Movie Review – Tomb Raider

Lara Croft goes back to basics in this punchy reboot starring Alicia Vikander.

⭐ ⭐ ⭐
Rhys Graeme-Drury

If ever there was a film series that benefited from rose-tinted glasses, it’s the original Tomb Raider duology starring Angelina Jolie; filled with pounding Euro techno, robots and riding motorbikes on the Great Wall of China, they didn’t just jump the shark, they punched said shark right in the face. I mean, who does she think she is – Mick Fanning?

Anyway, what I’m trying to say is, the original Tomb Raider films weren’t exactly all that hot to begin with, which is why the arrival of this ‘gritty reboot’ (two words that should be banned from Hollywood lingo) should come as a welcome change of pace. Swapping Jolie for Academy Award-winner Alicia Vikander and giving the character the Casino Royale treatment by taking things back to basics, this reboot is solid and satisfying, if not spectacular.

Drawing heavily from Square Enix’s equally graphic 2013 reboot of the videogame series, Tomb Raider sees a young and orphaned Lara Croft (Vikander) swept up in a conspiracy that involves her missing presumed dead father (Dominic West) and a shadowy organisation called Trinity. On the trail for the truth behind her father’s disappearance, Lara bounces from London to Hong Kong and the remote Japanese island of Yamatai, where resides an ancient witch called Himiko, or so legend has it.

Although some of the game has been stripped away (gone are characters like Jonah, Roth and Sam), the basic premise and underlying tone is there. Norwegian director Roar Uthaug doesn’t pull his punches, with Lara dealt a series of gut-wrenching situations that are a far cry from Jolie’s dizzying Matrix-esque kicks and flips. Alone and hunted by a band of mercenaries, it’s ugly and painful when Lara is forced to kill for the first time – and Vikander really sells this vulnerability and grim determination.

That said, Tomb Raider still struggles to excel and rise above standard genre fare territory; the action is murky and chopped to pieces, the CGI is patchy and Tom Holkenborg’s score doesn’t afford this iteration of the character any potent or memorable motifs. Worst of all, its supporting cast is bland as anything; the likes of Daniel Wu, Nick Frost and Kristin Scott Thomas are unreservedly wasted.

Does Tomb Raider qualify as a quote/unquote intellectual movie? No, of course not – what were you expecting? It’s a Tomb Raider movie. It exists for the sole purpose of pitching a perky English heiress with dual pistols against dusty crypts, death traps and ancient curses. So in that regard, it sets out to fulfil more or less what it should, which is to be a diverting and entertaining two-hour adventure populated with all of the above.

It’s far from perfect, but it’s a marked step up; bloody and muddy, I’d be more than happy to step into the ring for a second round with Vikander’s steely take on this videogame icon.

Tomb Raider is available in Australian cinemas from March 15 

Image courtesy of Roadshow Films

Hollywood: The Australian Invasion

Zachary Cruz-Tan

There is no question that Australia is home to an army of talented actors and filmmakers, many of whom have enjoyed rousing success on local TV, and are slowly nudging their elbows into an ever-growing Australian film industry. But this country is hardly the place to be world-famous right now. At least not yet. The crowd isn’t big enough. The demand not cannibalistic enough. The creative and financial girths not flexible enough.

This might be why many of our local heroes find themselves shining instead in strange, exotic lands like the USA, where the film industry is so over-stuffed with Americans its solution is to build more blocks to accommodate foreigners. We’re not complaining. I personally think it’s wonderful to have exciting Australian talent wowing a global audience. The only problem is, most of this global audience have no idea they’re being wowed by Australians.

Sure, many of them have become household names – Hugh Jackman, Cate Blanchett, Nicole Kidman, the Hemsworth boys, to name but a small portion – but more and more unknowns seem to be emigrating across the Pacific. My only concern is that to make it big over there, you have to be able to speak like one of them.

There is hardly any room abroad for Australians to break out their natural-born accents; I can’t bring to mind a single Jackman or Hemsworth performance that doesn’t have them barking about like untamed cowboys.

So, on this Australia Day, I’m turning my attention to five relatively small-time Aussie performers who’ve not only mastered the American accent, but are also exploiting its benefits to quietly climb out of the Australian manhole onto the doorstep of Hollywood. They know how to play the game.

Jason Clarke
(Blue Heelers, The Great Gatsby, Zero Dark Thirty)

2016 - 01 January - Australia Day Jason Clarke

Jason Clarke in Dawn of the Planet of the Apes

As with most Australian actors, Jason Clarke’s career developed from the meek success he found in sporadic television roles, including his multiple appearances as different characters in Blue Heelers, his role as Eddie Furlong in the medical drama All Saints, and his successful turn in the popular, innocuous soap opera, Home and Away.

In 2008, his face appeared before a wide American audience in the motor-killer bonanza, Death Race, which was so popular, in fact, it spawned two direct-to-video prequels. But no one knew who he was. At that point he was as famous as an apple in a supermarket.

