Ray Winstone

‘Point Break’ Remake is Visually Spectacular But Dramatically Inert

Posted on by The Ultimate Rabbit

Was the world really pining for a “Point Break” remake back in 2015, especially when it already got an unofficial remake back in 2001? That remake was called “The Fast and The Furious,” and its director Rob Cohen freely admitted on many occasions how its plot was lifted directly from Kathryn Bigelow’s 1991 action film. Nevertheless, the good people at Alcon Entertainment felt an official remake was needed. What results is a film of spectacular visuals, but they all come with a screenplay which is dramatically inert and with actors who barely look like they are having much fun even after all the surfing, rock climbing, snowboarding and wingsuit flying we see them do.

The plot is basically the same as the original, but the characters led by Bodhi (Edgar Ramirez) are not thrill seekers robbing banks to fund their exploits, but instead ecoterrorists who look to play a Robin Hood role in society. Moreover, they are trying to complete the Ozaki 8, a list of eight extreme ordeals designed to honor the forces of nature. FBI agent and extreme sport athlete Johnny Utah (Luke Bracey) picks up on this and becomes determined to infiltrate this gang and bring them down. Of course, this has him going undercover, and we all know what happens to undercover agents in movies like these.

I should note how this “Point Break” starts off with a prologue which has Johnny Utah racing over a steep ridgeline on a motorbike with his friend Jeff (Max Thieriot). But while Johnny lands successfully onto a lone stone column, Jeff does not and ends up falling to his death. As a character in “Cliffhanger” once said, “gravity is a bitch.” Did this remake need such a scene? I think not as the original didn’t. Seriously, how many times have we seen this scenario played out?

One thing I have to say about this remake is it does look spectacular on a visual level. It was directed by Ericson Core who, quite ironically, was the director of photography on “The Fast and The Furious.” He also serves as his own cinematographer here, and he captures some amazing sights whether it’s the waves surfed at Teahupoʻo in Tahiti, the wingsuit flying sequence in Walenstadt, Switzerland, the snowboarding scene shot on the Italian side of Aiguille de la Grande Sassière in Aosta Valley, or the rock climbing which takes place at Angel Falls in Venezuela, Throughout, Core captures the beauty of each location to where I am compelled to visit them as soon as this Coronavirus epidemic is resolved. Yes, I am willing to wait that long.

But while the look of this “Point Break” is spectacular, it does not feel particularly the least bit exhilarating. The beauty of Bigelow’s film was she made you, as an audience member, part of the action. This was especially the case during the skydiving scenes as you felt like you were falling from the sky with the characters. With Core’s remake, I felt like I was watching everything from a distance to where I admired the view, but was never really enthralled by it.

Seriously, none of the actors look like they are having much fun here as they all seem so deadly serious to where you wonder if any of them has a mere understanding of what an adrenaline rush is. Luke Bracey may be a good actor, but his performance as Johnny Utah makes Reeves’ in the original appear all the more stellar. Reeves’ Utah had the good sense to know how scary and thrilling his adventures were to where his screaming while skydiving made complete sense. But to see Bracey remain calm while he falls from a mountaintop so high up makes his silence during such a descent utterly ridiculous and unbelievable.

Then there is Edgar Ramirez who has turned in memorable performances in “The Bourne Ultimatum,” “Zero Dark Thirty” and most especially in the biopic “Carlos.” But as strong an actor as he is, he does not succeed in making Bodhi a compelling character in this remake. Throughout, his face looks like it is etched in stone, and I kept waiting for him to show a little more excitement about his death-defying exploits. Patrick Swayze’s performance in the 1991 film was my favorite of his even if everyone thinks his penultimate role was in “Dirty Dancing,” and Ramirez does not come even close to matching the late actor’s charisma. This is especially evident in the scene where is sailing through some insanely high waves which are the same kind George Clooney and Mark Wahlberg attempted to traverse over in “The Perfect Storm.” Ramirez looks far too collected as he is facing death at any second, and the fact he is able to even get on his surfboard to travel that one last perfect wave is completely unbelievable. Come on, you have to be the least bit scared in a situation like this.

