Ugly is what we do, son.

Point Break

(2015)

(SPOILERS) Hollywood evidently has an endless capacity for remakes, and most of them end up redundant at best. This takes a new biscuit for pointlessness, however, an irreducibly soggy, surf-saturated one, that embraces ineptitude beyond the bounds of the reasonably feasible. Kathryn Bigelow’s original is still a titan in terms of direction (the bank robbery! That foot chase!), and supported by a perfect cast (rarely better Keanu, Patrick Swizzle, Lori Petty, all of them definitely needing sympathetic directors; Gary Busey is a legend in whatever he’s in, of course). Point Break 2015 has a shitty director and a shitty cast, zero sense of humour, an inverse surfeit of awesome and 0% testosterone.

I’ll be fair and admit that Edgar Ramirez, Delroy Lindo and Ray Winstone (sounding like his mouth is full of toothpaste) are all passably non-descript and borderline forgettable, while Teresa Palmer (or is that Kristen Stewart?) actually is forgettable.

Luke Bracey, on the other hand, the latest Australian export to bungee into the blockbuster scene and ricochet right out of it again, flaunts ludicrous tattoos in the place of a personality and boasts the award-winning mullet of Chesney Hawkes. Poor Luke’s an utterly charisma-free chump who makes the likes of Sam Courtney and Jai Worthington look like Russell Crowe (the next generation of whom being, let’s face it, the guy all the casting agents are scouring the Outback for).

So, while there’s an occasional laugh, it’s entirely down to the vacuum Bracey leaves when attempting to fill Keanu’s shoes, most mirthfully as he repeats the classic “firing the gun in the air out of frustrated bromance” moment (see also Hot Fuzz). In the opening scene too, when he loses a dearest pal, his emotional breakdown is a hoot to behold.

Ericson Core, who sounds like a failed mobile phone model released a decade past its time, is both director and cinematographer, and bathes the picture in a hopeless green hue while entirely flunking the main task of investing the action with a modicum of excitement, engagement or thrills.

Which is a fairly significant drawback, since this is trying to outdo the extreme sports of the original with a band of extreme sports guys in pursuit of spiritual enlightenment (some nonsense about completing the Ozaki 8 – ordeals to honour the forces of nature), courtesy of a Kurt Wimmer screenplay (last sighted delivering the bust of a Total Recall remake script); there’s something of a Now You See Me complete lack of believability attached to all of the feats (aside from the man-glider scene which is so uncool, it’s very nearly cool). Indeed, we’re frequently fed rubbish green screen (or would it have been blue, since everything else is green?), entirely failing to suspend our disbelief (most notably with the big wave finale).

When Bracey reveals he’s FBI it’s a no-kind-of-anything moment, in a no-kind-of-anything movie that managed to film in 11 different countries and make all of them look less than impressive. Point Break is truly an abominable beast. To coin their reference to the original title, this one had reached breaking point on the drawing board.

Agree? Disagree? Mildly or vehemently? Let me know in the comments below.

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She writes Twilight fan fiction.

Vampire Academy (2014)
My willingness to give writer Daniel Waters some slack on the grounds of early glories sometimes pays off (Sex and Death 101) and sometimes, as with this messy and indistinct Young Adult adaptation, it doesn’t. If Vampire Academy plods along as a less than innovative smart-mouthed Buffy rip-off that might be because, if you added vampires to Heathers, you would probably get something not so far from the world of Joss Whedon. Unfortunately inspiration is a low ebb throughout, not helped any by tepid direction from Daniel’s sometimes-reliable brother Mark and a couple of hopelessly plankish leads who do their best to dampen down any wit that occasionally attempts to surface.

I can only presume there’s a never-ending pile of Young Adult fiction poised for big screen failure, all of it comprising multi-novel storylines just begging for a moment in the Sun. Every time an adaptation crashes and burns (and the odds are that they will) another one rises, hydra-like, hoping…

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The Verdict (1982)
(SPOILERS) Sidney Lumet’s return to the legal arena, with results every bit as compelling as 12 Angry Men a quarter of a century earlier. This time the focus is on the lawyer, in the form of Paul Newman’s washed-up ambulance chaser Frank Galvin, given a case that finally matters to him. In less capable hands, The Verdict could easily have resorted to a punch-the-air piece of Hollywood cheese, but, thanks to Lumet’s earthy instincts and a sharp, unsentimental screenplay from David Mamet, this redemption tale is one of the genre’s very best.

And it could easily have been otherwise. The Verdict went through several line-ups of writer, director and lead, before reverting to Mamet’s original screenplay. There was Arthur Hiller, who didn’t like the script. Robert Redford, who didn’t like the subsequent Jay Presson Allen script and brought in James Bridges (Redford didn’t like that either). Finally, the producers got the hump with the luxuriantly golden-haired star for meetin…

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Darkest Hour (2017)
(SPOILERS) Watching Joe Wright’s return to the rarefied plane of prestige – and heritage to boot – filmmaking following the execrable folly of the panned Pan, I was struck by the difference an engaged director, one who cares about his characters, makes to material. Only last week, Ridley Scott’s serviceable All the Money in the World made for a pointed illustration of strong material in the hands of someone with no such investment, unless they’re androids. Wright’s dedication to a relatable Winston Churchill ensures that, for the first hour-plus, Darkest Hour is a first-rate affair, a piece of myth-making that barely puts a foot wrong. It has that much in common with Wright’s earlier Word War II tale, Atonement. But then, like Atonement, it comes unstuck.

