MOVIE REVIEW: “PREDATORS” BY THE SPILL CREW [VIDEO]

MOVIE REVIEW: “WHOLE TRAIN” BY MALICE INTENDED

By Malice Intended of Planet Ill

David (Mike Adler), Tino (Florian Renner), Elyas (Elyas M’Barek) and Achim (Jacob Matschenz) are the preeminent crew of graffiti “writers” in their area. Their lives revolve around gracing city walls and commuter trains with their glorious artwork. Cops, rivals, and the responsibilities of adulthood prove to be formidable obstacles to such pursuits. As the threat represented by the aforementioned elements becomes more apparent, the foursome become ever more determined to live their dream.

Florian Gaag’s Wholetrain follows in the same tradition as seminal Hip-Hop films such as Wild Style and Beat Street. While those served as an overall showcase for the culture at a time when the mainstream still had a limited awareness of it, Wholetrain doesn’t care to educate its viewers or turn them on to something new. It is content to be a coming of age drama that uses the world of “bombing” and graffiti art as a backdrop for its story.

Wholetrain is shot in a guerilla style that does not forsake professionalism or basic filmmaking. The scenes where the main characters invade train yards at night have a voyeuristic documentary quality as the foursome look to complete their stealth missions and avoid detection by the authorities. These scenes feel authentic and generate palpable tension. The gritty feel of the film comes about organically as opposed to strategically. It doesn’t feel calculated.

The screenplay provides the principals with dilemmas that don’t feel forced or melodramatic. The lack of a musical score during the dramatic moments allows the viewer to draw their own conclusions without subtle psychological manipulation. The only noticeable musical accompaniment comes by way of the songs on the soundtrack, which is only used at the appropriate moments.

Mike Adler brings world weary credibility to the character of David. He looks after his crew with the ferocity of a guard dog, but he is also cautious and surprisingly tender. Florian Renner brings a hippie sensibility to his portrayal of Tino, who has little if any sense of responsibility to anything other than his art.

At times, the ambitions of Wholetrain are a bit too meager. It boasts a credible cast and solid filmmaking, yet it ends up feeling a bit less than the sum of its parts. Some more insight into the mentality that drives this outlaw subculture would have been more than welcome. We never really understand why these kids have decided to dedicate themselves so completely to this lifestyle.

Wholetrain gives some much needed light to a somewhat neglected element of Hip-Hop culture, one that provides ample opportunities for drama and excitement. While it may not be a monumental achievement, Wholetrain is perhaps the most competent and credible graffiti film ever made. It hints at the cinematic potential of this subculture while being a satisfying enough offering in its own right. It is a throwback to any earlier and much fabled era that still exerts considerable influence and continues in a diminished capacity. 3.5 out of 5

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MOVIE REVIEW: SPLICE BY MALICE INTENDED

By Malice Intended for Planet Ill

The consequences for playing God can be dire. Genetic engineers Clive Nicoli (Adrien Brody) and Elsa Kast (Sarah Polley) are on the verge of making the biggest breakthrough in the history of their field. They ignore the legal and ethical constraints put on them and experiment with Human DNA, splicing it with the DNA of other species in order to create the ultimate hybrid. Initially working under the delusion that they are doing this for the benefit of science and that they can control the situation, they soon learn otherwise. Their creation, Dren (Delphine Chanéac), refuses to merely be contained and studied. Like all life forms, she longs to actually live.

Splice is the latest soon to be cult classic from writer/director Vincenzo Natali, who has traveled similar territory before with the sci-fi mindbender Cube. Splice is more in the body horror variety, though the focus is not on stomach churning effects as much as it is on disturbing possibilities. The rather typical idea of an experiment gone wrong is taken down some rather unexpected paths, resulting in a film that is familiar in its premise but still has the power to make us uneasy.

The cold, antiseptic visual palette is a mixture of blues, white and grays. The lab in which Clive and Elsa create Dren is about as inviting as an emergency room. The apartment they share together is one of the only other locations we ever get to see. This emphasizes the limits of Drens world. She is a living being, brought into this world through no fault of her own, yet forced to live under constraints suitable for pets and guinea pigs.

The understated special effects are used sparingly and effectively. Dren goes through many stages during her lifecycle, each one requiring slightly different CGI and prosthetics. The face of the actress is never completely obscured, allowing us to connect with Dren in way that is unusual for today’s special effects creations. As the film progresses, Drens design becomes more elaborate as each new experience uncovers a hidden ability.

