Source Code

PCMR Verdict: Everything is iterative: particularly this tidy, enjoyable popcorn actioner that shouldn't disappoint.

PCMR Rating: 6.5/10

Louis C.K. has a great bit of material where he makes an observation that has a hint of genius about it: "everything is amazing nowadays, and nobody cares." Think of how apathetic we have become to so much modern technology that enables our lives: things like high-speed broadband, routine air travel and, er, high-speed broadband on planes. (Nice - Ed) Louis' point - or at least PCMR's take on Louis' point - is that technology itself isn't a problem: it's just that we're so bombarded with technological progress these days, apathy has become an understandable coping mechanism. ("Oh look, there's another new version of iTunes? ... meh...")

The lesson here: over-exposure to technology - even the awesome stuff - can engender mental fatigue. A case in point related to movies: CGI.

'Rise of The Planet of the Apes' demonstrated how the technology could be used, both for good and bad, but surely one man above all has become totally synonymous with the abuse of CGI, and caused mental anguish to thousands of over-25's the world over in the process. 'Bay Syndrome' effectively defines this apathy towards movie CGI: after the 47th massive explosion, the CGI might still be as awesome as the 46th, but I just don't care any more.

Happily, Michael Bay had no involvement in Source Code. Instead, a certain Duncan Jones has the reins for this, his sophomore flick. If you've not seen his first, the most excellent 'Moon', then dear reader, I encourage you to take a two hour break from reading this review, and go seek it out. As a convincer, among its many great qualities, 'Moon' features the best use of emoticons in movie history. (Competing with..? - Ed)

And this is one of the fundamental differences between Jones and Bay: understatement. Or, to put it another way, Jones understands the power of technology in movies, and how to use it sparingly, to greatest effect. Kevin Spacey's GERTY robot in Moon only has a small number of simple smiley faces to express his so-called 'feelings', but the device is chillingly effective: when GERTY's smile changes to a frown, the audience's mood shifts with it.

The writing credit for 'Source Code' goes to Ben Ripley, and interestingly, he seems to share this understated approach. From early on in the movie, the dialogue encourages us to forget about the technology that is enabling this crazily imaginative premise. Jake Gyllenhall is constantly told not to think, just to 'do'. The focus is more on people and details than on expensive gadgets or green-screen whizz-bangs..

On the premise: in a nutshell, Gyllenhaal is repeatedly reliving 8 minutes on a train as someone else, in order to prevent a terrorist attack. It's unashamedly borrowing from a number of influences (Quantum Leap, 24, Groundhog Day, 12 Monkeys) but somehow it nimbly avoids being overly derivative.

Much of the credit for this has to go to the skill with which Jones reshoots the 8 minute iterations, with subtle differences each time they re-play. Credit is also due to the likeability of his main players. As befits an action-hero role of the "what's happening to me?" genre, Gyllenhaal is suitably grizzled and Keanu-confused (is that a real word? - Ed) Also, Michelle Monaghan manages to somehow resist being annoying, even as she repeats a line for the 7th time. And Vera Farmiga (who you might remember from 'The Departed') is very well cast as Gyllenhaal's military guide, who just might be sympathetic to his plight.

The story itself is tidy and lean, and should keep you guessing throughout. And, as the final credits roll, PCMR was left with the enjoyable head-scratching moments that only a time-bending tale can deliver. (Triangle, Twelve Monkeys, Primer etc)

So, all in all, PCMR enjoyed this one, missed it in the cinema, but it's a quality DVD night in.

(Oh, and as a reward for making it to the end, here's that Louis CK link)

Zodiac

The verdict: Immersive, lovingly created psychological drama that focuses on a small group of people obsessed with catching an elusive killer.

The rating: 8/10

Now this is a movie. Right from the languid opening moments, when the camera trawls slowly over a night-time vista of a fireworks display, and the soothing, late seventies soundtrack caresses the eardrums, the audience should be in no doubt. The message, right from the off, is to sit back, strap yourself in, and enjoy the journey.

In those first scenes, where a young couple foolishly decide to head to a lonely late night make-out spot (first rule of horror films people, keep your kit on! - Ed), the uninitiated could be forgiven for thinking that this is another teen slasher movie in the vein of something like 'Road Kill' or 'The Hitcher'. Luckily however, this movie was crafted by David Fincher, so we are in for an entirely different kind of journey.

