Underworld

Tags

2000's, Action, Bill Nighy, Fantasy, Kate Beckinsale, Len Wiseman, Michael Sheen, Scott Speedman, Shane Brolly, Underworld

A dark action fantasy with imaginative mythology, Underworld certainly looks terrific and has a bit more plot than you’d expect. It’s an imperfect film, but with oodles of style and a kick ass Kate Beckinsale , Underworld holds the interest and has quite a few things to recommend.

A war has been raging for many centuries invisible to human eyes. It has been fought between the vampires and the werewolves, here called Lycans. Selene(Kate Beckinsale) is one such a vampire, referred to as a Death Dealer as she hunts down her enemy. We pick up with her as she hunts Lycans but finds something different this time. The Lycans are hunting a human by the name of Michael Corvin(Scott Speedman) ; which to Selene makes no sense as humans have no part of the conflict between the two clans. While pursuing Lycans, Selene becomes curious about Michael and how he somehow fits into events. The Lycans, headed by the slimy yet wily Lucian(Michael Sheen), have secret plans that involve blood and becoming more powerful . While the Vampires have plans to awaken one of their Elders very soon. Defying orders from the arrogant and scowling second in commands of  vampires Kraven(Shane Brolly), the reckless Selene investigates Michael and unexpectedly begins to care for him.  It then becomes clear that the conflict between the species isn’t as straightforward as many have been lead to believe. As various treachery is uncovered and her attachment to deepens, Selene begins to question what she’s been lead to believe just as the war hots up again and the dormant Vampire Elder Viktor(Bill Nighy) is awakened.

Len Wiseman is a very stylish director who makes a good go of bringing this story to life. He showers us with lashings of blood soaked violence, barrages of bullets captured in slow motion and leather gear throughout. And it must be said, on the visual scale, Underworld is rather dazzling . With a dark cinematography style bathing events in Gothic grey and moody blues, we are put into this nocturnal world of battles that feels fantastical and darkly intriguing.  What’s surprising about Underworld is that it isn’t just a mindless action fantasy, there is some good world building here. Occasionally it gets a bit too much with explaining things and the run time does leave a bit to be desired. I feel the movie flags in the midsection before all matter of violence breaks loose and sucks us back into the spectacle that was so entertaining. As I mentioned previously, it’s not a perfect movie but it’s sure as hell entertaining when it’s in high gear. It’s flawed but definitely got a lot going for it and I for one enjoy the good of what Underworld provides to me. A thumping score that is definitely what I’d call early 2000’s accompanies the film and fits in with the aesthetics quite well.

Underworld is not what you’d call an actors movie per say, though it has a handsome cast. Kate Beckinsale, clad in a figure hugging latex catsuit, has the appropriate sex appeal, icy cool and sullen attitude for her role of Selene. All these attributes work well as well as the physicality and reckless personality Beckinsale imbues into the part. She’s suitably cast and carries the centre of the e film as we watch her emotions become more prominent when Selene has tried to shut them off. In short, Kate Beckinsale is ideally cast and makes for a great kick ass heroine with a heart. Scott Speedman is mainly required to be startled and confused as the human caught in the midst of this war. Thankfully, Speedman does what he can with what he’s given and at least provides the centre of the story as he and Selene grow closer. Questionable morals and arrogant personality are on show from Shane Brolly as the leader of the vampires, who can’t help but feel inadequate when questioned by Selene and others on his judgment . Bill Nighy appears late but makes an impact as the Vampire, who while wise and seemingly respectable enough, may in fact be something more manipulative entirely .

So while it’s imperfect and not everything comes off, Underworld is still a largely engrossing fantasy with great action, nice wold building and good cast headed by the sexy Kate Beckinsale.

Laws of Attraction

Tags

2000's, Frances Fisher, Julianne Moore, Laws of Attraction, Michael Sheen, Parker Posey, Peter Howitt, Pierce Brosnan, Romantic Comedy

Film Title

Laws of Attraction

Director

Peter Howitt

Starring

• Julianne Moore as Audrey Woods
• Pierce Brosnan as Daniel Rafferty
• Michael Sheen as Thorne Jamison
• Parker Posey as Serena Jamison
• Frances Fisher as Sara

This romantic comedy never quite hits the mark that it is going for in trying to emulate classic battle of the sexes movies, but thanks to good chemistry from the leads, Laws of Attraction is at least an entertaining way to pass the time.

