The Taking of Pelham 123

Director: Tony Scott
Starring: Denzel Washington, John Travolta & James Gandolfini

A unsatisfying remake of a 70s classic that manages to entertain as much as it does on the back of the likeability of its star Denzel Washington and an occasionally tense first hour.

In the world of remake-heavy Hollywood, it was only a matter of time that the highly regarded 1974 thriller, The Taking of Pelham One Two Three, which starred Walter Matthau as a transit cop having to deal with a hostage situation on a subway train lead by Robert Shaw’s hijacker. Now renamed The Taking of Pelham 123, the remake now sees Denzel Washington taking on the Matthau role with John Travolta leading the hijackers. While director Tony Scott, known for being more flash than substance, at the helm of the remake there was cause for concern that the remake might feel hollow though Scott was also responsible for the tense thriller Crimson Tide in 1995 (which also starred Washington). Unfortunately The Taking of Pelham 123 does more resemble Scott’s more recent output rather than that of Crimson Tide.

Victor Garber (Washington) is a New York Subway controller under investigation for accepting bribes who, upon being reassigned to subway dispatcher, takes the call when subway train Pelham 123 is hijacked by a group of men lead by an individual named Ryder (Travolta) who is demanding $10,000,000 within the hour or he’ll execute his hostages. Unwilling to deal with anyone else, Ryder forces Garber to handle his demands as the city try to gather the ransom, learn the hijacker’s identities, their motives and secure the safety of the hostages.

Immediately dispelling hopes of a more restrained thriller, Scott begins the film with his usual flash and fast moving camera shots and cuts with a booming hip hop style soundtrack announcing the villain’s arrival to the storyline. The film does slow down a little at that point to introduce Denzel Washington’s character, his environment and his situation and it is these moments in the subway control room that engage most. With the interactions between Garber and Ryder mostly confined to conversations over a radio mike for the first half of the film, these sequences from Garber’s perspective at least are quite enjoyable helped by a confident and likeable performance from Denzel Washington. In fact, it is the conversations and arguments in The Taking of Pelham 123 which most satisfy and offer more thrills and tensions than Scott’s attempts to in inject action sequences and explosions into the film such as a police car crash midway into the film or the foot chase at the film’s finale. These sequences are only enjoyable though from Garber’s perspective. From the other side, within the subway car with Travolta’s Ryder, they are less effective with Travolta’s Ryder a somewhat OTT demander inserting expletives into his conversations with Garber that come off poorly through Travolta who also relies too much on raising the volume to appear threatening. So, while occasionally there are moments that are enjoyable and gripping in the first half of the film, they are often upset by Scott’s reliance on loud explosions and louder characters.

One strength The Taking of Pelham 123 does have is in the casting of Denzel Washington in the role formerly played by Walter Matthau. Whilst not giving his best or a particularly memorable performance, Washington is nonetheless enjoyable and convincing in the role of Garber. His calm and likeability make him immediately sympathetic when compared to the louder, more egocentric, characters within the film. John Travolta though entertains less successfully. Whether it is on Scott’s insistence or Travolta’s, his Ryder is frequently portrayed as too loud and course as opposed to demonstrating the level of control or intelligence that his character requires given his plan and how he pulls it off. With a frequent lack of restraint, Travolta’s Ryder compares poorly in comparison to Washington’s Garber. With Ryder’s henchmen, the subway passengers and many of Garber’s fellow subway workers filled with unmemorable faces and characters, The Taking of Pelham 123 relies too much on Washington’s charisma to entertain. Even John Turturro and James Gandolfini as a hostage negotiator and the mayor barely merit attention.

Overall, The Taking of Pelham 123 remake is inferior to its predecessor and despite some occasionally tense and engaging sequences within the first hour and an enjoyable performance from Denzel Washington, Tony Scott’s reliance upon flashy camera work, action sequences and John Travolta means the film disappoints more than it entertains.

