Welcome to Spling Movies

Welcome to Spling Movies

Facebook  Twitter

Newsletter (Monthly)



Banner

Spling Polls

Best overall cinema experience?
 
Custom Search
Movie Review: Live by Night


Live by Night is produced by, directed by and stars Ben Affleck as Joe Coughlin in an adaptation of Dennis Lehane's novel. Set in the 1920s and 1930s Prohibition Era, we journey with Joe, the troubled and wayward son of a Boston police captain, who becomes involved in a life of organised crime. After serving a prison sentence he's relocated to the neighbourhood of Ybor City in Tampa, to take revenge and build a rum-running empire in balmy Florida.

The first thing you'll notice about Live by Night is its amazing cast and first-rate production values. Ben Affleck headlines a film of superb character actors including but not limited to: Brendan Gleeson, Sienna Miller, Elle Fanning, Chris Cooper, Matthew Maher and Robert Glenister. In front of camera, behind the camera, on the front page and behind-the-scenes, Live by Night is a labour of love for Ben Affleck. Wearing so many hats, you can understand why his performance is diffused, almost trying to sidestep the spotlight like a circus conductor.

He does this to his own detriment, distancing us from the character and preventing Live by Night from becoming a true gangster classic. While Affleck shies away from the limelight, he opens the stage for his supporting cast flourish. Brendan Gleeson is always immense, so much so that you wish they had made more of the father-son relationship. Live by Night is further complemented by a host of fascinating character performances. Sienna Miller is feisty and poisonous as a mob boss's girlfriend. Elle Fanning is haunting as a prodigal daughter in a role that is complex enough to warrant a spin-off film. Her police chief father, played by Chris Cooper, also deserved more unpacking in his attempt to rise above a sea of hypocrisy and moral ambiguity. Then Matthew Maher deserves a special mention for his malevolent and unpredictable role as a diabolical Ku Klux Klan "clown".

While the story has an old-fashioned air to it, the finishes are modern. We are immersed in Boston, where vintage cars line the streets and old world charm abounds in the form of fashion and pop culture from the time. Then, we're transported to the balmy panache of Ybor City. The details in the pageantry are quite exquisite and the film is beautiful to look at, also largely thanks to its hand-in-glove cinematography. It's a tip of the hat to the Warner Brothers gangster films of the '30s and '40s as we chronicle the life of a reluctant gangster in this handsomely mounted crime epic.

Live by Night

"I said... we'll always have Ybor!"

Live by Night slots in somewhere between Public Enemies and The Untouchables. It matches Public Enemies for machine gun action and star quality, but dwarfs this film with its scope as a saga. It's not quite as involved, meticulous or weighty as The Untouchables, but carries a similar prestige and grandeur in terms of its visual poetry and sense of importance. While flawed, it's one of the better Prohibition era crime dramas to emerge from Hollywood over the last two decades, enchanting us with a sprawling tale, gripping performances and a vicious elegance.

It's refreshing for Live by Night to tackle the Ku Klux Klan and racial prejudices of the time. Unfortunately, while it splays these social anomies wide open, it fails to truly grapple with the underlying tensions in the same way A Time to Kill managed to exploit them. As a chronicle of Joe Coughlin's life, these forces seem like a series of hurdles rather than protracted local tensions. While a little slow in places, it's free-ranging enough to keep us constantly entertained, distracted and hungry to link characters and outcomes. There are many powerful moments and quotable quotes, but Live by Night seems content to circle greatness.

While it has tremendous scale, Live by Night would have benefited from a sharper focus on Joe Coughlin's inner struggles. The story would have maximised its dramatic tension by dwelling a little longer on the unresolved father-son issues, the strife caused by racial prejudice, his projected daddy issues and the inner turmoil of a man trying to shield his heart from the shadows of his criminal enterprise. While passable, Ben Affleck and Zoe Saldana's on-screen chemistry seemed a little underwhelming given the circumstances.

All in all, Live by Night's top production values, sharp cast, fascinating supporting characters, entertaining storytelling and elegant cinematography make it a cut above your average gangster crime epic. While it's not in the same league as The Godfather, Goodfellas or Gangs of New York, it shows glimmers of brilliance and amounts to more of a missed opportunity than a misfire. While somewhat sporadic, it has enough fine qualities to lean back on, making it fleeting yet enjoyable for moviegoers wanting to immerse themselves in a haunting, swirling and violent magpie of a gangster picture.

