'The World's End' and 'The Wolverine': review round-up + Interview with 'Frances Ha' director Noah Baumbach

My laptop went and broke the other day, so that's why (or, should I say, the latest reason why) I haven't been updating. Got a quiz to write for tonight (if you're Brighton-based, and fancy a challenge, get to Dukes at Komedia for 6.30ish), so I'll keep this short.

First up, I did an interview with director Noah Baumbach a little while ago for What Culture. That's available to read online here. Next up, reviews:

'The World's End' - Dir. Edgar Wright (15)

Full disclosure: I didn't grow up with Spaced and have only ever rated 'Shaun of the Dead' and 'Hot Fuzz' as "alright", so take my opinion of this conclusion to Edgar Wright's "Cornetto Trilogy" with a larger than usual pinch of salt. This one takes on aspects of the sci-fi genre as a small town's inhabitants are slowly replaced with, what I'm going to call (to make it easier to explain in shorthand), robots - though in a way that feels like the zombie horde from 'Sean' meets the strange, rural-folk conspiracy stuff of 'Fuzz'. In 'The World's End', Simon Pegg plays Gary King, a middle-aged man who hasn't moved on since the greatest night of his life: attempting "the golden mile" - a 12 pub crawl across his home town - with his closest mates. However, decades later, everything has changed except for Gary.

The pubs themselves are now identikit chain pubs and all his mates have moved on with their lives and moved away from the small town of their youth. Many of them, including Nick Frost's Andy, actively hate Gary - making things all the more uncomfortable as he pathetically attempts to get the gang back together for one last crack at the mile. It doesn't go well and only gets worse when the robots turn up. That was originally meant as descriptive, but actually forms a pretty good anchor point to start my critique because, for me at least, the film was far more entertaining and engaging before the science fiction elements kicked in. The "former friends coming back together in their sad little home town for a pathetic pub crawl" story was actually really well worked for the first half-hour, with nuanced characters and genuine pathos for Gary: a complete prick, but one you feel crushingly sorry for nevertheless. With his mates played by Paddy Considine, Eddie Marsan, Martin Freeman and the ever-dependable Frost, the film trundled along very nicely for the first 30 minutes as a bitter-sweet comedy-drama.

And then the film gets lost in long (admittedly well choreographed) fight scenes, exposition about this alien/robot threat and all manner of other things that actually detract from what's really appealing and interesting about the film as was: the human drama and the character arc of Gary King - who, reservations about the overall film aside, I think is the year's best original character [more on that to follow at a later date, when I have time]. Gary's arc is maintained and still carries the film, of course, but it gets bogged down in everything else that's going on. It also doesn't help that the film - nominally a comedy - isn't really very funny. It has a few chuckles and it's never less than pleasant to watch, but it's uncharacteristically gag-light by the standards of the creative team. I will say this for it though: what this film has to say about friendship is far more mature and rewarding than pretty much ever other "bromance" movie. There are a lot of similarities between this and the summer's US comedy 'This is the End' - yet, whilst that film is far funnier, this one is the more interesting and emotionally affecting.

'The Wolverine' - Dir. James Mangold (12A)

It's the wrong side of the two-hour mark and goes by extremely slowly - with far more green tea-sipping than claw-knucked action - but 'The Wolverine' is watchable and oddly compelling if mainly because of Hugh Jackman's charisma as the title character. Loosely based on Chris Claremont and Frank Miller's celebrated and far-better-than-this-movie 1982 mini-series, which sees Logan on a solo adventure in Japan, the film takes the character out East where he becomes embroiled in the familial intrigue of a large corporation, a few fights with the Yakuza, and a punch-up with an unconvincing CGI robot samurai. There's a neat action sequence on a train and some nice moments for fans of the character (he even throws in a "bub" at one point), but James Mangold's film - strangely reliant on the maligned 'X-Men: The Last Stand' through extensive Jean Grey (Famke Janssen) dream sequences that might have been better left on the cutting room floor - requires prior investment in the character to be of any interest.

