fox_ronan Reviews

Batman Ninja (2018)

Stunning Art, Shallow Script: The Movie

[6/10 · 15 May 2018]

Batman has had various adventures over the years. Whilst some have become landmark pieces of pop culture (The Dark Knight Trilogy), others have disappointed legions of diehard fans (*cough* Schneider Batman). However, on the small screen, DC have experimented with the caped crusader in animated features for years. Recently DC seem to have taken an interest in throwing the Dark Knight into various historical settings. For example, in the recently released Batman: Gotham by Gaslight, Batman was pitted against Jack the Ripper.

Batman Ninja is the latest of these historical elseworld efforts and it sees Batman thrust out of Gotham, back in time to the Sengoku Jidai period of Japan. However, Batman hasn't been sent back alone. Practically all his famous villains have been sent back with him, and each of them have designs upon ruling Japan in accordance with their evil desires. Thus, it's up to Batman, and a few familiar faces, to stop these infamous rogue's causing chaos in the land of the rising sun.

Batman Ninja is a completely different animal from the animated films usually produced by DC. Rather than producing the film on familiar shores, they outsourced the production to a Japanese studio called Kamikaze Douga, who specialise in animated shorts. I'll be honest when I first found out that a Batman movie was being produced by an anime company I was overjoyed. It was a crossover for the ages, forget Infinity War, the world's greatest detective was going to have a full-fledged anime escapade. I mean come on, who wouldn't be excited for a bit of Banime

The decision to outsource to a country more closely connected to the source material paid dividends. The Japanese voice over work is fantastic, not only does it feel authentic in the context of the story, but it also manages to remain faithful to the classic characters involved (Wataru Takagi in particular shines as The Joker). Although the voice work is a high point of this outsourcing, the real highlight is the animation and art style. The animation has this quirky, almost clunky, style that feels right at home with the eccentric depiction of feudal Japan. Furthermore, the art style is a mix of stylised contemporary art mixed and classical Japanese art, this fusion also cleverly reflects the dichotomy between the different time periods in the narrative. This experimental combination creates a visually evocative world that transfixes one's eyes from the opening shot to the closing credits.

Unfortunately, however, the beautiful visuals are undermined by a fairly shallow script that tries to juggle too many characters. As aforesaid, practically all of Batman's villains are brought to Japan with him, including: The Joker, Harley Quinn, Bane, Two Face, Gorilla Grodd etc. However, a small part of me thinks that this decision was justified as it meant we got to see Bane as a peculiar looking sumo wrestler. In all seriousness though, this creative choice bogs down the flow of the film and detracts from the intensity of the classic Batman-Joker feud that the film was clearly trying to capture. Although a pure Joker-Batman film would have hardly been a reinvention of the narrative wheel, it would at least have provided a solid foundation for the fantastic experimental art and animation.

I must also confess that I thought Kazuki Nakashima's script was also rather uninspired. Although the plot does go in some interesting directions, as many films have taught us, unpredictability isn't necessarily an indication of quality. Nakashima also makes some odd narrative choices towards the end of the film, as he decides to introduce key elements that have zero set up. When these moments occur, they come out of left field and they break the unique immersion created by the visual design.

The film is also tonally all over the place at times. Towards the end the action is simply too over the top for its own good, and that zany action comes at the expense of narrative quality. I personally would have preferred it if the film had the vibe of the final 10 mins. Without spoiling much, the final moments of the film are absolutely riveting. Perhaps this is presumptuous of me, but I would argue that the final 10 mins are what most people paid to see. If the film had decided to establish this gritty tone from the start and stuck with it, the film could have been something truly special.

Finally, even though I'm no musician, I have to say Yûgo Kanno's score is fairly underwhelming. The music is pretty lowkey and at no point does it really convey the uniqueness of the setting. Which is a real shame, as this era of Japanese history is known for its distinct music. Perhaps Kanno could have been a bit bolder in his composition by wholly embracing the setting. Although it wouldn't have transformed the entire experience, it certainty would have added a further layer or authenticity.

