Delivering immeasurable volumes of snark about movies and anything else that pops into my head
Showing posts with label scott hicks. Show all posts
Showing posts with label scott hicks. Show all posts
Thursday, September 7, 2017
Review: "Fallen"
“Fallen” has formula written all over it.
It’s a supernatural teen romance/adventure flick based on a (they tell me) popular YA novel by Lauren Kate. The main character is a teen girl who’s new to town and uncertain of herself, falling hard for a mysterious golden boy who turns out to be Much More Than He Seems.
There’s even a darkling competitor for her affections, who’s dreamy but not quite as dreamy as Much More boy.
You can criticize the “Twilight” movies, but at least the main actors were all within hopping distance of the ages of their characters, at least when the first movie came out. “Fallen” has Hollywood’s usual cast of 25- to almost-30-year-olds playing 16 and 17.
The film’s production and release has been troubled. It originally was supposed to come out almost two years ago, finally got dribbled out in places like Singapore and the Philippines last year, the United Kingdom this spring and is now being given a brief U.S. release before coming out on video 3½ weeks later.
Despite the tragic birthing process, I have to admit the movie isn’t bad. It’s got a solid cast, including Addison Timlin, Jeremy Irvine (“War Horse”), Joely Richardson and Lola Kirke, who was wonderful in the little-seen “Mistress America.”
Director Scott Hicks is no slouch, nominated for two Oscars for “Shine.” Screenwriting trio Kathryn Price, Nichole Millard and Michael Arlen Ross do a decent job of adapting Kate’s very derivative fiction into a passable screenplay.
Timlin plays Lucinda Price, a smart girl who’s been tormented by shadowy visions that have left her enrolled by court order in the Sword and Cross reform school. It’s housed in a massive castle where it’s always autumn and the gardeners never seem to keep up with the leaf-raking. She quickly runs afoul of the resident goth girl/bully (Sianoa Smit-McPhee), but befriends nerdy nonstop-talker Penn (Kirke).
Luce is immediately smitten with Daniel (Irvine), the handsome boy who spends all his time doing charcoal drawings in class. He pretends to ignore her or is even outright hostile, but their spark can’t be denied.
(I, for one, am happy to see a movie in which a fair-haired lad is the object of affection. Us blond boys have had a rough romantic run at the movies as of late.)
Harrison Gilbertson plays Cam, the long-haired (brunette!) bad boy who always seems to be in trouble with the law or teachers. He makes his own play for Luce and she responds, if for no other reason than the contrast with Daniel’s indifference.
Richardson plays the philosophy and religion teacher, whose curriculum seems to center entirely on biblical stories about the “Fallen” -- angels who chose neither God or Lucifer’s side in the great battle of heaven. Preferring the sanctity of human love, they’re cursed to roam the Earth in human form.
It’s not often you see a movie actually lay out its entire metaphysical blueprint -- in a classroom, no less -- so there is no confusion about who’s playing what role in the larger story.
Even though it contains few surprises, “Fallen” really isn’t that awful as teen romances go. Nobody sucks any blood or turns into a wolf, though don’t be surprised if some celestial CGI wings make an appearance near the end. It ain’t heaven, but it’s a long ways from hellish filmmaking.
Thursday, October 8, 2009
Review: "The Boys Are Back"

The thing I liked about "The Boys Are Back" is the same thing that ultimately limits it as a film: Its unstructured nature.
This drama about a single father struggling to raise two sons, each from a different marriage, unfolds organically, without the conventional three-act structure. Some notable events happen in their lives, but the bulk of the movie is spent with the threesome hanging out in their ramshackle home, getting into arguments and having some boyish fun.
It's a good movie, with a powerful performance by Clive Owen as the father, and Nicholas McAnulty and George MacKay are knockouts as the sons.
Joe Warr is an English guy and sportswriter at a major Australian newspaper. His job has him gone a lot, so when his wife (Laura Fraser) passes away fairly suddenly, Joe realizes that he's become something of a stranger to their 6-year-old son Artie (McAnulty). He confides to a friend that his boy views him as a guy who visits them every few weeks and brings him presents.
Joe and Artie set out on a road trip to connect, and this morphs into a laid-back approach to parenting that eventually becomes a creed: "Just say yes." Instead of burdening his child with a lot of rules and chores, he allows the house to become a shabby playroom where they can throw water balloons, jump into full bathtubs, or do anything else they want that's irresponsible (but not unsafe).
This draws the tut-tutting of the mothers of the community, which only encourages Joe more.
The dynamic changes when Harry (MacKay), who's about 14, comes to live with them. Harry's the offspring of Joe's first family, which he abandoned when he got Artie's mother pregnant. Harry quickly adapts to the free-for-all, but as you might expect he's got some deeper-seated issues to resolve with Dad.
Director Scott Hicks ("Shine") and screenwriter Allan Cubitt, adapting the autobiographical novel by Simon Carr, adopt the boys-will-be-boys attitude of the protagonist into their storytelling style. As a result, the interactions between father and sons feel authentic, while some of the things transpiring outside their little clan can feel contrived.
For example, Joe faces increasing pressure from his boss to go back out in the field, which builds to a crisis where he may lose his job. But this subplot is dropped suddenly, without resolution. A potential romance between Joe and a single mother (Emma Booth) likewise gets the short shrift.
I also didn't care for the device of Joe's dead wife appearing to him to have conversations about their son. It dredges up too many other movies with dead lovers who return as ghosts.
The movie is at its best when it's just the father and his sons, trying to engage them in a way that's nurturing but masculine. Despite societal changes that's still freewheeling, uncharted territory, and "The Boys Are Back" explores it with gusto and heart.
3 stars
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