There are some odd cinematic allusions to great Japanese works, for instance one ninja fight sequence borrows imagery from Kurosawa's Macbeth adaptation 'Throne of Blood', and these might help explain the logic behind the film's mannered style and extremely slow pacing. This is probably the quietest blockbuster made this century - and that's admirable and makes for something weirdly fascinating, even if it doesn't really work as intended. It feels boring rather than intense or dramatic, but it's clear (and, again, admirable) that they were really trying to make a character-driven movie about regret and coming to terms with loss. I'm left wondering if they might have succeeded had Darren Aronofsky accepted the long-rumoured offer to direct, but - like his aborted 'Batman Begins' - it was sadly not to be. I will say this for 'The Wolverine' though: if modern superhero movies exist in large part as extended trailers for their inevitable sequels then the film did its job. Even before the post-credits scene, the film left me more excited about next summer's 'X-Men: Days of Future Past' than I was going in.

'The Adventures of Tintin' review:

In the popular imagination Steven Spielberg was once a name that stood for high-class family friendly adventure, with the Hollywood powerhouse having helped to redefine the modern spectacle-led blockbuster in the 1980s: directing the iconic likes of 'E.T.' and the 'Indiana Jones' trilogy, whilst producing 'The Goonies', 'Gremlins' and 'Back to the Future'. Yet in 1993 everything seemed to change for the filmmaker who suddenly "went serious". He'd always had a wider ranging filmography than he's given credit (including films as diverse as farcical comedy '1941', TV-made horror 'Duel', David Lean-style epic 'Empire of the Sun' and the romantic drama 'Always'), but snaring the Best Director statuette at the Academy Awards that year - for the black and white and grimly serious 'Schindler's List' - seems to have provoked an almost wholesale abandonment of the superior family fare that was his particular genius.

Aside from two poorly received sequels - 1997's 'Jurassic Park: The Lost World' and 2008's 'Indiana Jones and the Kingdom of the Crystal Skull' - the years since his austere holocaust epic have yielded well-meaning slavery drama 'Amistad', sentimental WWII drama 'Saving Private Ryan', forgettable Israeli vengeance thriller 'Munich' and the melancholy, Kubrick-devised 'AI: Artificial Intelligence'. Even his returns to comparatively light material have been more adult-focussed than his reputation might once have suggested, with the Tom Hanks comedies 'Catch Me If You Can' and 'The Terminal' and Tom Cruise sci-fi movies 'Minority Report' and 'War of the Worlds'. Even his output as a producer has become more cynical and less winsomely old fashioned, as best displayed by the putrid, morally/creatively bankrupt 'Transformers' movies and the humourless, overblown 'Cowboys and Aliens'.

Yet even as he readies the "worthy" award bait 'War Horse' for release just in time for back-slapping season, this year Spielberg makes a welcome return to his old stomping ground: bidding to entertain children worldwide all over again with an animated adaptation of 'The Adventures of Tintin'. Whilst he's long held an interest in animation - producing the fondly remembered Don Bluth films of the 80s ('An American Tale' and 'The Land Before Time') and several terrific 90s TV series (including 'Tiny Toon Adventures' and 'Animaniacs') - this comic book adaptation marks his debut directorial effort in the medium (as well as in 3D), and has seen him work closely in collaboration with fellow live action specialist Peter Jackson - the planned director of the film's sequel, should it perform as expected at the box office this winter.



'Tintin' finds its director in playful mood, subtly referencing some of his earlier films with neat visual touches, and it's no surprise if the film feels as though it's channelling a younger Spielberg. After all, his adaptation of this material has had a long gestation period, beginning with the acquisition of the film rights as early as 1984 - a year after the death of the books' author Hergé, who named the American as the material's ideal director. Over the years it's been touted as a live action film (the original concept would have seen Jack Nicholson as alcoholic Scott Captain Haddock) before finally winding up a dazzling example of motion capture, courtesy of Jackson's New Zealand effects outfit WETA. Drawing material largely from the books 'The Crab With the Golden Claws', 'The Secret of the Unicorn', 'Red Rackham's Treasure' and - unexpectedly - 'The Castafiore Emerald', the adaptation sees intrepid reporter Tintin (Jamie Bell) and his faithful dog Snowy trying to discover the significance of a small model ship stolen from by the mysterious aristocrat Sakharine (Daniel Craig).

Sakharine (a red herring non-villain in the original) is hoping to uncover some legendary pirate booty, whilst also settling a score with the oblivious, self-pitying drunkard Captain Haddock (mo-cap veteran Andy Serkis), whose ship he has stolen. This inter-generational feud plot-line is in an invention of British screenwriters Steven Moffat, Joe Cornish and Edgar Wright which serves to give a scrapbook array of original elements something of a dramatic through-line and a clear baddie. It's a change that will drive die-hard Tintin fans nuts, but it's a smart move from a narrative point of view. That the grudge match is resolved in a credibility stretching battle between two cargo cranes (staged as a colossal sword fight) is a pity, but the idea itself is compelling.

