Trainspotting 2

Trainspotting 2 poster

I actually found myself getting choked up while watching “Trainspotting 2,” a sequel I long believed would never become a reality. The original 1996 film featured youthful characters bursting with life as they inject heroin into their veins and create chaos for everyone and each other. Now it’s 20 years later, and these same characters are now middle-aged and struggling with a future which looks to leave them behind. They are dealing with regrets which eat at them, and are still stuck in a past which constantly gnaws at their conscience. While I can’t say I relate to all the adventures Renton, Sick Boy, Spud and Begbie have gone through, I can certainly relate to their current state of mind as their lives are at an impasse to where they have to ask themselves the question David Byrne brought up in a Talking Heads song, “Well, how did I get here?”

When we last saw the “Trainspotting” gang, Renton (Ewan McGregor) had absconded with the money they scored through a heroin deal, and he was determined to go straight and engage in a much more stable lifestyle. “Trainspotting 2” starts with him running on a treadmill only to trip and fall, and it’s enough to show he is not the same man he was before. He has lived in Amsterdam all this time with his wife, but now he is getting divorced and finds his job security to be very shaky, to say the least. Feeling lost in modern society, he decides to return home to Edinburgh, Scotland in an effort to make amends with family and friends.

Everyone is still back in Edinburgh doing their thing. Sick Boy runs a bar which is lucky to have many, if any, patrons walking through the door. In his spare time, he engages in blackmail schemes with his partner and girlfriend, Veronika Kovach (Anjela Nedyalkova). Daniel Murphy/Spud is still in the throes of his heroin addiction which has long since estranged him from his partner Gail and their son Fergus. As for Francis “Franco” Begbie, he has been in prison all this time and just received news that his parole did not go through. So, like any pissed off inmate, he escapes and heads back to Edinburgh to get revenge on those who betrayed him long ago.

When “Trainspotting” came out 20 years ago, it represented a fresh burst of filmmaking energy and felt so different from anything else playing at your local cinema. Director Danny Boyle and screenwriter John Hodge once again take the works of author Irvine Welsh, in this case his novels “Trainspotting” and “Porno,” to create a motion picture pulsating with an energy lacking in so many others out right now. The fact they can’t quite equal the energy of the original is not a surprise as many imitators came in its wake, and what was once subversive now feels much less so. But I think Boyle intended for this sequel to have a different energy for those reasons as things are different now for the characters and ourselves.

“Trainspotting 2” does traffic in nostalgia as several references to the original are made throughout, but it doesn’t get stuck there to where it comes across as a mere copy of what came before. Moreover, Boyle and Hodge show how these characters are stuck in a past they never fully escaped from. I also have to say it is daring of them to show these characters at this stage in their life as Hollywood is typically afraid of ageism more than they would ever legally admit. Just like in “Logan” and “Creed,” we are forced to see what the winds of change have done to those we grew up watching, and it isn’t always pleasant.

It’s great to see Ewan McGregor back working with Boyle, Hodge, and producer Andrew Macdonald. McGregor and had a huge falling out with Boyle when the director handed the lead role in “The Beach” over to Leonardo DiCaprio instead of him, and the two ended up not talking for years. Well, whatever happened is now water under the bridge, and it would certainly be unthinkable for Boyle to replace McGregor with another actor. While Renton has suffered through years of regret and decreased vitality, McGregor still brings much of the same boundless energy to the character as he did before. It’s also a thrill to see him engage in one of Renton’s “Choose Life” speeches, especially since it takes on a much more emotional dimension than ever before.

Jonny Lee Miller continues to bring a wonderfully perverted energy to his portrayal of Sick Boy as his criminal exploits are fueled by bitterness and large doses of cocaine. I was especially taken in by Ewan Bremmer’s portrayal of Spud which is funny and heartbreaking all at the same time. We are constantly reminded of how Spud is harmless to anyone but himself, and Bremmer makes the character’s ever so wounded pride all the more palpable throughout.

My hat is really off, however, to Robert Carlyle as he makes Begbie every bit as explosive and lethal as he did 20 years ago. Some actors lose their edge as they get older, but not Carlyle as Begbie is still a volcanic force of nature you best not be around if you value your physical well-being. At the same time, the actor brings an honest vulnerability to the character which is both unexpected and wrenching. It serves as a reminder of how much acting range Carlyle has. Remember, he went from playing Begbie to playing a loving father in “The Full Monty,” and I had to keep pinching myself to realize it was the same actor playing both roles.

In addition, I enjoyed Anjela Nedyalkova’s performance as Veronika, a working girl who sees right through all the men around her and gets to the truth they have yet to realize for themselves. She brings a confident and sassy energy to this sequel, and she is a strong addition to this strong quartet of actors. It was also nice to see Kelly Macdonald reprise her role as Diane who has since become a lawyer. She kept stealing the show from her male co-stars in the original, and she does it again here.

They say you can never go back, but “Trainspotting 2” shows you can, but never all the way. There is a mournful feel to this sequel, but it’s there for good reason. In watching these characters wonder how they ended up at this point in their lives, we are forced to examine our own lives and wonder how we got here. It’s an unnerving prospect for a movie to offer its viewers, but I’m glad this one did even though it almost left me on the verge of tears. There needs to be time for a re-examination of our lives and desires, and we have to find a way to make peace with our past. Boyle and company understand this, and they never back down from exploring these emotionally complicated themes.

The cast and crew of “Trainspotting” have given us a very worthy follow up to their original masterpiece, and it is backed up by strong acting, a kick ass soundtrack, and the invigorating visuals we can always count on Boyle putting up on the silver screen. Yes, “Trainspotting 2” was well worth the wait, but be prepared for it to take a piece out of you. And remember what Renton says: Choose life and be addicted to something good.

