Tag: Patrick Wilson

Aquaman (2018)

Jason Momoa takes himself rather seriously in the deeply silly Aquaman

Director: James Wan

Cast: Jason Momoa (Arthur Curry/Aquaman), Amber Heard (Mera), Willem Dafoe (Nuidis Vulko), Patrick Wilson (Orm Marius), Dolph Lundgren (King Nereus), Yahya Abdul-Mateen II (David Kane/Black Manta), Ludi Lin (Captain Murk), Temuera Morrison (Thomas Curry), Nicole Kidman (Queen Atlanna), Micheal Beach (Jesse Kane), Julie Andrews (Karathen)

After helping the rest of the Justice League save the world Arthur Curry aka Aquaman (Jason Momoa) is quite the celebrity. Curry is the son of lighthouse keeper Thomas (Temuera Morrison) and Atlantian Queen Atlanna (Nicole Kidman), who fled her unloved husband and his underwater kingdom but was recaptured when Arthur was young. Her other son Orm (Patrick Wilson) is now King of Atlantis, planning to lead the forces of the sea in a war against those on land. Can Arthur and Orm’s unwilling betrothed Mera (Amber Heard) combine to prevent a war? And will Arthur become a worthy hero?

Aquaman makes a valiant effort to embrace perhaps the silliest set-up for a comic book novel yet. Based around a massive, technologically advanced underwater kingdom that has (inexplicably) remained silent and secret for thousands of years, who inhabitants all seem to have superhuman strength and magical skills (guess it must be all that water pressure), the film at times is hard to take seriously. But it sort of gets away with it, as Wan leans into the tongue-in-cheek campness of all this (and I’m amazed how camp these Atlantians are) and asks us not to take anything we see that seriously, but just to sit back and enjoy the ride.

And the film is basically just a big ride, as we travel from place-to-place and watch Aquaman hit things in various under-water and above ground locations, while keeping up a bit of rapid-fire banter that will flower (but of course!) into an opposites-attract romance with Mera. One thing Wan does very well is to find a way to present the various fights in a style I’ve not seen before. The showpiece one-on-ones take place in a series of incredibly smooth one-shots, which twist and glide around our heroes while they despatch countless foes and, in one impressive show-piece, in and out and across buildings during a fight in an Italian cliff-side town. The ending may be your typical CGI smackdown, but Wan’s presents the fights in a way that actually looks different and excites a bit of awe.

Where the film is less successful is in its slightly tired coming-of-age/proving-his-worth/resolving-his-loss storyline, which offers few surprises. Try as I might, I can’t find Jason Momoa a charming enough actor to effectively make me invest in his character. Compare him to Dwayne Johnson, who is always willing to laugh at himself and is the very embodiment of charming self-awareness. Momoa takes himself very seriously – he always needs to be the coolest guy in the room – and his air of cocky self-importance sometimes jars in a film as dopey as this one.

This also means the film fails to sell a real plot arc for Aquaman himself. Its nominally about a character learning to acknowledge his mistakes, vulnerability and inability to go-it-alone. This doesn’t always feel earned and sometimes emotionally confused. One of Aquaman’s earliest acts is to let the ruthless father of a hijacker (a scowlingly charismatic Yahya Abdul-Mateen II) drown. Later he expresses regret for doing this as, by making an enemy, he endangered Mera. Not regret because it was wrong to let the man die, but a sociopathic concern for his loved ones rather than someone else’s. The character’s growth never really convinces – he still seems like the same cocky maverick at the end than he was at the beginning, rather than someone who has matured into a real leader.

But aside from these doubts, this is a big silly pantomime pretty much told with the right balance between seriousness and tongue-in-cheek. Amber Heard mixes heroism with a dopey, flower-eating sweetness as Mera. Willem Dafoe constantly looks like he’s about to snigger as a wetsuit glad Grand Vizier. There is something rather lovable about a film so eclectic in its cast that Julie Andrews (of all people) voices a sea monster and Dolph Lundgren tackles King Nereus like it’s his shot at Macbeth.

Bangs, booms and few jokes carry us through a deeply silly but enjoyable film. There is a great deal of visual imagination for the sea kingdoms, a mix of Greek inspired nonsense and space-ship bombast. Wan pretty much throws the kitchen sink at the screen, and while it’s definitely rather too long it’s also bubbling with just as much tongue-in-cheek fun that you roll with it. Nothing here reinvents the wheel – and the plot often feels like a rather clumsy after-thought – but it’s still an entertaining wheel.