On the whole the changes are on a smaller scale and relate to the order of events rather than the spirit of Hergé's books. The characters are photo-realistic renderings in the artist's own distinctive style of caricature, which are stylised enough to avoid the ugly, unsettling "uncanny valley" effect felt strongly in the recent Robert Zemeckis animations (such as 'Beowulf') and characters, like the bumbling British detectives Thomson and Thompson (Simon Pegg and Nick Frost), are portrayed faithfully. As the titular hero Bell acquits himself well, portraying him as a capable young adult where so many other adaptations over the years (notably the rubbish French-Canadian animated series) cast him as irritatingly boyish. Snowy is also deployed well - an effective aid to his master and an equally effective excuse for lengthy spoken exposition (in this respect Snowy is the original Chewbacca/R2-D2).



The stand-out bit of action is an extended flashback as Haddock enthusiastically relives an encounter between his 17th century ancestor Sir Francis Haddock and a pirate ship on the high seas. The jaw-dropping and inventive choreography of this sequence is much more high-octane than its source equivalent and - as some would have it - marks a departure from Hergé's more grounded and meticulously researched world. Though coming via Haddock's drunken storytelling and delivered with a great sense of fun, the filmmakers come away credibility intact.

Tintin is apparently virtually unknown in the US, so Spielberg might (with some justification) have sought to Americanise this very European series in the course of adapting it. However fans will be pleased to learn that the story begins in a timeless (non-specific early twentieth century) Europe, with Tommy guns and classic cars (Tintin doesn't have an iPhone 4) and exclusively features actors with quintessentially "old world" accents. The tone of this adventure varies between brightly coloured 'Indiana Jones' style Saturday matinee action, broad pratfalls and the oppressive mood of film noir, with this blend meshing comfortably. It's also the most gutsy children's film in a while and doesn't talk down to its young audience (note the irksome, charmless 'Happy Feet Two' was trailed beforehand as if to highlight the current low standard of kids movies). For instance, Tintin wields a gun - a surprise considering the director infamously replaced guns with walkie-talkies digitally in his "20th Anniversary Edition" of 'E.T.' - and Haddock slurps whiskey like there's no tomorrow.

It's fair to say that there are too many frantic chase sequences and the film feels a tad long, but overall Spielberg and Jackson's take on the material is respectful and makes for suitably exciting viewing. It is easily the most unashamedly fun Spielberg has been since 'Jurassic Park' almost two decades ago and, though I suspect it's going to prove an interesting sidestep rather than a sign of things to come, I'm very glad he's snuck in this elaborate caveat ahead of the inevitably yawnsome 'War Horse'. A film which may well win him another Oscar and confirm my suspicion that - in terms of award recognition - it's better to be a passable dramatist than a world class showman. How different things might have been if he'd received Academy recognition for 'E.T.' At least we have 'The Adventures of Tintin'.

'The Adventures of Tintin' is released in the UK from tomorrow (October 26th) and has been rated 'PG' by the BBFC.

'Scott Pilgrim vs. the World' review: A beautifully realised and imaginative love letter to youth...

"Ramooooonaaaa" sings Scott Pilgrim (Michael Cera) to the object of his exaggerated and overzealous affection, Ramona Flowers. It is the only word, repeated over and over, in a heartfelt ballad he plays her on guitar. Edgar Wright's third film 'Scott Pilgrim vs. the World' operates in much the same way as this song over its brisk 112 minute running time. It is a heartfelt paean to youth and to those fleeting and ultimately trivial, but nevertheless extreme, outbursts of emotion. To that anguish that felt so real at the time. To that bottomless heartache and empty despair. And equally, to that joyous and unselfconscious sense that everything is awesome. But the film does not trivialise these feelings and instead Wright transports us back to that time and place in all of our lives - in a stylish and hyperactive flurry of bright colours and loud sounds.

