Review: "Slow West"

“In a short time, this will be a long time ago.”

“Slow West” is a paean to the Old West: its limitless opportunities and blood-soaked reality. It’s a story of hope and true love… except many people go to early graves along with their hopes. And love takes many forms, but not always the one desired.

Written and directed by John Maclean in his feature film debut, the film was shot in New Zealand and features Brits, Germans, South Africans and Aussies in the main roles. It’s a vision of the American West as seen through the dream of foreigners, and ambles between sharp verisimilitude and a trance-like wonder.

This is the sort of movie in which a Scottish boy riding through 1870s Colorado comes across three Congolese men sitting by the side of the trail singing in their native tongue, and none of them seem out of place.

At a taut 84 minutes, it’s minimalist storytelling where the actors sketch out their characters from just a few lines of dialogue and how they act – usually under deadly duress. Maclean sets up main characters and antagonists chasing each other on the plains, but wanders freely between their camps. He seems as interested in the greybeard bandit as the winsome young hero.

Kodi Smit-McPhee is pensive and naïve as the boy, Jay Cavendish, a minor nobleman who left Scotland to chase his lady love, a commoner named Rose. She’s played by Caren Pistorius, who commands our attention in her few scenes. Rose and her father (Rory McCann) fled their home a year ago because of some unnamed trouble; now Jay is following, riding a horse all alone across the land with death at every turn.

What Jay doesn’t know is that there’s a $2,000 reward for the pair, and that attracts the attention of some fearful types – men like Silas, a bounty hunter when he needs to be and an outlaw otherwise. He’s played by Michael Fassbender, who wears the cowboy rig like he was born to it.

Silas is an amoral “brute,” in Jay’s words, but he agrees to chaperone the greenhorn for money. It soon becomes clear that Silas is hoping Jay will lead him right to his quarry, but he takes a shine to the earnest lad.

He’s a man of few words, rarely responding to Jay’s jabbering with more than “Sure, kid” or “Let’s drift.” He’s been around and seen things in his rambling life; there are dark deeds in his past -- and probably in his future, too.

“Survival ain't just how to skin a jackrabbit. It's knowing when to bluster and when to hush. When to take a beating, and when to strike,” Silas says.

Others are on parallel journeys, such as an enigmatic man in black who wears a white collar and carries a curiously long suitcase. Then there’s Payne (Ben Mendelsohn), an outlaw legend who leads a large gang of throw-offs. They track Silas and the boy, patiently, waiting.

It’s a feast for the senses. The cinematography by Robbie Ryan has a bleak beauty to it, and Jed Kurzel’s musical score trips easily between jaunty and mournful.

“Slow West” may be puzzling to some people, with its mix of worship and irony for the Western genre. I found it a haunting vision, darkness and light sliding across the far horizon in equal measure.

Video review: "Dawn of the Planet of the Apes"

Technically, I’m not sure if “Dawn of the Planet of the Apes” is the sequel to the prequel to the “Apes” movies from the 1960 and ‘70s, or what. But I do know it was the most entertaining movie I saw this summer.

The follow-up to “Rise of the Planet of the Apes” is set 10 years down the road, when humans have mostly died off due to disease and intelligent apes are now the Earth’s prime species. Represented entirely through computer animation, the chimps, gorillas, baboons, orangutans, etc. squint and snarl, bicker and bond, and also speak English when the mood strikes them.

Caesar (Andy Serkis) is the leader who championed the uprising against the humans, and now suspects they’re extinct. But then Marcus (Jason Clarke) shows up on the doorstep to their forest village with a band of other people in tow. After some convincing, Caesar reluctantly agrees to help them turn the power back on at the nearby hydroelectric dam, but it soon becomes clear that the coming conflict is unavoidable – both between and within species.

The human characters are a bit blah, but the interactions between the apes are electric. Caesar has a deep bond of trust with his chief lieutenant, Koba (Toby Kebbell), but when the latter encounters humans, it triggers his memories of being medically experimented upon. Similarly, on the human side there are those who fear the apes and think it would be better if they were just wiped out.

With its mix of soulful reflection and engaging sci-fi, “Dawn of the Planet of the Apes” was the best big-budget spectacle this past summer had to offer.

Video extras are quite extensive. There are deleted scenes, a production gallery of photos, feature-length commentary track by director Matt Reeves, and eight making-of featurettes.

