Love, Simon review

For inSing

LOVE, SIMON

Director : Greg Berlanti
Cast : Nick Robinson, Katherine Langford, Alexandra Shipp, Jorge Lendeborg, Miles Heizer, Keiynan Lonsdale, Logan Miller, Jennifer Garner, Josh Duhamel, Tony Hale
Genre : Comedy, Drama
Run Time : 1h 50m
Opens : 03 May 2018
Rating : R21 (Homosexual Themes)

On the surface, Love, Simon looks like your typical high school romance, a light-hearted throwback to John Hughes movies and other defining coming-of-age films from the 80s. However, the protagonist Simon Spiers (Nick Robinson) has a secret: he’s gay.

Simon is hesitant to come out, even though he has a supporting family comprising dad Jack (Josh Duhamel), mum Emily (Jennifer Garner) and sister Nora (Talitha Bateman). Simon also has close friends in school, including Leah (Katherine Langford), Nick (Jorge Ledenborg Jr.) and new student Abby (Alexandra Shipp).

Simon sees an anonymous post from a schoolmate online, in which the writer, whom he only knows as “Blue”, says that he’s gay but hasn’t come out yet. Simon begins a correspondence with Blue and finds himself falling for the mystery schoolmate. Simon finds himself in jeopardy when a would-be blackmailer discovers the emails and threatens to announce Simon’s secret to the whole school. Simon’s friendships are thrown into disarray as Simon figures out who he truly is, while trying to ascertain the identity of his mystery suitor.

Love, Simon is based on the novel Simon vs. the Homo Sapiens Agenda by Becky Albertalli. The film is directed by Greg Berlanti, the writer-producer behind Dawson’s Creek, Riverdale and the DCTV series including Arrow and The Flash.

This is a sweet, warm-hearted film that’s honest and often funny. Like many high school movies, it comes across as heightened and there are moments when Love, Simon is too convoluted for its own good. It’s not particularly in-depth in its exploration of coming out as gay and the mental toll that keeping a secret like that can take on a teenager, but it’s the closest thing to a mainstream gay rom-com we’ve seen.

Here in Singapore, films are almost automatically slapped with an R21 rating if LGBT characters and issues figure heavily into the plot. In the U.S., Love, Simon is rated PG-13. There still are large sections of moviegoers here who might be apprehensive about watching a film with a gay main character. Love, Simon seems almost as if it was made with those audiences in mind. It’s gentle and accessible, and the relationships are easy to relate to if a little over-the-top.

Nick Robinson feels like the right choice to play Simon. Robinson is a little sullen and isn’t really bursting with charm, but that fits a character who’s unsure of himself and is trying to lay low. The dynamics within the friend group are fun, and these are characters who are a delight to spend time with.

Katherine Langford of 13 Reasons Why fame is sweet and amiable as Leah, while Alexandra Shipp is bubbly and radiant as Abby. Logan Miller’s Martin Addison, the nominal antagonist of the movie, is more layered a character than he first appears. Sure, he’s annoying, but there are elements of him that are relatable too.

Clark Moore is a scene-stealer as Ethan, the only openly gay student at the school. Simon feels a little jealous at how comfortable Clark is in his own skin, and it seems a bit of a shame that the two characters do not interact more.

Josh Duhamel and Jennifer Garner play the stock parent characters who thread the line between embarrassing and cool. Gay characters in films are often portrayed as coming from fractured families or having endured abuse, so it is nice to see Simon’s family being so loving towards him.

Any high school movie must have authority figures, and Tony Hale displays wonderful comic timing as the awkward vice-principal Mr. Worth, who tries desperately to relate to his students but it hopeless at it. Natasha Rothwell’s Ms. Albright is this reviewer’s favourite character – she’s the exasperated, sarcastic drama teacher trying to wrangle less-than-talented students who are performing a production of the musical Cabaret.

The film emphasises how there is nothing wrong with Simon at all, and hopefully the film’s non-threatening presentation will help audiences who might be uncomfortable with LGBT subject matter gradually learn to see things from other points of view.

There have been many gay-themed coming-of-age films, including Mysterious Skin, Moonlight and Call Me by Your Name. However, these are often arthouse movies that might alienate casual viewers and tend to be deliberately uncomfortable. Love, Simon’s winning mass appeal makes it an important film, even if it abides by many teen romance tropes.

There’s an earnestness and likeability that make Love, Simon more than your average high school movie. It’s a movie about love and acceptance that is entertaining rather than overtly preachy. Regardless of sexual orientation, most audiences will find at least some elements of the film easily relatable.

RATING: 3.5 out of 5 Stars

Jedd Jong

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A Quiet Place movie review

For inSing

A QUIET PLACE

Director : John Krasinski
Cast : Emily Blunt, John Krasinski, Millicent Simmonds, Noah Jupe, Cade Woodward
Genre : Horror/Drama
Run Time : 1h 30m
Opens : 5 April 2018
Rating : PG13

In this horror thriller, silence is not only golden, but it’s the one thing that will keep what remains of humanity alive.

Vicious creatures that hunt by hearing have wiped out much of the earth’s population. The Abbott family, consisting of Lee (John Krasinski), his wife Evelyn (Emily Blunt) and their children Regan (Millicent Simmonds), Marcus (Noah Jupe) and Beau (Cade Woodward), are among the few people that remain. Living in a farmhouse, they have adopted a life of silence, as any sound they make could be their last. Grappling with loss and fear, the family that stays quiet together survives together.

A Quiet Place is directed by John Krasinski, who also rewrote a spec script by Bryan Woods and Scott Beck. Krasinski’s previous directorial efforts Brief Interviews with Hideous Men and The Hollars were indie comedy-dramas, the kind of films you’d expect from an actor making his foray into directing. With A Quiet Place, Krasinski boldly steps into genre territory with a film that seems like the work of a seasoned horror filmmaker.

Krasinski wastes no time in reeling the audience into the world he creates, and once the movie gets a hold of us, it never lets go. The set-up is elegant, and the movie doesn’t get bogged down with too much exposition. The threat is firmly established, and we get to know the characters and the world they’re living in without it ever feeling boring. There is minimal gore, rendering the little explicit blood and violence that we see even more effective.

The set pieces are simple but staged with great finesse, and the sense of dread is all-encompassing. The grain silo scene is a nail-biter of the highest order. The film falls back on more than a few jump scares, but these are earned because of the effort with which the world is drawn, and because the premise justifies them.

Charlotte Bruus Christensen’s cinematography conveys the family’s melancholy, and the manipulation of light and shadow during the creature attack sequences is right up there with the similar scenes from Alien. A film like this lives or dies by the sound design, which is executed meticulously and ramps up the tension.