In the last seven years he’s gone on to appear in several high-profile dramas, including Public Enemies (2009), Lawless (2012), Zero Dark Thirty (2012), The Great Gatsby (2013), and White House Down (2013), before achieving a more familiar fame with his respectable turn as Malcolm in 2014’s masterful political primate parable Dawn of the Planet of the Apes.

He had a busy 2015, starring in Terrence Malick’s disappointing Knight of Cups, the even more disappointing Child 44, the abysmal Terminator Genisys, and the spectacularly mediocre Everest. But quality does not rely on quantity, and with his effervescent charm, he can look forward to another stocked year, filled, one can hope, with movies better suited to his manner.


Essie Davis
(The Matrix, Girl With A Pearl Earring, Cloudstreet)

2016 - 01 January - The Babadook

Essie Davis in 2014 film The Babadook

Sometimes all it takes to step out of the darkness is one role, and Essie Davis secured her claim to the light with her chilly exploration of a single mum battling not only the thankless task of raising an imaginative young boy, but also the deep domestic threat of a malicious spirit in 2014’s sleeper horror hit, The Babadook. It was a rather special performance, internalising a lot of the strife that came with the territory of such a peculiar situation.

Now, she’s slated to appear in the latest season of the HBO fantasy series, Game of Thrones. Whether her fate in the show will carry her past a single episode remains to be seen, considering the show’s infamous propensity for stabbing, beheading, and otherwise inconveniencing its cast in ways unimaginable, usually at moments unexpected. No matter. It’s a well-earned step up for a much underappreciated actress.


Ben Mendelsohn
(Animal Kingdom, The Place Beyond The Pines, Black Sea)

2016 - 01 January Australia Day Ben Mendelsohn

Ben Mendelsohn in 2015 film Slow West

In much the same way that Jason Clarke achieved recognisable fame late in his acting career, so too does Ben Mendelsohn find himself settling in to Hollywood’s Champs-Élysées, aged 46.

Remembered predominantly for his role as the venal John Daggett in Christopher Nolan’s epic Batman conclusion, The Dark Knight Rises (2012), Mendelsohn has recently branched out in more creative directions, playing an inept criminal in Killing Them Softly (2012), a cunning effete landowner in Ridley Scott’s Exodus: Gods and Kings (2014), and a furred up gang leader in the melancholy western, Slow West (2015), which I personally considered one of the best films of last year, and boasted Mendelsohn’s most subdued, nuanced performance to date.

What’s coming up for him then? Nothing fancy. Just a modest role in a low-budget independent drama called Rogue One: A Star Wars Story, which isn’t expected to draw in any kind of audience at all, except a small, clandestine bunch of renegades known affectionately as Star Wars fans. It’s hard to gain exposure with films like that, but my fingers are hopefully crossed.


Kodi Smit-McPhee
(Romulus My Father, Let Me In, X-Men: Apocalypse)

2016 - 01 January - Australia Day Kodi Smit-McPhee

Kodi Smit-McPhee in 2015 TV series Gallipoli

Nothing does wonders for your acting career like starring as a down-trodden homeless boy in a threatening dystopian future, scavenging for food and protecting a life that has lost all meaning. 2009’s The Road put Adelaide-born Kodi Smit-McPhee on the map of up-and-coming stars and swung open all kinds of opportunistic doorways.

The role of his I admire the most came five years later with Dawn of the Planet of the Apes, where he played Jason Clarke’s son and participated in the movie’s best moment: a quiet companionship with Maurice, the intellectual orangutan, poring over a novel that seemed to interest the ape more than the human.

It wasn’t till last year’s Slow West (alongside Ben Mendelsohn, another compatriot featured in this article) that he was cast out of the shadows and thrust into a semi-lead position, playing opposite Michael Fassbender as a love-stricken pilgrim, confident that the girl he met once and travelled the globe for will accept his marriage proposal. Now, with Hollywood firmly in his grasp, he’s about to enter the ubiquitous universe of superhero movies, playing the agile teleporting mutant, Nightcrawler in the upcoming X-Men: Apocalypse.


Rachael Taylor
(Grey’s Anatomy, Red Dog, Jessica Jones)

2016 - 01 January - Australia Day Rachael Taylor

Rachael Taylor in 2014 film The Loft

The Tasmanian Rachael Taylor has yet to erupt. Like an eager volcano stifled with a giant plug, her career has simmered on medium-heat for a number of years, forcing her to take on roles both here and in America to keep the wheels turning and the fires burning.

Her most memorable role, perhaps, was as Maggie in Michael Bay’s robot-fest, Transformers (2007), which was a decent enough movie on its own before its inevitable sequel afterbirth completely drove its merits into the ground. Now I’m afraid we’ll get more movies about Optimus Prime than we will about James Bond. Sadly, Taylor’s not scheduled to appear in any of them.