* * * ½ out of * * * *

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Godzilla (1998)

godzilla-1998-poster

I originally wrote this review on May 20, 1998, not long after I watched this “summer blockbuster.”

The momentous day has finally arrived! Roland Emmerich’s “Godzilla” has finally hit the big screen in all of its reptilian glory. Trailers for this movie have been up and running for over a year now, and the past few weeks have had us bombarded with television commercials from Taco Bell with the Chihuahua, hoping to cash in on this film’s predicted box office success. But now the wait is over and the film has finally hit the big screen. Everyone is waiting to see if the movie will suck in the biggest opening in box office history and outdo “Titanic” as the highest-grossing movie of all time…

What can I tell you? “Godzilla” sucks! I even wrote it up on the dry erase board in the main hall of my college dorm for everyone to see:

GODZILLA SUCKS!!!

People need to be warned because, unlike “Titanic,” this was not worth the wait. For me, this was a very depressing cinematic experience and one of those movies where the trailers for coming attractions, in this case “X-Files – Fight the Future,” “Lethal Weapon 4” and “The Mask of Zorro,” were far more entering than the main event. I read a review somewhere which quoted one patron as saying it made “Jurassic Park: The Lost World” look like “Citizen Kane.” I couldn’t agree more, and I liked “Jurassic Park: The Lost World,” a movie many consider to be one of the worst Steven Spielberg has ever directed.

Where do I start? The characters were all clichés, barely registering as humans. Kevin Dunn plays the military commander who is always in a bad mood and barking out orders, Michael Lerner is your typically clueless mayor, and Matthew Broderick portrays the nerdy scientist who is the polar opposite of Ferris Bueller. Maria Pitillo, who looks a lot like Heather Graham, was cute, but her television reporter character really belongs in a sitcom instead of a movie like this.

I blame this all on the direction of Roland Emmerich, a director who never seems to understand just how cheesy his movies are. “Independence Day” tried to be the next “Star Wars,” but it ended up being an overproduced B-movie. Still, it’s a classic of American cinema when you compare it to this overhyped mess.

There’s a scene in the beginning of the movie where three fishing boats are pulled backward underwater into the water – a direct rip off of “Jaws.” Now on one hand, I liked how Emmerich was never quick to show the giant mutated lizard, but on the other the “Jaws” reference came to illustrate all the things that “Godzilla” unforgivably lacks: great actors, strong characters, and a good storyline. Special effects by themselves can’t save a movie, especially one as crappy as this one.

Furthermore, the music score by David Arnold was way too much, and less could have been a lot more. In fact, everything about this movie was overblown, robbing it of whatever suspense it could ever have hoped to generate. There were moments where things did quiet down, and that was a relief and also showed some promise this movie might actually become exciting to watch. But then the screen became overwhelmed with countless explosions and massive destruction which we have seen in far too many movies to keep track of. Heck, the special effects in those movies are infinitely better than any in “Godzilla.” Trust me; the money is not up there on the screen.

Producer Dean Devlin and Emmerich appear to be big New York haters as they again lay waste to the city’s most famous monuments just like they did in “Independence Day.” But then again, New York seems to be the target of destruction this summer judging from the trailers I have seen for “Deep Impact” and “Armageddon.”

Now for Godzilla himself (or herself if you are not sure). When we do finally get to see the big lizard, it really proves to be nothing more than a big special effect. The more you are aware of this, the less threatening Godzilla becomes, and the action sequences end up lacking a lot of friction. I really loathe digital imaging and effects because they are too obvious on the big screen. In retrospect, I would have preferred seeing a guy in a suit instead.

There’s one moment where Godzilla jumps into the ocean, and it looks like it was lifted directly from a scene in “Alien Resurrection.” Originality is not in existence in films these days, but what else is new? I did not go in expecting a great movie, but I was at least hoping it would be exciting and intense. It was neither.

Furthermore, the look of Godzilla was nothing particularly impressive or horrifying. It looked like a cross between a Tyrannosaurus Rex that had an amazing growth spurt and the kind of lizard I saw crawling all over the place in Ibiza. Once again, originality is nonexistent and we have “Jurassic Park” all over again.

The only part that really scared me some was when the main characters discovered all the eggs Godzilla had lain in Madison Square Garden. What could we expect to see when they hatched? But hatched they did, and they all came out looking like Velociraptors or Velociraptor wannabes.

You’d think after a film like “Independence Day,” which was a huge hit worldwide but not exactly a critical success, that the filmmakers would learn from their mistakes and make a better movie. But no! We get one which is even worse and yet is still bound to make tons of money. But having seen “Godzilla,” I am more than confident that it will not dethrone “Titanic” as the all-time box office champ. Hey Tri-Star Pictures! Don’t count your chickens before they hatch!

A lot of people say that James Cameron is a big egomaniac and a jerk to his cast and crew on each movie he has directed. Maybe he is, claiming he can make these kinds of movies better than everyone else. But after “Godzilla” ended, I think Cameron can brag all he wants until he makes a tremendously crappy movie like this one. I don’t care how bad you thought the dialogue was in “Titanic;” “Godzilla” is the bottom of the barrel in the screenplay department. How many writers did it take to come up with this script anyway?

And, of course, we have the obligatory ending where Madison Square Garden is destroyed, but for some bizarre and unexplained reason there’s an egg which was somehow undamaged (go figure). The baby burst out of the egg just as the movie faded to black, and I imagined a lot of audience members probably thought the following when they saw it:

“Oh no! It’s a baby!!!”

But I just stared at the screen and thought to myself:

“Oh no! It’s a set up for a sequel!! SAVE US NOW!!!”

Just how many times can you destroy New York in the movies anyway?

½* out of * * * *