FROM SMALL THINGS BIG THINGS COME

This review was published in The West Australian dated Jul 16, 2015.

MOVIE

Ant-Man
Paul Rudd, Michael Douglas

Review Ray Chan

Early pre-release reviews of Ant-Man were discouraging, with some proclaiming the latest Marvel Studios movie as possibly the worst in the franchise.

    Certainly, the signs weren't good from the start. The project had initially been given to Edgar Wright, the director behind Shaun of the Dead, whose passion for all things geeky and clever comedy-action approach won over many fans. But he left the movie after "creative differences", studiospeak that Marvel became wary of Wright's influence possibly veering off the formatted template used for the other Marvel offerings.

    Enter the lesser-known Peyton Reed, who was then forced to put together something from Wright's concepts, and a screenplay attributed to four writers: Wright, Joe Cornish, Adam McKay and star Paul Rudd.

    Yet, surprisingly, the result is far from unrefined cinematic chowder, as one might expect from such an unfortunate collaboration.

    The story revolves round a kind-hearted thief named Scott Lang (Rudd), who is hand-picked by scientist Hank Pym (Michael Douglas) to replace him as Ant-Man, a guise he no longer wears after his wife Janet, a heroine named the Wasp, died while the two of them were in the midst of one of their battles against forces of evil.

    Scott is asked to don Hank's miniaturising suit and thwart the ambitions of Darren Cross (Corey Stoll), Hank's former protégé who now runs his company, and who's developing his own shrink-ray technology that he plans to sell to the villainous conglomerate Hydra. Scott has to break into Cross' headquarters and steal his shrinking suit known as Yellowjacket - a plan that involves some humorous training montages and banter between Scott and Hank's daughter Hope (Evangeline Lilly), who wants to wear the Ant-Man tech herself.

    Despite his early wayward venture into crime, Scott has a heart of gold and responds to every situation with a good-natured retort before getting on with the important job of saving the day. With this mix of goofiness and noble intent, he comes across as a far more likeable character than, say, someone as arrogant as Iron Man's Tony Stark, or as wisecracking as the Guardians' Peter Quill.

    Sure, the plot's familiar and recycled. Weird science; imminent danger; father/daughter conflicts; hero saves the day. The tone of the movie, however, is relatively light and predominantly faithful to the comic book feel from which it was spawned.

    There are some lovely little touches, like henchman Luis (Michael Pena) whistling 'It's a Small World' when he is waiting for Scott to infiltrate Cross' building, and when the main antagonist gets trapped in a bug zapper. Scenes like these make the movie especially enjoyable for those numbed by the endless backdrop of destruction shown in films such as Avengers, Transformers and Man of Steel, or the grittiness and seriousness of offerings like Captain America, Thor and the Dark Knight.

    The simple and fetching shrink gimmick of Ant-Man steals much of the show. The vacillations between shrinking and enlarging - the technology allows for both - leads to some spectacular effects, whether it's Scott leading an army of ants, or a toy tank being blown up to real-life, working proportions. The climactic smackdown between Scott and Cross takes place largely on a toy train set, and is particularly memorable for a Thomas the Tank Engine accidentally being expanded into gigantic size.

    The movie also reveals connections with the Avengers that will please Marvel fans, and includes a cameo by an unexpected character. For comic book readers, the movie is replete with references that will be familiar, such as the mention of Tales to Astonish, and the use of the name Milgrom. As well, the post-credits scene offers prospects of a revival of the Ant-Man/Wasp team.

    Ant-Man is sure to entertain audiences of all ages, particularly the younger ones tired with the grim and dark exposition of many other super-hero releases. Ultimately, though, it feels more like an appetising piece of finger food - appropriately enough - than a full meal. It's a tasty morsel that Marvel is serving up while we wait for the main course of the next super-sized action-hero movie.

MORE CHEEK TO BEAR

This review was published in The West Australian dated Jul 1, 2015.

MOVIE

Ted 2
Mark Wahlberg, Amanda Seyfried

Review Ray Chan

I loved Seth Macfarlane's A Million Ways to Die in the West, even though many critics and viewers didn't. But judging by the guffaws at the preview of Ted 2, it seems the creator's gutter, sophomoric humour conveys itself better through animated characters such as his Family Guy line-up, or via the lips of a cuddly teddy bear come to life.

    Certainly, there's an abundance of the trademark gross-out sight gags and scatological jokes in this sequel to the surprise 2012 hit about the profane, pot-smoking sentient doll. But perhaps its's the odd mix of innocence and vulgarity that makes the growing Ted franchise weirdly enjoyable, even by those who don't wish to admit it. But hey, in the dark, no-one can see you laugh.

    The movie kicks off with the marriage of Ted to childhood sweetheart Tami-Lynn (Jessica Barth), before evolving into a splendid Busby Berkeley routine that captivates the audience's attention from the start. But there's trouble a-brewing (or even a-bruin) in paradise, with the couple embroiled in so many quarrels that they figure only having children will help restore domestic bliss.

