Tag Archives: The Magnificent Seven

“Suicide” ain’t painless, though Margot Robbie nearly saves the day

7 Aug

 

Harley Quinn suicide squad

You don’t have to be mad to work here, but… Margot Robbie as Harley Quinn in Suicide Squad

In further despatches from the Department of Faint Praise (see Star Trek: Beyond), Suicide Squad is not as bad as some reviews would lead you to think. That’s a long way from saying it’s actually good, since some of the reviews are real stinkers, but here’s what works:

* Margot Robbie is flat-out fantastic. Whenever she’s on screen, you feel anything could happen. She also, uniquely in recent DC films, looks like she’s having fun, which gives the audience licence to do so, too.

* And, actually, having set out to write a list of positive bullet points, I can’t think of another. Robbie’s performance alone is worth the price of the popcorn: her Harley Quinn is mercurial, flirtatious, conflicted, funny – and, like Hamlet, she is intriguingly but mad north-north-west . It makes you long for a Bonnie and Clyde-style spin-off movie with her and Jared Leto’s Joker (underused in Suicide Squad).

Will Smith is as charismatic as ever, but you feel his star power has got in the way: he plays Deadeye, the world’s most wanted hit-man, as a slushy sentimentalist who just wants his daughter to be proud of him – got forbid Smith should portray someone actually bad. None of the other characters are sufficiently developed amidst all the shooting and shouting to have much of anything interesting to recommend them.

You realise yet again what a great writer Joss Whedon is, to have juggled all the big personalities of the Avengers films, giving them all story arcs, intra-group conflicts, and some sense of an interior life. In Suicide Squad they are just a collection of characters in search of character.

Even by comic-book movie standards, the plot is banal: magical super-villain The Enchantress is presented first as all-powerful, but in the end is defeated far too easily. Plus Cara Delevingne, whose human alter-ego, Dr June Moon, is about as believable as an archaeologist as Denise Richards was as a nuclear physicist in The World Is Not Enough, is too slight a figure to carry off such a role.

And of course the film is shot in the Zack Snyder palette of dark and darker, whereas the subject matter surely called for something more day-glo.

I could go on. Bottom line, the first half of the film, in which the squad is being assembled, is really quite fun – though the imminent remake of The Magnificent Seven must be peed off at the lift. In the second half, frankly, I began to long for the closing credits to roll.

 

 

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Gained in translation: top 10 adaptations of foreign films

5 Jun

We’ve all heard of “lost in translation”. But what about “gained in translation”? It can happen. A good friend, Frank Wynne, is an award-winning translator of novels who often picks up errors and infelicities and corrects them along the way. I can’t always judge the quality of the original prose, but I can say his books read wonderfully.

What of film? I was asked this question by someone at www.smartling.com, who specialise in translation software. They clearly want to promote their product (so: Smartling! Smartling! Smartling!), but since I find the question intriguing, I’m happy to answer. Do please add your tuppence-worth in the Comments section.

There is a tendency to regard Hollywood adaptations of foreign films as lazy knock-offs. Whatever induced them to take Godard’s joyful New Wave game-changer A Bout de Souffle and remake it as the hollow 1980s Richard Gere vehicle Breathless? But there are honourable exceptions. Here’s my Top 10, in no particular order:

for-a-fistful-of-dollars-pictures-12A Fistful of Dollars (1964). This is the film that single-handedly invented the Spaghetti Western genre, and turned Clint Eastwood from the clean-cut, yawnsome hunk of TV’s Rawhide to an edgy counter-cultural anti-hero. It is also heavily based on Kurosawa’s Yojimbo, a fact which landed director Sergio Leone with a hefty lawsuit. But since Kurosawa himself was inspired by Westerns, notably the films of John Ford, perhaps it’s a fair cultural trade.

magseven-e1314596581742The Magnificent Seven (1960). I couldn’t claim that this is better, artistically, than Kurosawa’s masterly The Seven Samurai, on which it is based (the original script was more faithful than what the studio eventually produced). But it was a classic of its time. A remake is due in 2017.

a-the-departed-HD-WallpaperThe Departed (2006). For me, the Hong Kong original, Internal Affairs, is tighter than the Scorsese version, though it finally won him the Best Director Oscar he’d been denied for so long. But this is certainly a gripping piece of film-making, with the wonderful central premise intact: an undercover police agent is placed within a criminal gang; a gangster is placed undercover within the police force; each must uncover the other without blowing their cover. Confused much?

willis12 Monkeys (1995). Great though the French short La Jetée is, 12 Monkeys goes the Whole Gilliam, taking Hollywood’s then biggest action star (Bruce Willis) and weaving around him a nigh-on incomprehensible, genre-bending dystopian sci-fi with philosophical heft.

true-lies-arnold-schwarzenegger-jamie-lee-curtis1True Lies (1994). If you like Arnie films (and I do, I do!), this loose remake of 1991’s La Totale is a superior example of the genre. Directed and written by James Cameron, it was at the time the most expensive movie ever made. Until Titanic, of course.

Vanilla_Sky_G_01Vanilla Sky (2001). Amenábar’s original Open Your Eyes was excellent, but Vanilla Sky has direction from Cameron Crowe and Tom Cruise at the peak of his powers, and even had the good grace to retain Penélope Cruz in her original role. How the BBC’s otherwise wonderful Life on Mars thought it could get away with lifting the rooftop scenes after not one but two films had used it, however, I don’t know.

InsomniaInsomnia (2002). I haven’t seen the apparently excellent Norwegian film on which this is faithfully based, but Christopher Nolan’s adaptation is certainly a goodie. It contains one of Robin Williams’ least annoying roles, and even Pacino is prevented from going over the top.

Some_like_it_hotSome Like It Hot (1959). I haven’t seen the 1951 original of this, either: Fanfaren der Liebe. But no comedy could possibly beat the chemistry of Tony Curtis and Jack Lemmon in drag, Marilyn Monroe at Peak Sex, and the genius of director Billy Wilder. “Nobody’s perfect”? This film is.

Let-Me-In---2010-007Let Me In (2010). There’s no question that the original modern vampire pic Let The Right One In was better. But the adaptation that followed it with indecent haste was not far off it, thanks largely to a typically precocious performance by Chloë Grace Moretz.

birdcageThe Birdcage (1996). This kind of ultra-broad farce is not really my cup of tea; and the American adaptation is even broader than the French La Cage Aux Folles. All the same, it can be a joy to see Robin Williams and Nathan Lane, as the drag queen who has to play it straight to impress their son’s potential in-laws, go way over the top. Hank Azaria as the butler is flat-out hilarious.

Do you prefer The Ring to Ringu? Clooney’s Solaris to Tarkovsky’s? Have your say in Comments, below.