In the Heart of the Sea

Released:  December 11^th, 2015

Rated:  PG-13

Distributor:  Warner Bros.

Starring:  Chris Hemsworth, Benjamin Walker, Cillian Murphy, Tom Holland, Ben Whishaw, Brendan Gleeson

Directed by:  Ron Howard

Written by:  Charles Leavitt

Personal Bias Alert:  never read Moby-Dick, likes man-versus-nature themes

5.3 of 10

            Walking through the local movie theater a few months ago, I spotted a poster for In the Heart of the Sea.  It’s a great poster, using the massiveness of the whale to emphasize the futility of men, and then I noticed that it listed the old March release date.  The film was delayed for nine months, allegedly to position it for an awards season run, but few people bought that explanation.  It originally would’ve competed with the releases of Cinderella and Run All Night, while it’s new December slot had it up against zero wide releases.  A stinker was suspected, and the long wait soured many, like me, who were intrigued by this film.  Now it’s finally out in the world, and while it’s not a complete travesty, it does blow a solid premise and a strong cast.

            In the Heart of the Sea endeavors to tell the real-life inspiration for Moby-Dick, where the crew of the whaling ship Essex is attacked and stranded by a massive white whale.  There’s no one here to call Ishmael, but the storyteller role remains, taken over by the grizzled and haunted Thomas (Brendan Gleeson) who was the cabin boy on the ill-fated trip.  Novelist Herman Melville (Ben Whishaw) drags the story out of him, and what unravels is a tale of many, but unfortunately incohesive, sides.

            Charles Leavitt gets the lone screenwriter credit here, but story credits also go to the writing duo of Rick Jaffa and Amanda Silver.  Leavitt’s spotty track record includes the excellent Blood Diamond and the terrible Seventh Son, while Jaffa and Silver have collaborated on blockbusters like Rise of the Planet of the Apes and Jurassic World.  That’s not a particularly strong team, and they clearly struggled with the cumbersome, sprawling nature of this story.  There’s a lot of characters to set up as well as the unfamiliar business of whale hunting, and then they needed to condense what is a very long story into a manageable size.  They never seem to land on how to do any of this, as characters are paper-thin but made to have unsatisfying arcs (á la Jurassic World) and the story is allowed to plod on far longer than is needed (á la Seventh Son).  To add to the messiness, there’s a part of the film that tries to take on the myriad of themes that run through the story, but there’s also clearly a pull to make this into an action film (there’s a moment where Chris Hemsworth jumps at the whale with a hatchet).  This overall disjointedness nearly ruins what should be an epic tale, one that Melville himself was able to form into an American classic.

            Luckily for the audience, even when the story struggles there’s always a top-shelf actor onscreen to make it sort of work.  Hemsworth leads the group, and even though his accent is a bit shaky, his shoulders and acting ability are more than broad enough to carry the load.  He, Benjamin Walker, and Cillian Murphy make a nice threesome as the ship’s leaders, and they smooth out some of the dark turns that the film takes.  Tom Holland plays the younger version of Gleeson, and he yet again proves to be a young actor worth watching.  But it’s the scenes back on land with Gleeson and Whishaw that pop the most, proving yet again that masterfully played conversations can be more riveting than CGI spectacles.

            And there is a lot of CGI in this thing, as everything from the whales they are hunting to the backdrop behind the characters is digitally rendered in a strangely obvious way.  It’s the kind of film where the real things feel more palpable and set apart from those that aren’t, and it’s such a pervasive feeling that it’s hard to determine whether it was intentional or not.  Director Ron Howard would be the man to ask, and whether you find this effect and his constantly moving camera beautiful or a bit annoying will be dependent on your personal taste  It certainly makes it impossible to forget that you’re watching a movie, and while it does lead to a few impressive shots, that doesn’t make up for how jarring it often is.

            In the Heart of the Sea had a tough legacy to live up to, both from the history of its story and from the talent involved in its production.  It’s disappointing that it is such a long, jumbled mess, but there’s still bright spots peppered into this long slog.  Then again, it’s kind of fitting that the filmmaker’s attempt to make an epic out of the story behind Moby-Dick ended up as their white whale.

Other Notes:

Ø  Warning:  this film contains unnecessary whale gore.

Ø  As good of a job as Hemsworth did, I still feel that he was miscast.  He’s just too lumbering and imposing of a figure to be in the cramped spaces of a boat.