Movie:

Extras:

Review: "Dawn of the Planet of the Apes"

Andy Serkis, the actor who has become famous for his motion-capture performances as Gollum in "The Lord of the Rings" trilogy and as Caesar the chimpanzee in "Rise of the Planet of the Apes," receives top billing for reprising is role in the sequel to the latter.

This is notable for a couple of reasons: I believe it's the first time a performer represented digitally through CGI has been credited as the lead actor in a movie also starring live-action performances. This had already been the case with all-CG movies like "Avatar," which essentially were animated films. But here the motion-capture acting stands right beside the live actors -- indeed, it stands taller.

This is appropriate, since the heart and soul of the story in "Dawn of the Planet of the Apes" is about the simians, with the humans acting as the sidekicks. "Rise" featured some chimps and apes blended with puppetry and special effects, but here the apes are all CG.

How good is the digital representation of apes? They seemed as real to me as the humans sharing the frame. Their eyes crinkle with emotion, their brows lower with anger, their throats burble with both simian noises and human-made speech.

If there's a knock to be made against this movie, it's that the live actors don't make as much of an impact as Serkis & Co. Other than Gary Oldman, who has an all-too-brief role as an anxious ex-soldier, most of them are somewhat flat.

That's OK; "Dawn" is still the best summer movie of 2014, with a combination of terrific action scenes and a genuinely moving story about the conflict between apes and people in the aftermath of an apocalypse, and how inhumanity is a trait both tragically share.

Set 10 years down the road from the last movie, "Dawn" sees most of the human population decimated by a biological warfare agent known as the simian flu, and the wars that followed. As the story opens, Caesar has become the grizzled leader of an entire colony of intelligent apes. They hunt other animals for food, and have built a huge wooden village in the forests around San Francisco.

Though they can speak halting English, Caesar and his tribe prefer to communicate through the sign language they were initially taught by humans. They also carry over other of mankind's affectations, such as adorning their faces with war-paint while hunting and riding horses.

It's been two years since they last saw any men, so they doubt they still live. But then they stumble across a party of humans led by Marcus (Jason Clarke), who are on a mission to get the old electric dam power generator working again. Humans survivors have gathered in a large tower in San Fran, but their fuel is nearly run out.

Misunderstanding and fear initially rule the interactions between man and ape, and blood is shed. But Caesar, worried that a war will mean the death of many of his kind, bends to their requests for help.

This does not sit well with members of his tribe, including his teenage (in temperament, if not years) son, Blue Eyes, and Koba (Toby Kebbell), his right-hand ape. As we know from the last movie, Koba was left scarred and blind in one eye from human medical experiments, and he's not about to forgive and forget.

Some of the most powerful sections in the movie depict the growing conflict between Koba and Caesar. In one scene, Koba sneers at Caesar letting Marcus and his band perform their "human work," touching his wounds as example of that kind's deeds. But they always make up, which consists of the subservient ape bowing before his leader and offering his open hand for a grasp of friendship, indicating he's been forgiven.

But others are not so accommodating, and soon the fight escalates despite the efforts of Caesar and Marcus.

The action scenes are kinetic and hefty; we can almost feel the weight of the great gorillas and chimps as they swing from branch to branch -- or girder to girder when they cross the Golden Gate Bridge into the humans' domain. Caesar hates guns and refuses to use them, though later some of his kind make darker choices -- as do humans.

(These machine guns, like seemingly all movie iterations, never have to be reloaded.)

There's one terrific early scene where Caesar brings his entire army to the doorstep of the humans. They just sit there, astride horses or on their feet, staring with disdain at their once-betters. Then Caesar opens his mouth and bellows a warning, and all the humans gasp at what they've just heard. You can see etched on their faces the moment their entire worlds crashed down upon them.

Rounding out the cast on the human end are Keri Russell as Marcus' wife, a CDC scientist; Marcus' artistically bent son (Kodi Smit-McPhee); and Carver (Kirk Acevedo), who is Koba's human counterpart, barely able to conceal his hatred of apes. Also making an impression among the apes is Karin Konoval as Maurice, the gentle giant orangutan who is the intellectual leader of the tribe, teaching the younglings and acting as Caesar's conscious.

New director Matt Reeves ("Cloverfield") ably takes over from Rupert Wyatt, who departed to work on another project. Holdover screenwriters Rick Jaffa and Amanda Silver are joined by Mark Bomback, who reportedly did a script polish.

