My 3D dilemma

This is probably not a great confession to make on a film-related blog but I didn’t see Avatar the first time round. Now it’s back, re-released and even longer, and so the dilemma I had the first time round returned to bug me.

The dilemma was this: if you’re going to pay money to see something at the cinema – and pay the extra cost for 3D at that – you want to be at least fairly confident you’re going to enjoy it. If you’re feeling doubtful, you normally have the option of giving it a miss, safe in the knowledge that you can always watch it on DVD later. However, in the case of Avatar, that’s not such a good option. The main selling point of the film was its cutting-edge effects, so if you’re going to watch it, it might as well be on the big screen in all its 3D glory.

Now, there’s two ways at looking at this situation. One: 3D is a great new way to restore the sense of cinema as an experience, to take us back to the good old days when going to the movies felt special, when it was worth doing for its own sake, as opposed to just waiting for the DVD or downloading a dodgy pirate copy. Two: It’s a big con. The hype about 3D is a way of strong-arming you into paying ten or twelve quid to see something that’s really had pretty mediocre reviews in terms of plot, script, etc. The special effects are its one big selling point and, conveniently enough, they’re just not the same if you choose any of the cheaper viewing options.

I’m still torn by this dilemma, but, in the end, having a day off work and some time to kill, I went by myself to an afternoon showing of the re-released version. Having heard some truly terrible things about it from some people, I had set my expectations pretty low, and so I was actually pleasantly surprised – although, let’s be clear, that’s not exactly saying much. It certainly wasn’t painfully bad. It was just pretty standard Hollywood fare, with big battles, a fairly conventional environmental message, and a racially dubious but fairly common ‘noble savage’ trope. The script was pedestrian, but not as clunky as, say, the new Star Wars films.

My main gripe was the length – I have a very low tolerance for overlong films, even if they’re good. It just seems to show a cavalier disregard for the audience’s comfort: ‘Oh, I know other filmmakers have to stick to a reasonable length, but what I have to say is just so important.’ However, on the plus side – if you can call it that – I wasn’t too gripped to pop out for a toilet break when I needed one. There was a handy montage sequence where the hero is learning to become a Na’vi that was ideal for the purpose.

On the visual side, it delivered everything it promised, and I was pretty happy just to sit and stare at it for a while. Although there was a lot of action, it was nice to see special effects being used for something other than explosions – the world of Pandora was beautifully realised. Vast trees, floating mountains, glow-in-the-dark plants, and stunning flying sequences on the backs of dragon-like creatures all worked wonderfully well with the 3D to create a really immersive world. If only someone could match that kind of attention to detail with a truly great script and characters.

So, after finally watching this film, I’m not sure I’m any closer to resolving how I feel about the 3D revolution. I suppose it’s really no different to any other advance in special effects – it’s all very well, but you simply cannot neglect the other elements of good filmmaking. Avatar did a great job of making the most of the novelty of the technology, but, in future, I’ll probably be making my viewing selections based on something other than whether or not it’s in 3D. If a great film comes along that also happens to be available in a great 3D version – well, that will just be a bonus.

DVD Review: Where the Wild Things Are

It seems amazing that anyone could make a whole film out of Maurice Sendak’s children’s picture book, but writer Dave Eggers and director Spike Jonze have managed to do just that. This is fundamentally a film about childhood – but not an idealised vision of childhood that is innocent and joyful, more a time of life when you’re helpless at the mercy of events, and when emotions can threaten to overwhelm you. The real-world opening is achingly sad, completely involving you in the world of a lonely and troubled little boy. Once the action moves into the fantasy world, the Wild Things he finds there are as childlike as the young hero himself – they crave reassurance, they feel rejected when their friends find other friends, they are playful but their games can quickly turn to squabbles and end in tears. And the film manages to show that the squabbles are not petty, to the Wild Things they feel completely serious and all-consuming.

In many ways, this is a very simple film. The slight plot barely matters – it is all about the world it creates. The world of the Wild Things is visually creative, the characters flawed but engaging and a stunningly beautiful soundtrack by Karen O of the Yeah Yeah Yeahs adds a huge amount to the atmosphere, making this film deeply melancholy and hauntingly affecting.

Film Review: Scott Pilgrim vs The World

Yay! I am so relieved that this film lived up to pretty much all my expectations. Edgar Wright has completely understood where the comic books are coming from, has managed to keep in a staggering amount of the plot and supporting characters and has delivered something that should be satisfying even to those not familiar with the books.

Satisfying, that is, so long as they are happy to accept the internal logic of a world where a 22-year-old slacker who plays bass in a garage band can not only be challenged to a series of crazy computer-game-style battles to win the heart of the woman of his dreams, but also rise to the challenge almost without batting an eyelid. If you’re sitting there asking questions like ‘but how did he learn to fight like that?’, this might be the wrong film for you. If you’re willing to immerse yourself in a world where the rules of games, comics and action films can bleed seamlessly into that of twenty-something relationship dilemmas, then you’ll probably fall in love with this film.

The film’s reference points are clearly signalled in its visual style. Pixellated visuals, enemies who expire in a shower of coins, and comic-book-style ‘thunks’ and ‘whumps’ written across the screen all show that we are a long way from reality, most likely somewhere slap bang in the middle of nerd heaven.

Nevertheless, in spite of the sillyness, geekiness and full-on special effects explosions, this is a film with a heart. Michael Cera does a great job as the somewhat dim, yet hugely charming eponymous hero, while Mary Elizabeth Winstead manages to give real depth to his love interest Ramona – no mean feat, given that the plot requires her to be so mysterious that she could come across as having no personality at all in the hands of the wrong actress. The supporting cast are all absolutely spot-on, although special mention should go to Kieran Culkin as Scott’s witty roommate Wallace Wells.