Rating: 2/5

Harry Potter and the Half-Blood Prince

Director: David Yates
Starring: Daniel Radcliffe, Emma Watson & Rupert Grint

Whilst frequently engaging and enjoyable, the sixth instalment of the Harry Potter franchise is a little too uneven in tone and slow in its build up to be as gripping as more recent instalments have been.

As the Harry Potter film franchise continues with each instalment getting progressively darker and more mature and with its child actors slowly overtaking the ages of the characters they are performing, each instalment has more expectation put upon it to succeed previous instalments in both quality and in Box Office performance. Harry Potter and the Half-Blood Prince, the sixth instalment and penultimate chapter in the series, arrives with even more of a challenge as it deals not only with the death of a major character but also with the purpose to set up the characters and events of the franchise in preparation for the final instalment whilst possessing a less action driven script than previous films.

With the forces of Voldemort gaining strength and making open attacks within the magic and non-magic worlds, Harry Potter and his friends return to Hogwarts under greater threat to their lives than before as Harry is openly recognised as the chosen one prophesised to be the only person capable of defeating Voldemort in the future. Struggling with the weight of his responsibility and with ever-increasing feelings of teenage romance towards his friend Ron’s sister Ginny and a mission from his headmaster Dumbledore to befriend a returning teacher who possesses a secret about Voldemort’s past, Harry has much to contend with. Meanwhile Harry’s friends Ron and Hermione are struggling with romantic feelings for one another and Harry’s rival Draco has been entrusted with a dark mission by Voldemort.

Harry Potter and the Half-Blood Prince is an interesting film, one which, while frequently engaging, is also frequently uneven in its tone. Unlike several previous instalments in the series, this film lacks a clear direction with its plot. Without a prison break, a magic tournament or even a Quidditch final with which to hinge its storyline upon with an idea of where/how a final confrontation might take place, Harry Potter and the Half-Blood Prince seems driven by a series of sub-plots and mysteries. The mysteries themselves are actually quite intriguing and frequently gripping. One deals with a secret mission with a sinister purpose involving Draco Malfoy, a rival of Harry’s, while the other involves the secret surrounding Voldemort’s past encounter with a teacher at Hogwarts from when he was a student and which Harry must uncover. The former plotline is suitably tense and ominous while the latter is frequently engaging with its teases and slow reveal helped by the welcome addition of Jim Broadbent to the franchise as Professor Slughorn. However, as intriguing as these plotlines are, particularly for older audiences, the addition of romantic sub-plots between its characters with frequent approaches to them that are intentionally comical means that the tone of the film frequently switches from the dark to near slapstick. These sub-plots, in addition to extending the films already ample running time, and far less action set-pieces with which to really thrill audiences means this instalment whilst very mature, also stands out as less of a complete film in its own right and more of an extended prologue to the franchise’s final films.

Fortunately Harry Potter and the Half-Blood Prince benefits from many enjoyable performances that help make the slowly intertwining plotlines that more enjoyable. Daniel Radcliffe and Emma Watson show further progression in their growth as actors as the mature with their characters Harry and Hermione though Rupert Grint as Ron is relegated too frequently to comic relief. Bonnie Wright and Tom Felton also get to show more maturity as their characters Ginny Weasley and Draco Malfoy get more time to grow and more drama to work with while Michael Gambon continues to be enjoyable as Professor Dumbledore. Alan Rickman impresses as the he gets to handle more complexities with his character Professor Snape while Jim Broadbent is a highly enjoyable addition to the cast as the returning Professor Slughorn whose ambitions to teach the very best students puts Harry Potter in his sights whilst also reveals his history with his former students including Harry’s mother and the boy who would become Voldemort.

Overall, Harry Potter and the Half-Blood Prince is enjoyable, a good addition to the franchise and handles several of its plotlines quite impressively, however the romantic elements of the story are less well-handled undermining the overall tone on occasion and its story performing well enough as a prologue for the next instalment in the franchise but not standing as satisfactorily on its own as a film.