Smart and soulful, humanistic yet full of verve, "Dawn of the Planet of the Apes" is a great piece of entertainment.

Video review: "Let Me In"

"Let Me In" is a better adaptation of the Swedish vampire film "Let the Right One In" than I had any reason to expect. Writer/director Matt Reeves kept the original's creepy atmospherics, although he did punch up the action beats, as one might expect.

The American version, which bombed at the box office, is unnecessary but undeniably well-made. It features two of the best child actors Hollywood has to offer, Chloe Moretz and Kodi Smit-McPhee as, respectively, an ancient blood-sucker trapped in a girl's body and the boy who befriends her.

Nine times out of 10, an American remake would tone down the violence and sexual innuendo of a daring European film. But this time, they preserved everything that made the original such an unnerving, makes-your-feet-itch experience.

Smit-McPhee is Owen, a slight, bullied lad who's intrigued by Abby, the new girl who moves into his snow-straddled apartment complex with (Owen assumes) her father in the dead of winter. She's strange: She only appears at night, doesn't seem bothered walking barefoot in the snow, and bathes infrequently. But soon these two lonely souls cement a connection that grows into the unlikeliest of affections.

It's not all happiness and sunshine, though. Even after he knows he's smitten, events unfold -- particularly those involving Abby's father figure -- forcing Owen to recognize that loving the undead brings ... complications.

If there ever were a romance between a human and a vampire, it would not be the stylized, sanitized Gothic splendor of the "Twilight" series. It would be like this: Disturbing, smelly and increasingly unpleasant as time goes by.

Video extras are quite good in both DVD and Blu-ray versions.

The DVD includes a commentary track by Reeves, a making-of documentary, a step-by-step look at some of the film's special effects, deleted scenes with commentary and a still gallery.

The Blu-ray includes all these features, plus a feature called "Dissecting Let Me In."

Movie: 3 stars out of four
Extras: 3.5 stars

Review: "Let Me In"

Just a mini-review tonight: It's late Wednesday and we have a date with a baby first thing in the morning. Austin Lugar is handling the main review over at The Film Yap, so tune in there for his more complete take.

Overall, "Let Me In" is a better adaptation of the Swedish film "Let the Right One In" than I had any reason to expect. Writer/director Matt Reeves kept the original's creepy atmospherics, although he did punch up the action beats, as one might expect.

I was surprised that they kept some of the more unseemly characteristics of Owen (a wonderful Kodi Smit-McPhee), a lonely bullied kid who befriends a girl vampire. An early sequence where he wears a horrifying mask and taunts his reflection in the mirror while holding a knife lets us know this isn't a sweet innocent.

I liked that about both movies -- the depiction of bullies and the bullied as suffering serious psychological impact as a result of their interaction. And, of course, the advice of young Nosferatu Abby: "Hit them harder than you dare. And then they'll stop."

Chloe Grace Moretz continues her impressive turn of performances, punctuated by "Kick-Ass" earlier this year. When I heard a remake of "Let the Right One In" was coming, I thought at least they picked the one young American actress who could pull it off.

The action is moved to Los Alamos, New Mexico, in the dead of winter. The look is spare and frigid, though the oppressive cold isn't quite as convincing as Sweden, of course.

Richard Jenkins is solid in the rather smallish role of Abby's human protector, who ruthlessly kills to feed her ancient craving for blood. Interestingly, he's credited as "The Father," even though Abby herself explicitly states that he's not her real father.

Another interesting choice was to depict Owen's mother only obliquely, through a fuzzy lens or in the distant background. It helps emphasize the boy's isolation, both physical and emotional.

I'll say this: If there ever were a romance between a human and a vampire, it would not be the stylized, sanitized Gothic splendor of the "Twilight" series. It would be like this: Disturbing, smelly and increasingly unpleasant as time goes by.

3 stars out of four

Video review: "The Road"

A Man. A Boy. We know they are father and son, because they call each other so, but we never learn their names. They're bedraggled and filthy, their cheeks caved in with dire hunger, as they push their meager possessions in a rusty shopping cart down an ash-strewn road, with the threat or horrendous death around every turn.

That's the bleak yet uplifting world of "The Road," one of 2009's best films -- which almost no one saw because it barely got released in theaters.

