The Martian

For F*** Magazine

THE MARTIAN

Director : Ridley Scott
Cast : Matt Damon, Jeff Daniels, Jessica Chastain, Kristen Wiig, Michael Peña, Kate Mara, Sean Bean, Sebastian Stan, Aksel Hennie, Chiwetel Ejiofor, Donald Glover, Benedict Wong
Genre : Sci-Fi/Adventure
Run Time : 142 mins
Opens : 1 October 2015
Rating : PG13 (Some Coarse Language and Disturbing Scenes)

Someone alert David Bowie – there is life on Mars after all. It comes in the form of astronaut Mark Watney (Damon), who is stranded on the planet after being presumed dead when a sandstorm strikes his crew. The rest of the Ares III astronauts, Lewis (Chastain), Martinez (Peña), Johanssen (Mara), Beck (Stan) and Vogel (Hennie) are bound for home, unaware that Watney is still alive. Watney is left to fend for himself, drawing on every ounce of resourcefulness as he makes the most out of extremely limited supplies, eking out an existence on Mars. Back on earth, NASA director Teddy Sanders (Daniels), Mars missions director Vincent Kapoor (Ejiofor), public relations manager Annie Montrose (Wiig), Jet Propulsion Lab director Bruce Ng (Wong) and others labour over devising a rescue plan once they discover Watney did not die as they had believed. In the face of sheer adversity, the “Martian” must survive and work towards finally coming home. 

The Martian is based on Andy Weir’s 2011 novel of the same name, which was lauded for being thoroughly researched. There exists a scale, albeit a subjective one, of science fiction “hardness”, with something like Guardians of the Galaxy on the “soft” side and 2001: A Space Odyssey on the “hard” side. The Martian is a rare big-budget Hollywood hard sci-fi film and it emerges triumphant. Director Ridley Scott hasn’t had a spotless track record, coming off last year’s below-average Biblical epic Exodus: Gods and Kings. His previous sci-fi film, 2012’s Prometheus, proved hugely divisive. With most of the key crew from Prometheus including director of photography Dariusz Wolski, editor Pietro Scalia, production designer Arthur Max and costume designer Janty Yates returning, Scott has managed to more than redeem himself. 

The Martian boasts a sweeping, epic majesty juxtaposed with the intimate tale of one man’s survival. Jordan’s Wadi Rum seems to have made a steady career doubling for the fourth planet from the sun in films like Mission to Mars, Red Planet, The Last Days on Mars and this one. While everything does look a little too slick and Hollywood-ised, there’s still a sense of authenticity, the harsh environs and the sheer remoteness of the Martian landscape driving home how slim Watney’s chances of making it out alive are. Real-life NASA staffers must be drooling at seeing manned Mars missions depicted so gloriously on the big screen, given how bureaucracy, a lack of funds and myriad other obstacles stand in the way of this actually being realized. The 3D effects are superb, most noticeably when we get to see astronauts floating through the long hallways of their spacecraft and in the exterior shots of the detailed and realistic Hermes ship drifting through space. 

Screenwriter Drew Goddard adapted Weir’s novel for the screen, and on paper, The Martian certainly sounds like it could be boring, with too many finicky technical details potentially holding the viewer at arm’s length. A good portion of the story unfolds in voice-overs that are packed with scientific exposition, but there is just as much showing as there is telling and the script is light enough on its feet, not getting weighed down by the “boring stuff”. This is a film that celebrates and champions science, all of its characters being the best and brightest. It’s also an extremely human survival story that almost defiantly refuses to spiral into mawkish sentimentality, while still hitting many emotional beats. Perhaps most surprisingly, The Martian is extremely funny. There are stakes and dire straits, but the tone is pleasantly upbeat and optimistic throughout. Sean Bean even gets to make a Lord of the Rings reference, sending many audience members in this reviewer’s screening howling with laughter. 