The bottom line: Respectable


 
Spling's Galileo Pick of the Week: Interstellar


Spling's Pick of the Week - Interstellar at Rustenberg

INTERSTELLAR @ RUSTENBERG WINE ESTATE (4 Feb)

Interstellar is a messy masterpiece, an ambitious, inconsistent yet intermittently brilliant film with a stellar cast and many great influences. It's a deep space sci-fi drama with fine ingredients, and while it runs 169 minutes long, Nolan still manages to compel us, even when it becomes unwieldy.

As expected, Nolan's able to teleport us to another dimension along with his intrepid space-time travelers. We're enamored by the breathtaking visuals, witnessing surreal moments that have just enough real environment familiarity to keep the story grounded in the possible. Then the sound design and Hans Zimmer's futuristic soundtrack is equally incredible, combining to give us a unique and completely immersive sight and sound experience. Read more...

This mindbending space drama thriller is showing under the stars at The Galileo Open Air Cinema.

BOOK TICKETS

 
Talking Movies with Spling - La La Land, Collateral Beauty and Lights Out


Spling reviews La La Land, Collateral Beauty and Lights Out as broadcast on Talking Movies, Fine Music Radio. Catch Talking Movies on Fridays at 8:20am and Saturdays at 8:15am every week on Fine Music Radio.

 
Movie Review: Collateral Beauty


Collateral Beauty had amazing potential. On paper, this film seemed destined to rank alongside the likes of Seven Pounds. Both films star Will Smith and you get the impression that director David Frankel was aiming to deliver something similar in terms of content and tone. While Will Smith certainly echoes this sentiment, he's not alone, playing a hollow lead to an ensemble of Hollywood heavyweights, including: Edward Norton, Kate Winslet, Keira Knightley, Naomie Harris and Helen Mirren. "Hollow", because he's playing a husk of a man ravaged by grief and because most of the talking is done by the supporting cast.

Frankel directed The Devil Wears Prada, which probably makes him more adept at dealing with sleek, high-flying office dramas. Collateral Beauty tells the story of a visionary advertising agency director who retreats within himself after a tragedy and starts writing letters to Love, Time and Death as a catharsis. This is only the beginning as the drama revolves around his partners and their feigned "concern" for him and the well-being of the company. Resorting to a ridiculous scheme in an attempt to seize a controlling interest of the company over Christmas, they are forced to confront their own projections.

Collateral Beauty just goes to show that if your script is fundamentally flawed, even the best of intentions and an all-star cast can't save your film from nosediving. While we're introduced to Will Smith's character, we never assimilate a full picture of what the man was like before the tragedy, leaving him something of a mystery. While his domino-building art and reclusive status certainly keep him interesting amid antisocial grunts and distant gazes, we never get a chance to latch onto the subject of all this "collateral beauty". Alienated from the lead, our only point of entry is through his conniving associates, whose ulterior motives make them cold and unlikeable.

Collateral Beauty

"Well, who did you expect... Oprah?"

The Christmas miracle theme help soften the line between reality and fantasy, however if anything Collateral Beauty needed to be more geared towards magic realism. Frankel never really gets the balance right, tending towards chocolate box sentimentalism and melodrama, when the film needed to go 21 Grams serious or August Rush elemental. Instead of picking a side, we navigate the grey area like a cheesy holiday movie ensemble piece, believing the best based on the esteem and quality of the actors.

It all seems rather misguided, turning what should have been a high concept dark comedy into an airy fairy tearjerker. Apart from a few heartstring plucks, almost every moment rings false... moving forth with pomp like the naked Emperor, contrived and preposterous. Stumbling onto and intercepting his letters, conveniently cottoning on to an over-the-top gameplay and never truly testing the thinly veiled scheme, we're forced to simply accept everything blindly. It's as if David Frankel has tried to stuff a Gary Marshall holiday movie into Seven Pounds Christmas stocking without you noticing.

It's difficult to come to terms with just how flawed a movie starring Will Smith, Edward Norton, Kate Winslet, Helen Mirren, Keira Knightley and Naomie Harris could possibly be. Collateral Beauty's not aggressively bad, just fatally flawed, forcing us to lean on the charm of the dedicated ensemble and the heartwarming intentions of the filmmakers, as unintentionally funny and ludicrous as it gets. Collateral Beauty is a bit late for Christmas, but will undoubtedly flummox everyone who gets a whiff of the wealth of acting talent.

The bottom line: Ludicrous

 
<< Start < Prev 21 22 23 24 25 26 27 28 29 30 Next > End >>

Page 22 of 273