You also have Delroy Lindo and Ray Winstone here as FBI Instructor Hall and Special Agent Angelo Pappas (Gary Busey played Pappas in the original). Both are also playing characters who look like they are having a miserable time due to the challenges and endless frustrations of their jobs, but they should be forgiven as their characters were written as such. Besides, with actors like these two, you can never go wrong.

If there is a bright spot in this remake, it is Teresa Palmer who portrays Utah’s girlfriend, Samsara. She is such a luminous presence in any movie she appears in whether it is “The Choice,” one of the many misbegotten cinematic adaptations of a Nicholas Sparks novel, or “Hacksaw Ridge.” Her first appearance here is unforgettable as she dives into the ocean to where Utah is as compelled to dive after her as we are. Seeing her lay back into Bracey’s arms while in the ocean made me infinitely envious of him as I would have loved to been in his position. Palmer, however, is barely in this movie and is wasted in a role which demands more of her than the screenplay is willing to give. This is a real shame considering she gives this remake its most lively presence.

Bigelow’s “Point Break” cost only $24 million to make while this remake had a budget of around $100 million. Money may buy you impressive sights, but it cannot guarantee any audience an adrenaline ride. Besides, when it comes to filmmakers, male or female, can any of them compete with what Bigelow has to offer? Seriously, there is a reason why she was the first female to win the Best Director Academy Award for her work on “The Hurt Locker.”

When it comes to remakes, filmmakers and studio heads these days seem determined to play things straight. But looking at this remake of “Point Break” serves as a reminder of how it helps to not take things ever so seriously. Furthermore, Bigelow’s film has aged well over the years to where we are more than ready to accept Reeves as an action hero. While it helps to have a ton of money to make any motion picture, the budget on this remake did little to keep us on the edge of our seats. Just remember this the next time you feel like the budget for your flick is not nearly enough.

By the way, James LeGros who played Roach in the original “Point Break” appears here as FBI Deputy Director #2. I just thought you might be interested to know this.

* * out of * * * *

Martin Scorsese’s ‘Hugo’ is a Splendid Love Letter to the Power of Movies

Posted on by The Ultimate Rabbit

Hugo movie poster

Maybe it was Martin Scorsese’s desire to utilize the 3D format which kept me from seeing “Hugo” on the first day of its release. 2011 saw 3D movies get a serious public beating as audiences became convinced it existed solely for Hollywood studios to jack up ticket prices. But to watch “Hugo” is to be reminded of how amazing 3D can be when using the right tools and not just throwing cheap gimmicks at the audience. But moreover, it is backed up by a great story and remarkable performances as Scorsese shares with us his love of all things cinema.

Seriously, the first five minutes of “Hugo” will blow you away as you will feel like you are traveling over the Paris of the 1930’s. It truly looks as though the snow it is literally blowing in your eyes, and it reminded me of when kids were grasping at the snowflakes coming off of the silver screen during “The Polar Express.” Scorsese was lucky enough to use the same Fusion Camera System which James Cameron used to superb effect in “Avatar.” The images stretch out from the screen, and the extra dimension gives these visuals a depth which at times feels remarkably real.

Based on the novel “The Invention of Hugo Cabret” by Brian Selznick, Asa Butterfield stars as Hugo, a young boy living alone in a Paris railway station while maintaining the clocks and stealing whatever supplies he needs in order to survive. One major obstacle he has to deal with is Inspector Gustav (Sacha Baron Cohen) who patrols the station with his vicious looking dog. Gustav shows no hesitation in picking up orphans and sending them straight to the orphanage which, in the kids’ eyes, seems like an unforgiving house of horrors.