Adrien Brody provides the film with its conflicted moral center. His sense of compassion overrides his ambition as a scientist, but he’s just not assertive enough. Sarah Polley keeps the audience guessing about Elsa. We see that her intentions are not pure, sensing something a bit more sinister in her interactions with Dren. As the adult Dren, Delphine Chanéac has the unenviable position of not letting the effects overwhelm her performance. Thankfully, she rises to the occasion.

If Splice has one flaw, it’s the rather implausible behavior exhibited by the principal characters at certain points. We understand the motivations well enough, but some of the conclusions and character arcs are reached a bit too quickly. The screenplay could have used a bit more refinement. That would have made the difference between a good film and a great one.

Splice is an eerie blend of sci-fi, horror and sexuality. It serves as a reminder that modern sci-fi need not always be a showcase for the big action sequences and the latest, shiniest technological innovations. Sci-fi feeds on ideas and works best as a study in human frailty. Even when pursued with the best of intentions, our dreams and ambitions rarely pan out the way we would hope. Splice explores the perverse underbelly of scientific study. 3.5 out of 5

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MOVIE REVIEW: IRON MAN 2 BY MALICE INTENDED

By Malice Intended of Planet Ill

Ever since revealing his identity as Iron Man, Billionaire Tony Stark (Robert Downey Jr.) has been living the life. He sees himself as a visionary who has finally brought peace to the world and is reluctant to share the toys that helped him do it. This reluctance is a constant source of irritation for the U.S Government, who feel entitled to Stark’s weapons technology. Lt. Colonel James Rhodes (Don Cheadle) has the unenviable position of playing both chaperon to Tony and a liaison between him and the United States Military.

Meanwhile, the exclusivity of Stark technology is fading fast. Ivan Vanko (Mickey Rourke) constructs his own arc reactor and launches a violent campaign against Stark and his legacy. Rival industrialist Justin Hammer (Sam Rockwell) decides to recruit Vanko in hopes of beating Tony at his own game. As if that weren’t enough, General Nick Fury (Samuel L. Jackson) agent of the omni powerful and super secret organization known as S.H.I.E.L.D, is keeping close tabs on Tony. His airborne suit of armor becomes a prison that protects him, but also draws out the wolves. Such is the life of a superhero.

Jon Favreau’s original Iron Man, was a joy to behold. A bit disjointed in terms of its overall structure, it propelled along with the force of an MX missile, using Robert Downey Jr’s delightfully snarky shtick as its fuel. Undoubtedly flawed and eccentric, yet possessing a flicker of conscience that endeared him to audiences. Favereau equipped him with the coolest toy imaginable and placed him in the middle of a story that required him to become a one man army. Though not as smooth or as wholly satisfying as the original, Iron Man 2 is an engaging entertainment in its own right.

As with the first, the suit itself is the ultimate “Boys Toy”. It’s easily the most captivating special effect in the film. The design has been tweaked a bit with colors that have the sleek sexiness of an ultra modern sports car. The way the film envisions and shows off the armor taps right into the fascination with technology and gadgetry that all men share. That Iron Man 2 basks so shamelessly in such imagery is key to the appeal of the franchise. It understands that side of its audience and sees nothing wrong with indulging that.

The action sequences revel in destruction and mayhem. Favareau shies away from over stylization and instead opts for record setting levels of property damage. The scenes play out like a more refined and controlled version of the nonsensically edited and shot set pieces in Michael Bay’s Transformer films. Favareau juices every punch and slam for maximum impact. All that’s missing is a play by play from sports commentators.

Robert Downey Jr. again provides us with an appealing yet human protagonist. His narcissism is played mostly for laughs, and it’s to Downey’s credit that this angle works so well. As Rhodes, Don Cheadle seems a bit muted. He’s not bad in the role, just incredibly stiff. Mickey Rourke is fascinating as Vanko, breathing life into what could have been a pile of cold war clichés. Sam Rockwell is great as the head of Hammer industries. He comes off as a less likable and less brilliant version of Tony.

The film is a bit too in love with itself, evidenced by the abundance of scenes that exist solely to allow the characters to toss witty banter off one another. As individual vignettes, these scenes work. When strung together in succession they become masturbatory and tiresome. At points, the film seems inflated with the same ego and narcissism as Tony himself. Such a flaw in a mass entertainment can prove fatal. Fortunately, the film also possesses Tony’s tenacity and refuses to buckle under the weight of its own shortcomings.

Iron Man 2 breaks the winning streak that superhero films have had with sophomore outings, but it still manages to maintain a considerable grade point average. The cast and crew are so good at what they do that we are willing to forgive the flaws and are thankful to simply be entertained. That being said, Jon Favareau should think about trimming the fat and getting a better script for shell heads next outing. The Iron Man franchise has charm to spare, but needs a bit more than that to sustain itself beyond two films. 3.75 out of 5

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