With the end of August has come the end of Summer, and I for one couldn’t be happier. With the likes of Sicario, The Lobster and The Martian on the wintery horizon, the future is bright. But now its time for the past, the recent past. What follows is the best and worst of my August in film. Hope you enjoy:
Certainly, Fantastic Four is troubled. It feels patched together from very promising elements into a slow, lacking picture. The story may bounce and jump around, but I cannot agree that nothing worthwhile comes out of it. The film hints at the promise and the “fantastic” version Trank tweeted of, and whilst these hints never develop into a successful reboot, I can say that I enjoyed their attempts to do so.
Make your mind up on this reboot, and whilst you shouldn’t expect too much, don’t write it off simply on a Tomatometer score.
Maisie and Daisy McCormack are two ordinary twelve year old girls trying to make sense of life in the 21st century. Oh, and they’ve just hijacked a movie. This, the short synopsis to actor/director Kenton Hall’s first feature A Dozen Summers, is just a taste of the film he has created. Always entertaining, A Dozen Summers is a coming of age film that is utterly charming in its low-budget approach.
Southpaw is a very decent boxing film, but it struggles to break the shackles of legacy. The legacy of Jake La Motta, Maggie Fitzgerald, Rocky Balboa and the Eklund brothers unsurprisingly overwhelms Antoine Fuqua’s title shot, but Southpaw should still be regarded as a bold contender.
2. The Man From U.N.C.L.E.
The Man From U.N.C.L.E. is the lovechild of the buddy-cop comedy and the Bond franchise. Henry Cavill does his best Timothy Dalton impression whilst Armie Hammer’s Russian reminds strongly of the likes of Arnie in Red Heat. Guy Ritchie’s stylish direction is complimented with supremely charming offbeat humour in a film ripe for sequel-ing.
It seems that Noah Baumbach needed to make Frances Ha and While We’re Young in order to create the brilliance of Mistress America. The most successful features of each film have been folded together into his latest creation that again utilises the on and off-screen energy and intelligence of the wonderful Greta Gerwig.
The married couple have again scripted a feature so precisely accurate about the thoughts of young adults and specifically, the privileged, self-involved New York masses.
Like their characters, Baumbach and Gerwig have probably thought to themselves that they are both geniuses, and would like to have skipped to a time where everyone knows it. It seems that with this attempt that time has come.