Tag Archives: Icon Film Distribution

Triangle (2009, Christopher Smith)

Triangle suffers. It suffers from a bad script, it suffers from wanting performances, it suffers… bad hair continuity. There’s just something off about lead Melissa George’s bangs. Not just she doesn’t seem to acknowledge when they’re in the way, but when she turns around (in an obvious cut because there’s so much post-production on the lighting you can tell) and the position doesn’t quite match. Or the length.

There’s just something… off about them.

Kind of like George’s performance.

The film relies on a lot of twists and turns to get through. I was going to say to justify itself but the twists and turns aren’t really for narrative justification, they’re to kill time. Triangle builds towards reveals, it doesn’t build characters. Even when character development is intricately tied to the reveals, well, writer and director Smith still isn’t going to build character. Though it wouldn’t exactly be easy with his cast. Because something feels a little off about them too.

One might guess it’s because they’re a bunch of Aussies pretending to do an American movie. They’ve all got “American” accents, which don’t ever drop out but they also exaggerate the narrative distance from the characters. Not a good thing in a horror movie where you’re ostensibly supposed to care once they start dropping like flies.

The film starts with George going on a yacht day with local rich guy (presumably) Michael Dorman. She’s a waitress he knows, so he invites her for this annual yachting trip. He always takes friends Henry Nixon and Rachael Carpani, who always bring a girl to fix him up with (this time it’s Emma Lung). Except, of course, Dorman wants George along. Carpani doesn’t like it because single mom George must be a gold digger. Carpani’s character is odious, which makes it all the less fun to have her around once she’s in danger, because Smith doesn’t care if you empathize with any of the cast. And most of them aren’t sympathetic.

Also along for the trip is young stud Liam Hemsworth, who was homeless but now lives on Dorman’s yacht with him and knows how to tie knots and do all the other important yachting stuff. There’s some confusion about why Dorman needs a hunk around but at least Hemsworth is likable. There’s something creepy about Dorman and his Robin Hood beard and something’s clearly going on with George and the movie is obviously manipulating the audience about it.

So is it worth it?

Heck no.

Smith knocks off a couple famous movies for Triangle; visually, The Shining, narratively… well, if I told you it’d be too much of a spoiler. Suffice it to say, Smith’s not just not reinventing the wheel with his tricky story, he’s not even worried about keeping the tire inflated. He’s really lazy with the logic. Really lazy. He goes for visual shock value and often gets it; his special effects team, lighting mismatches aside, is phenomenal. More than half the movie takes place on this old, abandoned cruise ship with Shining hallways and Triangle makes it look real big, even when it’s kind of clear it’s not and they’re just adjusting the lighting to lens flare for emphasis.

So technically it’s fine. It’s just got a dumb script and an either not trying hard enough or just not able to do it lead with George. After a while you wish George’s bangs would do the acting heavy lifting because George obviously isn’t up for it. She does fear well like twice, then never again. And her messy arc, even with Smith’s questionable scripting, does have a lot of potential for the right performance.

George’s isn’t it.

0/4ⓏⒺⓇⓄ

CREDITS

Written and directed by Christopher Smith; director of photography, Robert Humphreys; edited by Stuart Gazzard; music by Christian Henson; production designer, Melinda Doring; produced by Julie Baines, Chris Brown, and Jason Newmark; released by Icon Film Distribution.

Starring Melissa George (Jess), Michael Dorman (Greg), Liam Hemsworth (Victor), Rachael Carpani (Sally), Henry Nixon (Downey), Emma Lung (Heather), and Joshua McIvor (Tommy).


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Creation (2009, Jon Amiel)

Creation is the not the story of how Charles Darwin (Paul Bettany) and the ghost of his oldest daughter (Martha West) collaborated in the writing of On the Origin of Species. That story would make a much better movie.

The film opens with a title card explaining it will be about Darwin writing that book, released in 1859. Some conversation early on places the present action in 1858. So a year. At this point, it’s been twenty years since he published Voyage of the Beagle. Some of those adventures show up in flashback–a flashback’s flashback–as Bettany recounts stories to West.