Two people come to play an important role in Hugo’s life: the toy shop owner Georges Méliès (Ben Kingsley) and his spirited goddaughter Isabelle (Chloë Grace Moretz). They enter Hugo’s life as he continues to work on fixing an automaton he and his father, Mr. Cabret (Jude Law), were putting it back together in working order when Mr. Cabret was tragically killed in a museum fire. It is this same automaton which will draw these three together in ways none of them could ever have imagined.

By taking us back to a time when motion pictures were in their infancy, effects we now see as cheesy and simple to create come to feel as magical as they once did. Scorsese is brilliant in putting us into these characters’ shoes as we watch audiences react strongly to a film with a train which looks like it is coming straight at them, or at Buster Keaton hanging on for dear life from a clock outside a tall building. Looking at the awe which is so vivid in the faces of these children reminds us of how movies can magically draw us into another world, and this is a feeling many movies do not give us these days. In this day and age, we take the power of motion pictures for granted.

Butterfield’s performance is remarkable. Showing the pain and resourcefulness of a young boy who has lost his parents and is forced to fend for himself is no easy task, and he ended up giving one of 2011’s most underrated performances. Butterfield inhabits the character of Hugo so deeply to where, after a while, it does not feel like we are watching a performance at all.

Kudos also goes to Moretz, the star of “Kick Ass” and “Let Me In,” for adding yet another superb role to her already splendid resume. As the adventurous Isabelle, she pulls off a flawless English accent which is worth noting as we have gotten so used to actors screwing them up. The warmth of her smile onscreen is utterly genuine, and she lights up “Hugo” whenever it feels like it is getting a bit too dark.

There are other great performances to be found in “Hugo” as well. Ben Kingsley is fantastic as usual as Georges Méliès, and the late Christopher Lee has some wonderful moments as bookshop owner Monsieur Labisse. One of the big standouts in the supporting cast though is Sacha Baron Cohen who takes a break here from his “Borat” and “Bruno” mockumentaries as Inspector Gustav. He’s a hoot throughout, and his interactions with the infinitely lovely Emily Mortimer (“Lars and the Real Girl”) who plays Lisette are hilariously sweet.

Scorsese has put together a truly beautiful motion picture which deserves a bigger audience than it received while it was in theaters. The fact that more people went to see “Alvin and the Chipmunks: Chipwrecked” than this is deeply depressing. A lot of moviegoers really hated 3D movies back in 2011, so this did not do “Hugo” any favors. But after watching it, you will find yourself believing this extra dimension is worth your money when it is put together by the best masters of filmmaking.

* * * * out of * * * *

Darren Aronofsky’s ‘Noah’ is His Biggest and Most Flawed Film So Far

Posted on by The Ultimate Rabbit

Noah movie poster

Darren Aronofsky’s “Noah” is a movie I have conflicted feelings about. On one hand it is a deeply flawed effort with moments which belong in another movie, but on the other hand it brings up questions inspired by the actions of the characters which I found endlessly fascinating, and those same questions stayed with me long after the movie ended. With “Noah,” Aronofsky has been handed the biggest budget he has ever had to make a movie with, but what amazes me is how much of his vision ended up on the silver screen. You’d think Paramount Pictures would have the last say on final cut, but Aronofsky has managed to graduate to the big leagues without losing his unique voice as a filmmaker.

The movie gets off to a shaky start as we watch a young Noah being initiated into manhood by his father with what looks like a magical snakeskin, but then his father is brutally murdered in front of him by Tubal-Cain and Noah runs like hell to get away from him and his followers. For a moment, I thought this would turn into a revenge movie with Noah going after Tubal-Cain to where the ark becomes a secondary story. Fortunately, this was not the case.

The story then leaps forward many years later when Noah (now played by Russell Crowe) is a husband to Naameh (Jennifer Connelly) and a father of three boys: Shem, Ham and Japheth. However, it’s not long until Noah begins having frightening dreams about a great flood swallowing up every living and breathing thing on earth. Eventually, he comes to discover he has been giving a mission: to build an enormous ark and fill it up with animals so that when the great flood comes to wipe out the evilness of humanity, the animals will survive to restart civilization anew.