Beyond the atmospherics, A Quiet Place does something many horror films struggle with: it makes the audience care deeply about its characters. We get invested in the plight of this family and want to see them make it through their ordeal. The cast is small, the scope is intimate, and while we’re curious as to what happened to the rest of the world, our focus is trained on the Abbotts.

All the performances are affecting, and the film benefits from real-life husband and wife Krasinski and Blunt playing off each other. The couple visibly draws on their own experiences as parents to portray people who go to great lengths to protect their children. At no point does this seem self-indulgent, even with Krasinski starring, directing and co-writing. Both Krasinski and Blunt convey great warmth and sadness. While there are moments when the characters are deathly afraid, these performances don’t feel like what one would typically find in a horror film, further elevating the material. Blunt in a farmhouse toting a shotgun also brings Looper to mind, and Looper coming to mind is rarely a bad thing.

Millicent Simmonds is outstanding as Regan. The character has agency and her personal frustrations, regret and tension with her parents are given considerable attention. Simmonds is deaf in real life and lends the film great authenticity. Krasinski stated that he cast Simmonds so she could teach the cast what it’s like to live in a silent world. Most of the ‘dialogue’ in the film is delivered via American Sign Language, which Simmonds taught the cast.

Jupe’s Marcus is sensitive and frightened – his father is gently trying to teach him the survival skills he needs. The interaction between the parents and their children is thoroughly convincing, and this helps immensely in selling the premise.

While rival horror-centric studio Blumhouse has critically acclaimed successes like Get Out, Platinum Dunes, founded by Michael Bay, Andrew Form and Brad Fuller, has been mostly pumping out poorly-received remakes of classic horror franchises. Ouija: The Origin of Evil was the closest a Platinum Dunes horror movie came to be excellent. A Quiet Place is the studio’s finest offering yet.

As hard as it would’ve been to believe ten years ago, Jim from The Office has made one of the finest suspense horror movies in recent memory. Krasinski demonstrates precise control and heart, giving the film a sense of novelty as he makes it into so much more than just its gimmick.

RATING: 4.5 out of 5 Stars

Jedd Jong

Lady Bird movie review

For inSing

LADY BIRD

Director : Greta Gerwig
Cast : Saoirse Ronan, Laurie Metcalf, Lucas Hedges, Timothée Chalamet, Tracy Letts, Beanie Feldstein, Odeya Rush, Lois Smith, Jordan Rodrigues, Stephen Henderson, Jake McDorman
Genre : Drama/Comedy
Run Time : 1h 34m
Opens : 12 February 2018
Rating : M18

Lady Bird is one of the last big awards season contenders to arrive on our shores. After an excellent showing at the Golden Globes and five Oscar nominations, this little movie comes with big hype.

‘Lady Bird’ is what the title character, Christine McPherson (Saoirse Ronan), calls herself. It is 2002, and Lady Bird is a high school senior in Sacramento. She has a contentious relationship with her mother Marion (Laurie Metcalf), and is constantly trying to assert her own identity. She also doesn’t quite get along with her adopted older brother Miguel (Jordan Rodrigues), whose girlfriend Shelly (Marielle Scott) lives with Lady Bird and her family.

Lady Bird dreams of going to college in New York, but her mother insists on her going to one in California instead. The family is weathering financial difficulty, with Lady Bird’s father Larry (Tracy Letts) struggling to make ends meet. Lady Bird develops a crush on Danny (Lucas Hedges), her co-star in the school’s production of Sondheim’s Merrily We Go Along. She also has feelings for the cool musician Kyle (Timothée Chalamet).

Lady Bird’s desire for the acceptance of Kyle’s friend, the wealthy and popular Jenna (Odeya Rush), drives a wedge between Lady Bird and her best friend Julie (Beanie Feldstein). Lady Bird undergoes formative experiences as she figures out who she’ll become and works through her relationships with those who care about her and, though she won’t admit it, whom she cares for too.

The film has enjoyed an immensely positive reception, with a 99% approval rating from critics on Rotten Tomatoes. Perhaps it’s not fair to expect Lady Bird to be the greatest movie ever made and a life-changing rapture, but it is excellent as what it is – a coming-of-age indie comedy-drama.

Writer-director Greta Gerwig has created a film that’s personal but not self-indulgent, executing a masterful balancing act. Indie darlings are often either quite dull or stuffed with histrionics. It’s challenging to keep the dial centred, and Gerwig has more than succeeded. Lady Bird is never boring, but its characters don’t feel like overblown caricatures. Some interactions between characters are perhaps a little more heightened than they’d be in real life, but the film remains easy to connect to throughout.

The film’s authenticity comes in part from how Gerwig draws on her own experiences: like Lady Bird, Gerwig grew up in Sacramento, her mother was a nurse, and she attended an all-girls Catholic high school. Gerwig has gone from being one of the more prominent stars of the ‘mumblecore’ indie film movement to only the fifth woman in history to be nominated for a Best Director Oscar. Perhaps her own experience as an actress has helped her draw out entertaining, sensitive and authentic performances from her cast.

The preternaturally talented Saoirse Ronan once again proves herself as among the finest young actors working. Lady Bird could easily have come off as obnoxious and insufferable, so it’s to Ronan’s credit that she is easy to root for – not despite, but because of her flaws. The character’s search for a direction in life, the tension between her and her parents, her sexual awakening and romantic relationships, and her angst towards her hometown – these are all things that teenagers have grappled with in one form or another. The balance of the universal and the specific is something that crystallises in Ronan’s portrayal of Lady Bird.

The testy bond between Lady Bird and her mother is something that has resonated strongly with audiences – Metcalf has said in interviews that people have told her that the film made them want to call their mothers afterwards. There is never any doubt that Marion loves her daughter, but even parents with the best intentions have difficult articulating their love for their children. The film makes it easy to see things from both Lady Bird’s and Marion’s sides, with Metcalf taking great care in giving the character enough layers.

Letts, who often plays imperious, unyielding authority figures, brings welcome warmth to the role of Lady Bird’s father Larry. Larry must often be the mediator, since his wife and daughter are so headstrong, and he gets caught in the middle. He also bears the burden of the family’s financial difficulties but internalises this to try and minimise the heartache for everyone else, something many fathers can relate to.

Both of Lady Bird’s love interests are sufficiently distinct: Hedges’ Danny is awkward and sweet, while Chalamet’s Kyle is the artsy rebel-philosopher. This is different from your typical love triangle, and Lady Bird always retains agency such that it never feels like the plot device of a requisite romance is the driving force of the narrative.

