Tag Archives: Danny Boyle

T2 Trainspotting (2017, Danny Boyle)

T2 Trainspotting is a victory lap. John Hodge’s screenplay is thorough, thoughtful, cheap, and effective. It goes so far as to integrate unused portions of the original Trainspotting novel to try to get build up some character relationships. Because T2 is an expansive sequel. It’s got a contrived inciting action, which Hodge and director Boyle don’t even try to cover. The contrived nature of it is charming, after all. A slightly twisted kind of charming, but still charming.

Boyle’s a little too comfortable and a little too mature of a director to try much with the film’s visual aesthetic. There’s newly created Super 8 flashback footage–revealing the gang’s childhood friendships–and there’s even cleaned up footage from the original film. Only all the actors are creating new characters and have little connection to either set of flashbacks. Hodge and Boyle try to cover the inconsistency with the charming.

The film starts with Ewan McGregor returning to Edinburgh after twenty years in exile. He used to be a junkie and awesome narrator, now he’s got the Dutch equivalent of associate’s degree in accounting, he loves to jog, and he’s dissatisfied. Ewen Bremner is still a junkie. He’s trying to improve because he really loves his girlfriend and kid, even though they’ve written him off. Jonny Lee Miller is a failing bar-owner and an aspiring blackmailer who’s crushing hard on his sex worker partner (Anjela Nedyalkova). Robert Carlyle is an escaped convict and his son doesn’t want to go into the home invasion trade with him. Son wants to go to college for hotel management.

There are jokes about iPhones, gentrification, modern music, lots more. They’re solid enough jokes, but it’s a Trainspotting cast reuniting the original cast, original director, original screenwriter, original producer and there are no James Bond jokes. It’s like Hodge and Boyle forgot what people enjoyed about the first film’s energy. It’s not an apology, but it’s indifferent. McGregor has one good rant and it could change the movie and it doesn’t. Because McGregor’s not narrating. Because T2 meanders too much for a narrator.

Everyone–except poor Miller–is a protagonist. It starts with McGregor, but then transfers to Bremner through Nedyalkova. Nedyalkova is T2’s secret weapon, even though the film does absolutely nothing for her. She holds the second act together because Hodge and Boyle never figure out the right balance for McGregor, Miller, and Bremner. Carlyle’s on his own for most of the picture, in this dark, dangerous family drama. Carlyle’s story might be where Boyle shows the most interest, actually.

Except he seems to acknowledge Bremner’s giving the film’s far and away best performance, even when he’s actively ditching Bremner for McGregor and Miller’s silly bromance. Hodge’s script is all about personal growth, only he’s also got these goony character twists.

While Bremner and Carlyle have strong characterizations, Miller and McGregor don’t. Miller gets to be black comedy comic relief and McGregor is doing this coming home thing. Only no one wants to commit to a character, not McGregor, not Boyle, not Hodge. They probably should’ve brought him in later.

But they didn’t. Because McGregor’s no one’s favorite protagonist. Except maybe McGregor. Hodge favors Nedyalkova, Boyle likes Carlyle. Everything McGregor gets outside his one rant is thin.

It’s technically superior–great editing from Jon Harris, Anthony Dod Mantle’s photography is spot-on. Boyle’s really in love with the locations. Adds to the charm or something. Sadly the characters have no connection to the locations and neither does Hodge’s script.

Bremner’s great, Nedyalkova’s great, Carlyle’s quite good with a thin character and a lot to do. McGregor’s fine. Miller’s got some good moments, but Hodge doesn’t do him any favors.

T2 is good. It’s expertly made, solidly written, confident; it’s occasionally accomplished; it’s also a really safe drama about male bonding. The movie doesn’t take a single chance. Any time it even flirts with the idea, Boyle unfortunately reins it in. Usually via another charming, manipulative, and narratively pliable sequence.

3/4★★★

CREDITS

Directed by Danny Boyle; screenplay by John Hodge, based on novels by Irvine Welsh; director of photography, Anthony Dod Mantle; edited by Jon Harris; production designers, Patrick Rolfe and Mark Tildesley; produced by Andrew Macdonald, Boyle, Bernard Bellew, and Christian Colson; released by TriStar Pictures.

