Saturday, 25 August 2018

Ocean's 8


2018’s Ocean’s 8, directed by Gary Ross.

Starring Sandra Bullock, Cate Blanchett, Anne Hathaway, Helena Bonham-Carter, Rihanna, Sarah Paulson, Mindy Kaling, Awkafina, Richard Armitage, Elliot Gould, and James Corden.

What is it about?

Ocean’s 8 takes place in the same world as the Ocean’s trilogy, and here we meet legendary thief Danny Ocean’s sister, Debbie Ocean (played by Sandra Bullock). First seen being released from a 5 year stint in prison, Bullock executes a plan to steal a diamond necklace from an affluent celebrity (Anne Hathaway). With her old friend (Cate Blanchett) in tow, they round up a disgraced fashion designer (Helena Bonham-Carter), event planner (Sarah Paulson), jeweller (Mindy Kaling), pick pocket (Awkafina), and hacker (Rihanna) to put the heist in motion. With security tight and Bullock motivated to the point of recklessness, will the group get their bounty?

Why is it worth seeing?

The Oceans universe has always been about the crookedly charming criminals who hatch elaborate schemes to get rich at the expense of those that can afford to lose it. While hardly saintly, their non violent schemes had a code of honour among thieves based around the idea of “shaking Frank Sinatra’s hand”. Essentially it was more about the bonding of the dashing outliers through complicated mechanics- they had a good time, and we had a good time watching them. Ocean’s 8 copies these themes in a estrogen centred package, of the seemingly effortless but complicated job, but leaves out the chemistry and pleasant vibes, leaving something behind that can feel cold and unsatisfying.
It’s difficult to not compare 8 to the previous 3 films in the canon (Ocean’s 11, 12, and 13). This is obviously literally a spiritual sister to the films, in copying 2016’s Ghostbusters sexuality shift for a franchise. At the centre of the previous 3 films, was leading man, George Clooney. How does Bullock compare, as the Bonnie to his Clyde? Bullock does bring the effortless charm and breezy expectation of the complicated heist going as planned, but she introduces a new theme that Clooney’s gentle soul never really touched on: anger. It manifests itself in Bullock’s flexible morals, shown through her stealing from, well, anyone. As mentioned above, the gang from the trilogy were hardly choir boys- but they weren’t stealing from guests in hotels, or threatening to shank people. They just had too much class for petty crime.
Same thing for another motive that is clear from the get go: revenge. Again, morals operate in shades of nuance, and Clooney’s character exposed his ex-girlfriend’s relationship with a swindler to win her back in 11, and ruined a casino operator after they lied and conned a friend in 13- but I would argue the key difference is you could make the argument about there being a sense of justice and fairness, versus just revenge.
And what of the chemistry between Bullock and her right hand (wo)man, Cate Blanchett? Again, it has echoes of Clooney’s and Brad Pitt’s rapport- but it doesn’t touch the levels of unspoken communication the 2 had. Instead, director Ross shows Bullock and Blanchett in flashback, indicating the 2 have known each other for years- something the original trilogy showed through non verbal communication. As well, are we sure Bullock should be the central protagonist of the film instead of Blanchett? A quick glance at their filmographies (and Oscar wins/nominations) suggest otherwise.
What about the chemistry of the ad hoc group? Again, there are individual flashes of brilliance from the team, from Bonham-Carter’s irish lilt to Awkafina’s street wise quirkiness and Rihanna’s musical voice- but as a group they have a long way to go to approach some of the dynamics in the original trilogy. A character even reveals their desire to be a part of this gang at one point- but we don’t feel what exactly fraternity they’ll find with this crew. And in terms of either having the group end on a note approaching the original film (group that quietly dissipates and goes their own way) or its sequel (group that parties long into the night), the film splits the difference and shows each individual character’s fate, something oddly unsatisfying- and that goes double for Bullock’s conclusion.
Finally, Gary Ross’ direction could be described as “workmanlike”. It’s competent and gets the job done, but it really highlights Steven Soderbergh’s talents in terms of composing and editing scenes to give them a kinetic flourish, or sense of inter connectedness. The film could also could benefit from borrowing a few laughs from the originals.
After all that, it’s easy to wonder if there are any recommendable qualities to the film. Once the painful getting the group together sequence is established, the mechanics of the heist do suck you in, and its plotting (other than the finale) can be difficult to predict. And the cast is too individually talented to not be interested in what they pull next. It will keep you invested until the end.
Posessing a heist that is exciting and plenty of star power, but lagging due to motives that are difficult to identify with and a lack of chemistry between the stars, combined with a lack of directorial flourish. Ocean’s 8 learns the language required for the heist, but photocopies the soul of what made the original trilogy so great, leaving behind something too faint to remember.


Rating:

3/5



Thursday, 9 August 2018

The Rider


2017’s The Rider, written and directed by Chloé Zhaoz.

Starring Brady Jandreau, Tim Jandreau, Lilly Jandreau, Cat Clifford, Terri Dawn Pourier, Lane Scott, Tanner Langdeau, James Calhoon, and Derrick Janis.

What is it about?

The Rider stars Brady Jandreau (playing a version of himself) as a cowboy who is passionate about competing in rodeos. Living on the Pine Ridge Reservation in South Dakota, Brady is seriously injured in a rodeo competition. Advised by doctors that he can never ride again, Jandreau has to help his father (played by his actual father, Tim Jandreau) and sister (Jandreau’s actual sister, Lilly Jandreau) stay afloat, while coping with his feelings of loss and struggling to find fulfillment. Will Brady be able to take care of himself as per the recommendations of others, or live the life of his dreams?

Why is it worth seeing?

The Rider is an intimate character drama that is so natural and organic in its actors, setting, and tone, that it could be considered more documentary re-telling, than simply a fictional film. Star Brady Jandreau (just try not emphasizing with him) portrays his own true story about not being able to be a rodeo star anymore, with his actual father playing his father, and actual sister playing his sister, and his muse in the story is played by his (former) muse in real life- you probably get the picture in terms of the film’s authenticity.
Director Chloé Zhaoz brings a delicate sense of casual intimacy in how the setting and actors are portrayed, but deftly places the emotions of its quiet but purposeful star under a microscope. Not since Heath Ledger in Brokeback Mountain, has a character visibly felt so much while saying so little, with similarly powerful results.
In the telling of how Brady’s injury prevented him from pursuing his passion, we feel his fallout, and pressure that his home grown environment places into him. Cowboys (and rodeo stars) have such a draw in the culture- and we feel the longing of Brady, to return to the lifestyle that he once was considered a star of. But isn’t his muse permanently handicapped from his own rodeo experiences? Simultaneously, Brady’s lack of job skills catch up with him- and it’s not like the South Dakota reservation has a plethora of opportunities for him to pursue. With no livelihood and no pizazz- all he has left is the fire in his belly.


A lesser film would frame these circumstances as some kind of self destructive revenge filled quest against the cruelties of fate, or even about the reunion tour of re-living past glories. Instead, choices that are illuminated here are based around accepting the possibility of change with grace. There are moments in the film that can be as brief and lovely as a setting sunrise on the plains, and the ending is one of the scenes of the year.
Remarkably timely in an age of sequels and superheroes, The Rider doesn’t try to re-invent the wheel, and instead uses its true story, real characters, Mid-West setting, and difficult lessons, to realistically portray the tough choices we all face in life, and in the most surprising of places, finds artistic grace.

Rating:

4.5/5