Sign in using your account with
13: Ensemble Thriller Lacks Consistency
A desperate and naive young man named Vince (Riley) unwittingly assumes another man's identity only to be sucked into an underground world full of violence and money. Unaware of the consequences, Vince is quickly involved in a gambling ring like no other that he unwillingly becomes a huge part of. The only way out alive is to participate in a series of deadly Russian roulette games.
The idea of betting your life on a game where a gun is aimed at the back of your head is quite intense to say the least. But when the whole story of the film rotates around this concept alone, it actually becomes quite tedious. This remake of French film 13 Tzameti (2005) wavers from the intense to the dull quite consistently.
The storytelling develops nicely though, as we are dragged along with Vince as he is wrongfully mistaken for the assumed character, who he only paraded to be for a chance of making a quick buck. As he gets deeper and deeper into the game, he can't back out or quit, as the consequences of revealing himself could be just as deadly.
Though Riley turned in an acclaimed performance as Joy Division’s front-man Ian Curtis in biopic Control (2007), he is still relatively unknown, but as the lead he does a fine job in pulling you into his intense predicament. The all-action Statham is passable as one of the gamblers, but it’s the first time in a while we haven’t seen him knocking heads together, and he has to fall back on his acting ability alone. Rourke and Winstone are both simultaneously charismatic and brutal as always, while 50 Cent’s performance is over the top to say the least.
Georgian filmmaker Géla Babluani actually wrote and directed the original and the fact that he himself directed the American remake should have been a good omen. Unfortunately, Babluani has consciously made several changes to avoid simply reshooting the same film. It’s a no win situation; adapted screenplays are often criticised for not staying true to their source materials, but at the same time, they can be distorted by an unflinching loyalty.
In conclusion, 13 is a passable thriller, which seems to have lost much of the character that made the original film so popular. Hollywood has often sought to recreate European and Asian films in order to recreate their success. Very few succeed and unfortunately 13 doesn’t join that elite selection; it just doesn't come together as the exciting ensemble piece it could have been.
Despite its predictable and somewhat messy setup, Nick Cassavetes' latest romantic comedy about broken hearts, unexpected bonds and the sweetness of revenge offers the occasional moment of gratification.
The story is centred on Carly (Diaz); a stylish and an uncompromising New York City lawyer who has never taken love and dating all that seriously, instead channelling her energies into her career. However, that all changes when she begins dating dashing businessman, Mark King (Coster-Waldau), whom Carly soon starts to see as a possible love prospect.
Little does she know, however, that Mark is harbouring a secret; his wife, Kate (Mann), in Connecticut, who Carly soon gets the pleasure of meeting when she decides to drop by on an unexpected visit. Subsequently, Carly quickly decides to dump Mark and move on with her life.
However, Kate – who is having difficulty accepting the truth that her two-timing husband has been canoodling with the leggy blonde – has other plans. She soon begins to stalk Carly, first at her office and then at her home, begging for details about their relationship and some much-needed advice on how to deal with the mess. The two women soon become friends, bonding over their mutual hatred of the same man and decide to cook up a plan for revenge.
Forty-one-year old Diaz looks absolutely spectacular and maintains a poise as the hard-as-nails Carly, while Mann – who has seemed to have had difficulty in breaking away from her characters from movies such as Knocked Up and This is 40 – is the definite winner. As the source if most of the film’s comedy most, Mann ends up serving as the driving force of the film as the whiny – and deliriously annoying – alcohol-loving Kate. Meanwhile, for Upton, as the second mistress the girls soon find out about, things are not so perky – no pun intended –and the model-turned actress is rather aggravating as the dim third character.
The Other Woman has all of the elements of a solid chick-flick; eye candy, a pleasingly simple plot and plenty of comedy. However, it also descends into a string of over-the-top gags, crude bathroom humour and a series of cringe-worthy musical montages with pop tunes.
Wally Pfister’s directorial debut – a slow and relatively complicated take on the world of artificial intelligence – falls short of the type of thrill needed to push Transcendence into the major leagues of sci-fi.
Written by a fellow first-timer, Jack Peglan, Transcendence lends its focus to Will Caster (Depp); a prominent leader of the artificial intelligence research who, along with wife Evelyn (Hall) and fellow researcher Max (Bettany), hopes that computers will one day be able to think for themselves and, inevitably, replace humans and the ill-intentioned ways of mankind.
However, Will’s radical way of thinking soon makes him a target for an underground anti-tech terrorist group led by Bree (Mara), who decide to take out the A.I pioneer by shooting him with a radioactive bullet, leaving him to die a slow and a painful death.
Not prepared to let go of her husband just yet, Evelyn reaches out to Max and manages to convince him that the only way they can keep Will and his work alive is to download his brain – and consciousness – into the system, before his body completely deteriorates.
The experiment is a success, but the new computerised version of Will is not the same man they all once knew, but a cold mechanical shell obsessed with accumulating both knowledge and power. With the help of a renowned computer scientist, Joseph Tagger (Freeman,) and FBI agent Buchanan (Murphy), Max begins to look for ways to put an end to Will, while Evelyn, desperate to hold on to the man she once loved, is hesitant to let go.
Pfister, a long-time Chris Nolan collaborator who served as cinematographer for most of his productions, definitely knows how to work the camera and manages to paint Transcendence with a crisp, pallid polish. Everything from the special effects to the choice of framing looks absolutely superb. However, its steely façade doesn’t make up for the shallowness of the story, which goes from confusing to downright ridiculous pretty early on.
In terms of the performances, the cast struggles with their underwritten roles and, consequently, feel utterly disengaged from the story altogether. Showing off a more subdued side, Depp is relatively passive and indifferent in his performance of a man who quickly loses sight of what’s right and wrong as he begins living in his own creation. Freeman and the rest of the supporting cast are underused, while Hall – as Depp’s despairing onscreen wife – is left with little to build with on the emotional side of the story.
In the end, Transcendence flatters to deceive; from the lack of onscreen chemistry and character development to the absurdity which the story quickly escalates to, this latest wannabe sci-fi blockbuster – although pretty to look at – is just a little too dull to stand with the big boys – so to speak.