One of the big stumbling blocks of “Noah” comes when we are introduced to fallen angels known as the “Watchers.” They are these enormous stone creatures who tower over all humans, and they kept reminding me of those tree creatures from “The Lord of the Rings: The Two Towers.” Furthermore, the “Watchers” almost took me out of the movie completely and had me thinking about those stone creatures William Shatner wanted to put in “Star Trek V: The Final Frontier.” While watching “Noah,” I kept thinking about what Shatner must have been thinking when he Aronofsky’s film. Shatner was probably thinking, “Damn you Aronofsky! My film had biblical themes in it too! Why didn’t I get to put any stone creatures in my movie?”

When all those animals start making their way to the almost completed ark, you can tell they were all created using CGI effects. Then again, I can’t blame Aronofsky for going this route as directing real life animals must feel next to impossible especially in a movie like this. Plus, if he did get access to real animals, how would he have dealt with all those animal droppings the crew would have spent hours trying to clean up? Imagine the smell that would have created. Yuck!

As “Noah” continued on, the things which bothered me began to make sense, and the film really hit its stride just before the ark sets sail in the flood. I figured the movie would end there, but it goes on to look at how Noah and his family deal with issues like survivor’s guilt and questioning the motivations of “the creator” (the word God is never mentioned). Aronofsky does terrific work in giving all these characters complexities which render them far more fascinating, and the challenges they face come to define who they are. This is not a good guy vs. bad guy story as all the characters inhabit a morally grey area, and it gets to where we’re not sure who to root for.

Since his Oscar winning turn in “Gladiator,” Russell Crowe’s career has been all over the place as he has given terrific performances in “Cinderella Man” and “American Gangster” and suffered through cinematic misfires like “A Good Year” and “The Man with the Iron Fists.” As Noah, Crowe does some of the best work he’s done in a while as he humanizes a character made famous through biblical tales. When Noah threatens a course of action which may very well to his family apart, Crowe still makes us feel for him as he struggles to remain true to what is asked of him.

Jennifer Connelly also gives one of her best performances as Noah’s wife, Naameh, and no, she does not play Joan of Arc (Keanu Reeves got that wrong in “Bill & Ted’s Excellent Adventure”). As Naameh, she plays a character similar to the one she played in “A Beautiful Mind;” a woman very much in love with her husband and yet deeply afraid of what he is capable of doing. Connelly is no stranger to the Aronofsky universe, having given such an earth shattering performance in “Requiem for a Dream,” and she is not afraid to go to emotional extremes. Watching her trying to reach her husband, Connelly sucks you vividly into the fearful state she has been thrust into, and she makes us share in her desperation to protect what is left of humanity.

“Noah” is also well served by a strong supporting cast which includes Ray Winstone, Douglas Booth, Logan Lerman and Emma Watson who shows there is more to her than playing Hermione in the “Harry Potter” movies. In addition, Aronofsky brings along his dedicated team of collaborators such as editor Andrew Weisblum, cinematographer Matthew Libatique and composer Clint Mansell. Speaking of Mansell, he gives us yet another great film score with “Noah.” While it might not be on a par with his work on “Requiem for a Dream,” he gives the movie a great emotional power, and he continues to be one of the more unique film composers working i today.

So again, “Noah” has some glaring flaws I could have done without, but its strengths eventually outweigh its weaknesses to where the movie had a strong impact on me. I’m not sure I will ever forget hearing all those screams from people begging to be rescued while Noah and his family sail away in the ark, and Aronofsky is fearless in questioning the audience as to what they would have done were they in his position. This movie also shows how even biblical characters have dysfunctional families to deal with, so we have no business being surprised when we have to deal with the same thing in life.

When all is said and done, I’m glad that Aronofsky managed to get his vision of “Noah” to the big screen without too much studio interference. All the same, I hope he thinks twice about putting giant stone creatures in his next film.

* * * out of * * * *