Everest:
Trying to do for the titular mountain what Gravity did for
space, Everest recounts the devastating events that surrounded several groups
of people making their way to the mountain’s summit before they were tragically
caught up in the force of a giant snow storm. A haunting story to be certain,
but one that also feels like something of an embellishment that treads all too
familiar ground in film. Devoting much of its first half to the establishment of the
many hikers, and benefitting both from excellent direction and rock solid
actors, the screenplay of the movie gives them only barely enough distinction
between each other. It’s an assembly of two-dimensional characters that
generally don’t hook the viewer in as much as we may want it to.
However, just because certain ground is familiar doesn’t
automatically make it bad, and for what the cast is given to work with, they do
an exceptional job at making the viewer care just enough. It also oesn’t hurt
that, as far as spectacle goes, the movie is gargantuan. Through Salvatore
Totino’s dizzying cinematography and Glenn Freemantle’s bone chilling sound
design, the film establishes the mountain as just as much a character as any of
the people the film is paying tribute to. The mix between the foreboding and the
majestic gives the terrain a life of its own, accompanied with some of the most
nail biting suspense scenes of the year. Although, with how dark several scenes
in the film are, I wouldn’t recommend seeing it in 3D.
**** / *****
The Walk:
WARNING: This movie is not for those easily frightened by
heights. I’m not kidding, I was so nervous watching this movie that I thought I
was going to have a heart attack. Then again, that shouldn't be surprising to those
already familiar with the life and exploits of performer Philippe Petit, who
famously – and illegally – secured a tightrope between the towers of the World
Trade Center, and walked across it several times.
Okay, so its first half walks along an inconsistent
tightrope all its own, torn apart by variations in tone and trying to be
several different films at once, including moments that recreate classic French
cinema. However, these flaws are easily forgivable as the film still remains
quite an entertaining romp, especially bolstered by rock solid acting,
including a lively and passionate Joseph Gordon-Levitt.
However, it’s clearly the second half of the film where
director Robert Zemeckis had most of his heart and soul in, and where the film
is at its most creative. Translating Philippe Petit’s love of heights and
artistic imagination seamlessly, much of the film is spent effectively building
up to Petit and his “accomplices” planning and testing to string the tightrope,
and the film doesn’t disappoint when reaching those climactic segments. With
Dariusz Wolski’s photography both hard to look away from, and yet too
terrifying to watch, Zemeckis directs and visualizes Philippe’s famous
daredevil stunt with nail-biting detail. He’s certainly not afraid to make his
viewers squirm and hyperventilate, especially when using POV shots pointing to
the ground hundreds of feet below. If ever a movie this year justified paying
an IMAX 3D admission to take in its full scope, this is it.
But more than just a build up to an incredible pay off, the
film is also something of a magical experience. As a tribute to the beauty of
the fallen towers, in spite of the events of 9/11 striking fear and uncertainty
in the world ever since they happened, Zemeckis’ film, through the optimistic
eyes of its main character, transports us back to a time when such fears didn’t
matter, and it’s tender final moments are the most fitting cap off to it's
heart-pounding climactic events.
**** / *****
Sicario:
Denis Villeneuve has proven himself a remarkable talent with
films the likes of Incendies and Prisoners, and with Sicario, he continues to
prove a more than capable director of suspense. If Prisoners was Villeneuve
taking influence from David Fincher, then Sicario is him taking influence from the
writings of Cormac McCarthy.
Taking place in the cartel overrun districts of Mexico, the
film’s main thematic constructs center around animalism eating away at
humanity, with much conflict centered around the dealings of the local
authorities who resort to just as many morally questionable actions and
compromises as those that they take down. Taylor Sheridan’s screenplay has a
subdued and yet uncompromising (if that’s not too much of an oxymoron) feeling
of brutality of it, complimenting Villeneuve’s bleak directorial style, but
more wisely makes the decision to not rely heavily on words.
Much of Sicario is played with minimal talking and heavy
reliance on ambiance, allowing for a very internalized and stoic style of direction
and acting, the latter of which displays in fantastic fashion. Emily Blunt has
been making a recent career out of tough individuals with emotional cores, and
this interpretation is her best foray into that mode to date. Plunged into a
deadly purgatory torn apart by survival vs. dominance, the sights and action
begin increasingly wearing out both her and the viewer, and pits both into some
truly effective slow burning suspense. Also in play is Benecio del Toro as a
relentless and steely gunman dedicated to taking the cartel down by any violent
and dubious means necessary, and acts as a fascinating foil towards Blunt’s
more honest approaches. The film is also shot wonderfully by the great Roger
Deakins, sticking true to Villeneuve’s bleak tone and presentation, and also
sees him dabbling in beautiful experimentation. I don’t feel as connected to it
as I did Prisoners, but it’s still a chilling experience.
****1/2 / *****
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