Audrey Woods is a successful divorce lawyer in New York who does things by the book and studiously, which pays off as she has never lost a case. That is threatened however by the recent arrival of the irascible Daniel Rafferty, another divorce lawyer who boasts a similar reputation, but different methods. While Audrey is the analytical and slightly prim one, Daniel gets by on luck and charm. They find themselves continually pitted against the other and this is where a sexual tension builds. Audrey, who has all but given up on the dating scene, has no interest in a relationship after seeing so many just wither away. Daniel on the contrary is extremely attracted to her and wants something genuine out of it, much to Audrey’s chagrin. Yet these feelings may go on the back burner when trashy couple of rock star Thorne and designer wife Serena head to the divorce court. Audrey and Daniel continue to clash in and out of the courtroom, especially when they must visit the couple’s castle in Ireland that both of the squabbling parties wants for themselves. Yet after one specific event during an eventful night for Audrey and Daniel, things between them could very well change, even though each is on the opposing side. The gloves are off as battle commences, yet will the undeniable spark that sizzles between them thaw out or ignite into something else?

Peter Howitt and his direction are passable, but not really setting the world ablaze. Regardless, he displays some talent for humour, despite the slim pickings and silliness of some of the content present. Laws of Attraction isn’t what you would call compelling viewing, and yet there are some good points that can be combed from the mess. It amounts to a pleasing diversion if nothing else, but you are left with the feeling that more could have been injected into the film somehow. The script was amiable and had moments of good banter between the feuding lawyers, but it never had that snap of the romantic comedies of old that it was trying to reference. Undeniably, it has a few laughs in there that occasionally hit the mark very well that I simply can’t deny. But judging the overall experience, there is definitely something curiously uneven about Laws of Attraction that drag it down in my estimations. The chemistry of the leads makes up for some of this, raising the film to a watchable level. There is the glossy style of the film that carries a certain kitsch and archaic quality to it, plus the locations of New York and Ireland are quite stunning. The music provided is pleasing to the ear and more than a little playful. And I did enjoy the retro infused title sequence that is one of the better attempts in the film to have an old-fashioned sense of celluloid. But considering there are good elements in Laws of Attraction, one can’t help but feel there is a void there that needed to be filled.

If anything saves Laws of Attraction from being dull and a complete washout, it has to be most of the cast, in particular the romantic leads. Julianne Moore is one of the most versatile actresses out there and here she shows a whole new different side. Vastly sailing above the by the numbers material, she displays some deft skill at comedy by playing career woman Audrey with a neurotic humour and heart. The tough outer steel of the character is a mask that slips to reveal insecurity and a want for love, all of which is embodied with ease by Moore. She really made me laugh in parts of this film with her quick talking antics and smart yet desperate yearning. It’s hats off to the delightful Julianne Moore in another great performance. Pierce Brosnan plays the rakish sparring partner and love interest. Portraying suave and smooth is nothing groundbreaking for him, but as it is his strong suit, he uses it well in the part. The same can’t be said of Michael Sheen and Parker Posey, who are basically thrown into the mix as a plot device and nothing else. I respect and enjoy watching both actors normally, but the sheer lack of any decipherable role is unfortunate for both of them. The film could have at least called for them to do more as the trashy couple going through the acrimonious divorce. Frances Fisher is the best in the supporting cast. As the Botox-loving, cocktail swigging mother of Audrey, she registers the most laughs in her attempts to be young again through any means possible. Whenever she is on screen, Fisher is a comic delight to be enjoyed.

It never ever reaches full potential and more than often feels rushed, though the acting is fine from Brosnan and Moore. I just wanted something more out of Laws of Attraction, which winds up with me seeing it as a mixed movie.