    Towards this end, Ted's deficiency is obvious, so they choose to adopt a child, which immediately raises a red flag with the Government about the bear's rights as a person. Together with thunder buddy John Bennett (Mark Wahlberg) and Sam L Jackson (Amanda Seyfried), Ted takes the case to court, where he rules proceedings with his mix of well-meaning but crass commentaries.

    There are many choice moments along the way, such as a Disney-esque song scene in the middle of a deserted farm, Morgan Freeman playing the sort of suave, sensitive soul he has often been stereotyped as, and a visit to a comedy improvisation club where Ted and company shout inappropriate suggestions, both cringeworthy and hilarious at the same time.

    Perhaps the only unnecessary element was the return of Giovanni Ribisi's unlikeable character from the first movie, with the villain intent on capturing Ted and making copies of him, including one of his very own to keep. But it does allow Macfarlane the opportunity to unleash his inner geek and shoot scenes at the New York Comic Con, where ultimately various cosplay characters end up fighting each other as the film moves to its climax.

    With the movie premiering in the same week as Perth's SuperNova comic convention, the timing could not have been better for it to gain some valuable word-of-mouth promotion. Certainly, more than a few convention enthusiasts would have left the theatres with broad grins on their faces.

    The film is precisely what viewers familiar with the original would expect, no less and certainly no more. Yet while it is among the funniest movies to be released this year, its place in the galaxy of cinematic comedies will barely register a cosmic ripple. Macfarlane may have tapped his formulaic seam of pop culture-influenced, off-colour buffoonery to its fullest, and it will be interesting to see if he brings anything new to his next project.

A WIN FOR THE ONLY GAYS IN THE VILLAGE

This review was published in The West Australian on  July 1, 2015

FILM
Pride
Ben Schnetzer, Imelda Staunton
Director Matthew Warchus
REVIEW RAY CHAN

This Cannes-winning film mines a formulaic shaft used frequently in recent times, one based in British industrial strife and seemingly always set in quaint little villages.
    Some of the experiments have worked wonders, others not quite so. But while it sounds an exaggeration, Pride is an uplifting, sure-fire crowd-pleaser that may well be the best of them all.
    The feel-good offering from director Matthew Warchus, suffused in 80s music and nostalgia, is taken from the real-life 1984 dispute between prime minister Margaret Thatcher and the National Union of Mineworkers over coalmine closures.
    With the miners standing firm and embarking on a protracted and debilitating strike, a band of gay activists - seeing similarities in the way both groups are pilloried by PM, press and police - opt to show their support by raising money for the strikers and their families.
    Despite encountering initial resistance, the Lesbians and Gays Support the Miners - led by activist Mark Ashton (Ben Schnetzer) - find support from a small town in Wales' Dulais Valley, after a misunderstanding with a confused local woman seals the unexpected alliance.
    But once arriving in the village of Onllywyn, the group - despite presenting the funds they have thus far collected - are treated with disdain by most of the miners, whose self-respect has already been whittled away by their increasing reliance on their wives.
    In an era when homosexuals were reviled and communities were grappling with the onset of AIDS, the prospect of accepting welfare from "poofs", as one of the gay characters states, proves too hard to stomach for most of the community, except for a small group headed by benevolent striker Dai (Paddy Considine) and old- school village elder Cliff (Bill Nighy), plus a bevy of good-hearted working-class matriarchs, including the outspoken Hefina (Imelda Staunton).
    It is the ensuing culture clash that provides much of the film's entertainment, as both sides come to grips with the nuances of one another, the frippery and flamboyance of the gays clearly contrasting with the dourness of the miners.
    In a show-stealing scene, the theatrical Jonathon (Dominic West) demonstrates some spectacular dancing moves to the womenfolk, who in turn are inspired to move out of the shadows of their husbands.
    Encouraged by a fiery Hefina at the helm, a group of drunken village women later wander though the gay bars of London with a game sangfroid belying their obvious naivete, culminating in a sleep-in at Jonathon's pad where they encounter a sprinkling of male centrefolds and sex toys.
    There are a lot of names and faces to handle but Warchus ensures the audience is able to differentiate between all the personalities, a task made easier by fine performances from the stellar cast. The story, as intricate as it is, is filled with moments of great emotional power, triumphs and tragedy.
    Amid the jokes about miner machismo and lesbian cuisine, writer Stephen Beresford doesn't shy from addressing the devastation that will face the miners if the pits close. Nor does he ignore the fear the gay community feels at the threat of HIV, a point made all the more poignant when it is revealed at the end of the film that, in real life, Ashton died from the disease when only 26.
    While the movie sometimes meanders close to cliches and sledgehammer humour, Warchus directs strongly, ensuring it never falls into schmaltz, managing to circumvent them with wholesome open-heartedness and the core message of solidarity: that standing together makes for the strongest union of all.