Ø  Is it possible for Frank Dillane not to feel smarmy?

Edge of Tomorrow (2014)

Released:  June 6^th, 2014

Rated:  PG-13

Studio:  Warner Bros.

Starring:  Tom Cruise, Emily Blunt, Bill Paxton, Brendan Gleeson

Directed by:  Doug Liman 

Written by:  Christopher McQuarrie, Jez Butterworth, John-Henry Butterworth

Personal Bias Alert:  likes time travel stories, not averse to Tom Cruise

8.7 of 10

            After seeing this film, I immediately texted my friend “find out nothing about ‘Edge of Tomorrow’ and go see it.”  It really is a film best seen cold, which brings up an old, tired dilemma for reviewers:  how do you talk about a film without talking about it?  There’s no good answer, so I’m going to try to balance my bubbling desire to talk about this film with my equally strong desire for everyone to go see it and have as much fun as I did.  Translation:  I’m going to be as vague as possible, but I encourage everyone to take the advice I texted my friend.  Stop reading this unless you’ve seen the film.  Please.

            Tom Cruise plays William Cage, a spokesperson turned soldier for the allied human forces fighting a species of alien invaders.  The aliens are marching across Europe, greatly helped by their ability to reset time.  Meaning, if things go wrong, they can rewind and start things over again until they get it right.  Humanity has recently landed a rare victory at Verdun, which prompts an ambitious, three-pronged attack against the aliens.  Cage is sent to the shores of France to participate in the first wave, only to witness the human forces be slaughtered and eventually be killed himself.  But he, in the process of killing an alien, absorbs their reset power and begins reliving the 24 hours preceding the invasion over and over again.  His task becomes to change the outcome of the attack, save humanity, yada yada yada.  He is helped by Verdun hero Rita Vrataski (Emily Blunt), one of the few people who believes his insane story.

            Now that’s just the setup, which, like here, does take some time to get through.  It’s something we’ve seen before, and this portion of the film does feel a bit tired.  It’s a necessary thing to get through, though, and there are moments of humor and some great battle sequences to keep you from getting too bored.  It’s what happens after this setup that makes the movie great, unfolding in zigs and zags as they try to figure out how the day needs to play out.  I’ve seen these sorts of movies before, and I was pleasantly surprised with the turns the film took.

            Cruise is made for these roles, either that or he’s done them so many times they have become part of his DNA.  He sells the crazy stuff happening, lands the jokes, and is incredibly watchable while doing it.  I don’t know what it is about movie stars like him, but they are just able to command a viewer’s attention.  Blunt is another great choice, but she’s not so obvious a fit as Cruise.  Then again, Cruise isn’t a young man anymore, and casting a slight woman and an aging man as your leads in an action film is kind of daring.  It works here because it sells the premise that his reset ability is what’s important.  It also lends an odd couple feel to the whole thing, which is the source of a decent amount of the film’s humor.  That humor keeps things from getting too dark, something the film flirts with throughout its midsection.  Part of me wanted it to go there, but then again, that would have slowed things down.  The steadily building plot is the strongest part of the film, so I’m fine with that particular choice.

            You’ve probably seen promos that heavily feature the robotic exoskeletons that humans wear as they fight the aliens.  They’re cool, but I also like that they didn’t give the soldier’s too much power.  They aren’t running around blowing everything up like super soldiers.  The suit the actors wore was supposedly very heavy (85 pounds).  I’m sure those were a pain to film in, but I loved that you could see the actor’s stance and gait change under the weight.  It really helps sell some of the action sequences, but others are hampered by blurry images that I can’t be sure were due to bad effects or bad camerawork.

            The plot is the star here, and I was enthralled by it.  At one point, I came out of my reverie and realized that I wasn’t paying attention to lighting, music, or any of the other technical stuff I should make note of in my review.  I was just having much fun with it, so I said screw it and dropped right back into the story.

            Other Notes:

Ø  The characters can be a bit thin, but then again, most of them never go through more than a day’s change.

Ø  For a time travel movie, there are remarkably few plot holes.  There’s always some, though.

Ø  Nice tie-ins to both world wars.  Verdun was the site of a major WWI battle and the invasion sequence looks like D-Day from WWII.

Ø  I wish it didn’t end that way.  It really feels false and tacked on.