Starring Ewan McGregor (Mark), Ewen Bremner (Daniel), Jonny Lee Miller (Simon), Anjela Nedyalkova (Veronika), and Robert Carlyle (Frank).


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Steve Jobs (2015, Danny Boyle)

Steve Jobs is unexpected. It is a parody of itself, it is a parody of being an “Oscar-worthy” biopic about a topical, zeitgeist figure. Down to having Seth Rogen in a dramatic part. Steve Jobs feels very conscious. In Michael Fassbender’s Jobs, the film gets to create a world where Steve Jobs doesn’t just get to act like a movie star, he gets to look like one too. Director Boyle, cinematographer Alwin H. Küchler, editor Elliot Graham, they embrace the artificiality of it all. Because Aaron Sorkin’s script isn’t a screenplay as much as a filmed stage play, the performance is part of it. The casting is part of it.

Just getting it out there–Rogen’s good. Boyle’s a good enough director, Sorkin’s a good enough writer, they can turn Rogen’s inability to actually act into an asset. Rogen’s so disarming, one really does believe he can do math (and all the other stuff Steve Wozniak can do). It’s a strange performance and Fassbender plays off it a little differently than any other in the film.

Every actor has a different style. Fassbender treats the whole thing as a metamorphosis without every determining whether he’s going from caterpillar to butterfly or butterfly to something else. There’s a weight to the role. Fassbender’s this perfect Aaron Sorkin lead–abrasive but almost always right, condescending but strangely earnest–and Boyle just sits back and watches him go, watches him play off the other actors, who are doing different things.

Kate Winslet’s got this big performance. It’s supporting, but it’s another perfect Sorkin character. Except Winslet’s got her own performance going on, her own understanding of the character. It’s a very different approach than Rogen gets. The film’s about its actors and how they perform the script. Just Sorking walking and talking-style; everyone popping in like it’s A Christmas Carol to tell Ebenezer Jobs how he still hasn’t figured it out yet.

Great supporting performances from Jeff Daniels, Michael Stuhlbarg and Katherine Waterston.

It’s an understated, strange, wonderful film. Boyle and Sorkin get along like Capra and Riskin, Fassbender and Winslet are phenomenal. Steve Jobs is magnificent.

4/4★★★★

CREDITS

Directed by Danny Boyle; screenplay by Aaron Sorkin, based on the book by Walter Isaacson; director of photography, Alwin H. Küchler; edited by Elliot Graham; music by Daniel Pemberton; production designer, Guy Hendrix Dyas; produced by Boyle, Guymon Casady, Christian Colson, Mark Gordon and Scott Rudin; released by Universal Pictures.

Starring Michael Fassbender (Steve Jobs), Kate Winslet (Joanna Hoffman), Seth Rogen (Steve Wozniak), Jeff Daniels (John Sculley), Michael Stuhlbarg (Andy Hertzfeld), Katherine Waterston (Chrisann Brennan), Makenzie Moss, Ripley Sobo & Perla Haney-Jardine (Lisa Brennan) and Sarah Snook (Andy Cunningham).


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Trainspotting (1996, Danny Boyle)

Trainspotting moves. More than anything, director Boyle concerns himself with the film’s pace, whether through Masahiro Hirakubo’s glorious editing or lead Ewan McGregor’s narration, the film immediately sets a fast pace and keeps it throughout the film. Nothing can slow the film down, not even big events, because there’s no real plot. It’s sort of a character study, though McGregor’s narration should make him far too subjective to be the character studied. Only John Hodge’s screenplay doesn’t use the narration to move the plot–it does occasionally help keep track of the summary storytelling–mostly that narration is Trainspotting‘s version of exposition. The film drops the viewer into McGregor’s world of heroin addicts and their acquaintances (and their families and their acquaintances’ families); the narration gives the viewer some context. Not a lot, but some.

