Jane Got a Gun

For F*** Magazine

JANE GOT A GUN

Director : Gavin O'Connor
Cast : Natalie Portman, Joel Edgerton, Ewan McGregor, Rodrigo Santoro, Noah Emmerich, Boyd Holbrook, Alex Manette, Todd Stashwick, James Burnett, Sam Quinn
Genre : Action/Drama/Western
Run Time : 98 mins
Opens : 18 February 2016
Rating : NC-16 (Violence and Some Coarse Language)

In Marvel’s ongoing Thor comics series, Jane Foster is the current wielder of Mjolnir. In this western, Jane Hammond (Portman) wields more conventional weapons. It is 1871 in New Mexico territory and Jane lives with her husband Bill “Ham” Hammond (Emmerich) and their daughter Kate. When Ham rides home seriously wounded after a gun battle with the Bishop Boys gang, Jane has no choice but to turn to her ex-fiancée Dan Frost (Edgerton) for protection. John Bishop (McGregor), a notorious outlaw from Jane’s past, has returned to torment her. Dan is still broken after losing Jane to another man, but he resolves to help Jane protect her family and her home as the Bishop Boys come a-knocking.

            Jane Got a Gun was plagued by numerous production problems, and it will be remembered more for its behind-the-scenes tumult than on its own merit as a film. The original screenplay by Brian Duffield was a hot property, landing on the Black List of best-liked screenplays in Hollywood back in 2011. Natalie Portman was attached to star and produce, with Lynne Ramsay of We Need to Talk About Kevin fame directing. Severe disagreements led to Ramsay dropping out on the first day of principal photography, with a bitter legal battle ensuing. Warrior director Gavin O’Connor was roped in to replace her, but the film’s troubles were just beginning. Michael Fassbender, Jude Law and Bradley Cooper were all attached at different points and Edgerton ended up switching roles from the villain John Bishop to the ex-fiancée Dan Frost. The release date was shifted back multiple times, with distributor Relativity Media dropping the film and The Weinstein Company later acquiring it.

            For all the drama involved in getting the film made, one would expect it to, at the very least, be bad in an interesting way. No such luck. Jane Got a Gun is soporific and dreary, sorely lacking in a key element of any revenge story: passion. It looks, feels and sounds like a western, but there’s so little energy and momentum behind it. The title suggests a fun genre piece with a feminist twist, perhaps something akin to Kill Bill in the American frontier. Some of the expected ingredients are there, including a tragic back-story and a score to settle with an old enemy, but it’s so plodding and self-serious that getting invested in Jane’s tale is quite the task. It’s sometimes a pretty movie to look at, but most of the time it’s visually dull: the picture is sepia-tinted, then the flashbacks appear to have another layer of sepia tinting on top of that and this stylistic touch ends up creating even more distance between the audience and the story.

            Portman may be playing the titular protagonist and has championed the film through the myriad obstacles it faced in getting made, but Jane Hammond will not go down as one of the great ass-kicking female characters in cinema history. There’s some emotional impact to Jane’s tortured past, but her supposed transformation into a gun-toting damsel no longer in distress is underwhelming. The love triangle between Jane, Ham and Dan bogs the movie down in melodramatics instead of creating any fireworks and nothing unconventional comes of the dynamics between the three characters. The villain in a revenge western should get to chew a good deal of scenery, but McGregor has too little screen time and too little material to work with, unable to create a particularly intimidating or striking villain. With Padmé, Obi-Wan and Owen Lars in the same movie, it’s a mini Attack of the Clones reunion.

            Jane Got a Gun has a round or two in the chamber: the climactic standoff brims with tension and the sombre atmosphere is sometimes effective. It is morbidly fascinating to read about how a straight-forward western got mired in so many production troubles and it is admirable that last-minute replacement director O’Connor was able to salvage it all. However, in the aftermath of this hullabaloo, all Jane Got a Gun has to show for it is mediocrity.

Summary: Dour and slow, Jane Got a Gun fails to make good on its promise of a fun genre piece starring a dynamic female lead.