Rating: 3/5

Bruno

Director: Larry Charles
Starring: Sacha Baron Cohen & Gustaf Hammarsten

Funny in places, Bruno is enjoyable but fails to deliver the laughs or the scathing insights into prejudice that Borat achieved in 2006.

Comedian Sacha Baron Cohen, already famous in television for his fake Staines born rapper Ali G and his TV interviews where he lured many well known politicians into embarrassing themselves unsuspectingly, Cohen finally achieved global stardom when a second TV creation, Borat, made the successful transition to the big screen that Cohen had failed to accomplish satisfactorily with Ali G. Virtually unknown in the United States, Cohen was able to take his fictitious Kazakhstan reporter to America to interview various religious and political groups and celebrities and expose their ignorance and prejudices regarding foreigners. A huge success, Borat soon saw Cohen’s character become widely recognised as audiences either embraced the humour or were offended by it. With such success it was only a matter of time for Cohen to attempt and encore which now results in his third creation, Austrian Gay fashion star Bruno, to come to cinemas.

Having exposed some of the xenophobic and even anti-Semitic attitudes in areas of American society, Cohen has now turned his attention to confronting homophobia and in also parodying the fashion industry. Bruno, after an accident on a fashion runway involving a suit made of Velcro, finds himself blacklisted from the European fashion circuit. In an attempt to revive his ailing career, Bruno, along with his faithful assistant Lutz, head to America in a quest to become the most famous Austrian since Hitler. Bruno’s quest to become famous involves attempts to launch his own celebrity talk show, bring peace to the Middle East, adopt an African baby and eventually try and become straight and along the way meet and interview various celebrities, religious officials, politicians and unsuspecting citizens.

Bruno, whilst sometimes funny, fails to quite reach the heights that Cohen’s previous film Borat achieved. Whether Cohen’s fame as a result of Borat is a contributing factor is difficult to say though Cohen’s Bruno often fails to illicit as many incriminating responses from his targets in this film as Cohen had in his past film with many subjects choosing to cease talking altogether or leaving interviews before anything truly revealing or damaging can be said. A bigger factor for why Bruno succeeds less than Borat could be because with Bruno, Cohen has cast his aim too broadly. With the character of Bruno embodying a flamboyant Gay stereotype that has already been parodied by many films and TV that Cohen’s contribution feels flat in comparison with perhaps many of his intended targets becoming suspicious fairly soon during their encounters with the character. In addition to the Gay stereotype on display, Bruno also casts a broad parody of the fashion industry that only occasionally amuses but was accomplished in a more successful fashion by Ben Stiller’s Zoolander in 2001 though the willingness of parents in one scene to allow their children to be degraded and endangered in the name of fame stands out as one of the film’s highlights. There are other scenes in Bruno that do succeed to generate laughs including a talk show appearance reveals his adopted African baby to an African American audience, a visit to a swinger’s party and a cage fight finale where excess manages to amuse are all scenes that are as memorable and amusing as similar in Borat.

Sacha Baron Cohen is enjoyable in his role as Bruno, though unlike Borat his character lacks much charm or sympathy often being too narcissistic to really engage with. Cohen’s only real stand out moment comes at the finale when he reveals Bruno’s new heterosexual alter-ego Straight Dave whose appearance and mannerisms are a stark contrast to Bruno’s and reminds the audience of Cohen’s skills as a performer. More enjoyable is Gustaf Hammarsten as Bruno’s faithful, loving and suffering assistant Lutz who gives Bruno a more sympathetic companion with which to interact with.

Overall, Bruno is entertaining and features some worthwhile scenes that will be remembered and discussed, unfortunately, the film lacks focus and with its stereotypes so broad and its targets for humour so wide, and Bruno just isn’t as funny as Borat or as Cohen’s TV incarnations of his characters.

Rating: 2/5

Public Enemies

Director: Michael Mann
Starring: Johnny Depp, Christian Bale & Marion Cotillard

A very enjoyable crime biopic that while not delving too deeply into the motivations of its main character John Dillinger or his pursuer Melvin Purvis, is still frequently gripping, with a good performance from Depp and featuring Michael Mann’s usual flair for impressive gun fights.