The film’s depiction of high school friendship dynamics rings true as well – the way Lady Bird and Julie grow apart when Lady Bird gets accepted by the popular kids is handled with a little too much drama, but Ronan and Feldstein share excellent chemistry.

 

The way the authority figures are portrayed demonstrates the film’s maturity – the nuns and priests who run the Catholic school aren’t monstrous or ridiculously strict, they’re just a little detached from their charges because of the generation gap. Some fun is had at the expense of religion, but it never registers as bald-faced mockery.

Lady Bird is better approached as a low-key indie gem than as a masterpiece that will change the face of cinema forever. That’s not to downplay the accomplishments of its cast and crew, but one might be better positioned to take in the film’s gentle humour and quiet wisdom without the awards season baggage attached. Lady Bird is just that little bit more relatable, more entertaining and more personal than your typical coming-of-age film, benefitting from its writer-director’s perspective and its leading lady’s significant skill.

RATING: 4 out of 5 Stars

Jedd Jong

 

Wakanda Awaits: meet the characters of Black Panther

For inSing

Wakanda Awaits: meet the characters of Black Panther

Get to know the heroes and villains of this Marvel adventure

By Jedd Jong

Filmgoing audiences were introduced to Prince T’Challa/the Black Panther (Chadwick Boseman) in Captain America: Civil War. The Black Panther movie, directed by Ryan Coogler, takes us to T’Challa’s  home country of Wakanda. The technologically-advanced African nation has harnessed the rare mineral Vibranium, derived from a meteorite that crashed there millions of years ago.

Black Panther is the 18th film in the Marvel Cinematic Universe and kicks off its tenth anniversary – the first MCU film, Iron Man, was released in 2008.

The character is the first superhero of African descent to appear in mainstream American comics. Black Panther debuted in the pages of Fantastic Four #52 in July 1966, and was created by writer Stan Lee and artist Jack Kirby. Writers including Christopher Priest, Reginald Hudlin and Ta-Nehisi Coates and artists including John Romita Jr., Brian Stelfreeze and Denys Cowan have worked on the Black Panther title.

The Black Panther film is already receiving rave reviews, with some calling it the best film in the MCU so far. The first Marvel film with a predominantly black cast, Black Panther is making an impact on the landscape of comic book films in a similar way that Wonder Woman did last year.

Before the movie whisks you off to Wakanda, here’s a primer on the characters you will meet there.

#1: T’CHALLA/BLACK PANTHER (Chadwick Boseman)

Chadwick Boseman has portrayed pioneering figures in African-American history in several biopics: baseball legend Jackie Robinson in 42, the godfather of soul James Brown in Get On Up and Supreme Court Justice Thurgood Marshall in Marshall. “The projects that I end up doing…have always been projects that will be impactful, for the most part, to my people — to black people,” Boseman said.  “To see black people in ways which you have not seen them before. So Black Panther was on my radar, and in my dreams.”

Boseman studied with a dialect coach to perfect a South African accent, and underwent an intense physical training regimen with martial artist Marrese Crump to perform the fight scenes. The film sees T’Challa struggle with the loss of his father, as he tries to keep the growing civil unrest in Wakanda under control – and face a challenger to his claim for the throne.

#2: ERIK STEVENS/KILLMONGER (Michael B. Jordan)

While Michael B. Jordan was in the critically-savaged Fantastic Four reboot, that did not scare him off taking on another role in a comic book movie. Like Chris Evans before him, who also played the Human Torch in two earlier Fantastic Four films, Jordan gets a second chance with a different Marvel character.

Jordan starred in Coogler’s earlier films Fruitvale Station and Creed, reuniting with the director as the main villain Killmonger. Killmonger is a Wakandan exile who became an American black-ops soldier, and believes that the Wakandan throne is rightfully his. Jordan described the character as “somebody you guys can root for,” calling him “a revolutionary.” Jordan repeated the adage that the villain believes he’s the hero of his own story. “If you can kind of get [the audience] to see that other point of view, I think the battle’s won,” Jordan remarked. Having already played a boxer in Creed, Jordan brought some of that physicality to Killmonger, saying that Coogler’s action scenes “tell a story with each punch”. Jordan also had to learn how to be handy with guns – “the weapons training is a totally different muscle,” he said.

#3: NAKIA (Lupita Nyong’o)

Oscar winner Lupita Nyong’o plays Nakia, a Wakandan intelligence operative and the ex-girlfriend of T’Challa. As a ‘war dog’, Nakia goes undercover on foreign soil, risking her life for the safety of her country. Nakia is one of several memorable female characters featured in the film. Nyong’o describes Nakia, who hails from Wakanda’s River Tribe, as “determined and methodical” and having “a quiet power”. Nyong’o asserts that Nakia is “she’s not your average love interest,” and that she and T’Challa have “a complicated past.”

“Wakanda is where we could be, where women are occupying their space in the future of a nation, they’re contributing equally and they’re allowed to realize their full potential and a woman’s power does not diminish a man’s,” Nyong’o observed. Nyong’o signed on without even reading the script, having admired Coogler’s previous work. After reading the script, she said she “couldn’t even believe it was a Marvel film, because it was so poignant, so politically and socially awake and aware.” The character’s fighting style is informed by judo, jiu-jitsu, silat and Filipino martial arts. She also learnt Korean for a scene set in Busan.

#4: OKOYE (Danai Gurira)

Danai Gurira, best known as silent badass Michonne on The Walking Dead, plays yet another commanding character: Okoye, the leader of the elite Dora Milaje bodyguard corps. Gurira was drawn to “the idea of protecting the leadership of this nation, the sovereignty of this nation, even if you don’t like what’s happening,” of putting country before personal politics – a dilemma that Okoye finds herself in.

Gurira describes Okoye as a traditionalist, saying “She has a pride and a patriotism about her nation. It goes beyond patriotism; it’s something even deeper.” Gurira spoke about travelling to Zimbabwe and seeing how excited the people there were about Black Panther. Musing on the impact the film will have on children of African descent all over the world, Gurira said “they’re in the centre of the screen, their faces are what you’re seeing. Their perspectives, their struggles, their stories, their characters, their destinies. That’s what we’re focused on, and their heroism.”

#5: SHURI (Letitia Wright)

Many reviews have noted Shuri, T’Challa’s little sister, as the scene-stealer of the film. Shuri is a 16-year-old genius scientist and inventor, who has devised cutting-edge technology to aid her brother’s crime-fighting efforts. Chief of these is a new suit which can harness and redistribute kinetic energy from strikes, and which fits into a necklace. In the comics, Shuri assumes the mantle of the Black Panther after her brother is grievously wounded in combat. Coogler says that Shuri’s genius is “on par with Tony Stark”.