RATING: 2 out of 5 Stars

Jedd Jong 

Thor: The Dark World

For F*** Magazine

THOR: THE DARK WORLD

Director: Alan Taylor

Cast: Chris Hemsworth, Natalie Portman, Tom Hiddleston, Anthony Hopkins, Christopher Eccleston, Idris Elba, Ray Stevenson, Jaimie Alexander, Zachary Levi, Tadanobu Asano, Renee Russo, Adewale Akinnuoye-Agbaje, Kat Dennings, Stellan Skarsgård

Genre: Action, Fantasy

Run Time: 112 mins

Opens: 31 October 2013

Rating: PG13 (Some Violence)

   

     The Marvel Cinematic Universe train has been chugging along at a steady pace and with the release of Iron Man 3 earlier this year, Phase II has begun. Now, that film proved divisive, to say the least - it earned an impressive box office take but there was an outcry from fans over some surprise liberties it took with the source material. The thunder meister’s second outing probably will soothe some of those ruffled feathers.

            An ancient evil, the dark elf Malekith the Accursed (Eccelston), has awoken after 5000 years and re-embarks on his mission to send all of the nine realms in existence into utter darkness, using the volatile substance aether. Meanwhile, Loki (Hiddleston) is brought back to Asgard and imprisoned by his father Odin (Hopkins). His mother Frigga (Russo) is understandably saddened by Loki’s actions and Odin is keen for Thor (Hemsworth) to take his rightful place on the throne of Asgard. However, Thor is preoccupied with thoughts of his beloved Jane Foster (Portman), his father disapproving of his interest in the “meagre human”. When she comes into contact with the aether, Thor brings her back to Asgard in order to find a way to extract the deadly entity. As the convergence of the nine realms nears, Malekith is ever closer to his goal, Thor eventually having to work with his disgraced brother to prevent the destruction the dark elf has planned.

            

           It is worth noting that Thor: The Dark World has a different creative team from the first film – different writers, editors, a different costume designer, director of cinematography, production designer and a different director. Taking over from Kenneth Branagh is Alan Taylor, best known for his work directing episodes of Game of Thrones. Patty Jenkins was set to direct the film before leaving the project and it seems Taylor didn’t have the best time working as a part of the big Marvel machine. Still, he has delivered a solid film, drawing on his experience with the fantasy genre. The film is slightly more serious and heavy than its predecessor, but it is justifiably so and the drama of it all is punctuated with well-judged moments of humour, including the obligatory Stan Lee cameo.

            It has been said that sequels are all about the villains; that after establishing the characters and the world is out of the way, the spotlight can shift to a truly spectacular bad guy. Think Heath Ledger’s Joker or Benedict Cumberbatch’s recent turn as “John Harrison”. Well, that’s not the case here. Malekith is a two-dimensional foe whose ultimate goal is as straightforward as they come. He is threatening but never truly compelling – however, this isn’t a bad thing. It seems that the filmmakers’ intention was not to have an antagonist come and steal the show, but to further the dynamic between Thor and Loki against the backdrop of a new threat, a decision that pays off.

 

            Tom Hiddleston has gained recognition, acclaim and much fan love (all of tumblr squeals in delight at the mere mention of his name) for his portrayal of Loki, the god of mischief and Thor’s adoptive brother. After being the main antagonist in both Thor and The Avengers, Hiddleston gets to visit the role a third time – which, if one thinks about it, is a rare privilege for an actor playing a “baddie”. Loki is a figure who is sympathetic in addition to being duplicitous and sometimes nasty, but what really works in this film is the angle of the character as a trickster being played up, that the audience is never sure where he’s headed with whatever he’s doing and whether it is a fatal error or an unexpected boon when Thor has to rely on him.

            It’s evident by the above paragraph that Hiddleston steals the show and there was never any doubt as to whether he would, but the rest of the cast, many returning from the first Thor film, is good as well. Chris Hemsworth has truly settled into Thor’s boots, putting that famous godlike physique on display again. This a Thor who’s less of a fish out of water than in the first film, though he still gets a couple of such moments. Natalie Portman is a talented actress but, as was the case with the first film, doesn’t get a whole lot to do as the love interest. It is nice that Jane gets to visit Asgard and see her big ole boyfriend in his natural habitat. We spend less time on earth, which is good, and Kat Dennings, Stellan Skarsgård and newcomer Jonathan Howard are efficient comic relief elements while moving the plot forwards.