Just last year, however, Taylor impressed with her stellar performance as Trish in Marvel’s somewhat unsurprisingly brilliant psychological superhero thriller series, Jessica Jones, which showcased her feminine tenacity and underlined her warmer, more affable nature. It was a great performance in a great television drama. She is sure to return for future seasons, and might even make the transition to Marvel’s cinematic universe. If that materialises, she’d certainly be dormant no longer.


Other Australian actors gradually making waves overseas: Joel Edgerton, Melissa George, Ryan Kwanten, Isla Fisher, Abbie Cornish, Travis Fimmel, Emily Browning, Teresa Palmer, Brenton Thwaites… men and women of all ages – the list goes on!

Images courtesy of  Roadshow Films, Twentieth Century Fox, Transmission Films, Umbrella Entertainment, Anchor Bay Entertainment Australia and Nine Network Australia

Movie Review – Jupiter Ascending

The planets are not aligned for the Wachowskis as they drop their latest interplanetary sci-fi adventure; a visually stunning, but unfortunate early contender for worst film of 2015.

½
Review by Corey Hogan

I’ve always had a soft spot for writing/directing duo Andy and Lana Wachowski. The Matrix (one of their earliest films) is considered by many to be a masterpiece of science fiction, and one of the most influential films of all time. Intriguing on every level it is brought to, this 1999 film revolutionised computer-generated visual effects, and has set the standard for Hollywood blockbusters. The siblings’ offerings since have been heavily mixed – the two bewildering, and less-than-satisfying Matrix sequels, the more successful V for Vendetta, the headache-inducing Speed Racer, and the wildly divisive Cloud Atlas. Around the time of making their last film, Warner Bros. offered the pair a large sum of money to create an original franchise of their own imagining, so as one of those who enjoyed the complexities of Cloud Atlas, I was hopeful of a natural progression from that timeline-jumping epic. Unfortunately, the result is Jupiter Ascending; a stylish, but incoherent sci-fi disaster.

Mila Kunis is Jupiter Jones (yes, really), a luckless toilet cleaner who dreams of the stars and distant worlds until she is attacked by invisible aliens while donating her eggs. She is rescued by Caine Wise (Channing Tatum), a genetically engineered ex-military hunter spliced with human and wolf DNA, who informs her that her genetic structure is of alien royalty allowing her rightful inheritance of the Earth, and that she has become the target of the Abrasax siblings (Eddie Redmayne, Douglas Booth and Tuppence Middleton), the family that has controlled life on every habitable planet in the universe, and seeks to add Earth to their collection. Jupiter and Caine enlist bee-spliced Stinger Apini (Sean Bean) to help the pair reach the distant planet of Orus, and claim the inheritance before the House of Abrasax can acquire Earth for their own evil affairs…

…or something. Sound like it doesn’t make sense? Don’t worry, even the most passionate science fiction enthusiasts will have a difficult time attempting to gain anything from Jupiter Ascending. The film is a visual feast for the eyes, as is expected from any Hollywood blockbuster these days, but it suffers enormously from a hugely problematic script. Perhaps as a result of trying to cram way too much material into a two-hour film, every scene flies by at a disjointedly fast pace, and consists of excessive expository dialogue attempting to explain the components of this alien monarchy. Multiple clichés from numerous genres are inserted in a stake to appeal to a wider audience (stopping a wedding just in time for rom-com fans), and every exchange of words is clunky and highly cringe-worthy (“Bees can sense royalty” growls Stinger as Jupiter is engulfed by a swarm of CGI insects). Most disappointing is that beneath its ludicrous and nonsensical façade lurks the well worn-out “loser becomes the chosen one” tale explored by the Wachowskis themselves sixteen years ago.

Mila Kunis looks the part as the reincarnated royalty, but is unfortunately given little to do other than look puzzled, and ask questions so that every character can deliver another long-winded expository spiel. Channing Tatum fares a little better as the brute hunter with rocket skates, given the task of rescuing Jupiter every few minutes. These two are acceptable until the mid-way point, where a forced romance is thrown in as an afterthought despite the characters having zero chemistry prior to this point. Sean Bean barely registers as his character’s motives differ every time he appears, as do Jupiter’s family of “comedy” Russians. Only Eddie Redmayne remains amusing, hamming it up as a rather soft-spoken Ming the Merciless breed of royal villainy.

With Jupiter Ascending, the Wachowski brothers (sorry, just the Wachowskis now) join the likes of numerous once-great filmmakers (Peter Jackson, Sam Raimi and Andrew Nicchol among others) who in recent years seem to favour extensive CGI, and cartoony visuals over a well-structured story and quality film. JA was delayed from a July 2014 release in order to complete the special effects, but this time would have been better spent giving the script a complete overhaul, as there are themes and material here that could potentially have worked in the right hands. It is saddening to witness the pioneers of effects-driven blockbusters become a shell of their former selves; hopefully The Wachowskis stick to adapting works in the future to avoid again delivering an original piece so painfully lacking in irony.

ONE AND A HALF STARS

Jupiter Ascending is in Australian cinemas NOW.