The Martian has been described as Apollo 13 meets Cast Away, and both films happen to star Tom Hanks. Here, Damon exudes an irresistible likeability that gives even Hanks a run for his money. Watney’s indomitable spirit and how he keeps his sense of humour intact throughout his ordeal keep us keen in seeing him alive. We cheer each instance in which his MacGyvering succeeds and wince whenever he’s hit by another setback. “Mars will come to fear my botany powers,” Watney jokingly proclaims as he sets about growing potatoes. Naturally, there are moments of introspection in which Watney considers the magnitude of his plight, and Damon is able to play those moments earnestly and compellingly. 

While the film is squarely Damon’s to carry, Scott has assembled a robust supporting cast to back him up. Cheesy as it sounds, there is something inspiring about seeing so many people put their heads together in working towards a common goal. Chastain proudly carries on the tradition of capable female characters in Ridley Scott movies, her Commander Melissa Lewis steely yet calm, a natural leader with an amusing penchant for 70s disco music. As NASA director Teddy Sanders, Daniels is the hard-nosed, pragmatic bureaucrat, but in his hands, the character does not become the stereotypical authority figure who’s standing in everyone’s way. Ejiofor does his share of hand-wringing, but it makes sense given the immense pressure on his character. Wiig is fine in a role that is not overtly comedic, though her presence at Mission Control might be distracting to those familiar with her prolific comedic exploits. 

There are places where the film falls back on formulaic genre trappings: the pilot Martinez tells engineer Johanssen to explain something “in English”; there are many scenes where characters take objects like pens and salt shakers and use them as stand-ins for spacecraft and planets in demonstrating manoeuvres and Donald Glover shows up as a hyperactive genius prone to Eureka moments. That said, it is remarkable just how refreshing The Martian is. In this day and age, it seems everything has been done before, especially in big sci-fi blockbusters. That The Martian manages to be so unique and engaging is certainly commendable. In telling the story of the efforts to bring Mark Watney home, Scott has hit a home run. 

Summary: A thrilling, surprisingly funny survival film with a grounding in actual science, The Martian features one of Matt Damon’s most charming performances to date and is a joyous ode to the merits of ingenuity and perseverance. 

RATING: 4.5 out of 5 Stars

Jedd Jong 

Ant-Man

ANT-MAN

Director : Peyton Reed

Cast : Paul Rudd, Evangeline Lilly, Michael Douglas, Corey Stoll, Bobby Cannavale, Michael Peña, Judy Greer, Tip "T.I." Harris, David Dastmalchian

Genre : Action/Comics/Sci-Fi

Run Time : 117 mins

Opens: 16 July 2015

Rating: PG

    

        Following the behemoth Avengers: Age of Ultron, the Marvel Cinematic Universe is undergoing a downsizing of sorts to close out its second phase. Retired scientist Hank Pym (Douglas), the inventor of the Pym Particle, has been fighting for decades to keep his Ant-Man technology from falling into the wrong hands. This suit allows its wearer to shrink down to the size of an insect while retaining his normal strength. Darren Cross (Stoll), Hank’s former mentee who has ousted Hank out of Pym Technologies, is close to perfecting the Yellowjacket, his own militarised version of the Ant-Man suit. Hank and his daughter Hope (Lilly) enlist the help of reformed thief Scott Lang (Rudd), who takes on the Ant-Man persona to put a stop to Cross’s evil machinations.

            Ant-Man arrives in theatres carrying a great deal of scepticism on its insectoid shoulders. Many scoff at the inherent silliness of the premise, and then there’s the matter of original director Edgar Wright leaving the project, to be replaced with Peyton Reed. Marvel Studios has cleverly played the underdog card, just as they did with last year’s Guardians of the Galaxy, creating a fast-paced, raucously funny, very entertaining little beast. The Marvel Cinematic Universe has attempted to stave off superhero movie fatigue by dipping its toes into various subgenres, including conspiracy thriller with Captain America: The Winter Soldier and high fantasy with Thor. Ant-Man is a comedic heist caper with a healthy amount of sci-fi stirred in. The screenplay, credited to Wright, Joe Cornish, Adam McKay and star Paul Rudd, is packed with belly laughs. The light-heartedness assists in the suspension of disbelief required to go along with the premise and admirably enough, does not undermine the more emotional beats of the story.