Letitia Wright, who is being called the film’s breakout star, was recently seen in the fourth season of Black Mirror and will next be seen in Ready Player One. Wright was inspired to become an actress after watching the 2006 film Akeelah and the Bee. While she describes herself as being “obsessed” with acting, faith was ultimately where she found her centre. “I don’t really consider myself religious. I view it more as a relationship,” she said, adding that she doesn’t mind if anyone finds that “weird”.  Wright says Shuri has “an innovative spirit and an innovative mind,” and as the embodiment of the future of Wakanda, “wants to take Wakanda to a new place”.

#6: RAMONDA (Angela Bassett)

The regal Ramonda, Queen Mother of Wakanda, is played by Angela Bassett. She too is reeling from the death of T’Chaka, her husband, but always appears calm and composed. In addition to being his mother, Ramonda is also one of T’Challa’s most trusted advisors. “It’s a lot of strength and balance and beauty and I’m just thrilled by getting to work with Danai and Lupita and actresses and brand new faces across the diaspora, it was beautifully cast,” Bassett said, adding that “it’s going to be quite a sight and I think it’s going to be magnetic.” Bassett played Amanda Waller in Green Lantern, and turned down the role of Storm in X-Men. This knowledge is wont to make one feel a little weird, since Storm and T’Challa ended up getting married in the comics.

#7: ULYSSES KLAUE (Andy Serkis)

Andy Serkis reprises his role from Avengers: Age of Ultron as the cutthroat South African arms dealer Ulysses Klaue. Serkis’ company The Imaginarium was working with James Spader and Mark Ruffalo for the motion capture work, when director Joss Whedon invited Serkis to play the role of Klaue.

When we last saw him, Klaue had his arm cut off by Ultron, and it’s now been replaced with a Vibranium cannon. “He’s got a humorous side to him, he’s got a sense of humour. But he’s equally very deadly and he’s quite mercurial and transitions emotionally very quickly,” Serkis said. Audiences are more used to seeing Serkis portray characters via performance capture, so this is the rare blockbuster in which he gets to show his real face.

#8: EVERETT K. ROSS (Martin Freeman)

CIA agent Everett K. Ross first appeared in Captain America: Civil War, helping to capture the film’s villain Zemo. Martin Freeman reprises the role here. Ross crosses path with T’Challa in Korea, and winds up travelling to Wakanda himself, where he finds himself in the thick of the conflict between T’Challa and Killmonger. Freeman and Serkis are the only two white actors in the main cast. “Making the film, it’s not lost on you. You think, ‘right, this is what black actors feel like all the time.’ And Andy wasn’t there often, so I was like, ‘Oh yeah, I’m the white guy. And I’m the English white guy’,” Freeman recalled. Freeman reunited with Serkis, whom he worked with on the Hobbit movies in which Freeman played Bilbo opposite Serkis’ Gollum/Smeagol.

 

 

Black Panther movie review

For inSing

BLACK PANTHER

Director: Ryan Coogler
Cast : Chadwick Boseman, Michael B. Jordan, Lupita Nyong’o, Danai Gurira, Martin Freeman, Daniel Kaluuya, Letitia Wright, Angela Bassett, Forest Whitaker, Andy Serkis, Florence Kasumba, John Kani, Sterling K. Brown
Genre : Action / Drama / Science Fiction
Run Time : 2h 14mins
Opens : 14 Feb 2018
Rating : PG

After making his debut on the big screen in Captain America: Civil War, T’Challa/Black Panther (Chadwick Boseman) returns to Wakanda to take his rightful place as king. His ascension to the throne will not go too smoothly, otherwise this wouldn’t be a very interesting movie.

After the death of his father King T’Chaka (John Kani), T’Challa arrives home for his coronation. It is a bittersweet affair for T’Challa’s mother Ramonda (Angela Bassett) and his sister Shuri (Letitia Wright). T’Challa is welcomed by elder statesman and spiritual leader Zuri (Forest Whitaker), the leader of the Dora Milaje bodyguard corps General Okoye (Danai Gurira), and his ex-girlfriend and undercover Wakandan intelligence operative Nakia (Lupita Nyong’o).

T’Challa’s claim to the crown is challenged by Erik “Killmonger” Stevens (Michael B. Jordan), a hardened American black-ops soldier with an enigmatic link back to Wakandan royalty. Erik has allied himself with Ulysses Klaue (Andy Serkis), the arms dealer who pillaged Wakanda’s valuable supply of Vibranium some 20 years ago. While tracking down Klaue, T’Challa runs into CIA agent Everett K. Ross (Martin Freeman), who finds himself along for the ride as Wakanda wages a battle for the nation’s very soul.

“Just because something works doesn’t mean it can’t be improved,” Shuri tells her brother. Black Panther takes these words to heart, taking something that works – the Marvel Cinematic Universe – and improving on it. The MCU is now in its 10th year, and while it’s generated far more hits than misses, one still hears murmurs about ‘superhero movie fatigue’. The MCU movies have found an effective formula, but we want something different, something more.

Director Ryan Coogler, who also co-wrote the screenplay with Joe Robert Cole, delivers that. The world-building in Black Panther is dazzling, with wonders waiting around every corner in Wakanda. The politics of the country are portrayed in an engaging manner, and Shakespearean palace intrigue is melded with the whiz-bang Afrofuturism of hovering vehicles and suits of armour that emanate from necklaces. Hannah Beachler’s production design and Ruth E. Carter’s costume design contribute to a visually captivating world brimming with texture.

Said world is populated by beautifully-realised characters – this is yet another MCU movie which boasts a cast stacked with talent. Boseman made an impression in Civil War with the stern dignity and undercurrent of vulnerability so crucial to T’Challa. The character continues to be noble but never boring, idealistic and principled without being naïve. T’Challa treats the throne with awe and respect as he mourns his father’s death. Boseman is thoroughly convincing as a steadfast leader.

Michael B. Jordan, who starred in director Coogler’s two previous films Creed and Fruitvale Station, brings swagger and contemptuous arrogance to the role of Erik. Erik’s Golden Jaguar suit means this is yet another solo MCU movie in which the hero fights an ‘evil inversion’ of himself – see Iron Man vs. Iron Monger or Ant-Man vs. Yellowjacket.

However, there’s more to Erik than your bog-standard MCU villain. Erik has one of the best motivations for an MCU villain yet, and while his tragic back-story has hints of melodrama to it, it’s also compelling and it’s easy for the audience to see his point of view. His rage and hunger for power make us root against him, but his righteous indignation and inner turmoil come from a genuine place.