 

Midnight in Paris

Tags

2010's, Adrien Brody, Alison Pill, Comedy, Corey Stoll, Fantasy, Kathy Bates, Marion Cotillard, Michael Sheen, Midnight in Paris, Owen Wilson, Paris, Rachel McAdams, Romance, Tom Hiddleston, Woody Allen

Film Title

Midnight in Paris

Director

Woody Allen

Cast

• Owen Wilson as Gil Pender
• Rachel McAdams as Inez
• Marion Cotillard as Adriana
• Michael Sheen as Paul Bates
• Kathy Bates as Gertrude Stein
• Adrien Brody as Salvador Dali
• Alison Pill as Zelda Fitzgerald
• Tom Hiddleston as F. Scott Fitzgerald
• Corey Stoll as Ernest Hemingway

From the opening minutes of Midnight in Paris, as the camera takes in the sights of the city with a jazz soundtrack, you know you’re in for something magic and nostalgic from Woody Allen. Funny, touching and imaginative, Midnight in Paris is a comical fantasy film of beauty and the link between the past and present and how one longs for a life before their time.

Gil Pender is a hack screenwriter who is desperate to write a novel. He is a wide-eyed and nostalgic guy who travels to Paris with his gorgeous but disagreeable fiancée Inez, with her wealthy parents. Gil is suffering from writer’s block and is in need of inspiration, though Inez dismisses this as a daydream and cares more about herself. After an evening at a wine tasting with Inez’s pedantic friend Paul, Gil goes for a walk through the Parisian streets as it chimes midnight. As this happens, an old car from the 20’s pulls up and the passengers coax Gil into getting in. He does and soon realises he has been transported into his favourite era and along the way he meets such iconic figures as F. Scott Fitzgerald, Ernest Hemingway, Gertrude Stein and Salvador Dali. This re-invigorates Gil’s imagination and he continues to travel back in time every night into the magical and nostalgic world. Through his trips to the past, Gil gains more inspiration, falls for Picasso’s alluring mistress Adriana and begins to realise that his union with Inez is not exactly a match made in heaven.

Prepare to be swept into the glamorous fantasy world conjured up from the pen of the prolific Woody Allen, who imbues the material with humour and a bittersweet longing for the past. His Oscar-winning script and various characters of literacy fame that populate it are funny, assured and highly enjoyable. Woody Allen shows he still has the gift for comedy after so many years in the celluloid spotlight. It is almost impossible not to be captivated by this tale of the tentative link between the past and present. Props should go to the jazz score that sets the right period setting and the dazzling cinematography, that bathes Paris in a golden glow of times gone by. Many beautiful shots abound in the film, but the one I remember the most is Paris in the rain. It just has such a poetic and romantic beauty about it that I can’t describe as I’d need a good few pages to do so. Above all it’s the characters that capture the interest of the viewer as Gil explores the nocturnal haunts of the famous. A played by Owen Wilson, Gil becomes a wide-eyed dreamer escaping his boredom by journeying back to another time. Wilson takes on this role with a charm and imagination, that is in the mould of roles Allen used to play many years ago. Rachel McAdams absolutely nails the role of the stylish but increasingly shallow Inez, who disapproves of Gil’s romantic notions of nostalgia. Fleshing out the supporting cast are a wide array of talented individuals. As Paul, the know-it-all friend of Inez, Michael Sheen injects humour as he tries to be much superior than he really is. Marion Cotillard, who is fast becoming one of my favourite actresses, is ideally cast and radiantly beautiful as the alluring Adriana. She has charming chemistry with Wilson, highlighted more by the fact that both characters wish for a long-lost past. Whilst Gil enjoys the 20’s, Adriana longs for a time before this. This adds a distinct poignancy tp the picture as we watch them fall for each other and discuss their nostalgic longings that somehow remain elusive at times. Also look out for Kathy Bates who is witty and wise as writer Gertrude Stein, Adrien Brody who is a hoot as surrealist Salvador Dali and Corey Stoll as Ernest Hemingway, whose advise holds special meaning to Gil. And not forgetting the pairing of Alison Pill and Tom Hiddleston who are excellently cast as the Fitzgerald’s.

Touching, warm and funny, Midnight in Paris is a comedy injected with a mischievous fantasy that is guaranteed to at least make you smile. Woody Allen proves he’s still got what it takes to make quality movies with this delightful picture.