Fincher has had an interesting career, even by Hollywood standards. He started out as a miniature artist on small movies like (*cough*) 'Return of The Jedi' and (*cough*) 'Indiana Jones and the Temple of Doom'. Next, perhaps emulating Martin Scorcese, he cut his directorial eye teeth with a concert movie. However, like so many other directors currently making the big bucks in Hollywood, he really gained notoriety as a music video director, churning out pop promos for small-time musical acts such as Sting ('Englishman in New York'), Michael Jackson ('Who is it') and Madonna (would you believe it: 'Vogue'!).

His big break came with a franchise instalment, but unfortunately, 'Alien 3' was a stylish failure, allowing Fincher room to demonstrate his technical expertise, but possibly at the expense of a decent story. However, treading in the footsteps of Ridley Scott and James Cameron is no easy thing to do.. (but I'll be honest with ya folks, I've always had a soft spot for Alien 3). The rest, you probably know already. After all, this is the guy behind 'Fight Club' and 'Seven', unquestionably two modern classics, but also 'The Game', an oft-overlooked little gem featuring Michael Douglas, Sean Penn, and a wickedly mind-bending story.

With 'Zodiac', Fincher has brought a labour of love to the screen. Based on the book by Robert Graysmith, a cartoonist at the San Francisco Chronicle in the seventies and eighties, it tells the story of 'The Zodiac', a serial killer who loomed large in San Francisco in the late 70's. With a craving for media attention and a love of puzzles, this killer captured the attention of the public for half a decade. This guy was never cuaght, and taunted the media and the police with clues as to his identity, sending them letters, and even ringing in to televised talkshows to talk of his exploits.

Jake Gyllenhall plays Robert Graysmith, and he is instinctively drawn to the case right from moment the Zodiac's first letter is received at his office. Crime Correspondent Paul Avery (Robert Downey Jr.) is charged with reporting on the case, but he picks up on Graysmith's intuition as to why the killer is sending puzzles, and together they work on cracking the case. Meanwhile, the police investigation is headed by Inspector Dave Toschi (Mark Ruffalo) and his partner, played by Anthony Edwards (the Goose man! - Ed).

The story follows the timeline of the case, and tracks the effect this investigation has on the people most closely involved with it. At first, Toschi is the man obsessed, and he comes painfully close to an arrest at one point. However, the physical evidence simply isn't on his side, so his suspect goes free. Avery (Downey) for his part, angers the Zodiac by referring to him as a latent homosexual, and for a time his life appears to be at risk, which only fuels Avery's problems with alcohol.. and the rest.

As the years pass since the Zodiac's last killing, Avery's career goes on a downward spiral. Possibly in an attempt to help his friend, but also possibly out of self-interest, Graysmith offers to help Avery write a book on the Zodiac, but Avery isn't interested. And so begins Graysmith's obsession with the case.

The central performances in this movie are all strong, and are as close to perfect casting as you will see. Gyllenhall's character is moody and weird, Downey's is a fully-functioning alcoholic, and Ruffalo - although almost unrecognisable compared to his character in 'Eternal Sunshine' - is a driven, ambitous and emotional cop. The supporting cast, are all great too, with Brian Cox seemingly omnipresent lately, but the screen is full of recognisable, talented faces, all adding to the atomsphere of the drama.

In terms of atmosphere, the most ready comparison I could make would be with Spike Lee's excellent 'Summer of Sam', but Zodiac is a better movie, if a slightly different animal.

The movie looks and sounds absolutely great, and will be a dream for any HD LCD or Plasma TV owner. Every scene is framed beautifully, and this is a much more colourful film than most of Fincher's previous work, synonymous as it is with either darkness ('Seven') or monochrome colours ('Panic Room'). The soundtrack is atmospheric and seamlessly works with the action, adding to the feeling of being placed in the 70's.

Part police procedural drama, part ensemble mystery story, one criticism I would have of Zodiac is that it is a little long. However, this is not to say that there are any vacuous moments in the movie, it's just that there really is a lot of detail up there on screen.

However, the central performances are all outstanding, the direction and script are top notch and the story is definitely one worth hearing. For these reasons I'd heartily recommend 'Zodiac', and reckon it's easily one of the best movies I've seen this year so far.