Black Panther introduces some of the MCU’s best female characters yet. Danai Gurira, best known as Michonne on The Walking Dead, is a kickass right-hand woman to T’Challa who’s handy with a spear and doesn’t suffer fools. Nyong’o, who always exudes warmth and quiet intelligence, serves as a foil to Okoye while being formidable in her own right.

Letitia Wright steals the show as Shuri. Anyone who’s ever had a little sister will recognise the sometimes-annoying, sometimes-endearing traits the character displays. It’s also fun to see Shuri’s eyes light up when she talks effusively about her various mind-boggling inventions, including a new suit of armour for her brother. Executive producer Nate Moore has said that Shuri is even smarter than Tony Stark, and Wright seems to be having as much fun in the role as Robert Downey Jr. has with his.

Andy Serkis, probably grateful that audiences are getting to see his actual face instead of a computer-generated character with his expressions, reprises the role of Klaue from Avengers: Age of Ultron. He bites into the South African accent with relish and is wild, ruthless and entertaining.

Angela Bassett is suitably regal as the Queen Mother Ramonda – we wish she had more to do, but there’s already so much going on in the story. Whitaker’s Zuri is pretty much the Obi-Wan Kenobi of the film – Whitaker himself has said as much. Cleverly enough, Freeman’s Everett Ross plays an important role without overshadowing any of the leads.

Black Panther makes a further case for the cinematic universe as a sandbox for the vision of a talented filmmaker. It never feels like Coogler was curtailed or hampered by corporate higher-ups, and yet this feels of a piece with the existing MCU canon.

Black Panther boldly steps into territory that the MCU hasn’t quite trodden before. While there are the expected superhero origin story tropes, the film’s rich tapestry of culture, technology and action spectacle gives it a welcome freshness. The world of Wakanda is one you’ll want to dive into, and there’s potential for its further exploration in sequels to come.

Hang around for a mid-credits scene, and a second post-credits stinger.

RATING: 4.5 out of 5 Stars

Jedd Jong

 

Last Flag Flying movie review

For inSing

LAST FLAG FLYING

Director : Richard Linklater
Cast : Steve Carell, Bryan Cranston, Laurence Fishburne, J. Quinton Johnson, Cicely Tyson, Yul Vasquez
Genre : Comedy/Drama
Run Time : 2h 5mins
Opens : 25 Jan 2018
Rating : NC16

In this comedy-drama, three Vietnam war veterans reunite and rekindle their friendship, but under less-than-ideal circumstances. It is December 2003, and Larry “Doc” Shepard (Steve Carell), a former Navy Corpsman, receives the devastating news that his son Larry Jr. has been killed in Iraq. Doc asks bar owner Sal Nealon (Bryan Cranston) and pastor Rev. Richard Mueller (Laurence Fishburne), who served in the Marines in Vietnam alongside Doc, to accompany him to retrieve and bury his son’s body.

Doc, Sal and Mueller arrive at Dover Air Force Base in Delaware, to receive the body of Larry Jr. There, the trio meets LCpl. Charlie Washington (J. Quinton Johnson), who was Larry’s best friend in the Marines. Sal butts heads with Lt. Col. Willitis (Yul Vasquez), as Doc tries to process the loss of his son and Mueller attempts to counsel him. Despite the tragedy that brought them back together, the three men rediscover their friendship and work through each of their own issues which have been remained unresolved over the last 30 years.

Last Flag Flying is based on the novel of the same name by Darryl Ponicsan, who co-wrote the screenplay with director Richard Linklater. Ponicsan is known for the 1970 novel The Last Detail, which was adapted into a film starring Jack Nicholson, Otis Young and Randy Quaid. While the novel was a direct sequel to The Last Detail, featuring some of the same characters, the film adaptation of Last Flag Flying is a spiritual sequel to The Last Detail instead.

Last Flag Flying deals with some heady themes, including those of loss, faith, patriotism and friendship. It packages this into a male bonding comedy-drama, and winds being a modest, moving film. The film pays respect to veterans without veering into overblown chest-thumping territory. There are times when the film feels hampered by its road trip structure, but the dialogue is well-written and balances interaction between the characters with exposition. Our trio of protagonists must face truths about themselves and confront long-buried secrets, each man at a different point on his respective journey to make peace with himself and his past.

In recent years, Carell has made considerable efforts to push past his comfort zone as a comedic actor, and he puts in a quiet, sombre performance. Sadness weighs on Doc, sadness he doesn’t know how to express. There are times when the withdrawn meekness comes off as an affectation, but Carell is largely convincing in his portrayal of a man in the throes of crushing grief.

Cranston is the movie’s dynamo. As the belligerent, alcoholic Sal, Cranston gets all the movie’s best lines. Sal is confrontational and speaks his mind, and is wildly expressive, giving Cranston the chance to display his physical comedy chops. Naturally, there’s a hollowness at the centre of all this, and Sal is a broken man using humour to cope. He is the instigator of much of the conflict, and keeps things moving.

Of the three protagonists, Mueller is the most at peace with himself, having found God and heeded his calling to become a preacher. Fishburne starts out calm, but there are points when Mueller is pushed to his breaking point. The character often acts as mediator, and it’s to the film’s credit that his faith is treated seriously rather than mocked outright. The arguments that Mueller and Sal have over the existence of God aren’t anything we haven’t heard before, but Mueller’s point of view registers as a valid one.

Quinton Johnson, who recently made his Broadway debut in Hamilton, is warm and likeable as Charlie. Charlie is the only real link audiences have to Larry Jr., as most of what we know about Doc’s slain son is conveyed by Charlie. Veteran actress Cicely Tyson shows up in an emotional, subtly sad scene.

“Every generation has its war,” Sal observes pithily, adding “Men make the wars; wars make the men”. There might not be as much depth here as we would’ve liked, but there still is resonance to Last Flag Flying. It’s a low-key film that can sometimes feel a little slow, but is given life by its trio of protagonists. The screenplay balances sensitivity with ‘guy’s night out’ brashness, never coming across as sanctimonious or preachy even as it deals with serious issues. It could stand to be a little tighter, but there’s warmth, wisdom and just a dash of silliness that makes Last Flag Flying worthwhile and thought-provoking.

RATING: 3.5 out of 5 Stars

Jedd Jong

The Shape of Water movie review

For inSing

THE SHAPE OF WATER

Director : Guillermo del Toro
Cast : Sally Hawkins, Michael Shannon, Richard Jenkins, Doug Jones, Michael Stuhlbarg, Octavia Spencer
Genre : Drama, Fantasy
Run Time : 2h 4m
Opens : 1 February 2018
Rating : M18 (Sexual Scenes And Nudity)

       In The Godfather, the Corleone family received a threatening message, telling them that the enforcer Luca Brasi “sleeps with the fishes”.