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Avengers: Infinity War (2018)
(SPOILERS) The cliffhanger sequel, as a phenomenon, is a relatively recent thing. Sure, we kind of saw it with The Empire Strikes Back – one of those "old" movies Peter Parker is so fond of – a consequence of George Lucas deliberately borrowing from the Republic serials of old, but he had no guarantee of being able to complete his trilogy; it was really Back to the Future that began the trend, and promptly drew a line under it for another decade. In more recent years, really starting with The Matrix – The Lord of the Rings stands apart as, post-Weinstein's involvement, fashioned that way from the ground up – shooting the second and third instalments back-to-back has become a thing, both more cost effective and ensuring audiences don’t have to endure an interminable wait for their anticipation to be sated. The flipside of not taking this path is an Allegiant, where greed gets the better of a studio (split a novel into two movie parts assuming a…

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Ant-Man and the Wasp (2018)
(SPOILERS) The belated arrival of the Ant-Man sequel on UK shores may have been legitimately down to World Cup programming, but it nevertheless adds to the sense that this is the inessential little sibling of the MCU, not really expected to challenge the grosses of a Doctor Strange, let alone the gargantuan takes of its two predecessors this year. Empire magazine ran with this diminution, expressing disappointment that it was "comparatively minor and light-hitting" and "lacks the scale and ambition of recent Marvel entries". Far from deficits, for my money these should be regard as accolades bestowed upon Ant-Man and the Wasp; it understands exactly the zone its operating in, yielding greater dividends than the three most recent prior Marvel entries the review cites in its efforts at point scoring.

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The Avengers 5.12: The Superlative Seven
I’ve always rather liked this one, basic as it is in premise. If the title consciously evokes The Magnificent Seven, to flippant effect, the content is Agatha Christie's And Then There Were None, but played out with titans of their respective crafts – including John Steed, naturally – encountering diminishing returns. It also boasts a cast of soon-to-be-famous types (Charlotte Rampling, Brian Blessed, Donald Sutherland), and the return of one John Hollis (2.16: Warlock, 4.7: The Cybernauts). Kanwitch ROCKS!

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The Falcon and the Snowman (1985)
(SPOILERS) I suspect, if I hadn’t been ignorant of the story of Christopher Boyce and Andrew Daulton Lee selling secrets to the Soviets during the ‘70s, I’d have found The Falcon and the Snowman less engaging than I did. Which is to say that John Schlesinger’s film has all the right ingredients to be riveting, including a particularly camera-hogging performance from Sean Penn (as Lee), but it’s curiously lacking in narrative drive. Only fitfully does it channel the motives of its protagonists and their ensuing paranoia. As such, the movie makes a decent primer on the case, but I ended up wondering if it might not be ideal fodder for retelling as a miniseries.

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The Wolf of Wall Street (2013)
Along with Pain & Gain and The Great Gatsby, The Wolf of Wall Street might be viewed as the completion of a loose 2013 trilogy on the subject of success and excess; the American Dream gone awry. It’s the superior picture to its fellows, by turns enthralling, absurd, outrageous and hilarious. This is the fieriest, most deliriously vibrant picture from the director since the millennium turned. Nevertheless, stood in the company of Goodfellas, the Martin Scorsese film from which The Wolf of Wall Street consciously takes many of its cues, it is found wanting.

I was vaguely familiar with the title, not because I knew much about Jordan Belfort but because the script had been in development for such a long time (Ridley Scott was attached at one time). So part of the pleasure of the film is discovering how widely the story diverges from the Wall Street template. “The Wolf of Wall Street” suggests one who towers over the city like a behemoth, rather than a guy …

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Avengers: Age of Ultron (2015)
(SPOILERS) Avengers: Age of Ultron’s problem isn’t one of lack. It benefits from a solid central plot. It features a host of standout scenes and set pieces. It hands (most of) its characters strong defining moments. It doesn’t even suffer now the “wow” factor of seeing the team together for the first time has subsided. Its problem is that it’s too encumbered. Maybe its asking to much of a director to effectively martial the many different elements required by an ensemble superhero movie such as this, yet Joss Whedon’s predecessor feels positively lean in comparison.

Part of this is simply down to the demands of the vaster Marvel franchise machine. Seeds are laid for Captain America: Civil War, Infinity Wars I & II, Black Panther and Thor: Ragnarok. It feels like several spinning plates too many. Such activity occasionally became over-intrusive on previous occasions (Iron Man II), but there are points in Age of Ultron where it becomes distractingly so. …

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The Avengers 5.11: Epic
Epic has something of a Marmite reputation, and even as someone who rather likes it, I can quite see its flaws. A budget-conscious Brian Clemens was inspired to utilise readily-available Elstree sets, props and costumes, the results both pushing the show’s ever burgeoning self-reflexive agenda and providing a much more effective (and amusing) "Avengers girl ensnared by villains attempting to do for her" plot than The House That Jack Built, Don't Look Behind You and the subsequent The Joker. Where it falters is in being little more than a succession of skits and outfit changes for Peter Wyngarde. While that's very nearly enough, it needs that something extra to reach true greatness. Or epic-ness.

Now In Full Color, with a Happier Ending

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