Watchmen (2009)

Morally complex heroes in Zach Snyder’s visually impressive but slightly empty Watchmen

Director: Zach Snyder

Cast: Malin Åkerman (Laurie Jupiter/Silk Spectre II), Billy Crudup (Jon Osterman/Dr Manhattan), Matthew Goode (Adrian Veidt/Ozymandias), Jackie Earle Haley (Walter Kovacs/Rorschach), Patrick Wilson (Daniel Dreiberg/Nite Owl II), Jeffrey Dean Morgan (Edward Blake/Comedian), Carla Gugino (Sally Jupiter/Silk Spectre), Matt Frewer (Edgar Jacobi/Moloch), Stephen McHattie (Hollis Mason/Nite Owl)

If you asked people to name the greatest Graphic Novel Ever, chances are they would come up with Alan Moore’s Watchmen. This scintillating deconstruction of superheroes and the morality of caped avenging satirises what the impact of superheroes in a real world might be. It had taken decades – and several cancelled attempts – to get a version to the screen. So, if nothing else, Zach Snyder deserves plaudits for merely persuading Hollywood executives to get this expensive, R-rated, morally complex film to the screen. Sure, the final result isn’t perfect, but it’s got a fair bit going for it.

Watchmen is set in an alternative 1985 where Richard Nixon is serving his fourth term and the Armageddon of Nuclear war is just around the corner. Masked vigilantes had been a common sight on the streets – although banned since 1977. The Vietnam war was won (in a few days) by the God-like Dr Manhattan (Billy Crudup), a scientist granted superhuman powers in 1959 after an accident with a field generator. Most other vigilantes are retired, other than right-wing bully the Comedian (Jeffrey Dean Morgan). When the Comedian is murdered by a masked intruder, his fellow members of superhero group the Watchmen, worry someone is eliminating them for reasons unknown.

Snyder’s Watchmen is a visual feast. Snyder – a huge fan of the graphic novel – used it as a visual bible, quoting it in several frames. The film is a beautiful mix of dark, filmic visuals and striking comic book primary colours, while frequently embracing the inky black murkiness of the violent world its depicting. Shot with the same high energy and dynamism as 300, Snyder’s ability to turn pulpy Warhol inspired visuals into fast-paced, filmic action is second-to-none.

What however is more of a shame is the feeling that the main things in Watchmen that interest Snyder might be the visuals. Where the film sometimes fails to come to life is where it deals with the complex morality of its heroes. The original deconstructed the morality of heroes. How a man with the powers of a God could come to look on humanity with an (albeit affectionate) distance. How a masked PI would be so convinced that right and wrong were certain that he would be willing to carry out acts of bone-crunching violence. That a hero could calculate sacrificing millions of lives for the greater good isn’t just acceptable, its recommended. That for others the exhilaration of spending their nights beating up criminals is an escape from the mundane realities of life.

The problem is that Watchmen never quite gets to the heart of these moral questions, of really tackling the rights, wrongs and shades of grey of those ethical quandaries. Rather than delving into them, ideas are too often stated. While its daring for a film to include heroes who are as deeply flawed, violent and, at times, even as unpleasant as this – it still doesn’t quite flesh out the complexities of this.

Too often the film takes a naughty pleasure in its violence and brutality, seeing that as a short-hand for presenting a morally unclear world. And at times wants us to go “how cool is that!” rather than asking “should I be enjoying watching indiscriminate slaughter from a vigilante”. Its telling that the recent HBO series of Watchmen – a sequel to the Graphic Novel set in the modern world – feels more like a true adaptation of the source material than this. That dealt with fascinating ideas about race in America, morality and acceptable sacrifices for the greater good (and still managed to work in plenty of action). By comparison, this film of the source material itself feels less deep. Now of course run time is part of that, but it should have been possible to make a film this long that more successfully combined ideas and visuals.

Snyder’s passion for the material is clear – but the film is often a little too obvious. From cuts to musical cues, it’s a film that pushes the envelope only in terms of its look and feel. It tries its best, but its vision of transmitting the depths of the original sometimes seem to stop at a faithful visual rendition of its style.

But it’s made with a lot of love and passion, not least in the acting. The decision to go largely with unknown actors pays off very well. Earle Haley brilliantly channels his character from the graphic book, a prickly obsessive with an unshakeable moral certainty. Crudup perfectly conveys the vast moral distance a real Superman would probably feel towards normal people. Goode’s chilling coldness and arrogance is perfect. Wilson gives the film heart as the closest thing to a genuinely decent guy. Åkerman does her best with a part that feels slightly underwritten and at times a plot requirement, largely defined by the emotions she provokes in the male character.

There are plenty of excellent moments in Watchmen but I’m not sure it ever really, truly becomes its own thing (in the way the HBO series did manage to do). In trying to so completely ape the visuals, and fit in all the plot, it becomes a companion piece rather than a stand-alone production. If Snyder had perhaps had a bit more courage to tack away from the strict structures of the original source material it could perhaps have helped make a stronger film. However, saying that I can imagine the fans hitting the roof if he had… And Snyder’s ability to persuade the studio to make a film with such a nihilist feel and ending is to be commended. Watchmen is a mixed bag, but when it works it does work well.