Jarhead

Hoo-ra. The US Army and Marine corps have been committed to celluloid many times before, most notably in Stanley Kubrick's Full Metal Jacket, and also the ubiquitous Apocalypse Now and The Deer Hunter. Even Oliver Stone and Charlie Sheen combined to put together a memorable piece of war-inspired cinema with Platoon. Cinema has always loved the war movie, and Kubrick possibly has two of the best in the genre, with Paths of Glory, often overlooked but also a classic in any terms, and with messages that are still relevant in contemporary times. People may think Mark Hamill never made anything decent outside of his lightsaber-swinging turns as Luke Skywalker, but Sam Fuller's The Big Red One is an excellent, and highly unusual war movie. Even Saving Private Ryan can be considered a modern classic, and is arguably Steven Spielberg's finest hour.

Each of those movies had it's own take on the chaos and futility of war, as well as the experiences of the individual soldiers who find themselves coping with reality in a warzone. All of these movies portray a side of being a soldier that is idiosyncratic to each, and in addition, they tend to age well. They also have their own proprietary iconic cinematic images: the troop of marines singing the mickey mouse club theme at the end of Full Metal Jacket, the russian roulette scenes in The Deer Hunter, Martin Sheen punching the mirror in Apocalypse Now, Willem Dafoe on his knees in his death throes in Platoon... war may be hell, but it's fodder for great movie moments...

For film-makers too, it's great for box office and a ready made context for boiler-plate characters to emerge without too much exposition required: the drill sergeant, the questioning new recruit, the nervous newbie, the unthinking bloodthirsty guy, the reluctant authority figure... Throw in some big stars in uniforms, the odd large-scale battle sequence, and a few boot camp conversations about why we're here really, and the audience can't seem to get enough.

Even in this context, I can safely say that Jarhead is a welcome addition to the genre. However it is probably more readily compared to the excellent Three Kings than any of the war genre movies mentioned above. Indeed, the movie's director Sam Mendes (of American Beauty fame) appears to display a irreverent attitude towards the classic vietnam movies of the 80's. There is an enteraining sequence in Jarhead's opening act where the marines, still in training in the U.S., sit down to watch 'Apocalypse Now', cheering every explosion and singing in unison to 'the March of the Valkyries' as vietnamese villages are pulverised on screen. By the time the third act rolls around and the marines have been stationed in the Kuwaiti desert for months however, the marines' attitude is very different. Apocalypse Now is indirectly referenced once again as a chopper flies overhead playing 'Break on Through' by The Doors. (a sideswipe at Oliver Stone perhaps!?)

Jarhead tackles an interesting twist on the theme of futility, but not only confined to the futility of war. The objective of the U.S. military presence in Kuwait was very different to that of the Vietnam manoeuvres, but had an air of futility all its own. In addition, the marines of Jarhead's corps are trained snipers in a desert war. In a scenario where air strikes win the battles, these guys can't help but feel a little useless, even relative to the other Jarheads stationed there.

The film focuses on the boredom of being a soldier in the desert, and the routine of hydration, boredom, and dehydration is nicely evoked, with Jake Gyllenhall capable enough as Swofford, the main protagonist. His principal comrade, Peter Sarsgaard, is quietly effective, and Jamie Foxx has a nice turn as the staff sergeant, more soft-spoken than R. Lee Ermey's drill sergeant in Full Metal Jacket perhaps, but still believable as the leader of the crew.

Jarhead is visually spectacular in moments, and the third act in particular is set against desert backdrops that are particularly unreal, albeit familiar from news images of the time. The script is adapted from Swofford's book, detailing his real-life experiences in Kuwait, and it has a reality to it that gives Jarhead its credibility.

So, overall, Jarhead is solid stuff, intelligent and entertaining, but it's in a genre that is well-defined, with some very stiff competition. With a better lead actor Jarhead might have pushed through to join those cinematic legends I mentioned above, but even with that in mind, there's still a lot to love about this one. If you haven't seen it, and are stuck for something to rent, it's one you should certainly give the time of day.

Verdict: War, what's it good for? Solid movies like this! Gyllenhall's good and Sam Mendes is a real talent.
Rating: 6/10