DC certainly took a gamble with Batman Ninja, and in many ways that gamble payed off. The film is a visual marvel, and one can recommend a viewing purely based on the merit of the art style and animation. However, it is held back by a bloated cast, shallow script and overblown action set pieces. It's a shame as this film had a potential to be a future classic, a Mask of the Phantasm for the millennial generation. Still, there's plenty of fun to be had in this stylised, historical romp. Maybe just check your expectations at the door before giving it a watch.

ReLIFE (2016–2018)

Life, the most precious gift of them all.

[9/10 · 25 April 2018]

I first discovered what anime truly was in 2014. I mean like every kid I eagerly watched Pokemon and Yu-Gi-Oh! every Saturday morning, but back then I just assumed they were American cartoons. I didn't properly understand Anime until I ended up going through a series of recommended YouTube videos (as you do), where I stumbled across a video dubbed 'Anime for beginners'. Out of mere curiosity I decided to give it a watch and I was promptly introduced to a show called 'Death Note'. I gave it a shot and low and behold I loved it, heck I even showed it to both my parents and they loved it too. Ever since then I've been attempting to keep track of all the seasonal releases, as well as the classic shows. However, over the past couple of years I've definitely fallen behind, and I've only really watched the massive shows that have achieved true mainstream success (The Attack on Titan and My Hero Academia's of this world etc etc.).

However, my casual viewing habits changed recently. After watching 'Your Name' and 'Silent Voice' (which I highly recommend to those curious about Anime) my desire to properly re-join the Anime community was reignited. So, after 2 years, I decided to re-subscribe to Crunchyroll and see what I could find. I decided to have a browse of the catalogue, and I must admit that, initially I was overwhelmed by the sheer volume of shows I'd missed out on. Despite some initial confusion, I stumbled across a show called ReLIFE. The show was marked with the descriptor tag 'Slice of Life' ('the use of mundane realism depicting everyday experiences in art and entertainment' for you non-Anime folk out there), which in all honesty isn't usually my bag. As when I watch anime, I prefer to be swept up in fantasy epics or compelling mysteries. However, when I read the plot description, the show called to me for some reason.

ReLIFE tells the story of 27-year-old NEET Arata Kaizaki. At the start of the show his life is going nowhere: he has quit his job after 3 months at a big company, he is alone and he is financially dependent on his parents. However, that all changes when he is approached by Ryo Yoake. Yoake claims to be part of a team of experimental scientists, funded by the government, who are attempting to combat the growing number of Japanese NEETS. Yoake asks Kaizaki to participate in an experiment where he is required to take a pill that will make him 10 years younger. As part of the experiment Kaizaki must complete a year of high school, a second shot at the beginning of his adult life if you will, in an attempt to rediscover his identity. Kaizaki then embarks on a journey of discovery through uncovering what it means to truly love life and the people in it.

One of the most memorable parts of ReLIFE's story is its wonderful cast of characters. They are likable, nuanced and each of them have clear character arcs. Across the course of the 13 episodes and 4 OVAs you see each character clearly progress, at the end of the show each character is qualitatively different from who they were. All the interactions between the characters are wonderful, they have a certain authentic quality that lends the show unparalleled charm. Nevertheless, the interaction that shines the brightest is the romance between two characters. I shan't give away too many details, because I genuinely believe you should experience it for yourself. But I can say that it feels genuine and it develops at a realistic pace. I must confess, I even ended up rooting for them like a lovesick schoolchild. What can I say, I'm a sucker for a well written romance!

Although I feel like I can hardly provide compelling opinions about the technical aspects of the show, given my lack of knowledge about animation, even I can appreciate the show's achievements. The art design is clear and crisp, every character, as well as every scene appears to have been drawn with affection. The animation is also fantastic, especially during some of the more dramatic moments, creating beautiful and genuinely touching scenes. The soundtrack is also phenomenal, as it appropriately responds to the mood of the show. It is melancholic during moments of contemplation and soaring in moments that celebrate life. The show also has a fantastic opening and collection of endings to boot.

