Todd Haynes’ film, “Velvet Goldmine,” is a loud, glitz-filled, rollercoaster full of free loving, girthy live shows, and more story line than most minds can handle. Parallels of this movie and the lives of David Bowie and Iggy Pop are clear for those who are familiar; but for those who are not this film can easily become too much too quickly.
These viewers become unfortunate casualties to too much happening in the plot, unfortunate because the artistic direction in this film is something worth seeing. The concert-scenes pop and the musical score is a work within itself.
The movie begins with the hoax-killing of rock-star Brian Slade, played by James Lyons. From there the plot tries to take on all-too-much at once. The story line tries to delve into Slade’s relationship with American-rocker Curt Wild, played by Ewan McGregor; as well as with many other of his personal relationships.
All the while we have Christian Bale playing the character of Arthur Stuart, an investigative journalist trying to uncover the truth behind the hoax-death of his former favorite rock star. Still following? Good, now you have to deal with confusing voice-over that lends itself to the style of an old-timey detective flick, mixed with unexplained interviews between Stuart and people of Slade’s past, wrapped in a plethora of flash-back scenes that leave the audience visually and mentally disoriented.
The unfortunate fact of this effect is it takes away from some great aspects of the movie. The sound track, for example, is a wonderful mix of heavy hitters from the era that put us in the period. The effect of this soundtrack combines with the use of pseudo-news scenes and rocking live concert scenes that make the world of the sexual revolution more relatable to the audience. Brian Eno, Lou Reed, and Steve Harley round out an exceptional soundtrack that really draws you to the movie despite the confusing plot’s attempt to boot you out.
Other pluses to the movie are its artistic direction. The costumes are elaborate in this film; hat’s off to Sandy Powell for that. These, mixed with the elaborate sets of Slade’s sex palaces work to connect you to the glamorous and outrageous world of Slade’s glam rock.
Furthermore, the acting job by all of the big-names in the film are great. Ewan McGregor and James Lyons actually have some great on-screen chemistry and the acting of the entire cast works to bring this otherwise unfamiliar world to life. These performances work with the above-mentioned scenes of fake news-casts to make this world real.
Overall, the good aspects of this movie out way the bad. Word of caution to the wise, though: do some research before you go see this film. With a little extra scope into what this movie is actually about you are free to focus in on the outstanding art-direction in this movie.
My target audience are people who have not seen this movie before and, specifically, people who are not too familiar with David Bowie's Life
Monday, January 25, 2010
Wednesday, January 20, 2010
Sherlock Holmes Doesnt Dissapoint (Revised)
Based on the existing collection of video adaptations of Sir Arthur Conan Doyle’s “Sherlock Holmes” one might not expect to see many explosions or extreme violence in a Sherlock Holmes movie. Guy Ritchie (Snatch, Lock Stock & Two Smoking Barrels) provides plenty of both, though, in his new adaptation of the old detective novels. Not surprisingly, Ritchie brings a lot of bang into a character not usually connected with the pop of a Hollywood blockbuster.
The plot of this film, though, does a good job of outshining all of that glitz and glam of Hollywood with an excellent storyline. Meanwhile, Robert Downing Jr. (Sherlock Holmes) and Jude Law (Dr. John Watson) have great on-screen chemistry. As they stumble through a spectacularly gloomy set of the grimy London streets, their witty banter keeps you laughing while a super natural plot line keeps you on the edge of your seat.
The gloomy set contrasts nicely with the bright, posh wardrobes of the two leading ladies in the film, who work to tear Homes and Watson from their case as well as their friendship. Rachel McAdams does a better job than expected at her character, Irene Adler’s, devious nature while she seduces the audience in her attempts to capture Sherlock Holmesis heart.
Kelly Reilly’s performance as Watson’s fiancé-to-be, on the other hand, is flat and her scenes generally fall short of the film’s otherwise witty flow. Certainly her character calls for a certain lack of depth but her dull tone detracted from scenes in which Downing Jr. dazzled. At best her role and performance can be described as mildly annoying and lends itself to the assumption of a general miscasting.
Writers Anthony Peckham, Michael Robert Johnson and Simon Kinberg work well with the team of Ritchie and Downing Jr. in adapting Holmesis character while remaining true to the gloriously sublte details of Doyle’s makeup of Holmes. With a violin and a pipe as his vices, Downing Jr. stumbles through the chaos of his bedroom with his own unique sense of order. With a number of striking close-ups in Holmesis bedroom the production team does a great job of keeping Doyle’s key character traits intact while taking advantage of the intimacy film can provide an audience with a character. The audience’s eyes burn along with Holmes as Watson pulls back the blinds to reveal a perfect attention to detail in Holmesis Lair. Such effects allow the audience to truly connect with the character, deepening their connection to the movie.
Huge explosions and well-done, slow-motion fight scenes add to a successful set of special effects and help to realize a long awaited devotion of a real budget to this long-time idled character. The film’s 90 million dollar budget goes a long way as this beloved story is finally realized in a true blockbuster. The intricacies of the set draw the audience to the movie for a whopping 128 minutes. At first glance this two-hour-plus run time seems daunting but it flies by as the twists of the plot take you through the twists of the Thames and to the top of record-breaking bridge heights.