            This is not to say the film is flawless by any stretch of the imagination. Even as it valiantly tries to offer up something fresh, Ant-Man succumbs to formula at every turn. There’s the ex-con trying to make good for the sake of his young daughter, the evil new CEO who has betrayed the man who believed in him, the tough, no-nonsense female lead who despises our hero but eventually warms to him, the comic relief trio who form the hero’s motley crew and a training montage or three to cap that off.  While most of the jokes land, some of the comedy carries with it a smart-alecky, post-Apatow affectation that comes off as trying too hard. However, Ant-Man packs in a dazzling amount of visual invention, trucking out extremely clever sequences in which the mass-shifting technology is put to ingenious use. Reed has acknowledged the lineage of “shrinking” special effects-driven films that include The Incredible Shrinking Man, The Fantastic Voyage and Honey I Shrunk the Kids, and Ant-Man earns its place in that pantheon. The visual effects work on the ants, who serve as Scott’s little helpers, are not hyper-realistic, but perhaps that is to help them become a little more endearing – and endearing they are indeed.

            Paul Rudd, primarily known as a comedic actor, slips into the shrinking suit with ease. After Chris Pratt’s resounding success as a leading man in GotG, casting a funnyman in a superhero part no longer seems like that much of a gamble. Rudd’s charm, charisma and mischievous streak, including his ability to play the more heartfelt moments of the film with appropriate sincerity, allow him to stand shoulder-to-shoulder with the MCU’s now-venerable pantheon of leading men. Unlike several respectable big-name actors have in the past, Michael Douglas doesn’t look like he’s begrudgingly doing this big blockbuster just for the paycheck. There’s a wisdom, weariness and hint of playfulness to his Hank Pym and his presence elevates the material without seeming like he’s yelling “look at me and my prestige!”

            Evangeline Lilly has several ass-kicking female characters under her belt, coming straight off playing Tauriel in the Hobbit films. Beyond the severe bob and the proficiency in martial arts, there’s Hope’s conflict with her father. Her distaste for Scott stems from her belief that she herself is far more qualified to inherit the shrinking suit, and while the character’s arc is basic, it will make more than a few misty-eyed. The trio of misfit crooks with hearts of gold who form Scott’s team provide more than a few laughs, led by Michael Peña doing his best Luis Guzmán impression as the awkward, garrulous, earnest Luis. David Dastmalchian, hitherto known as “that creepy guy you kind of recognise from The Dark Knight”, is a revelation as Kurt, rocking an over-the-top Russian accent and ridiculous coiffeur, showcasing spot-on comic timing.

The film’s one major misstep is its egregious waste of Corey Stoll’s considerable talents, relegating him to the role of a staggeringly mono-dimensional villain. Stoll eats up the part with great relish, but the Marvel movies have mainly drawn criticism for their dearth of truly compelling villains, and unfortunately, Darren Cross is no exception. As the new CEO with evil designs on the hero’s technology, he strongly echoes Obadiah Stane from the first Iron Man flick. That said, other Marvel films have sacrificed well-developed villains for the sake of well-developed heroes, a gamble that has paid off and that does pay off here.

Ant-Man proves itself as more than just the sorbet course to follow up the big steak dinner that was Age of Ultron. It’s an enjoyable romp that stands nicely on its own but is also packed full of nods and Easter Eggs to the other MCU movies and the comics at large. A friend of this reviewer was very excited at the inclusion of Scott’s daughter Cassie (Abby Ryder Forston), and a string of cameos provides connective tissue to the rest of the films. As is de rigeur with these movies, be sure to stick around for two stinger scenes during and after the credits. Ant-Man may not break the mould, but it offers enough fresh morsels for long-time fans and doesn’t alienate neophytes by requiring the in-depth knowledge the Avengers flicks warrant to fully enjoy. Now that’s ant-ertainment.

Summary: Bet on the little guy.

RATING: 4 out of 5 Stars

Jedd Jong 

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