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Killers

Column: The Word on Films  |  Date Published: Tuesday, 3 August 10   |  Author: Mark Russell   |     |  1 year, 6 months ago
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Having experienced the seamless control of Inception, I then slipped to the other end of the filmic spectrum, taking a look at the epitome of awkwardness that is Killers.

Ashton Kutcher plays Spencer, a super cool awesome hot hitman, who’s starting to feel that his job is no longer the emotionally fulfilling philanthropy he signed up for. Luckily he runs into Jen (Katherine Heigl) an anally-retentive but emotionally fearful woman who may or may not have appeared in every uninventive romantic comedy ever. They hook up, get married and live a blissful life in the suburbs for five years till – oh dear – Spencer’s past comes crashing through their kit home.

This film has very little going for it. The tone is terribly uneven, dancing between moments of reasonably graphic violence interspersed with unfunny quips and a desperate attempt at romance. There’s almost no chemistry between the leads and the pacing feels wholly unplanned. The action and story have no real correlation and there are long sections where Spencer and Jen are doing little more than wandering around, talking about how people are constantly trying to kill them. You know what would be more exciting than that? People constantly trying to kill them! Instead the script has crammed almost all of the attacks into the latter sections, making it feel less like escalation and more like hail Mary.

Catherine O’Hara and Tom Selleck are admirable enough as Jen’s parents but Catherine’s character’s drunkenness and Tom’s general air of disappointment feel more a reflection of genuine circumstance than acting skill.



Greenberg:

Ben Stiller hangs up his fluffy bright comedy pants for a dabble in the dark arts of the “serious role” as neurotic, misanthropic Roger Greenberg… and turns in a mighty fine performance in this admirable attempt at a character piece.

On the back of a nervous breakdown, Greenberg returns to his native Los Angeles to housesit for his well-to-do brother’s family. Throw in an awkward relationships new and old – new with his brother’s personal assistant Florence (Greta Gerwig) and old with ex band mate Ivan (Rhys Ifans) – and we’re given a two hour study into a man with many problems and no solution.

Written and directed by The Squid and The Whale’s Noah Bambach this is an assuredly slow paced and character rich piece that could stand to lose 15 minutes to prevent the film dragging slightly. As with all character pieces, without a sharp script and strong central performances it can be a dire affair; fortunately a gleeful tick can be put in both boxes. Stiller, Gerwig and Ifans are uniformly excellent, bringing nuance and depth to their roles, and “hinting at an ocean of sadness just beneath the surface,” to quote High Fidelity. Both strained and restrained, no easy options are either offered or given, and Bambach’s confidence in his subject matter and actors allow the piece to play out at its own lingering pace. Fans of subculture pieces like Ghost World or American Splendor should lap this up.

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Inception:

As I unclenched my buttocks and rose from my seat, the concept of Inception slowly sunk into my consciousness. Not the plot, story and themes – these had been cunningly woven in over the last two and a half hours. Nope, what I was enjoying was the excitement that this kind of filmmaking still exists. Christopher Nolan has created an original film that will make you think.

Any mention of plot will doubtlessly detract from the experience. The first half an hour or so of the running time are intended to keep you on unsure footing. As such, Inception has us hooked from frame one right till the end. It demands our attention to detail as Nolan allows the bare minimum amount of time to process information before he catapults us into the next stage.

Comparisons with Stanley Kubrick are being thrown round all over the place, and not completely without justification. This is not a wholly flattering comment however: as well as his visual mastery, Nolan shares Kubrick’s value of mood and concept over character. Only Leonardo DiCaprio’s character pushes the envelope into full realisation. That said, the performances are uniformly brilliant – Joseph Gordon-Levitt is dapper control; Ellen Paige - curious intellect; Ken Watanabe – honourable pragmatism; and Marion Coitillard - tentatively poised intensity.

Afterwards you will doubtless experience a few of Hitchcock’s refrigerator moments (but wait, how did they?), regarding the sequence of the plot. This will probably inspire a stream of internet forums dedicated to inaccuracies. But don’t let them fool you – Inception is brilliant stuff!

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