This fantasy romance film puts an entirely different spin on that phrase.

It is 1962, and Elisa Esposito (Sally Hawkins) is a mute janitor working at a secret government facility in Baltimore. Elsa lives alone, and her two best friends are her neighbour, illustrator Giles (Richard Jenkins) and her co-worker Zelda (Octavia Spencer).

Col. Richard Strickland (Michael Shannon), the severe head of security, arrives at the facility with precious cargo in tow – a humanoid amphibian creature dubbed ‘the Asset’ (Doug Jones). Dr. Robert Hoffstetler (Michael Stuhlbarg), who is studying the Asset, takes issue with Strickland’s harsh treatment towards the creature.

Elisa gradually begins to bond with the creature, bringing him eggs and playing music on a gramophone in his presence. As unlikely as it seems, Elisa begins to fall in love with the Asset. When she discovers his life is in danger, Elisa sets about rescuing the Asset from the facility, making her a target of Strickland’s wrath.

Director Guillermo del Toro, who also co-wrote the film with Vanessa Taylor, has always been a genre filmmaker. All his films can be classified as fantasy, horror, science fiction, or some combination of the above. However, this has never restricted him – rather, working within these genres has freed del Toro as a storyteller. General audiences often view genre films through a somewhat narrow lens, but del Toro broadens said lens, and The Shape of Water is an excellent example of this approach. The film has garnered 13 Oscar nominations, including for Best Picture and Best Director – it’s not every day that the Academy recognises fantasy romance monster movies this way.

This is a weird, beautiful, enchanting movie. On the surface, there’s the oddness of a woman falling in love and entering a physical relationship with a humanoid fish creature. Originally, del Toro wanted to remake Creature from the Black Lagoon, but from Gill-man’s perspective, recasting the classic movie monster as a romantic lead.

Naturally, cheesy romance novels in which women fall in love with supernatural creatures of various stripes, including but not limited to vampires, werewolves, angels and immortals, come to mind. However, The Shape of Water is far more poetic and less literal than that. Its bizarreness is intertwined with enveloping warmth. This is a movie about outsiders finding solace and understanding in each other, and past the genre trappings, there’s something pure and resonant about that.

The film treats 60s America with a degree of romanticism, but is also keenly aware of the societal tensions at the time and how those attitudes continue to manifest themselves today. This is a fantasy, but the world in which it unfolds is eminently believable.

Like all del Toro’s movies, The Shape of Water is deliberately designed. All the little details vividly evoke the period, and the atmospherics, from the colour palette to Alexandre Desplat’s harp-driven score, sell the film as a meticulously crafted whole. As envisioned by production designer Paul D. Austerberry and shot by cinematographer Dan Laustsen, there’s a cold dankness to the research facility. However, this proves to be the right setting for the romance between Elisa and the Asset to blossom, the unromantic surrounds throwing their bond into sharper relief.

The Elisa character gives Hawkins the opportunity to deliver a sensitive yet electrifying performance. The character is mute, and has always felt like she’s been regarded as missing something everyone else does, but she is a whole person, with dreams and desires of her own. The character’s sexuality is portrayed with a refreshing frankness, and Hawkins brings no vanity to the part at all.

Hawkins’ physicality complements the physicality displayed by Doug Jones, an oft-collaborator of Guillermo del Toro’s. Like classic movie monster portrayers Lon Chaney and Boris Karloff, there’s more to Doug Jones than the fact that he’s in special effects makeup in most of his roles. In The Shape of Water, he gives a legitimately masterful performance, overcoming the constraints of what must’ve been a very uncomfortable suit, especially since Jones was in water for most of the film.

With his luminous skin and limpid eyes, The Asset is beautifully designed, and has become something of an unlikely sex symbol. Legacy Effects developed the special effects suit and makeup, and it’s easy to buy the Asset as a living, breathing entity. However, he looks so much like Abe Sapien from the Hellboy movies – also directed by del Toro – that this reviewer couldn’t help but imagine the Asset was Abe Sapien, even though del Toro has said they’re different characters.

Michael Shannon is in maximum creep mode, playing a truly despicable antagonist. Strickland is inherently cruel, racist and exacting, but has also bought in to the consumerist message of the ‘American dream’, coveting a fancy new Cadillac. There’s a bit of a supervillain air to Strickland, but Shannon never goes the full moustache-twirling hog. There’s the religious zealot angle, with Strickland referencing Bible stories and saying that the Asset is an aberration for not being made ‘in God’s image’. Shannon can always be counted on to play a scary villain, and Strickland is plenty scary.

Jenkins’ Giles is a loveable character, someone who’s harbouring a secret and whom, like Elisa, knows what it’s like to be an outcast. The friendship shared by Elisa and Giles is sweet, and Jenkins and Hawkins play off each other to create an unconventional, lightly comedic double act.

Spencer plays to type as Zelda, sassy and chatty and always an understanding friend and co-worker to Elisa. Stuhlbarg’s character seems like the stock sci-fi movie scientist, but we see a few layers to him as the film progresses.

The Shape of Water is an exquisite creation that brims with humanity. It’s not afraid to expose some of the ugliness of humanity, but it counteracts that with indescribable beauty. This is a fairy tale for grown-ups, with plenty to say beyond its central conceit of ‘woman falls in love with humanoid fish monster’. There will be audiences who might be put off by its superficial weirdness, but most viewers will find it easy to surrender to the film’s embrace, however cold and slimy it might seem at first.

RATING: 4.5 out of 5 Stars

Jedd Jong

 

I, Tonya movie review

For inSing

I, TONYA

Director : Craig Gillespie
Cast : Margot Robbie, Sebastian Stan, Bobby Cannavale, Allison Janney, Paul Walter Hauser, Julianne Nicholson, Mckenna Grace
Genre : Biography, Drama, Sports
Run Time : 1h 19m
Opens : 1 February 2018
Rating : M18 (Coarse Language and Sexual Scenes)

Every awards season, we get at least a few inspirational sports biopics about resilient athletes who overcome insurmountable odds, becoming heroes to people everywhere.

I, Tonya is not that movie.

Tonya Harding (Margot Robbie) was the first U.S. female figure skater to pull off the extremely tricky triple axel move. If you were around during the 90s, you might have a vague recollection of the rivalry between Tonya and fellow Olympic skater Nancy Kerrigan (Caitlin Carver). This culminated in Harding’s ex-husband Jeff Gillooly (Sebastian Stan) and Jeff’s friend Shawn Eckhardt (Paul Walter Hauser) planning an attack against Nancy. After a hired hand breaks Nancy’s knee with a retractable baton, it isn’t long before suspicion falls on Tonya and Jeff.

