Tag Archives: Tom Hiddleston

Crimson Peak

Having somewhat of a crush on Guillermo del Toro’s movies, I watched Crimson Peak soon after it came out, despite my being a huge chicken. But I refused to review it because I was sure I didn’t really get it: the film had gotten tepid reviews, but my initial reaction was anything but lukewarm. On a recent del Toro kick I’ve rewatched it and came to the same conclusion: Crimson Peak is kind of great.

Okay, it’s not epic story-telling the way The Shape of Water is, but it’s a visual master piece that succeeds in both creeping us out and sucking us in.

Mia Wasikowska plays Edith Cushing, a young woman both relatable but maddening hero_Crimson-Peak-2015because she spurns the favour of her childhood friend, a mild-mannered, handome doctor who cares for her (Charlie Hunnam) in favour of the mysterious badboy newcomer (Tom Hiddleston). Even the brutal murder of her beloved father doesn’t stop her from flitting off to England to a crumbling old mansion atop a mountain that oozes blood-red clay with new hubby Thomas (Hiddleston) and his wicked sister Lucille (Jessica Chastain) as her only (living) roommates.

Del Toro has crafted an ode to gothic ghost stories. The story is simple but the visuals a sumptuous feast, with every inch of his Victorian sets crammed with macabre detail that are never without meaning. He couldn’t do it without some talented help. Thomas E. Sanders (Braveheart, Hook, Star Trek: Beyond; Oscar nominated for Saving Private Ryan and Dracula), who died earlier this year, was responsible for the incredibly rich production design. The mansion was built in its entirety on a sound stage, its layered look reflecting the generations of the Sharpe family who would have lived within it. Although inspired by period architecture, this being a del Toro film, everything was amplified and magnified. The details are familiar but the effect they create it startling and rather lavish. It helps to create a world in which the supernatural feels like a natural fit. Kate Hawley (Edge of Tomorrow, Suicide Squad), costumer extraordinaire, used a lot of the same principles on her end. Every single piece in the film was hand-stitched specifically for it. Though styles and silhouettes were inspired by the fashion of the time (circa 1901), every piece is elevated and la-ca-hc-guillermo-crimson-peak-20151011made more moody, more dramatic. Weeks and weeks were spent stitching an intricate detail onto one of Chastain’s dresses that gets a lot of screen time. And this being a haunting ghost story, every costume had to look just as meticulous from behind, for those eerie shots down darkened hallways.

Tom Hiddleston I can generally take or leave (well, preferably leave) but Jessica Chastain continues to impress with her versatility and restraint. And interestingly, it’s del Toro staple Doug Jones who packs a major wallop. A classically-trained mime and contortionist, most of Jones’ best work is done under heavy layers of prosthetics, but embodying several of the ghosts in this film, he reminds us just how creepy a mere movement of the arm can be.

Guillermo del Toro is a master orchestrator of aesthetic and imagination. Crimson Peak’s script doesn’t quite hold up to its incredible production design, but it chills your bones when it wants to and sets your blood pumping overtime when it needs to. There are twisted monsters hidden in the depths of the Allerdale mansion, but like his crowning achievement The Shape of Water, they aren’t always who you expect.

 

 

 

 

 

Advertisements

Thor: Ragnarok

post_master-thor-960x540The Marvel Cinematic Universe is so bloated by this point that it’s a full-time job to keep up with what’s going on.  Thankfully, Thor: Ragnarok doesn’t get bogged down in what’s come before.  Instead, the third installment in the Thor franchise tells a self-contained story and shifts Thor’s segment of the universe from dreary fantasy mode to action-comedy mode.  From a cameo by Matt Damon that I totally missed, to a Taika-Waititi-voiced blue rock monster, to Hulk and Thor arguing over everything and anything, Ragnarok is the funniest apocalypse movie you will likely ever see (sorry, Zombieland!).

My only complaint, really, is that the plot got in the way of the fun.  Every time the scene shifted to the problems Cate Blanchett’s Hela was creating in Asgard, all I wanted was to get back to the wacky trash world where Thor and Hulk had crash-landed.  I guess this movie had to justify its existence by advancing the plot and having big stakes but I would have gladly spent the whole run time hanging out with my new favourite Avengers (who I am happy to report have now started their own spin-off team).

Anyone who has enjoyed Taika Waititi’s past work will not be disappointed by Thor: Ragnarok.  If you haven’t enjoyed Waititi’s work, you’re probably on the wrong site, and if you haven’t seen his other stuff, then do!!!  Start with Thor: Ragnarok and go from there.

As he always does, Waititi will introduce you to madcap supporting characters whose main purpose is to make you laugh, and even better, he will show us that Thor and Hulk have actual personalities.  Purists may take issue as those two characters are notoriously dull, but I thought it was a fantastic improvement that should be carried forward into the next 40 or 50 Marvel movies that apparently are still to come.  Comic book movies should be bright, colourful and fun, and Thor: Ragnarok is all of those things from start to finish.  Go see it!

 

Kong: (Bored Out of My) Skull Island

There are so many interesting components to this film that I find it unnatural and surprising how much it still sucked.

Basically: John Goodman convinces some government types that there’s this mysterious, vaguely-skull shaped island and the USA needs to LOCK THAT SHIT DOWN, like, be the first to “conquer” it and claim it as their own. So he hires crack photographer Brie Larson (for some reason), and master tracker Tom Hiddleston (for some reason) to accompany MV5BYzU4Y2VjN2ItZDA4Yy00MTBkLWI0ZGMtODcwZWY5ZDJlYTg1XkEyXkFqcGdeQXVyNjEwNTM2Mzc@._V1_SY1000_CR0,0,1500,1000_AL_him and the army led by Sam Jackson to the island that everyone knows is a no good, horrible, very bad idea. You may have noticed that the only thing more useless on this trip than the photographer is the tracker, except the little surprise that John Goodman has been keeping under his hat is: fuck surveying the island, he’s there to bring down the GIANT FUCKING BEAST, Y’ALL! Daaaaamn.

Except fuck you, John Goodman. King Kong is the least of your worries if you’re playing tourist on Skull Island. There’s much MUCH worse. But even though there’s a bevy of monsters and a bunch of a-list actors, none of them are remotely interesting. So that’s too bad. The movie is over-cast, and I’m not sure that I’ve ever said that before. But it’s just too crowded with famous faces and not one of them has a damn thing to do. And if any of them got any ideas about doing some acting or even just reciting a line that wasn’t entirely forgettable\unnecessary, Samuel L. Jackson was there to be a vacuum of talent, where his overacting is wildly disproportionate to the entire tone of the movie, thus hogging 110% of our energy, attention, and frankly, consternation, sucking up literally any sparks that anyone else was throwing off.

The only thing that I even wanted to like was Kong himself, but the movie couldn’t keep his size straight and that made me dizzy with rage (as did Brie Larson’s amazing, never ending roll of film). Kong is supposed to be big, and he is, but how big? Director Jordan Vogt-Roberts hopes you never ask that question, because he certain hasn’t. The answer is that it varies greatly from scene to scene and if you’re the kind of person who’s okay with glaring errors of continuity that don’t even take you seriously as a human being who can appreciate the difference between a station wagon, a sky-scraper, and a mid-range mountain.

Kong: Skull Island has an A-movie budget but a B-movie feel.