And just when one might start to worry that they left out the most important part, Moriarti makes a guest appearance just long enough to give you a glint of what is sure to be a disappointing sequel. Robert Downing Jr. and Jude Law may prove otherwise, though, as their great success in this movie had me brimming from ear to ear when I left the theatre.
The plot of this film, though, does a good job of outshining all of that glitz and glam of Hollywood with an excellent storyline. Meanwhile, Robert Downing Jr. (Sherlock Holmes) and Jude Law (Dr. John Watson) have great on-screen chemistry. As they stumble through a spectacularly gloomy set of the grimy London streets, their witty banter keeps you laughing while a super natural plot line keeps you on the edge of your seat.
The gloomy set contrasts nicely with the bright, posh wardrobes of the two leading ladies in the film, who work to tear Homes and Watson from their case as well as their friendship. Rachel McAdams does a better job than expected at her character, Irene Adler’s, devious nature while she seduces the audience in her attempts to capture Sherlock Holmesis heart.
Kelly Reilly’s performance as Watson’s fiancé-to-be, on the other hand, is flat and her scenes generally fall short of the film’s otherwise witty flow. Certainly her character calls for a certain lack of depth but her dull tone detracted from scenes in which Downing Jr. dazzled. At best her role and performance can be described as mildly annoying and lends itself to the assumption of a general miscasting.
Writers Anthony Peckham, Michael Robert Johnson and Simon Kinberg work well with the team of Ritchie and Downing Jr. in adapting Holmesis character while remaining true to the gloriously sublte details of Doyle’s makeup of Holmes. With a violin and a pipe as his vices, Downing Jr. stumbles through the chaos of his bedroom with his own unique sense of order. With a number of striking close-ups in Holmesis bedroom the production team does a great job of keeping Doyle’s key character traits intact while taking advantage of the intimacy film can provide an audience with a character. The audience’s eyes burn along with Holmes as Watson pulls back the blinds to reveal a perfect attention to detail in Holmesis Lair. Such effects allow the audience to truly connect with the character, deepening their connection to the movie.
Huge explosions and well-done, slow-motion fight scenes add to a successful set of special effects and help to realize a long awaited devotion of a real budget to this long-time idled character. The film’s 90 million dollar budget goes a long way as this beloved story is finally realized in a true blockbuster. The intricacies of the set draw the audience to the movie for a whopping 128 minutes. At first glance this two-hour-plus run time seems daunting but it flies by as the twists of the plot take you through the twists of the Thames and to the top of record-breaking bridge heights.
And just when one might start to worry that they left out the most important part, Moriarti makes a guest appearance just long enough to give you a glint of what is sure to be a disappointing sequel. Robert Downing Jr. and Jude Law may prove otherwise, though, as their great success in this movie had me brimming from ear to ear when I left the theatre.
Monday, January 11, 2010
Sherlock Holmes Dosent Dissapoint
If you’ve ever watched a video adaptation of Sir Arthur Conan Doyle’s Sherlock Holmes you might not expect to see many explosions or extreme violence in a Sherlock Holmes movie. Yet when you go to watch Warner Brother’s new blockbuster adaptation of the old detective novels, that’s exactly what you get; lots of explosions and violent fight scenes. The plot of this film, though, does a good job of outshining all of that glitz and glam of Hollywood with an excellent storyline. Not to mention, Robert Downing Jr. (Sherlock Holmes) and Jude Law (Dr. John Watson) have great on-screen chemistry. As they stumble through a spectacular set of London their witty banter keeps you laughing while a super natural plot line keeps you on the edge of your seat.
As for the leading ladies in this adventure you have two female roles that drive Holmes and Watson away from the pressing nature of their case as well as from the destiny of their friendship. Rachel McAdams does a better job than expected at her character, Irene Adler’s, devious nature as well as seducing the audience in her attempts to capture Sherlock Holme’s heart. Kelly Reilly, on the other hand, keeps me wondering whether or not bad acting was a tool to make her character, Mary Morstar, less likeable. Whatever the case her acting is not very good and makes you aware of her characters expendable nature within the plot. Specifically, her reactions to Holme’s custom to analyze every situation to the last detail, and usually fairly accurately, detract from Downing Jr.’s terrific acting in the shot and make the scene fall short of the films otherwise witty flow.
Writers Anthony Peckham, Michael Robert Johnson and Simon Kinberg do a great job of innovating and exploring Holme’s unique character. With a violin and a pipe as his vices, Downing Jr. stumbles through the chaos of his bedroom with his own unique sense of order. With a number of shots in Holme’s bedroom the writers do a great job of keeping Doyle’s key character traits intact while taking advantage of the intimacy film provides an audience with a character. These shots prove to give Downing Jr.’s character an intriguing mix of old meets new.
Great special effects help to realize a long awaited devotion of a real budget to this long-time idled character. The film’s 90 million dollar budget takes you a long way in this one as a wait that has lasted decades is finally realized in a true blockbuster. The intricacies of the set draw you to the movie for a whopping 128 minutes. At first glance this two hour plus run time seems daunting but it flies by as the twists of the plot take you through the twists of the Thames and to the top of record-breaking bridge heights.
And just when you start to think they left out the most important part, Moriarti makes a guest appearance just long enough to give you a glint of what is sure to be a disappointing sequel. Robert Downing Jr. and Jude Law may prove otherwise, though, as their great success in this movie had me brimming from ear to ear when I left the theatre.
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