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Titanic 3D: A Chance to Relive ‘97
Titanic was momentous and its effect on pop culture was probably bigger than its effect on cinema. There hasn’t been a film since Titanic that has managed to create such a fuss; attracting everybody and their grandmother to the cinema, and dominating everybody’s conversations regardless of age or ethnicity. Even the Harry Potter series, arguably the biggest films of this millennium, have a fan base that maxes out at a certain age. Besides, the Titanic onslaught was also aural; Celine Dion’s theme song was inescapable and remained that way for a few years after. It’s actually a wonder that something so fantastically irritating was so popular, but luckily it seems we’re being spared the musical assault this time around.
In hindsight, Titanic is pretty cheesy. Actually scratch pretty, it’s super cheesy. The dialogue is basically clunker after clunker; one of them in particular: “A woman’s heart is a deep ocean of secrets,” sounds like something out of a bad dating manual. The younger Rose contends with her share of duds where Kate Winslet seems very ill at ease while she delivers them. In fact, she only loosens up somewhat when she starts to fall in love with Jack; it’s the romance that enchanted viewers the first time around that has kept the film culturally relevant and generated it so much goodwill. It’s the epitome of a love story. You have two very attractive leads acting out a forbidden love story between a girl stifled by upper class norms, and a free spirited artist from the wrong side of the tracks. Toss in her stubborn, arrogant fiancé, who she’s being pressured into marrying to save her family from financial ruin, and you have just the right elements of a great forbidden love. The Titanic going down is just window dressing and the only reason we care about the accident is because of its effect on Jack and Rose’s relationship. As a viewer, you spend the length of the film rooting for them to end up together; the iceberg is just one more obstacle keeping them apart. And yes, the part where Rose lets Jack go at the end is still as tear inducing as ever.
It’s interesting to see Leonardo DiCaprio at his teen heartthrob peak. It’s easy to forget now but back in the ‘90s DiCaprio was inescapable; he was to the ‘90s what Zac Efron and Taylor Lautner are to this decade.
The 3D effect adds considerable depth to the picture but like most reissues, the real draw here is seeing the film in the cinema; the 3D doesn’t add enough to warrant another viewing if you’re just lukewarm about the film, or if you’ve already seen it a trillion times on TV. The true experience here is reliving 1997 all over again; in other words, feeling nostalgia. Whether it’s for the days when ‘blockbuster’ wasn’t just a code name for a superhero flick; for when film events weren’t a dime a dozen and managed to capture the general public’s attention for extended periods of time; or for when one film would come along and give everybody something in common to be excited about.
Loosely based on Walter Isaacson’s 2011 biography of the same name – a book that was approved but never actually read by the man himself - the life and work of the late Steve Jobs is once again brought to life on the big screen, this time, in Aaron Sorkin and Danny Boyle’s engaging, but niche biopic, Steve Jobs.
The story begins with Steve Jobs (Fassbender) getting ready to launch and share the Macintosh home-computer with the world. As he awaits, rather impatiently, backstage for the auditorium to fill, marketing manager, Joanna Hoffman (Winslet sporting a sporadic and an uneven American-Polish accent) is working hard on containing the pandemonium involving a possible failure-to-launch scenario.
Jobs is soon approached and confronted by ex-lover, Chrisann Brennen (Waterston), and his five-year-old daughter, Lisa (Ross) – whom he refuses to accept as his own – who wants to discuss paternity issues, while Apple co-founder and old-time friend, Steve Wozniak (Rogen), is eager to argue the possibility of Steve actually sharing the credit for their success. Meanwhile, Apple CEO, John Sculley (Daniels) has his own bone to pick with Steve, who, by this point has demonstrated that his blinding ambition and drive to succeed will not be hindered by anyone.
Much like its titular character, Steve Jobs is not an easy film to love; those expecting a more straightforward approach to the story – and an in-depth account of the company’s history and a deeper insight into the man who brought it success - might well be disappointed with its minimal setup. However, those who find time to appreciate Danny Boyle’s unique storytelling, which covers three very distinct Apple product launches - debut of Macintosh, NEXT and the iMac which transpired in 1984, 1988 and 1998 respectively – will see that most of the movie’s strengths lie with its somewhat claustrophobic – albeit intimate – and theatrical setup. Padded with a few flashbacks, Steve Jobs is not interested in portraying the ‘early’ years; instead, it attempts to highlight Jobs’ personality and the interactions that occurred between him and his closest associates during a time which was deemed most critical for the company and, of course, for Jobs himself.
Capturing the often sociopathic and ruthless behavior when dealing with colleagues – friends and family not excluded - and his obsessive attention to detail, Fassbender offers a subtle but deeply-layered performance, completely devoid of any mimicry or impressionism. Meanwhile, Rogen manages to strip off his funnyman suit and deliver a poignant portrayal of the Apple I designer, while Winslet is surprisingly unnoticed as a loyal assistant.
It’s a decent biopic that offers a compelling glimpse inside the head of a man who is often referred to as a pioneer and a visionary of the digital age. The film doesn't exactly portray Jobs a nice man, that’s for sure, but stresses on his importance as one of the most famous figures of our time.
The fourth and final instalment in The Hunger Games film series is upon us and director Francis Lawrence has injected the closing chapter of Suzanne Collins’ best-selling dystopian adventure with a bit more heart and oomph than from what was witnessed in the first and rather dreary half of this two-part tale. However, although Mockingjay Part 2 is definitely a better and more exciting offering, it’s still not completely free of fault.
Mockingjay Part 2 picks up where Part 1 left off, with Katniss Everdeen (Lawrence) trying to recover after almost being choked to death by her former ‘lover’ and ally, Peeta (Hutcherson), who by the looks of things, seems to have been brainwashed and poisoned with thoughts of killing Katniss. Driven by the anger and her pure hatred for President Snow (Sutherland), Katniss soon escapes District 13 to join an assault on The Capitol under rebel leader, President Coin (Moore), only to discover that there is one last version of the Hunger Games still to play.
One thing’s for sure; Part 2 is a definite improvement over Part 1, which spent most of its time shifting about and setting things up for the big payoff. It’s a problem that we’ve seen before in the waves of adult-fiction novel adaptations – the first half spends so much energy in setting up the second that it fails to convince a stand-alone film. Although the pace picks up, there’s no sense of grandness to what is meant to be a huge finale and, actually, some may even feel underwhelmed by how the plot plays out.
On the plus side, the action is engaging and some of the battle scenes are staged with great attention to detail. In addition, Lawrence is, as always, her fantastic self and she’s once again the anchor on what has been a shaky ship.
As a story which has always attempted to frame the horrors of war through the eyes of a fiercely brave young heroine, so much more could have been done – much like the whole series, there’s something engaging about the finale, but it all feels like a chance missed.