Sign in using your account with
Coriolanus: Updated Shakespeare Tragedy
Taking cues from films such as Baz Luhermann’s Romeo + Juliet, Coriolanus is a Shakespearean tragedy, set in modern times. It may require a bit more concentration than regular films but it’s a treat hearing the prose just roll off of the tongues of trained actors.
The film takes place in Rome and tells the story of an army general by the name of Caius Martius Coriolanus (Fiennes). Stern, violent and anti social, he was nonetheless considered a hero by the people of Rome. When he decided to run for Consul however, his detractors used his rigidity against him and sparked a riot that had him banished from the city. In revenge, he teams up with his mortal enemy, Aufidius (Butler), leader of the Volscian army, to wreak havoc on the people who dared deem him a traitor.
Maybe because he isn’t hidden behind a ton of makeup and because this time around he has a nose, but Fiennes is more deranged in this role than he was as Lord Voldemort, and that’s saying something. He has an intensity that poor Butler, as his adversary, just can’t hope to match even though he does do a pretty good job regardless. In fact, the acting here is uniformly strong, but Fiennes is simply phenomenal. The only people capable of going toe to toe with him are Chastain, who plays his wife, and Redgrave, who plays his brutally chilling mother.
On the one hand the film analyses the connection between what the public wants from their politicians and the personas that said politicians present to them. Unlike every other politician in Rome, Coriolanus refuses to sugar-coat his words and openly declares his loathing of the people. His stubborn, idealistic nature greatly complicates his transition from the battlefield to the senate much to the chagrin of his mother - who’s probably even colder and more terrifying than he is. He’s a very ambiguous character and it’s this that gives the film much of its depth. He’s a bloodthirsty tyrant just like his mother yet also a bundle of intense emotions, be it love or disdain.
The film is a complete blood bath which shouldn’t come as a surprise in a film about an army general, but the intensity pervading the film takes the fights to another level. The Romans and Vulscians have a ‘fight or die trying approach’ to war directly inspired by their leaders’ complete contempt for their own lives. And while the cinematography captures the fight scenes really well - Aufidius and Coriolanus’ one-on-one fights are particularly thrilling - it does even better with the rest of the film. The protest scenes feel utterly contemporary and give the film a sense of immediacy; no mean feat when you’re speaking in Shakespearean English.
It’s not a perfect film but it's close and the acting, Fiennes in particular, is as close to perfect as you can get. Despite that though, the film’s main strength lies in the fact that it updates the play and makes it completely relevant to modern audiences. The themes that the play covers are ones that play out in our political arenas every day and it makes for absolutely riveting viewing.
Careless and seemingly unable to find its own footing, the lack of heart and originality found in the latest reimagining of the ‘80s comic-book and film series franchise is disappointing and while there are moments of praise to consider, its shortcomings are a little difficult to disregard.
The streets of New York are terrorised by an underground criminal organization called the Foot Clan, commanded by an ominous figure known as Shredder (Masamune). At the heart of it all is the ambitious TV reporter, April O’Neil (Fox), who – despite the continuing objections from her clearly-besotted cameraman, Vernon (Arnett) – is looking to break out of reporting irrelevant news pieces and move on to much bigger stories.
Her timing, as it happens, couldn’t be better when, while out investigating a lead one night at the docks April witnesses members of the Foot Clan in a hard-hitting confrontation with a group of shadowy ninja-like figures. Determined to reveal the identities of these so-called vigilantes, April soon finds herself face-to-face with the talking and walking six-foot masked turtles, otherwise known as Leonardo (Ploszek), Raphael (Ritchson), Donatello (Howard) and Michelangelo (Fisher).
Raised in the City’s sewers by their rat-master, Splinter (Shalhoub), the four turtles have been training for years to stand up to Shredder and they are soon given that chance when they learn of the plans of a poisonous gas being released over the city.
There seems to be a lot of uncertainty and ambiguity in Jonathan Liebesman’s approach to the subject at hand and the challenge of reviving a thirty-year-old iconic franchise proves to be a rather tricky task for the Wrath of the Titans director. Written by an army of writers and produced by Michael Bay, Teenage Mutant Ninja Turtles suffers from an sloppy script , awkward pacing and, despite efforts give the very concept a little more depth the end-result feels shallow and undercooked.
Luckily, the action and the visual effects are pretty refined and while the surprisingly potent violence can be a little bit too much to bear, you can tell that a lot of time and effort went into the digital creation of the mutants themselves and the world around them.
Regrettably, the performances are just as unmemorable as the story itself; this applies to Fox most, who seems to be stuck with the same staggered expression the whole way through. The motion-capture translates quite satisfyingly, though the menacing presence of Shredder and the righteous aura of Splinter is never fully realised.
The film as a whole is polished but is short on subtlety and complexity, never finding the charm and nostalgia that initially triggered so much interest in the project.
Riddled with a long line of groundless and senseless ideas, As Above So Below – the latest entry to the exhausting found-footage horror sub-genre – is heavy on the mood, but short on everything else.
Centred on the myths behind the Catacombs of Paris, As Above So Below follows enthusiastic archaeology professor, Scarlett Marlowe (Weeks), who is desperately trying to get her hands on a magical rock, capable of turning metal into gold, called the Philosopher’s Stone.
Starting off in Iran, Scarlett soon finds herself on the streets of Paris, convinced that the stone – which she’s trying to retrieve in order to honour her late father’s wish – lies hidden somewhere in the Catacombs under Paris. Eager to begin her mission, Scarlett soon reaches out to old flame, George (Feldman), for help as well as documentarian, Benji (Hodge), and a random Parisian explorer, Papillion (Civil), who offers assistance with navigation.
Going into the Catacombs, the team soon begins its search for a long hidden passage that is supposed to lead them to the mythical stone. However, as they start going deeper underground, strange events begin to take place and if they are ever to reach their destination, the team will need to battle the darkness around them that seems to thicken with every step they take.
No matter how sound your idea may look on paper, the key is execution. In the case of this latest found-footage debacle, it is unfortunately, very poor indeed. The power of the mood, although relatively strong and effective, is weakened by the film’s crammed premise which sees plenty of random ideas thrown around without any explanation or point.
Luckily, the cast manages to weather the faults and offer a few relatively convincing performances. Weeks, as a woman who will stop at nothing until she gets what she wants, is persuasive; Mad Men’s Feldman keeps things relatively grounded, and Civil – a somewhat unknown French actor – offers just enough energy to keep things interesting.
However, it’s the writing that is at fault here. Chilling, but not enough to make your blood run cold, As Above So Below is terribly confusing, contrived and awfully claustrophobic and if it wasn’t for its somewhat underwhelming – and seemingly abrupt – finale, things might have turned out differently for this part Tomb Raider part Blair Witch bag of fables and scares.