It's out on video now, and I urge people to give this spare, understated near-masterpiece a chance.

Viggo Mortensen and Kodi Smith-McPhee star as the pair struggling to survive in a post-apocalyptic wasteland. Taking a cue from the Pulitzer Prize-winning novel by Cormac McCarthy, director John Hillcoat ("The Proposition") underplays the performances and the dialogue. Screenwriter Joe Penhall lets the emotional drama assert itself without superfluous embellishment.

We're not even sure what turned the world into such a forbidding expanse of death and decay. Nuclear war seems likely. It's not even clear where the man and boy are heading, other than trying to escape winter's grasp and endure another day.

They meet other humans, but most of the time it's not a welcome occasion. With nothing able to grow, much of mankind has resorted to cannibalism for food. It's a zero-sum game whose only conclusion is humanity's extinction.

But among all this crushing bleakness, there is joy and tenderness that is exhilarating.

Robert Duvall and Charlize Theron have brief but powerful roles as, respectively, an ancient man they meet along the road and the wife and mother who deserted them, giving up all hope and abandoning them to her despair.

Extras are the same for both Blu-ray and DVD versions.

There is a making-of documentary and several deleted scenes, as well as a feature-length commentary track by Hillcoat.

I'm actually rather perturbed at how "The Road" was received. Its release was delayed for about a year, perhaps because in the then-new economic devastation, the studio rationalized that audiences wouldn't greet such a downbeat film with much enthusiasm.

Prove them wrong.

Movie: 3.5 stars out of four
Extras: 3 stars

Review: "The Road"

What a mystery: How can a movie so spare and bleak be so emotionally rich?

Watching the blasted, gray skies and ash-covered landscape of "The Road," you wonder how this film could be anything but a fatal downer. And yet the adaptation of Cormac McCarthy's Pulitzer-winning novel about a father and son navigating a post-apocalyptic wasteland is as joyous a cinematic experience I've had this year.

Director John Hillcoat, who helmed the hard-bitten Western "The Proposition" in 2005, masterfully translates McCarthy's austere prose into an understated epic of survival and human perseverance.

In detailing the quotidian journey of a Man and Boy, who are never even given names, McCarthy often eschewed even punctuation and capitalization. Hillcoat smartly mirrors this style by having his actors underplay, and letting the screenplay by Joe Penhall find its own emotional beats without garnishing them with unnecessary flourishes.

The plot, such as it is, is minimalist. Father and young son are traveling south through the desolation to escape the icy hand of coming winter. They do not have any specific destination or purpose in mind, other than continuing to live.

As in McCarthy's book, it is left unsaid what exactly turned the earth to a cinder -- although nuclear war seems probable. The results are starkly inescapable: There is no sunshine. There are no animals. Tinder-dry trees fall and the earth heaves. Nothing will grow. The only food to be had is the detritus of an orphaned mankind.

There is a way of surviving: Cannibalism. But the father refuses to even consider this, because they're the "good guys." The boy (Kodi Smith-McPhee) and his father repeat this phrase like a mantra, or a hymn.

For a good guy, the father must undertake some pretty horrific tasks. He carries a revolver with two bullets left, which he's saving in case they're caught by the roving gangs of murderers who view them as food. The scene where he shows his son how to use the gun to kill himself -- "Make sure you point up" -- is chilling.

Viggo Mortensen expertly plays the father, a man who forces himself to give up hope and the memory of his spouse in order to concentrate on keeping the boy alive. His wife (played in flashbacks by Charlie Theron) gave up her own life, literally walking away from them, because she couldn't stand the thought of life in the aftermath.

There's a spiritual element to the tale, as in the father's admonishment to his son to "keep the fire alive," pointing at his heart. In the man's sporadic narration, it's made even more plain.

"All I know is the child is my warrant. If he is not the word of God, then God never spoke," the father says.

Their journey is episodic and compelling. At one point they lose all their meager possessions and have nothing to eat, but then stumble upon a treasure trove of wealth. They come across an ancient man (Robert Duvall) along the road who is nearly blind but sees much. They are hunted, and pursue their own quarry. Anger is unleashed; blood is shed.

And yet it's in the small moments that the film finds an aching tenderness, like when the father pulls a warm blanket off a shriveled corpse and lovingly wraps it around his shivering son. It's the understatement of "The Road" that speaks loudly.

3.5 stars