Another commendable aspect of the show is how it balances its diverse array of tones. The show masterfully switches between drama, romance and comedy. The show is genuinely funny, with a healthy mix of situational and heartfelt comedy, which elicited laugh out loud laughter from me on multiple occasions. This is no minor feat either, as often, even stand-up comedians fail to force a chuckle out of me. As aforesaid, the show also handles drama fantastically. I'm not afraid to admit that the show brought me to tears on a few occasions, especially during the last couple of OVAs. Although it's different for everyone, I always appreciate it when a piece of art evokes such a strong emotional response. For me, it's a clear indication of the power that art holds. One of the few complaints that I have with the show is that around halfway through, the story does become slightly bogged down in high school melodrama. Though I guess that's to be expected considering the genre of the show and where the drama is set. Regardless, the interplay between these fabulously charming characters s erodes these minor gripes fairly quickly and you find yourself embracing the overall experience.

A common complaint I picked up on from the fans is that the concluding arc appears to be slightly rushed. The original season that aired in 2016 ended rather abruptly, and fans had to wait 2 years for a concluding series of OVAs to complete the story. I can't even imagine what it must have been like waiting two years for some form of resolution. Despite this grievance, for the most part, the OVAs do a fine job of concluding the story. As the final OVA approached its conclusion, I felt satisfied that I had experienced a complete narrative arc. However, I must concede that manga's ending does feel slightly more fleshed out. Perhaps if TMS entertainment had produced an additional a couple of episodes the ending would have had that same sense of resolution. One can objectively praise ReLIFE for it's creative story, it's wonderful characters and it's colourful OST. But to me, what stands out the most and what will stick with me is the emotional impact the show had on me. The show reminded me of a fact that we all easily forget: life is wonderful. Often, we take it for granted, we forget the precious gift we've been given by wishing away our future or we become consumed by our past. ReLIFE reminds us that life is beautiful, and even though it may have its complications, it's the most joyous gift we'll ever receive. It tells us to go forth and meet true friends, widen our personal horizons and to fall deeply in love.

Red Sparrow (2018)

A flawed, yet compelling international spy thriller

[7/10 · 20 March 2018]

As a society, I think it's fair to say that we are captivated by espionage and infiltration. The vast array of spy thrillers produced for mainstream consumption, across various mediums, indicates our intoxication with this clandestine way of life. Red Sparrow aims to appeal to this fascination, by exploring a dark world showered in a web of political mystery.

Red Sparrow is an adaption of former CIA operative Jason Matthew's critically acclaimed novel. I can't say I'm particularly familiar with the novel, therefore I cannot testify to the faithfulness of its adaptation. But from what I have gleaned from my research is that the film tries to capture the essence of the novel by cutting out the more mundane aspects of intelligence work.

Justin Haythe's screenplay elects to focus on the stories of Dominika Egorova (Jennifer Lawrence) and Nate Nash (Joel Edgerton). Dominika is a famous prima ballerina who performs for Russia's elite; after experiencing a career ending injury she is approached by her uncle Vanya Ergov, who is a significant player in Russian intelligence (Matthias Schoenaerts). Vanya tasks Dominika with a political mission involving a disloyal Russian politician, promising that the state will continue to support her mother's medical care in exchange. The result of this mission leads to Dominika enrolling in a state subsided intelligence program which produces 'Sparrows'. Sparrows are weapons of the Russian government who are trained to use psychological methods of manipulation in service of the state. Dominika is then sucked into a world of mystery where international powers play complex political games, games defined by moles and shifting allegiances.

It must be said; the most praiseworthy aspect of this film is its central performances. Jennifer Lawrence yet again has taken on another bold and challenging role. Regardless of one's personal opinions of her, it cannot be denied that she is an exceptionally talented actress. Every time she is on screen she is absolutely mesmerising, whether that be in the quieter moments of political intrigue or during the intense, emotionally disturbing scenes. Joel Edgerton also excels as the CIA operative entrusted with protecting a mole within Russian intelligence. It still surprises me that Joel Edgerton is yet to breach the upper echelons of Hollywood, as the man has been delivering compelling performances for years, my favourite being his role in 2011's Warrior.