The first act of Trainspotting, which it turns out is a flashback–Boyle and Hodge only have ninety minutes and change and they maximize it through a lot of nice narrative tricks–introduces the lovable cast of heroin addicts. McGregor’s the most normal, most relatable, Ewen Bremner’s an adorable screw-up, Jonny Lee Miller’s the sort of loathsome but amusingly obsessed with Sean Connery James Bond movies one, Robert Carlyle’s the non-using, loathsome, awkwardly funny, psychotically violent one. Kevin McKidd’s another square. The heroin addiction gives Boyle and company opportunities to visually impress, but it’s not really the center of the film. The relationship between the characters is the center, only it’s not a particularly healthy relationship. Trainspotting has a sort of pithiness to its self-awareness. It’s a whirlwind. It doesn’t calm down until after the end credits have started.

All of the acting is excellent. McGregor’s great, but he has nowhere near as much time to shine in his regular performance as he does in the narration. Carlyle’s just too distracting. Even when Carlyle doesn’t have lines, he’s distracting. He’s this incredibly strange, incredibly dangerous presence in the film. Even though Boyle can visualize the heroin high, realizing McGregor’s internal experience on film, it’s almost impossible to understand how Carlyle can exist in the film. There’s fantastical and then there’s otherworldly. To Boyle, Hodge and Carlyle’s credit, they realize the character. They make it work. They make you believe the bull belongs in the china shop.

Nice smaller supporting turns from Peter Mullan, James Cosmo and Eileen Nicholas. Kelly Macdonald has a good part as McGregor’s love interest.

Great photography from Brian Tufano. Great soundtrack.

Trainspotting is an easy film about difficult subjects. It’s painstakingly objective but almost disinterested in the idea it should be judgmental. There’s no time for it. Boyle’s got to keep things moving.

4/4★★★★

CREDITS

Directed by Danny Boyle; screenplay by John Hodge, based on the novel by Irvine Welsh; director of photography, Brian Tufano; edited by Masahiro Hirakubo; production designer, Kave Quinn; produced by Andrew MacDonald; released by Miramax Films.

Starring Ewan McGregor (Renton), Ewen Bremner (Spud), Jonny Lee Miller (Sick Boy), Kevin McKidd (Tommy), Robert Carlyle (Begbie), Kelly Macdonald (Diane), Pauline Lynch (Lizzy), Shirley Henderson (Gail), James Cosmo (Mr. Renton), Eileen Nicholas (Mrs. Renton) and Peter Mullan (Swanney).


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Shallow Grave (1994, Danny Boyle)

Shallow Grave has bold colors. The production design–by Kave Quinn–isn’t particularly good. Over ninety percent of the film takes place in a rather boring apartment. But that boring apartment has a lot of bold colors. Sure, photographer Brian Tufano doesn’t know how to shoot those bold colors to make them effective, but he doesn’t know how to light any of the other scenes either. Grave is slick and economical, but no one–not the actors, not director Boyle, certainly not writer John Hodge–ever makes it feel particularly creative. It’s got a low budget so they shoot it like a play. With occasionally interesting, but inert, visuals.

As far as the actors, of the three principals–Ewan McGregor, Kerry Fox, Christopher Eccleston–only McGregor shows any life. None of them have much character depth to work with, which obviously doesn’t help. Eccleston eventually gets the biggest part of the film, but he’s so poorly handled through the first act, he doesn’t do anything interesting. It’s not his fault, there’s just nothing interesting in that script of Hodges’s.

The film, ostensibly a thriller, is often tedious. The script has some funny dialogue exchanges–the trio live in that boldly color apartment and mock prospective tenants they do not like–but not enough to even temporarily disguise the logic holes.

Boyle’s composition is often excellent and Masahiro Hirakubo’s editing is outstanding. But there’s just not enough to the film. It’s trite, cynical, forcibly amusing. Grave’s one controlled misstep after another.

1/4

CREDITS

Directed by Danny Boyle; written by John Hodge; director of photography, Brian Tufano; edited by Masahiro Hirakubo; music by Simon Boswell; production designer, Kave Quinn; produced by Andrew Macdonald; released by Polygram Filmed Entertainment.

Starring Kerry Fox (Juliet Miller), Christopher Eccleston (David Stephens), Ewan McGregor (Alex Law), Ken Stott (Detective Inspector McCall), Keith Allen (Hugo), Peter Mullan (Andy), Leonard O’Malley (Tim) and Colin McCredie (Cameron).


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