy surrounding The Wolf of Wall Street is that the film not only makes greed look good, it makes it look like immense amounts of fun. Based on former stockbroker and convicted fraudster Jordan Belfort’s memoir of the same name, The Wolf of Wall Street takes viewers on a rocket ship ride into the stratosphere – but the interesting part is when the engines cut out and the vessel plummets down to the ground.

It is 1987 and Jordan Belfort (DiCaprio) becomes a Wall Street stockbroker, his boss Mark Hanna (McConaughey) teaching him that drugs and prostitutes are the only things that will keep him going. Belfort falls victim to the Black Monday crash, losing his position at the prestigious firm L.F. Rothschild. His wife Teresa (Milioti) finds him a job dealing in penny stocks in a dingy boiler room and being the gifted pitchman he is, Belfort soon earns a fortune. He befriends his neighbour Donnie Azoff (Hill) and they gather a band of misfits to found the Stratton Oakmont firm, which attracts the attention of the likes of Forbes magazine who dubs him “the Wolf of Wall Street”. It also attracts the attention of FBI agent Patrick Denham (Chandler). Belfort continues his extravagant existence, taking on blonde trophy wife Naomi (Robbie) as he dumps Teresa and getting addicted to cocaine and Quaaludes. As he must, the man who has everything realises it’s all slipping through his fingers. He does, right?

The wolf that Jordan Belfort (as depicted in the film) most resembles is the “insanity wolf” internet meme, the one all crazy-eyed, baring its fangs and favouring mutilation and immolation as solutions to all problems. Belfort is a wolf in wolf’s clothing: he’s already a wolf, but he’ll skin another wolf and wear the skin to prove how hard-core he is. Martin Scorsese has created what is essentially Contact High: the Movie, a film that is a wildly unmatchable thrill ride that also has something to say. The person this reviewer saw the film with described it as being the cinematic equivalent of getting drunk – complete with the hangover afterwards.

It is inevitable that a film of this sort will get called out for supposedly glorifying its subject. After all, this won’t be the first zeitgeist-y button-pusher of a movie to get misunderstood: how many guys went “hey dude, Tyler Durden’s so cool, I wanna be just like him”, “Patrick Bateman is the greatest!” or “that Travis Bickle has got it all figured out!”? This reviewer would argue that because The Wolf of Wall Street pulls no punches in its depiction of the sybaritic excesses Jordan Belfort wallows in, it doesn’t feel sanctimonious when the message of “the bigger they are, the harder they fall” eventually kicks in. There are times in the film when Belfort comes off as utterly pathetic, a noteworthy one being a scene in which he is almost paralyzed by a drug overdose and makes an agonising crawl out the door, down the stairs and to his car – it’s an inspired moment of physical tragicomedy which is almost Three Stooges-esque.

Between this and The Great Gatsby, Leonardo DiCaprio sure was partying it up in 2013. While both Jay Gatsby and Jordan Belfort are immensely wealthy, relatively young men who harbour a certain hollowness deep within, there’s no question that Belfort is more openly a maniac and boy, does Leo have the time of his life with this part. Yes, there are the lines and lines of coke, the gratuitous, wanton lovemaking, the white Ferrari “like Don Johnson’s in Miami Vice” and the pet chimpanzee.  But of course there’s the wounded, directionless, broken little boy at the very centre of it all who is drowning in the waves just like his luxury yacht caught in a storm - and you can bet that DiCaprio nails that in his portrayal of the character. Look out for a cameo from the real Belfort as the host of a seminar at the end of the film. Unfortunately for Leo, it seems Chiwetel Ejiofor is still the prime awards favourite at this point.

This being a Scorsese picture, it’s a given that the supporting cast comes out guns a-blazin’. Young Aussie actress Margot Robbie goes all Real Housewives, complete with a Brooklyn accent and a coiffed hairsprayed ‘do and pumps up the sex appeal yet manages to make Naomi more than a mere object in a turn reminiscent of Daryl Hannah’s in the afore-mentioned Wall Street. Who would’ve thought Jonah Hill, more Apatow’s type than Scorsese’s, would end up an Oscar nominee for Moneyball and star alongside Leonardo DiCaprio in this film? His turn as a panting, sycophantic lackey is comedy gold and it is to Hill’s credit that he’s also able to bring the sadness and shame in the part to the surface. Kyle Chandler’s FBI agent character is described as a “boy scout” and the strait-laced authority figure is a glimmer of order in the chaos that swirls around Jordan Belfort. Matthew McConaughey is in this for really just about two scenes, but he makes an impact as the guy who inducts Belfort into the wolves’ den. Jean Dujardin is also a hoot as a suave Swiss banker and money launderer.

The Wolf of Wall Street distinguishes itself from the awards contender pack by completely shedding any self-seriousness and being in-your-face irreverent. Scorsese pulls off that rare, glorious feat by crafting a film that’s wild and looks fast and loose, yet he knows where all the pieces are on the board every step of the way and juggles all those plates with impeccable precision. Sure, at 180 minutes, this is a long movie – but the time does zip by and then again, it fits the theme of excess (even though a good 20 minutes could have been cut without major consequence). It all adds up to an intriguing effect of subtly wearing the audience down after sending them corkscrewing into europhia, which seems to be exactly what Scorsese and company intended.

SUMMARY: While some might find it too rich for their blood, The Wolf of Wall Street is raucously funny, showcases Leonardo DiCaprio at his best and is entertaining without being inconsequential. This Wolf is on a bull run.

RATING: 4.5 out of 5 Stars

Jedd Jong