Some plot adjustments have been made to condense the action of the books, which takes place over many months, and make it more straightforward, but it stays true to the spirit of the original and overall is remarkably faithful, especially considering that the sixth and final book was not even out until very recently, when the film must already have been all but completed.

The books had something genuine to say about relationships and growing up, and I think that the film has managed to retain that message and be moving as well as hugely entertaining.

Art Review: Picasso: The Mediterranean Years, Gagosian Gallery

I had never heard of the Gagosian Gallery until this exhibition, and it’s not exactly the sort of place you could stumble upon by accident – it’s tucked away down a side street near Kings Cross station, a street so deserted and dilapidated-looking that we were not even confident we were in the right place until we found ourselves right next to the sliding doors of the gallery. It turned out to be a small place of about three or four rooms, with the Picasso exhibition the only thing that was on. The exhibition itself was fantastic. As well as paintings in Picasso’s most recognisable Cubist style there were sketches, pottery, sculpture, posters and paper models. The impression was of someone with a fantastically creative mind, who couldn’t wait to try turning his hand to new mediums. Animals appear to have been a popular subject, with bulls in particular making frequent appearances. One fascinating sequence of sketches begins with a realistic representation of a bull and then simplifies and simplifies it, until nothing is left but a few lines and shapes, which nevertheless still clearly evoke the form of the animal. Most of the pieces are simply bursting with life and personality, and I can think of few exhibitions that I have gone round with such a big smile on my face.

The exhibition continues until 28^th August.

Things to do in London: Peregrine falcon watching at the Tate Modern

You might not think it, but apparently London is a great habitat for peregrine falcons, with 18 known breeding pairs in the city. They like to nest on tall buildings, and provide a natural form of pigeon control. And one of their favourite locations is the top of the towering chimney of the Tate Modern. They don’t actually nest there, most likely because the ledges are too small, but they frequently roost there, and bring the juveniles along to learn hunting skills.

I learned all this from the friendly people at the RSPB stand by Millennium Bridge, who have their telescopes trained on the chimney top so that members of the public can see the birds. One helper explained that he’d even seen an adult bring back a dead pigeon and drop it from the tower for a youngster to dive off after. Nothing as spectacular as that happened while we were there, but we were lucky enough to get to see a juvenile, fully grown but still slightly fluffy looking, perched on a ledge far above the Thames. It is far too high to see anything with the naked eye, but the RSPB people watch carefully for the birds to land and position the telescopes accordingly.

It’s strangely exciting to think that these prehistoric-looking hunters could be perched above our heads at any time as we wander through the busy streets of London.

The RSPB will be on hand to point them out 12 noon-7pm every day until 12^th September.

More London activities from this weekend coming soon...

How excited am I about the Scott Pilgrim film?

The answer is, of course, very excited. I have recently finished reading the comics (the sixth and last volume came out a couple of weeks ago) and I loved them. They are funny, touching and, according to Joss Whedon, “the chronicle of our time”.

Although I am normally quite wary about film adaptations of books I have taken to my heart, I have to say, the signs are looking good for this one.

Early reviews after the film’s screening at Comic Con seem positive, and all the clips and trailers online look spot-on to me (Why, yes, I have been watching all that I can find). It seems as though the humour and the comic-book/computer game references have carried over very well. Plus, the more I think about the choice of Edgar Wright as director, the more it makes sense. After all, Scott Pilgrim does have a lot in common with Spaced. Slacker heroes. Geek references. Silly comedy combined with characters you genuinely care about, trying to figure out their lives and relationships.

I only hope Michael Cera does a good job as Scott. He’s known for playing shy and nervous characters, but Scott is hopelessly positive and cheerful. Still, the trailers look promising, and there appears to have been some good casting of the supporting characters (Scott’s friends and the evil exes). I’m sure Jason Schwartzman will be great as Gideon.

So overall, yes, I am super-excited, and I really, really, hope that this film can live up to my expectations.

Film Review: Inception

Inception tells the story of Dom Cobb (Leonardo DiCaprio), an expert at entering people’s dreams and stealing their secrets. Then he is given a new challenge – to do the opposite, to use his skill to plant an idea in someone’s mind. To do this, he needs to go deep into the dreamer’s subconscious, by creating a dream within a dream within a dream.

This concept makes for a structure as intricate as can be expected from director Christopher Nolan – each level of the dream operates on a different time scale, and events that happen to the sleeper can affect the content of the dream. For example, when the dreamer is falling, there is no gravity in the dream, resulting in one particularly spectacular fight sequence. The interactions between the different levels are well-handled, with enough markers to remind the viewer of what is going on ‘outside’ the dream. Indeed, it is impressive how the film manages to dazzle with its complexity while still not leaving the audience behind.

Nolan also finds hugely imaginative ways to represent the subconscious mind, to visually stunning effect.

DiCaprio, one of my favourite actors, is impressive, and there is a starry supporting cast, including Ken Watanabe, Cillian Murphy, Marion Cotillard, Michael Caine and Joseph Gordon-Levitt. Ellen Page gives a mature performance as Cobb’s protégé the aptly-named* Ariadne, a talented trainee architect who he tempts away from her studies to learn to ‘build’ the settings for the dreams he enters. Her character in part serves as a plot device so that the processes of Cobb’s work can be explained to the audience, and to force him to face up to the past that is haunting him, but she brings a depth to the role, and there are some great sequences as she learns to manipulate the landscape of dreams, discovering the joy of “pure creation”.

*Ariadne was a character in Greek myth who guided Theseus out of the labyrinth of the Minotaur.