Posts Tagged ‘Timur Bekmambetov’

SEARCHING: 4 STARS. “genuine thrills elevate the story past its visual gimmick.”

We all do internet searches everyday but a new film ups the stakes. “Searching” is a high tech missing person’s story.

We first meet dad David (John Cho), mother Pam (Sara Sohn) and daughter Margot (Michelle La) through a cleverly edited montage of their on-line activity. From e-mails and YouTube videos to log-ins and Facebook pages, we learn about their lives including Pam’s cancer diagnosis. The tight family is torn apart by Pam’s illness, with 16-year-old Margot retreating pulling away from her father until one night when she disappears without a trace after a study group meeting. When she fails to answer any of David’s texts he calls the police. Working with Detective Vick (Debra Messing) he sifts through Margot’s online life in a desperate search for clues. The deeper his cyber investigation goes the more twists appear. “I didn’t know my daughter,” he says.

From Google Maps and app controlled surveillance cameras to FaceTime and Instagram, the story is told through a series of browser windows via laptops and iPhones, any device with a screen. It sounds like it will sterile, like an afternoon of web surfing with higher stakes, but director Aneesh Chaganty humanizes the story. Technology tells the tale but the beating heart of the narrative is David’s determination to find his daughter. The film’s style is very specific and very modern but the theme of connection between parents and children is universal.

“Searching” feels like high tech Hitchcock as David uncovers the details of his daughter’s life. The more browsers, the more suspense. Chaganty uses our familiarity with these sites—many of us go to them everyday—to ground the story in reality and underline the alienating quality of social media that fails to fill the hole left by loneliness and grief. Also, who would have thought a Norton antivirus reminder that Pam’s account hasn’t been scanned in 694 days could take on such poignancy?

We’ve seen these screen-shot movies before—2014’s “Unfriended” comes to mind—but none have had the emotional arc of “Searching.” It’s a little too conventional in its climax and conclusion but John Cho’s terrific performance and some genuine thrills elevate the story past its visual gimmick.

Metro In Focus: The secrets of that iconic chariot race in Ben-Hur

Screen Shot 2016-08-15 at 6.01.47 PMBy Richard Crouse – Metro In Focus

Ben-Hur director Timur Bekmambetov compares the legend of a Jewish prince falsely accused of treason by his adopted Roman brother to Romeo and Juliet, Hamlet “and any story written by Chekhov.”

Ripe with betrayal, revenge and redemption but shaded with love and compassion, Bekmambetov says the story of Ben-Hur is “timeless.”

“The conflicts the characters experience are as relatable today as they were in Roman times or 1880, when Lew Wallace wrote the novel. It’s human nature and that doesn’t change,” says producer Sean Daniel.

The human story is the engine that propels the Ben-Hur narrative, but throughout film history it’s the tale’s chariot race that entertains the eye. In version after version the showdown between the hero and his duplicitous brother is the centerpiece of the action.

This weekend Bekmambetov’s big-budget version of the story stars Jack Huston as Judah Ben-Hur and yes, there is a chariot race. “It was very, very dangerous work,” the director says of the scene that took 45 days to shoot and featured 90 trained horses. Each chariot was attached to four horses and could reach speeds of 65 to 70 km/h.

“There’s no suspension,” says Bekmambetov. “It’s shaky, it’s vibrating. The horses are snorting around you, behind you. It’s absolutely unprotected. You feel like you’re in the hands of fate.”

No animals were harmed during the shooting of Bekmambetov’s chariot race and, remarkably, the only human injury was a broken arm. Historically, however, shooting the chariot scenes has been fraught with problems.

Toronto-born director Sidney Olcott’s 1907 silent version focused on the race. Shot on a beach in New Jersey with local firemen as the charioteers and firehouse horses pulling the chariots, the scene was lifted directly from the novel, which triggered the first major copyright infringement case in movie history. It wasn’t standard practice to ask the author’s permission before adapting their work, but after Ben-Hur the Supreme Court decreed film companies must obtain rights to previously published work.

According to an MGM memo 1925’s Ben-Hur A Tale of the Christ’s chariot sequence took 42 cameras and two months to shoot at a cost of $500,000. The result was 60,960 metres of film which was whittled down to 228.6 metres. The completed sequence was named the Most Edited Scene of all Time by The Guinness Book of World Records and was copied, almost shot-for-shot in the animated film The Prince of Egypt and in the pod race scene from Star Wars: Episode I – The Phantom Menace.

The spectacular scene featured thousands of extras, including William Wyler, who would go on to direct the most famous version of the story, the 1959 movie starring Charlton Heston.

Legend has it that a stuntman was killed during the shooting of the Wyler’s legendary sequence but according to Snopes.com the rumour is false. In fact it was 1925 shoot that claimed the life of a stuntman who was killed when his chariot wheel broke and he was thrown in the air.

On Wyler’s set a stuntman was injured when his chariot overturned and two other horse drawn carts crashed into a bank of cameras but no one was hurt. Later, when Heston, who did most of his own driving in the scene, was asked if he liked shooting the scene he said, “I didn’t enjoy any of it. It was hard work.”