Jeremy Irons is also engaging whenever he is onscreen, but then again when is he not. After all he did the impossible in the drab DC cinematic universe by bringing a modicum of charm and energy to proceedings. Despite Jeremy Iron's vast talents as an actor, I think it's fair to say he doesn't exactly excel with his Russian accent. Yet in fairness to Mr Irons, I think that's a problem that permeates throughout the whole cast. I might not be a linguistic expert, but even I (a layperson), could detect that the accents were fairly off at times. I understand that Francis Lawrence was probably striving for authenticity with his direction, but the inconsistent accents pull you straight out of this gritty world that he has lovingly created. Perhaps Francis Lawrence should have taken a page out of Armando Lanucci's 'The Death of Stalin', which despite it's Russian setting, had its actors perform in their natural accents.

Another commendable aspect of this film is its overall narrative arc. Justin Haythe's screenplay is intelligent, as it aptly handles the most important parts of its story, mainly it's two central mysteries. Mysteries which are made even more absorbing due to Lawrence's layered performance. The narrative takes plenty of unexpected twists throughout, successfully subverting audience expectations throughout its runtime. Especially at the end of the film, where the final revelation brings together various narrative seeds planted in the film's earlier acts. All of this leads to a story which feels complete, which is impressive considering its vast scope. The ending is also satisfying, and leaves room open for a legitimate sequel. Whether a sequel comes to pass is currently up in the air, as the film (at the time of writing) has only recouped $106,198,534 of its $69 million production budget. Regardless, I personally would be very interested in further exploring this sordid world.

It's also worth noting that this film has received extensive critical feedback, most of which is directed towards its portrayal of explicit content. The film certainly doesn't shy aware from depicting intense violence, torture and abhorrent sexual behaviour. However, in defence of the film, at no point did I feel that the film revelled in the immorality of its characters actions. Nor did I find it to be gratuitous, such explicit scenes were only included as they were essential in the advancement of the plot. However, I completely understand why some people would take issue with such graphic depictions. If you do find such content disturbing, I would advise against watching Red Sparrow.

Nevertheless, I would argue that the real problems in the film comes from its hollow characterisation. The characters in the film are certainly serviceable, but at no point does the film really provide any definitive reasons as to why we should truly care for Dominika or Nate. Except perhaps Dominika's need to care for her ailing mother, yet even this dimension of her character is hardly explored. Another issue with the film I have is the romance between Dominika and Nate, it feels contrived and despite strong individual performances, I would even argue that Lawrence and Edgerton have little onscreen chemistry. If more time had been devoted to developing backstory and the character's relationships, the dramatic climax of the third act would have carried far greater weight. Yet I understand this would have been a difficult addition, as the film already has a 140 min run time. Despite complaints about length from critics, I personally wouldn't have minded an additional 25 mins of screen time, if that time was invested in deeper character development.

Despite these criticisms, Red Sparrow is a riveting spy thriller with an intrepid performance from Jennifer Lawrence. It certainly isn't a game changer by any stretch of the imagination, I highly doubt it will be remembered as a 'cinematic masterpiece' in the years to come, but it's a welcome change of pace from the cookie cutter thrillers of the past few years. It's creative, challenging, and it gives me hope that studios will continue to deliver unconventional and challenging genre stories.

I, Tonya (2017)

Powerful, Gripping & Emotional. Like the sport itself.

[9/10 · 26 February 2018]

During the course of our lives, we are guaranteed to share distinctive moments with those close to us. Yet interestingly, we will all remember those events completely differently. I, Tonya explores this abnormality of the human perspective, an abnormality which leaves us to believe our experience is the absolute and only truth. This film explores this idea through the vessel of the infamous figure skater Tonya Harding. A woman's who's sporting career and personal life made global news in the early 90s. Tonya was perhaps involved in one of the most controversial sporting events in the world, the assault of Nancy Kerrigan at the 1994 Lillehammer Winter Olympics. Even now, when the key events of the assault are so well publicised, the details and motivations surrounding the incident are still unclear. Hence why Craig Gillespie's amusingly decides to open the film with disclaimer that this story is "irony free, wildly contradictory and totally true".