The Founder (2016)

Michael Keaton accepts the praise as Founder of the McDonalds Business Empire

Director: John Lee Hancock

Cast: Michael Keaton (Ray Kroc), Nick Offerman (Richard McDonald), John Carroll Lynch (Maurice McDonald), Linda Cardellini (Joan Smith), B.J. Novak (Harry J. Sonneborn), Laura Dern (Ethel Kroc), Justin Randell Brooke (Fred Turner), Kate Kneeland (June Martino), Patrick Wilson (Rollie Smith)

McDonalds. The Golden Arches are ubiquitous, not just in America but across the whole world. But how did this happen? How did a small business – just one stand in a small town in America – suddenly become a global monolith?

Ray Kroc (Michael Keaton) is a luckless travelling salesman, selling supplies to drive-in diners. In California he encounters a diner the likes of which he has never seen before: a walk-up restaurant serving high quality food in disposable packaging, instantly. The business is McDonalds, run by brothers Dick (Nick Offernan) and Maurice (John Carroll Lynch). Kroc instantly recognises the potential of the business, and strikes a deal to franchise the formula across America, although the McDonald brothers will maintain control over all changes. Kroc, however, has the drive and ambition the McDonald brothers lack – and he slowly begins to stretch and expand the deal, taking on more and more power. Eventually he will become “The Founder” of the business that bears his original partners’ names.

What’s interesting about The Founder is that it has a certain element of wanting to have its cake and eat it. It’s simultaneously a semi-celebration of American entrepreneurship and a condemnation of big business crushing the little guy. This sounds like it should make for a confusing film but actually it kinda works. It fits the complex world of major business successes – someone like Kroc had the skills and the ruthlessness to actually make McDonalds into a global super-company in a way the McDonald brothers never did. At the same time, Kroc is clearly incapable of creating anything himself (even most of his business-building ideas come from other people) and the McDonald brothers have the real “American” entrepreneurial invention to create something new.

So the film becomes an engaging story of how businesses grow and develop, which largely manages to remove Hollywood sentiment from the equation. Kroc isn’t exactly a hero – he’s selfish, ruthless and places himself first constantly – but he’s not exactly a villain either. He’s a downtrodden striver, who has too continually push to be accepted by those who look down on him. He has a sense of loyalty and love for his brand – even while he begins to shut the McDonald brothers out of their own business. Similarly the McDonald brothers have a homespun honesty to them, but they are also naïve and unrealistic in their demands and desires for the business.

The film relies a lot for its success on Keaton’s slightly tragic desperation in the lead role, his yearning to improve and better himself. The first half of the movie shows his charm but also demonstrates his business acumen, his genius in recognising that what the McDonald brothers have invented could work on a huge scale. He’s hard-working and initially luckless, and the snobbish knock-backs he receives from banks and investors when peddling an idea get us on his side – after all we know it’ll be worth billions. It’s a Capraesque spin: he’s the little guy bucking against the system who becomes the very monolithic monsterous system himself. We can’t even be certain where we see the flip.

What becomes clear is that Kroc himself is somehow empty, somehow slightly devoid of depth, a man able to move smoothly from concept to concept with no lingering sense of guilt. He discards the McDonald brothers (after copyrighting their name) with as much calmness as he drops his wife (Laura Dern, in a thankless part as The Loyal Wife). Despite this though, the film never brings itself to condemn Kroc. It’s a little in love with the chutzpah of Kroc’s success and his persistent positivism, while seeing those he has had to drop on the way as tragic victims of the monolithic American business success Kroc has created.

We are invited to have similar sympathetic feelings about the hapless McDonald brothers: innocents in a world of business, able to create something that can change the world but hopelessly incapable of translating it into the type of scale that it could achieve. The film doesn’t forget that the McDonald brothers are the victims here, and Offerman and Lynch are both superb as two brothers with a deep personal bond and a love for their business and each other. But it also partly follows Kroc’s line – these two do not have the vision and ambition to take their idea to the next level. They are innovators but they are small-scale ones. The film daringly doesn’t just take their side as the little guys crushed by the system; it also allows itself to consider if they to a certain extent failed themselves. They never learn either, accepting Kroc’s handshake agreement for future royalties at the end of the film, an agreement we are all too aware even when it is happening will probably never be met.

The film has a certain love for the Americana of McDonalds and fast food joints, and it’s both an advert for the triumph of the business (the customers are all uniformly happy, and the ordinary employees in Kroc’s empire are all wonderfully warm) and a sad testament to the small businessman being swept aside by the big company. It’s quite a feat for the film to manage both at the same time and remain coherent. It’s both an advert for and attack on McDonalds, but it holds both these ideas simultaneously at the same time really well. Well worth a watch.