The film follows the lead-up to and aftermath of this incident. Tonya’s mother LaVona Fay Golden (Allison Janney) mercilessly pushes her daughter, and Tonya’s life revolves around abusive relationships. Facing numerous setbacks and eventually cast as a villain by the media, Tonya pursues her dream of being the #1 figure skater in the world.

I, Tonya is an acerbic subversion of your bog-standard awards bait sports biopic. It’s sometimes unpleasant, and intentionally so. Director Craig Gillespie, who previously helmed the more traditional sports movie Million Dollar Arm, takes a black comedy approach to Tonya Harding’s life story. He directs from a screenplay by Steven Rogers – this is easily the Love the Coopers screenwriter’s edgiest work.

Tonally, I, Tonya is tricky. It wants the audience to laugh at the ‘white trash’ characters that populate the story, while also empathising with them. It wants to be cynical and snarky, yet sincere. There are moments when the cracks begin to show, but given the ambitiousness of this juggling of moods, I, Tonya works far better than it might have in different hands.

The film is framed with interview sequences in which the characters, a gallery of unreliable narrators, speak directly to camera. Outside these interview scenes, we also get fourth wall breaks. Everything is caustic, everyone is varying degrees of broken, and yet, it’s funny. The ice skating sequences are also absolutely mesmerising and thrilling, pinpricks of gracefulness in the blackness of awful people being awful.

Robbie, who is also the co-producer through her Lucky Chap Productions label, holds this all together. She throws every ounce of herself into a performance that is impossible to look away from and which has deservedly netted her an Oscar nomination. Piercing through the public perception of Tonya, Robbie paints the portrait of someone who has been knocked about her whole life, Tonya’s unsportsmanlike behaviour and overall demeanour a result of that. Robbie is flashy, sincere, wild and showcases impressive physicality, under the tutelage of coach Sarah Kawahara. This is the ‘sink-your-teeth-into-it’ role actors live for, and Robbie makes quite the meal of it.

Even with that highly unflattering moustache, Stan is still quite loveable. The Jeff character isn’t meant to be – he’s a dope, and he’s abusive, but is he malicious? Is he even smart enough to be capable of malice? The relationship between Tonya and Jeff rivals that of Harley Quinn and the Joker in the ‘toxic and unhealthy’ stakes. The film’s depiction of domestic abuse is harrowing, but doesn’t quite fit in with the devil-may-care glibness established earlier.

Janney handily steals the show as the abrasive, cruel, yet oddly endearing LaVona. Janney undergoes a complete transformation, and while we’ve seen the cigarette-smoking stage mom archetype before, she unearths several layers to the character. LaVona’s abusiveness towards Tonya contributes to Tonya’s acceptance of Jeff’s abuse after they are married. Janney is hotly tipped to take home the Best Supporting Actress Oscar for this performance.

The film also works to dispel the myth that parents who push their children past their breaking point in the pursuit of excellence are helping their children, and that’s what their children need. LaVona thinks that Tonya performs best when she is enraged, so she engineers situations to throw her child off balance – it’s psychological abuse.

As Tonya’s long-suffering coach Diane Rawlinson, Julianne Nicholson is the sole source of purity, comfort and level-headedness in this sea of scuzziness. Her presence offers a respite from the overwhelming unpleasantness of everything else.

Paul Walter Hauser has a good deal of fun with the role of Shawn, the schlubby friend with delusions of grandeur who ‘masterminds’ a criminal plot with consequences far beyond what Jeff or Tonya could have imagined. This section of the movie plays a bit like a Coen Brothers caper, with bumbling characters who are not very good at being up to no good.

I, Tonya is challenging in that it leaves the audience laughing but uncomfortable as they’re doing so. The film is sympathetic to its title character, but also leans into the tabloid perception of her as it attempts to dig beyond that surface. Mostly, I, Tonya is a terrific showcase for Margot Robbie’s increasingly stunning talents as a leading lady.

RATING: 4 out of 5 Stars

Jedd Jong

Phantom Thread movie review

For inSing

PHANTOM THREAD

Director : Paul Thomas Anderson
Cast : Daniel Day-Lewis, Vicky Krieps, Lesley Manville, Richard Graham, Camilla Rutherford, Harriet Sansom Harris, Brian Gleeson, Julia Davis
Genre : Drama
Run Time : 2 h 10 min
Opens : 25 January 2018
Rating : NC16

In any year when Daniel Day-Lewis stars in a film, every other actor nominated for acting awards alongside him must be quaking in their boots. Those days might be over, since Gary Oldman is the hot favourite to win the Best Actor Oscar for Darkest Hour, and more so, since this film is purportedly Day-Lewis’ final movie.

It is the 1950s, and Reynolds Woodcock (Day-Lewis) is a highly sought-after London dressmaker, whose clientele includes socialites and European royalty. Reynolds’ singular brilliance is coupled with particularity and imperiousness, making him difficult to be around. Reynolds’ sister Cyril (Lesley Manville) manages the day-to-day operations of his fashion house.

While eating at a restaurant in the countryside, Reynolds meets young Belgian waitress Alma (Krieps) and is immediately taken by her. Alma becomes Reynolds’ muse, and is by his side constantly. Cyril is initially suspicious of Alma, since she disrupts Reynolds’ working rhythm. A rift soon develops between Reynolds and Alma, as she struggles to get out from under his controlling grip. Reynolds must decide what is more important to him: the love of a woman, or his chosen craft.

Phantom Thread is written and directed by Paul Thomas Anderson, often hailed as one of the finest directors working. His filmography includes There Will Be Blood, The Master, Boogie Nights and Magnolia – this is a filmmaker’s filmmaker, an auteur’s auteur, widely admired by his peers. Anderson just picked up his seventh Oscar nomination, but has yet to win one. His work is meticulous, but also sometimes difficult to get into. Phantom Thread is an arthouse film through and through, and more impatient audiences might find it challenging to engage with.

The film succeeds as a layered exploration of what it’s like to fall in love with an obsessive artist, and the power struggle that results in such a relationship. Reynolds is, in many ways, an absurd man. He is exacting, temperamental and inconsiderate, but this is viewed as the price of his genius as a fashion designer. While Phantom Thread does get intense, it’s also surprisingly funny. While 1950s London high society is depicted as a rarefied world that audiences get to peek into, the film also acknowledges the inherent silliness of how the fabulously wealthy act.