Considering the vast array of perspectives on these complex events, one might suspect that such a story would be a challenge to adapt into an onscreen affair. However, Steven Rogers and Craig Gillespie creatively rise to the occasion by using clever framing devices such as the unreliable narrator. They use this in conjunction with a series of authentic interviews to contextualise the overall narrative, but throughout the film they also use the device for comic relief and emotional impact. The film also uses Deadpool esque fourth wall breaks to achieve similar effects. The film in fact uses a variety of stylistic techniques, which on paper seems like a risky choice considering the sensitive nature of the material at play. Margot Robbie certainly seemed conscious of this and she has talked at great length that as a producer on this film, she was determined to bring on board of a director who could simultaneously balance the beauty and horror of Tonya's life. I would say that Robbie made a good choice as Gillespie, for the most part, succeeds in balancing these dichotomous tones.

Gillespie decides to start the story early, as the film opens with Tonya as a young girl (portrayed magnificently by Mckenna Grace) and we see some of the early defining moments that would come to shape her character. The film then documents her adolescent interactions with her abusive mother LaVona Golden (Allison Janney) and the beginnings of her relationship with the infamous Jeff Gillooly (Sebastian Stan). The narrative then progresses to focuses on the professional highlights of Tonya's career, (such as her iconic triple axel at the 1991 US Championships), her tumultuous private life and eventually the 'incident' at the 1994 Olympics which forever changed Tonya's life. With such extensive ground to cover, there was a danger of losing focus and under developing certain story elements. Despite these potential trappings, I, Tonya manages to give equal weight to its various narrative arcs which only serves to enhance the audience's connection to this atypical story.

I must confess, before this film was released I had never heard of Tonya Harding. I think it's fair to say that this off the wall story was a bit before my time. I also hadn't heard much buzz in the lead up to its release, which is odd considering the film has received extensive critical appraisal in the US. Thus, it's fair to say that I was rather surprised that this film blew me away.

There's so much to praise about this film, but to me what stands out the most is the phenomenal performances. Firstly, Margot Robbie absolutely excels as the titular character. I knew she was a talented actress based on what I had seen of her in The Wolf of Wall Street and Suicide Squad. I just didn't know she was this good. Shame on me. In I, Toyna Robbie manages to deliver a sweeping yet nuanced performance. One minute her blunt and comical performance has you laughing at loud and the next you're emotionally moved by the horrid nature of some of her character's experiences. She really does bring a lot of charm and personality to one of the most vilified women in modern US history. It's even more impressive when you take into account that this is her first ever performance in a leading role. A performance that has been deservedly been recognised with a best actress nomination.

Though it must be said, Allison Janney absolutely steals the show as Tonya's mother, LaVona Golden. She effortless portrays a woman who thinks she's a fantastic mother who provides for her daughter. Whilst in reality, all she does is instill various complexes and enables a cycle of abuse. Whether Tonya's mother was actually like this is up for discussion, as the portrayal of Tonya's mother in this film was entirely based on descriptions given by Tonya and Jeff. Interestingly, despite the vast discrepancies in their stories and their clear disdain for one another, the one thing they agree on is what LaVona was like. Regardless, Allison Janney is absolutely wonderful, throughout the film she just masterfully oozes toxicity and cruelty whenever she's onscreen. If the academy doesn't give her best supporting actress at this year's Oscars it will be daylight robbery.

Another strong point of this wonderful film is its exploration and portrayal of abuse. It carefully and accurately captures the cycle of abuse, and how one's treatment as a child can affect the relationships and decisions one makes as an adult. Robbie's performance gives us an insight into a woman who was horrifically abused not only by her own mother, but also by her husband. The film allows the audience to comprehend the danger that Tonya was subjected to; dangers that only escalated as she aged and grew in notoriety. So much so that the film calls out the audience, essentially the world, for how it treated her. The world loved Tonya for a fleeting moment, hated her the next and eventually ridiculed her. A cycle she had been accustomed due to years of abuse, a fact the film heartbreakingly conveys. My only criticism would be that at certain points the artistic flourishes of the film do lessen the impact of the emotional intensity and the brutality of Tonya's experience. Yet this is a rare occurrence because of Gillespie's direction and Robbie's performance.