Well, at the beginning. Then not. The Beagle flashbacks are the biggest budgeted sequences in Creation and director Amiel treats them as set pieces. Only then such flashbacks (in flashbacks) stop and so do set pieces. Instead, it’s just Bettany hanging around at home, making churchy wife Jennifer Connelly real upset with his blasphemous manuscript and research. It seems like this narrative floundering is covering a lot of time but it turns out it isn’t. Amiel and screenwriter John Collee are terrible at pacing. Why do they need pacing when they can have Bettany talk to West (not an actual ghost, just a narrative contrivance). If only the exposition moved the film along.

After a promising first act, Creation settles into that “ghost” story. Amiel and Collee tease out details of West’s death in the present while flashing back, at first, to unrelated family bonding scenes. The flashbacks eventually get confusing because Bettany’s makeup for Darwin age forty-nine is bald with stringy hair, very pasty skin, a paunch. The film skips back seven and eight years to the West flashbacks–those seven actual years in between Darwin’s daughter’s death and the Species’s completion are apparently empty of worthy story material. Darwin age forty-two makeup is bald with stringy hair, mildly pasty skin, general nineteenth century upper class flab. It’s not hard to tell them apart, but only because Bettany’s good. But in terms of filmmaking–Amiel’s direction, Jess Hall’s flat photography–well, it’s good they have Bettany.

Also because it’s an entirely thankless part. Collee’s script is deceptively worse than first impression. It’s not bland biopic stuff, it’s bland biopic stuff without any characters. Amiel, whose direction is never better than mediocre (outside the special effects sequences of animal decomposition and so on), he at least tries occasionally. He really likes his close-ups. So the actors can spout either ominous lines (because of hiding daughter West’s fate in flashback) or exposition.

While Bettany’s got it bad, he at least gets to walk around in his make-up. Connelly is left to take care of the kids and give disapproving looks when Bettany doesn’t take his “war on God” seriously. And Connelly never really gets a role. She ends up with one poorly written, well-acted scene. It’s exceptionally impressive filmmaking from Amiel, Hall, and editor Melanie Oliver. It’s this entirely manipulative, cheap, soapy scene and it still works. Because Bettany and Connelly. Connelly gets some character motivation at what might as well be the end of the movie. There’s still more movie and it’s bad, but that moment is when Creation could’ve got out in the black.

But it doesn’t. Because Amiel and Collee are entirely artless with Creation. They want all to benefits of melodramatic contrivances without ever embracing those contrivances. There’s also the issue of how the film characterizes the religious. Caricaturizes. Connelly and Jeremy Northam (extended cameoing as the village clergy) are inappropriately villainized. But meaning they need to be villainized differently. There’s no dramatic fodder in it as is.

Bettany’s good. Not great. Better than decent or fine. West is decent. Connelly is problematic; the part’s crap. Northam’s cameo is too thin. Ditto Toby Jones. He’s bombastic though. Energy is a lot in Creation, as the film stops producing any once the second act hits. Benedict Cumberbatch is good. He tries.

If there’s a great film about the final year of Darwin writing Species, Creation sure ain’t it. Amiel’s just too bland a director to save the film from the script. It could’ve at least maintained mediocre, but as it becomes more and more clear how bad Collee’s plotting and pacing is going to get… well, mediocre’s way out of reach.

The awful Christopher Young score doesn’t help either.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Jon Amiel; screenplay by John Collee, based on a story by Amiel and Collee and a book by Randal Keynes; director of photography, Jess Hall; edited by Melanie Oliver; music by Christopher Young; production designer, Laurence Dorman; produced by Jeremy Thomas; released by Icon Film Distribution.

Starring Paul Bettany (Charles Darwin), Jennifer Connelly (Emma Darwin), Martha West (Annie Darwin), Jeremy Northam (Reverend Innes), Benedict Cumberbatch (Joseph Hooker), Jim Carter (Parslow), Bill Paterson (Dr. Gully), and Toby Jones (Thomas Huxley).


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