            Mads Mikkelsen was initially cast as Malekith, but had to drop out due to commitments to his TV show Hannibal. Christopher Eccleston is a fine replacement, covered in prosthetic makeup and doing a lot of scowling. The Warriors Three – well, two, since Hogun (Asano) isn’t in most of this – along with Lady Sif (Alexander) and Heimdall (Elba) do get their chances to shine. This reviewer was particularly entertained by Zachary Levi, nigh unrecognisable with that blonde ‘do, as Fandral the Dashing, replacing Josh Dallas from the first film. There’s also a bit more of Anthony Hopkins and Renee Russo, though Hopkins does seem a little bored at times.

            “Dark” is a word that is getting overused in movie titles and subtitles, but though Thor: The Dark World has its downer moments it doesn’t try to be unnecessarily grim and gritty. The film does focus on character relationships and development and isn’t stuffed to the brim with hyperactive action beats and too much large-scale destruction. It does lapse into “conventional fantasy flick” mode with its use of tried and true genre elements but still feels like it fits into the larger Marvel Cinematic Universe. Fans of the character will welcome being thunderstruck once more. And yes, stay during the end credits for two stinger scenes.

SUMMARY: Thor: The Dark World isn’t as upbeat as the first go-round but it does satisfyingly expand on the relationship between Thor and Loki, as well as doling out the requisite fantasy-action spectacle.

RATING: 4 out of 5 Stars

Jedd Jong

           

Thor

THOR

2011 Release

Starring: Chris Hemsworth, Natalie Portman, Tom Hiddleston, Anthony Hopkins

Directed by: Kenneth Branagh

            The folks at Marvel Studios have good business sense, and have put a lot of effort into building a Marvel movie universe populated by popular Marvel Comics characters. Iron Man 2 closed with a secret teaser ending, showing the discovery of Thor’s hammer Mjolnr, and introducing an important piece of the Marvel movie universe puzzle.

            Thor is a staggering achievement, filled with imaginative energy and crackling with excitement, but the greatest weapon this warrior wields is its strong plot. Director Branagh brings his Shakespearian senses to the fore, stirring elements such as the Cain-and-Abel tussle between Thor and Loki, the star-crossed romance between Thor and Jane and also the friction between Thor and his disapproving father Odin into the cinematic pot.

            Branagh proves that he is no pushover when it comes to action sequences and wide panoramic vistas either. He has a keen eye for what looks good to excitement-hungry moviegoers, and this movie is packed with fantastic and beautiful visuals. From the sparkling spires of Asgard to the desolate wasteland of Jotunheim, this is a ten-course feast for the eyes – especially when given the 3D treatment.

            Chris Hemsworth proves himself as a charming and charismatic leading man. Thor is portrayed here as a skilled but reckless and headstrong warrior prince, and Hemsworth takes the audience along as Thor learns humility and finds love on Earth, even as he experiences some hilarious moments of culture shock. He also does well in the fight sequences, having trained and gained 20 pounds of pure muscle for the role.

            The supporting cast hits all the right notes as well, Anthony Hopkins imbuing Odin with thundering authority, Tom Hiddleston always possessing a malicious glint in his eye as Loki and Natalie Portman at her most normal and girlish as astrophysicist Jane Foster. Stellan Skarsgard grounds the film as Foster’s level-headed mentor, and Kat Dennings is well-cast and very funny as the comic relief sidekick, usually a male role.

            An all-round movie-going experience, Thor is the explosive and substantial summer movie season opener everyone has been hoping for, and is unmissable on this and any other of the eight known realms. Oh, and don’t forget to stay past the credits for a mind-blowing revelation.

SUMMARY: Action-packed, with a strong hold on a good story and boasting startlingly beautiful visuals, Thor will have everyone asking for more. By Odin’s command, see this one!

RATING: 4.5/5 STARS

Grandpa Oscar's New Car

83^rd Academy Awards ceremony mixes old-school with too-cool-for-school, and overly-jumpy girl with too-sleepy guy. 

Jedd Jong 1/3/11

At the grand old age of 83, Grandpa Oscar is getting on in years. The hired entertainment at Grandpa Oscar’s birthday last year were two actors who, while both funny, were indeed catching up to Gramps. This was, perhaps, the reason that there wasn’t as big a turnout to Grandpa Oscar’s celebration as his family would’ve liked.

So, in an effort to help Grandpa Oscar keep up with the times and perhaps turn in his Model T Ford for in favour of a Ford Focus, we have younger blood. This year’s ceremony continued the trend of having two hosts, and I’ll say it was done much better this year. Anne Hathaway and James Franco are both extremely likable, and can match each other in comic timing and pulchritude. However, it was plain to see that Hathaway’s hyperactive antics were compensating for Franco’s “I’d-rather-cut-off-my-own-arm” demeanour that couldn’t help but leak through sometimes. 