I could honestly write at great length about the various things I love in I, Tonya. Whether it be Sebastian Stan's excellent performance as Jeff Gillooly, the film's imaginative uses of a colourful soundtrack or the genuinely exciting skating sequences which have the intensity of a high-octane action flick. Yet I think what stood out to me the most is that this isn't your average awards season biopic, it hasn't been solely constructed with the purpose of winning awards. The film, despite its artistic flourishes and humorous moments has something important to say. At its heart it's a meaningful mediation on the complexities and difficulties of life, and how these can completely change someone's circumstances. Whether it be something abstract like social class or something brutally tangible such as abuse. I, Tonya leaves us to ponder what could have been if the world wasn't so cruel.

Because of that I, Tonya unapologetically stands out for the crowd of artsy and pretentious award season films. Just like how the woman herself stood out from the inauthentic and fraudulent world of ice skating princesses. For that alone, this film deserves to be championed and celebrated.

The Shape of Water (2017)

A Modern Fairy Tale

[8/10 · 26 February 2018]

The Shape of Water has received extensive appraisal from the academy this year, as it currently leads the awards race with a grand total of 13 nominations. The film has garnered a plethora of nominations in the acting, directing and technical categories. Many pundits in fact speculate that it's the favourite to win Best Picture, with Get Out coming in just behind as a close second. Despite the awards buzz, I was rather sceptical of del Torro's new film, as the academy has previously rewarded films that are dull and overly pretentious. Though over the past few years there have been some notable exceptions, for example Titanic and the Lord of the Rings. However, once this fantastical story had concluded and the credits rolled, my scepticism had been completely washed away (no pun intended).

The film tells the story of Elisa Esposito (Sally Hawkins), a mute woman who works as a cleaner at one of the US' research facilities during the height of the cold war. The aforesaid facility is run by the ambitious and cold-hearted Richard Strickland (Michael Shannon), who oversees the transfer of a new research asset. This asset being an amphibious creature uncovered in South America. The film depicts an unconventional love story between Elisa and the creature, a love that has to overcome the cruelty and brutality of this world. A cruelty embodied by the prejudicial and cold Strickland.

Such a fantastical story's believability is wholly dependent on the actor's ability to deliver compelling performances. Which is exactly what this talented cast does, Octavia Spencer and Richard Jenkins deliver both likeability and emotional depth with their characters. Surprisingly, both of their characters are also quite amusing and provide unexpected comic relief. There was a particular gag from Octavia Spencer's character, after shall we say an 'intimate 'moment', that had me laughing out loud. Ergo, what is unsurprising is that both have received acting nods from the academy.

Though to me, the real standout of this stellar cast is Sally Hawkins. She wonderfully portrays a woman isolated from society due to what she feels is an inability to fully articulate herself, among other things. The fact that Hawkins' character is mute means that much of the emotional weight of her character's story is dependent on her ability to express the character's emotions physically. Something that she is able to do with great grace and beauty. There is a particular standout scene where Hawkins's facial expressions and gesticulation, manage to express how this newfound connection has lifted her character from the depths of loneliness to a place of love and acceptance. In my humble opinion, her nomination for best actress is 100% deserved.

Del Torro also excels in his duty as director. He crafts a visually evocative world, which he brings to life by combining creative and colourful cinematography with an authentic 60s soundtrack. I particularly liked how he used water imagery throughout the film to illustrate both isolation and unification.

The film for the most part is impressive all around, but like any movie, it isn't perfect. I would argue that there wasn't enough time dedicated enough to building the connection between Elisa and the creature. It isn't bad by any stretch of the imagination, it's greatest crime is that it's 'good enough', as it adequately serves the purpose of forwarding the narrative. I feel that if more time was dedicated to building their relationship, it truly could have been an iconic cinematic romance. If such time had been invested, I feel that the dramatic climax of the third act would have been far more emotionally impactful.

Despite these flaws, The Shape of Water tells a memorable story. Not because of how it interweaves its different themes using its various characters, but because of the importance of its message. It tells a story of the transcendent nature of love. A story of how love can wash away the trappings of loneliness and transcend the ugliness of prejudice. Guillermo del Torro's simple story has an important message, one that is delivered with emotional honesty, we shouldn't let mere physical attributes and so called 'flaws' tear us apart and isolate us. Rather, we should love well and love freely.