BEN-HUR: 1 STAR. “it’s hard to forgive some of the film’s choices.”

“Are we having fun now, brother?” Messala (Toby Kebbell) hoots midway through “Ben-Hur,” the fourth big screen adaptation of Lew Wallace’s novel, “Ben-Hur: A Tale of the Christ.” It’s a good question. If your tastes run toward “300” with a hint of “Clash of the Titans” or biblical stories laden with action, then the new Timur Bekmambetov directed epic may be just what the gladiator ordered.

A reimagination of Wallace’s book rather than a remake of the classic Charlton Heston film the story sees “Boardwalk Empire’s” Jack Huston in the title role. Judah Ben-Hur is a Jewish prince living in Roman-occupied Jerusalem during the time of Jesus Christ. His adopted brother Messala is an officer in the Roman army. “My family was one of the most respected in Jerusalem,” says Ben-Hur, “until we were betrayed by my own brother.” Divested of his title and separated from his family, he is exiled into a life of slavery in the galley of a Roman ship. Five years into his imprisonment he is freed after a massive shipwreck. Returning to his homeland with vengeance on his mind—“My family deserves justice for what happened to them!”—he challenges Messala to a life-and-death chariot race. “If your brother is the pride of Rome,” says Sheik Ilderim (Morgan Freeman), you beat him and you defeat an empire. Then you will have your vengeance.” In the end vengeance takes a backseat to forgiveness as Ben-Hur encounters Christ and adopts his teachings.

The new “Ben-Hur” may be all about forgiveness, but it’s hard to forgive some of Bekmambetov’s filmmaking choices. The frenetic editing is meant to convey a sense of urgency but instead of creating drama the fast cuts only emphasize what an empty exercise this is. The most famous version of the story, 1959’s epic, may be a bit of a slog these days at over three hours, but at least that version allowed us time to get to know and understand the character’s motivations. The latest retelling ignores niceties like allowing the story to unfold gradually, creating creative tension and the old chestnut, showing not telling, opting instead to bombard the screen with random 3-D images that, when strung together, form some semblance of a story.

But what should we expect from the filmmaker behind “Abraham Lincoln: Vampire Hunter”? He handles the action sequences with a sure hand, imagining the shipwreck from the claustrophobic ship’s lower deck. It’s wet and wild and over-the-top, but at least it isn’t boring. Ditto the classic climatic chariot race. You can’t tell Ben-Hur’s story without it, and Bekmambetov throws his camera in the middle of the action. It’s a festival of CGI and action movie tropes that lacks the classic sensibility of some earlier versions, but has one or two shots that are exciting and different. It’s just too bad we don’t know more about the charioteers other than Ben and Messala. We know they’re probably not going to survive, but the stakes might have been higher if we at least knew who they were.

In this new translation of the tale Judah Ben-Hur learns to leave behind his human desires and think in divine terms. It’s a good message but there is nothing divine about it’s telling.

ABRAHAM LINCOLN: VAMPIRE HUNTER: 3 STARS

“Abraham Lincoln: Vampire Hunter” throws a crimson stain on American history, but for a movie about vampires “Abraham Lincoln: Vampire Hunter” has very little bite. You have to expect a movie about a president offing vampires to be silly, and this movie is, but you also hope it will have some scares, and those are as rare as beard trimmer in Lincoln’s travel kit.

The story of Abraham Lincoln’s bloodsucker battles begins in 1818 when his mother is killed by a vengeful vampire. His hatred of his mother’s killer grows for years, but when he finally has the chance to even the score, he is bitten by the urge to hunt vampires. Teaming up with a Van Helsing-esque warrior named Henry Sturgess (Dominic Cooper), he uses a silver tipped axe to make sure America remains “a nation of men and not monsters.”

There are a couple of big action set pieces and bloodsuckers get killed by the dozen, but the over reliance on computer generated effects reduces the vampire battles–and that’s what we’re paying to see!– to a bloody synthetic spray of binary code, and little more.

This isn’t a history lesson, it’s a movie about killing vampires in slow motion and on that level it only works in the film’s OTT action sequences. Give me more of Honest Abe jumping from horse to horse during a stampede, and less of everything else. Although, having said that, I have to have a soft spot for a movie that wraps up (MILD SPOILER) with Mary Todd Lincoln (Mary Elizabeth Winstead) saying, “Abraham! Hurry, we’re late for the theatre!”

The vampires do have cool shark fangs, there’s an unexpected horse-drawn-carriage rescue and the head vamp is 5000 years old, but there’s no real atmosphere to go along with the flowery language and petticoats. It’s neither historical or horror. It’s not fish, but it is occasionally foul. The acting ranges from good–Benjamin Walker beards-up nicely as the elder Abe–to the bland–Anthony Mackie as Will, Abe’s forgettable friend–to the bad–Rufus Sewell as the “first vampire” Adam is not nearly megalomaniacal enough–and everyone seems to be struggling to find the right tone to tell the story.

“Abraham Lincoln: Vampire Hunter” director Timur Bekmambetov knows his way around an action scene but despite the gallons of gore on display has made a bloodless vampire movie. Abe would hate it, honestly.