The Alamo (2004)

“Remember The Alamo!” Problem was the movie going public didn’t

Director: John Lee Hancock
Cast: Dennis Quaid (Sam Houston), Billy Bob Thornton (Davy Crockett), Jason Patric (James Bowie), Patrick Wilson (William Barret Travis), Emilio Echevarría (Antonio López de Santa Anna), Jordi Mollà (Juan Seguin), Leon Rippy (Sergeant William Ward)

“Remember the Alamo!” was the famous war cry of the Texan rebels fighting to make Texas an independent state from Mexican rule. Problem was, fast forward 90 odd years and it seems not enough people did. This lovingly reconstructed re-telling of the doomed attempt to defend The Alamo (a sort of Western Zulu with a downer ending) was a box-office disaster.

In 1836, a civil war raged in Mexico, which then included Texas. American immigrants and other groups fought to make Texas an independent state, with an eye on later joining the United States. A small force is sent to garrison the Alamo, a key fort recently captured from the Mexicans. But the Mexicans and their President Santa Anna are descending on the Alamo in full military force…

The Alamo is a pretty decent film. It’s not a classic and at times it’s a rather staid and straight-laced history lesson, po-facedly cramming in as much as it can within its running time. But it’s got many merits, not least the fact that it’s willing to focus on character rather than action, and embraces the fact that sieges tend to be rather long, dull affairs punctuated by moments of sheer terror.

Billy Bob Thornton gives a sharply intelligent and thought-provoking reading of Davey Crockett, playing him as man painfully aware that he is a legend, and wearily trying to balance this with also being a “normal” person, with the same fears and desires as other men. He plays Crockett as a gentle, even rather sensitive soul, a good listener, sharply self-critical and scared that he can’t live up to the reputation he has. As he says at one point: “If it was just me, simple old David from Tennessee, I might drop over that wall some night, take my chances. But that Davy Crockett feller… they’re all watchin’ him.” At one moment (in a scene that the film overplays by returning to at least twice in flashback), Crockett plays the violin on the ramparts to battle the Mexican drums, giving a brief Shawshank-like moment of freedom through the power of art.

The two main leads don’t disappoint alongside him. I enjoyed Patrick Wilson’s stiff-necked William Travis, whose cold and formal manner slowly reveals a decent man and a brave leader (though no master tactician). Jason Patric also manages to land just the right side of rogueish as a drunken James Bowie, the men’s leader of choice. Dennis Quaid has the dullest, least developed part as a larger-than-life Sam Houston. Impressive as these characterisations are, the film doesn’t really have time for anyone else to make an impression – while Emilo Echevarria’s Santa Anna is little more than cardboard cut-out of villainy.

The film’s main problem is its reverent regard for the moment in history that it is covering. For starters, its makers assume everyone shares this: there is no opening crawl, or scene setting voiceover, to tell us where we are, what’s going on and when. The filmmakers assume us to be as au fait with Texan independence as they are. I had to literally stop the film for a good ten minutes and read some quick timelines of Texan independence, as well as skim a few Wikipedia pages on Texan history, so I could follow the storyline.

Secondly, it’s so keen to cover all the major historical events, that at points it’s more than a little dry. Its slow pace has the upside of really allowing us to get to know the characters at its centre (the original run time was closer to 3 hours, which would have allowed many of the background characters to come to life as well). But with the runtime cut down, combined with the assumptions made about the viewer’s historical knowledge, it sometimes becomes a little tricky to either engage with the drama fully or to completely understand what’s going on.

The recut of the film after disastrous test screenings also means that the film has what feels like a tacked on “happy ending”, with the last twenty minutes given over to the (very shortened) Houston campaign against the Mexicans and Santa Anna’s capture. The film rockets through this, barely pausing to explain tactics or events, seemingly wanting to give meaning to the sacrifice at the Alamo. Some half-hearted attempts are made to contrast slaughter of the Mexican soldiers with that of the Alamo defenders, but not much.

But this is not a bad film by any means, just a fatally compromised one. It’s trying to be an intelligent, grown-up piece of film making – a character study out west – but it’s also trying to be an action film. It doesn’t quite succeed in being either, but it’s at its best as a character study, helped by some really strong, thoughtful performances. Hancock isn’t, to be honest, an original enough director to bring to life the epic scope and sweep that the film needs, but it’s clear he cares about this a lot. In fact that’s the best thing about this film: it’s clear that everyone in the film cared deeply about this story and desperately wanted this film to be a classic.

It’s a shame that this story is one that seems to have less relevance to the masses today, and that this film can’t quite coalesce all the efforts of everyone involved into something really memorable.