This year’s Academy Awards ceremony, for me, struck a good balance – it didn’t veer too far from the formula (when doing so had previously proved ill-advised at times), it embraced old Hollywood glamour, but added a fine contemporary touch. It was, as if The King’s Speech met The Social Network.

But just as Geoffrey Rush and Jesse Eisenberg would seem odd bedfellows (a hundred apologies for planting that mental image in your head), it wasn’t easy pulling this one off. Many would say the ceremony was too saccharine, a good-natured and respectful atmosphere established from the start, with many an acceptance speech including a heartfelt anecdotal thanks to the recipients’ mothers. 

However bad aspartame may taste, I would prefer it over no sweetening at all.

The stage design easily evoked the days of Tinsletown yore, with basic proscenium arches reminiscent of the Hollywood Bowl. An added touch was that each of the arcs also functioned as projection screens – helping to add an interesting atmospheric effect to the standard video tributes to classic/landmark films. A computer-simulated Bob Hope spouted some of his famously funny lines, before introducing presenters Jude Law and Robert Downey Jr for the Achievement in Visual Effects category, for example.

Hathaway and Franco were more goofball chums than screwball romantic partners and Hathaway saved the day despite looking like she had one intravenous caffeine shot too many. The opening sequence echoed those Billy Crystal employed in the past, and kicked the show off on a fantastic note. The two hosts, with help from Inception’s Leonardo DiCaprio, enter the dreams of Alec Baldwin (one-half of last year’s tag-team) to steal tips on how to host – and along the way find themselves in the worlds of Best Picture nominees including True Grit, Black Swan and The King’s Speech – Hathaway quick to remind her audience in Second-World-War era England that microphones in the future will get smaller. And then, Billy Crystal turns up for all of three minutes, completely stealing the younger hosts’ thunder. It feels as if all the material was great - it just was too much for Hathaway and Franco to juggle.

 In stark contrast to Ricky Gervais’ limits-testing turn as Golden Globes host, Hathaway and Franco stayed mostly respectable and well-behaved even as they worked in some hilarious soundbites – more like a frosty malt than Gervais’ sour grapefruit juice (yet another horrific mental image for the bank) Hathaway bemoaning that she was not nominated for an Oscar even though she had appeared nude (in Love and Other Drugs). The craziest that things got was Franco cross-dressing, wondering about the calls he received from Charlie Sheen earlier in the evening. 

Like the rest of that night’s ceremony, the results were mostly sponge cake, but with a sprinkle of cinnamon sugar when needed – the crowd was definitely glad that Christian Bale and Natalie Portman both took home their much-deserved little bald statuettes.

It’s no secret that the Academy often snubs big-budget blockbuster epics, even when they do merit attention. While Inception was passed over for best original screenplay (director Christopher Nolan not even getting a Best Director nomination), it received a good number of technical achievement awards.

In several categories, it seemed as if The King’s Speech was neck-and-neck with The Social Network. But the Academy voters clicked the “like” buttons on the British film’s page instead, stealing the thunder with Tom Hooper snagging best director, Colin Firth for best actor and of course winning Best Picture. The Social Network was able to squeeze in Best Adapted Screenplay, best film editing and best original score edgewise – all (particularly for Aaron Sorkin’s blisteringly clever script) all well-deserved. 

The jaded would bemoan the packaged and manufactured nature of the evening’s proceedings (Celine Dion singing Chaplin’s Smile for the emotional “In Memoriam” segment should be proof enough), but I really enjoyed the ceremony – mostly because it wasn’t so much a ceremony as a college reunion of sorts. Nods were given to the old, as glances thrown forwards at the new –and I actually didn’t find one moment boring.

So, while Grandpa Oscar’s hybrid vintage-modern speedster/sedan may draw some funny looks – and sometimes it works, while at others it doesn’t.

Postscript: I'm sorry that I haven't been posting more reviews and articles. It's not that I've not been watching movies - on the contrary, Royston Loh, the editor of F*** magazine, very kindly offered me some writing assignments. It's not a paying job, but I'm so excited. When the reviews are published in the magazine, I'll be able to put them up here. Look forward to reviews of Unknown, The Adjustment Bureau, Morning Glory and the Singaporean film Forever.