Oh, how I wish I could have gone into The Revenant completely cold, knowing nothing other than it was Inarritu and DiCaprio. Curiously the film suffers from following an amazing, shrewdly edited trailer that promised uncompromised tension as DiCaprio fights for survival across dreadfully gorgeous cinemascope-worthy mountainous winter landscapes photographed in otherworldly fashion by the king of pretty “sunlight through trees” cinematography Emmanuel Lubezki. What if I hadn’t known that epic bear attack was coming? What if I hadn’t known Tom Hardy was going to murder (wait, does everyone know this yet?). What if…what if…what a shock the film would’ve been had I not already known its moves.
Bu the trailer and its subsequent building buzz hit perfectly on everything:
This was loosely (very loosely) based on a harrowing true tale that became a book.
DiCaprio gets viciously mauled by a bear (in fact, gets his throat almost ripped out and spends the rest of the film in sparse, pained speech when not completely silent or gurgling blood) and left for dead.
Mother Nature is both heartless and beautiful.
Tom Hardy (sporting his own unique growling speech and interesting accent) is gonna get his.
Despite being in awe of the craftsmanship and audacity of its scope, watching the film seemed stripped of any suspense. You feel like you’re going through the motions even though it’s utterly captivating from a visual sense. Continue reading →
One of the greatest pleasures of being an avid film lover is discovering those overlooked gems. The Tasmanian-set Australian allegory The Hunter (directed by Daniel Nettheim) is one such film.
The titular character is a man with no back-story played by Willem Dafoe in what is ironically the peculiar actor’s richest role since portraying Jesus in Scorsese’s The Last Temptation of Christ. His Martin David is a man tempted by necessity to track and capture the elusive Tasmanian Tiger (thought to be extinct) by a stereotypically evil corporation (Red Leaf – echoing the Weyland Corporation alluded to in The Grey and the driving force in Prometheus) looking to unlock the secrets of the beast’s DNA and its alleged paralyzing toxins.
The cresting and rolling landscape of Tasmania (which can only be described by this ignorant American as a cross between the Smoky Mountains and a tropical rainforest) are on display in a coldly haunting way. The hills seem cut off and without an apex – as if Mother Nature came down with the wind and shaved off the peaks with a butter knife. David becomes the lodger of an environmentalist widow (the elusively alluring Frances O’Connor) with two young children (the endearingly naturalistic Morgana Davies and Finn Woodlock) and is guided into the Tasmanian wilderness by Sam Neil. Continue reading →
Shit...just when Liam Neeson thought things couldn't get any worse...he crash lands into the den of Sarah Palin's Alaska.
Man, Liam Neeson has the blues something fierce. The poor guy has completed one of the oddest transitions of recent memory by going from Oskar Schindler to “Total Bad Ass” in films both criminally overrated (Taken) and glumly forgettable (Unknown). Now in Joe Carnahan’s transcendent survivalist thriller, The Grey, Neeson plays a man named Ottway who is reeling from the kind of blues that lead men to self-inflicted gun shot wounds to the head. The film opens grimly enough with Ottway working on an oil refinery as a wolf sniper in the remote Alaskan wilderness amongst men “not fit for civilization.” He waxes mournfully in voice-over about being separated from his wife (presented to the audience in smartly lit, intimate Nolan-esque slivers of memory) and working “a job at the end of the world.”
One night he walks out from the rowdy violence of the camp bar into the snow to blow his brains out – but then he hears the ghostly howl of those beasts he’s been paid to study and control. He can’t help but wonder if maybe he belongs out there – like the wolves – a stalker – a survivor. He posits himself as much against Mother Nature as he is against his own nature. These opening moments offer the viewer the type of emotional and philosophical trappings not usually found in your typical Hollywood product – especially thrillers of this sort. With the help of his resurrected from the doldrums director, Carnahan (who finally fulfills the promise he showed in Narc after years of wallowing in the mediocrity of La La Land), Neeson completes his evolution as an actor through Ottway. Here we finally have a character who marries the gravity of an Oskar Schindler with the gruff bad-assery of Neeson’s more recent commercial incarnations.
Of course the bulk the of the film concerns Ottway and his motley crew of cohorts surviving a horrific airplane crash on their way to Anchorage only to be stalked through the frozen wilderness by a pack of ravaging and unmerciful wolves. But it returns from time to time to those small moments and to the epic human pondering on live and death. Continue reading →