'Scott Pilgrim' is a somewhat impressionistic vision of youth, viewed through the prism of the protagonists interests. These happen to be video games and rock music and so we see his world through this lens. It is a world with explodes with geekish detail and where even the smallest movements are rendered dynamic and exciting. The film is adapted from a six-volume comic book series by Bryan Lee O'Malley and Edgar Wright does well to capture this spirit. Think of the film as a sunnier, funnier cousin of Robert Rodriquez's 'Sin City', as Wright has seemingly also used the comic book itself as a direct reference point for storyboards, with some shots matching their corresponding panel exactly.



For those that don't know by now, 'Scott Pilgrim' is the story of a Canadian twenty-something in a garage band who falls for the new girl in town. However, this romance is complicated by the fact that this girl has "seven evil exes" who Pilgrim must defeat if he is to survive and (more importantly) win his girl's heart. These fights involve mystical powers (such as vegan telepathy) and video game-style power-ups (such as a large pixelated hammer) and see Pilgrim face-off against a terrific supporting cast which includes the one-time Superman, Brandan Routh, and the current Captain America, Chris Evans (no, not that one), as well as Jason Schwartzman.

On top of this, Pilgrim must break-up with his "fake high school girlfriend", Knives Chau (Ellen Wong). Much like Wright's previous films 'Shaun of the Dead' and 'Hot Fuzz' (not to mention the TV series 'Spaced'), 'Scott Pilgrim' is filled with in-jokes and references to other films. Wright has already demonstrated his love for parody of genre conventions in all of the above and continues to do so here. But there is a new source of reference material Wright is free to mine here: video games.



From the brilliance of the 8-bit rendition of the Universal Pictures logo that opens the film, to the Super Mario reference in Scott's band's name (Sex Bob-Omb), to the Legend of Zelda music which accompanies one poignant emotional scene, Wright does mine this rich seam fully. In some ways it is probably the best video game adaptation ever, in that the spirit of games is really recreated here. The fights themselves each take the form of a different video game genre too: the Katayanagi twins are fought in a Pokemon-style brawl; one fight is a Guitar Hero inspired "Bass Battle"; another takes the form of a skateboarding game; and the opening bout is more in line with something like Street Fighter or Tekken.

And Wright doesn't stick to well-known games either, as the final fight sequence seems to be directly inspired by the cult Wii title No More Heroes, with Pilgrim brandishing a lightsabre-style sword as he shatters his besuited foes into showers of sparkling coins. That game like 'Scott Pilgrim', perhaps coincidentally, also involves the checking of enemies off a numbered list. It's a geeks paradise and I'm sure a more avid gamer than myself would find some reference or other in every single frame. But it is the sort of film where it doesn't matter particularly if you don't get every joke. It is pretty rapid fire and if you miss a few you'll doubtless get the next one ten seconds later.



The standout aspect of the film is doubtlessly the visuals, which are detailed, almost beyond precedence, certainly for a live-action film. Ramona's roller-skates melt the snow instantly on contact (just as she melts poor Scott's heart). The promotional posters for the various fictional bands are authentic looking and do well to create a tangible world, albeit one larger than life and steeped in fantasy. Chris Evans' character is a Hollywood action hero and we see not only a great number of blink-and-you-miss-them mock film posters, but also a short segment from one of his films ("the first click you hear is me hanging up. The second one is me pulling the trigger"). During one fight, in an empty nightclub, a villain's psychic energy forces the discarded plastic beer tumblers out of his radius. It has the feel of a film which will reward repeat viewing for the eagle-eyed obsessive.

I'm sure 'Scott Pilgrim' is destined to become some people's favourite film. Their is certainly a very specific niche of people who will totally "get it", although cross-over appeal seems limited. The opening grosses in the US have been fairly disappointing and it remains to be seen whether UK audiences will flock to it in greater numbers. Personally, I only laughed a couple of times, and more in recognition of a joke than because it split my sides. But I was never bored and I feel like I can appreciate what this film is trying to do. It is more imaginative, more colourful and more beautifully realised than most films. The only thing I would go so far as to say I disliked was the ending, which felt tampered with and like the result of too much testing. The film gears up to end one way, only to then lose courage and retreat into a more familiar comfort zone. But this aside, 'Scott Pilgrim vs. the World' (whilst not quite a perfect "K.O") is a quite unique and broadly stylised celebratory tribute to youth and love and video games... and being awesome.

'Scott Pilgrim vs. the World' is rated '12A' by the BBFC and is on general release across the UK from Friday the 27th of August.