Day-Lewis is, it goes without saying, superb. While he doesn’t undergo a drastic physical transformation as he did for earlier films including My Left Foot and Lincoln, Day-Lewis still constructs a fascinating, magnetic character. Day-Lewis is famous for being a method actor, never breaking character the entire time he works on a given movie. There’s a degree of mystique to him, and as such, it seems apt that he plays an artist who sets only the highest standards for his own work. Reynolds has obvious unresolved mommy issues, but Day-Lewis’ performance and Anderson’s writing ensure that the character is more than your stock ‘tortured misunderstood genius’ type.

Vicky Krieps is a Luxembourgian actress who will be unfamiliar to most English-speaking filmgoers, but who is poised to become a sought after in Hollywood after her stunning turn in this film. It mustn’t be easy to hold one’s own opposite Day-Lewis, which Krieps does. Alma is something of a faux-naif, and seems like she’s less than Reynolds in every way: social standing, education and refinement. It is a joy to see Alma gain the upper hand and take him on when she is tired of living solely on his terms. The relationship ends up being unpredictable, and the interplay between Day-Lewis and Krieps gives the movie its spark.

Manville scored a Best Supporting Actress Oscar nomination for her turn as Cyril. The almost symbiotic relationship between brother and sister has an intriguing dynamic – it can be interpreted that Reynolds sees his sister as a substitute for his late mother. Cyril’s omnipresence also makes Alma feel like she can’t have Reynolds to herself. In some ways, it’s a love triangle, but not in the traditional romantic sense – it’s more like a power triangle.

There are bound to be viewers who will decry Phantom Thread as pretentious, or others who might find it unintentionally funny because it is so mannered. However, cinephiles will likely appreciate the care with which Anderson has crafted this film, and the work of his collaborators, from Mark Bridges’ costumes to Jonny Greenwood’s piano-driven score. If this is indeed Day-Lewis’ swansong, it is an excellent performance to remember him by – but there was never any doubt it would be.

RATING: 4 out of 5 Stars

Jedd Jong

12 Strong movie review

For inSing

12 STRONG

Director : Nicolai Fuglsig
Cast : Chris Hemsworth, Michael Shannon, Michael Peña, Trevante Rhodes, Navid Negahban, William Fichtner, Rob Riggle, Elsa Pataky
Genre : War/Action
Run Time : 2 h 10 min
Opens : 18 January 2018
Rating : NC16

In the wake of the 9/11 attacks, the U.S. Armed Forces leapt into action, sending troops into Afghanistan to combat the Taliban. 12 Strong tells the story of Task Force Dagger, who were the first personnel to take on the Taliban in the weeks following 9/11.

Captain Mitch Nelson (Chris Hemsworth) has no combat experience, but volunteers to lead Operational Detachment Alpha (ODA) 595. He is backed up by Chief Warrant Officer Cal Spencer (Michael Shannon), with whom Nelson has trained. Nelson’s team also includes Sergeant First Class Sam Diller (Michael Peña) and Sergeant First Class Ben Milo (Trevante Rhodes).

The men of ODA 595 must win the trust of General Abdul Rashid Dostum (Navid Negahban), the leader of the Northern Alliance who has plenty of experience fighting the Taliban. Nelson and company traverse the mountainous terrain on horseback, towards the strategic city of Mazar-i-Sharif. If the Northern Alliance and the U.S. Forces can wrest control of Mazar-i-Sharif from the Taliban, it will strike a crushing blow to the enemy. Outnumbered forty to one, Nelson, Dostum and those under their command wage a bloody, explosive battle.

12 Strong is based on the nonfiction book Horse Soldiers: The Extraordinary Story of a Band of US Soldiers Who Rode to Victory in Afghanistan, by journalist Doug Stanton. The book was adapted for the screen by Silence of the Lambs screenwriter Ted Tally and Hunger Games scribe Peter Craig. This film marks the directorial debut of Danish filmmaker Nicolai Fuglsig – his experience as a war photojournalist must have informed the making of this film.

There are many films set during World War II which are couched as inspirational and uplifting, some of them in danger of romanticising the war. The protracted war in Afghanistan and Iraq has weighed heavily on the consciousness of the American public. 12 Strong is an account of a recently-declassified battle that took place early on in this war. While the movie wants to be thrilling and emotional, it’s difficult to overlook the larger context which is not presented in the movie.

12 Strong wants to be an old-fashioned epic, complete with majestic, sweeping establishing shots, and our heroes riding on horseback as explosions go off behind them in slow motion. It also wants to reframe the narrative by emphasising that there were Afghans who allied themselves with the U.S. troops. However, the film’s handling of this comes off as a naive “there were good Afghans! Who would’ve thought?” viewpoint.

The film has some pacing issues, and the countless sequences of our heroes on horseback rounding yet another mountain pass, in between cutting back to the other characters who are back at the base, becomes repetitive. However, the payoff is spectacular: the climactic battle is drawn out and overstuffed, but is visceral and exciting. It must’ve been quite the logistical undertaking: there are tanks, explosions, guns, rocket launchers, helicopters, bombers and yes, horses. However, there’s the niggling feeling that since this is based on a true story, we shouldn’t be ‘enjoying’ the action sequences the way we’d revel in the thrills of a sci-fi action movie or a fantasy picture.

Hemsworth cuts quite the heroic figure astride a horse. While he and the other actors in the cast attempt to imbue their characters with some personality, as is often the case in military movies like this, the characters can become indistinct and blur together. It is fun that Hemsworth’s real-life wife Elsa Pataky makes a cameo as Nelson’s wife in this film.

Shannon, one of the more interesting actors out there, doesn’t get too much to do. Shannon is often cast in villainous roles, but maybe he’s just more interesting playing those characters, as opposed to the straight arrow Spencer. Even then, he’s played heroic characters who were more engaging to watch before.

Negahban is charismatic as Dostum, battle-hardened and commanding. The film’s portrayal of the warlord seems a little simplified for the sake of convenience. Dostum is a polarising, controversial figure, but in 12 Strong, he occupies the role of ‘wise native’. “Stop being a soldier,” Dostum counsels Nelson, motioning to Nelson’s heart. “Start using this”.

“America is famous for making propaganda movies,” Negahban said, adding that he hopes 12 Strong shows “we are acknowledging, we are honouring those people who put their lives on the line to help get rid of terrorism or war, to bring peace.” Maybe it’s a start.

            12 Strong is co-produced by Jerry Bruckheimer, famous for his high-octane mega-blockbusters. While the film is thrilling and rousing at times, it’s hard to shake the feeling that recent military history has been put through an action movie lens. While there’s spectacle and Chris Hemsworth makes for a great action hero, 12 Strong would like us to believe that Chris Hemsworth can save the day riding in on horseback, when we know it’s far from that simple.

RATING: 2.5 out of 5 Stars

Jedd Jong