With audiences fascinated with stories of criminals, particularly famous ones, and with Michael Mann looking for a better success after the disappointing film adaptation of Miami Vice, Public Enemies works quite well at times in satisfying both. The story of John Dillinger, a bank robber who robbed banks but not their customers during the Depression when banks were seen less favourably (raising comparison’s with the current economic climate), is something of a legend with Dillinger regarded almost as a heroic Robin Hood type, though without sharing his rewards with the people, making him a celebrity. The story also, in regards to the FBI manhunt to capture Dillinger lead by Melvin Purvis, also allows for comparisons to Michael Mann’s classic film Heat, though such comparisons are mostly superficial.

John Dillinger (Depp), having broken several accomplices out of a prison and gone on to lead several successful bank robberies in different states, has now become the most wanted criminal for the newly formed FBI. Despite being a wanted criminal, Dillinger’s attitude to bank robberies where he robs the banks but not their customers, has made him a celebrity to many. Enjoying his fame and the rewards his riches bring him, Dillinger finds himself and his associates, and a newly begun relationship to Billie Frechette (Cotillard), threatened by the newly formed FBI and their ability to use new crime fighting techniques to track him down even over state lines which also makes him a risk to organised crime lords. Meanwhile, the FBI task force charged with capturing Dillinger and his associates, lead by Melvin Purvis (Bale) finds Purvis having to resort to more ruthless methods with which to ensure success.

Impressively shot, using digital film which effectively gives the feeling of seeing raw, live footage of events and a heightened sense of reality. Also impressive, and not surprising from a director like Mann who filmed Heat and Collateral, are the gun fights. Devoid of the usual Hollywood flourishes like slow-motion or CGI, the sequences in Public Enemies are impressive and intense including a sequence in the woods at night that is gripping. There are also some memorable scenes dealing with Dillinger’s fame including a scene in a cinema where a news report asks the audience too look to their left and right while Dillinger looks on with amusement and another moment where Dillinger walks into an FBI office to witness their investigation on him but going unrecognised. However, while technically very impressive and with attention to keeping the plot of the film as accurate to actual events as possible, there is often a lack of emotional drama in Public Enemies. While Depp’s Dillinger gives a brief speech to Billie stating his likes and dislikes and asking what more does she need to know and this working in some regard to establishing Dillinger as a man whose past is less important as what his future actions will be, the lack of exploration into the personalities or motivations of the film’s other main characters works less successfully. The development of Melvin Purvis is disappointing. Treated more as a cipher, with no look into the character’s past, his life outside of his work and with little hint of emotion (made more disappointing by the mention at the film’s conclusion of Purvis’ suicide years later).

Johnny Depp’s performance as Dillinger is enjoyable but only really impresses when interacting with Cotillard’s Billie or when Dillinger is flirting with his fame, otherwise his Dillinger is played fairly straight. Christian Bale is dependably stoic as Melvin Purvis but the lack of exploration into his character and the comparison to more colourful characters such as Dillinger and his associates means that Purvis is a character hard to empathise with and Bale’s performance unmemorable. Cotillard is good as Billie especially in later scenes and while she is convincing in her portrayal of Billie’s affection for Dillinger. Of the other supporting roles, Stephen Graham is enjoyable in a small role as the criminal Babyface Nelson and Billy Crudup’s portrayal of FBI Chief J. Edgar Hoover is enjoyable if too dependant upon Crudup capturing his speech patterns.

Overall, Public Enemies is an enjoyable crime drama with good performances from Depp as Dillinger and Cotillard as his love interest Billie and some excellent gun fights, but is too often lacking emotional depth and Bale’s Purvis is unmemorable. While not as good as Heat or some of Mann’s other films, is still a worthy entry into his catalogue and in the crime genre.

Rating: 3/5