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Posts Tagged ‘Maisie Williams’

A cynical person, and perhaps even a not-especially-cynical person, could be forgiven for their lack of surprise that one of the first studio movies released now cinemas are reopening is a Marvel superhero film, as it sometimes feels like one of them comes out every few weeks anyway. In the case of Josh Boone’s The New Mutants, however, this cynicism would likely be misplaced. This isn’t Marvel Studios reclaiming their position of box-office supremacy with a confident resumption of business-as-usual. This is one of Marvel’s former licensees basically dumping a film which no-one seems to have a great deal of confidence in.

Initially it’s not obvious why this should be the case. It opens with Native American teenager Dani (Blu Hunt) fleeing a mysterious disaster engulfing her home and killing her family and friends. She finds herself in a remote and slightly decrepit facility, a cross between a reform school and a mental hospital, apparently run by the enigmatic Dr Reyes (Alice Braga). Reyes wastes no time in expositing at her: this is a place where young mutants who are just manifesting their powers are brought, for treatment and evaluation, until they are no longer a risk to themselves or others – at this point they move elsewhere, to another site run by Reyes’ mysterious superior. Also currently banged up in this fairly unpleasant spot are Rahne (Maisie Williams doing a hoots-mon accent), who can turn into a wolf, Roberto (Henry Zaga), whose main power seems to be setting fire to himself, Sam (Charlie Heaton), who can blast himself through the air, and Ilyana (Anya Taylor-Joy doing a moose-and-squirrel accent), whose mutant power is that she has magic powers (er, what…?). There is much sparring and bonding between the quintet, but strange events keep happening: some ominous force is at work in their midst, and none of them may get out of the facility alive..

How’s this for a tale of woe? The New Mutants was filmed in 2017, initially for a release in April 2018. As this would have clashed with Deadpool 2, however, it got pushed back to February 2019. And then August 2019. And then Fox, the producers of the film, were bought by Disney, owners of Marvel Studios, which paradoxically made everything even more complicated: Disney apparently didn’t like it, cancelled the extensive reshoots which had been planned, but still considered retooling it as the film which would introduce mutants and the core X-Men concepts into their own shared meta-franchise. In the end they didn’t bother, though. (The whole thing is so mangled that Stan Lee is credited as an executive producer, despite the marque at the front being that of 20th Century Studios, an entity which didn’t even exist until over a year after his death.)

As a result it’s quite hard to assess The New Mutants fairly, as apparently it didn’t even get the usual pick-up reshoots most movies now get, let alone the major surgery it was in line for at one point. This is almost a first draft or rough-cut of what the finished product should have been, put out into cinemas as a contractual obligation to amortise at least part of the expense of making the thing.

Let’s be clear: this is, on some level, an X-Men film, although links to that franchise have been pared back to pretty much the minimum possible. It’s based on a comic spun-off from the core X-Men title in its imperial 80s phase, which blatantly took the concept back to basics – a soap-opera about a group of teenagers with uncanny powers (the New Mutants title itself has the ring of a placeholder about it). Perhaps quite wisely, the film version feels the need to do something a bit different, and the director and the publicity material are very open about what: this is supposedly a horror film set in the X-Men universe.

Except it isn’t, really – that may have been the director’s original vision, but this isn’t really a horror film. Or at least it isn’t a successful one, by which I mean it isn’t actually scary or creepy or unsettling. Your youth-wing X-Men for the proceedings are Psyche, Wolfsbane, Magik, Cannonball and Sunspot (although Sunspot’s powers seem to be different from the comics), and if those names mean nothing to you then you may well struggle to get especially invested in these characters, as they are quite drably presented. If you do know the characters, on the other hand… well, the script has to do some awkward jigging about, as Dani is taken to a hospital for mutants despite it not being at all clear what her mutant power is. The revelation of what it is she can do is therefore obviously of great significance to the plot… which means that if you’ve read the comic and already know, you’re way ahead of the characters in the movie and the big twist will be a damp squib for you.

Quite apart from making an unscary horror movie, Boone also seems to be trying to do a gritty psychological drama about troubled teens – something quite downbeat and introspective. Here again the nature of the form seems to be fighting him: you expect a big villain, you expect major set pieces. A movie with only six characters almost entirely set in a single location is… well, going against expectations is one way of putting it. But it still has all the slickness and superficiality of a studio movie aimed at a youth audience: Boone has said he felt creatively neutered while making the film, and this does have the feel of a project where key people involved in production had very different ideas about what the end product should be. It ends up feeling inert: the narrative moves in fits and starts, rather than organically developing.

In the end there are some half-decent performances (Taylor-Joy in particular is working hard to make the best of some fairly ripe material), and the climax, in which the characters finally come together to do battle with a common enemy, is effective on a purely functional level. But this is the point at which it feels least like a horror film and most like another slightly anonymous CGI-slathered superhero movie.

Apparently there were plans for a trilogy, with each film mimicking the style of a different horror subgenre; possibly even appearances from some of the main X-Men characters. But none of that seems likely to happen now, and we are left with a film which doesn’t seem to have had a fair crack of the whip on any level. There seems to have been a concerted effort to keep the director from bringing his vision to the screen from the producers, the initial studio, and now the new owners of the film – although that isn’t to suggest an X-Men horror film is a particularly good idea anyway.

Twenty years is, as they say, a good innings, for a movie franchise at least: thirteen movies in twenty years, many of them decent or better, is an even more impressive achievement. I think The New Mutants isn’t quite as bad as last year’s X-Men: Dark Phoenix, though it’s a tough call (someone at the end of Dark Phoenix shouted ‘That was so bad!’ while the audible cry at the end of this film was ‘Awful! Awful!’) – but either way, this is a rather dismaying end for what was once a genuinely exciting series of movies. Of course, this was never the plan, but it is the reality we’re stuck with. The delay in the release date may have done The New Mutants one favour, in that it does feel very timely – overtaken and undermined by unexpected events far beyond its makers’ control, it does feel so 2020.

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Normally, I would suggest that all that one really needs to say about Early Man is that it is the new movie from Nick Park and Aardman Animations, the award-laden creators of the Wallace and Gromit series, the Pirates! movie, the Shaun the Sheep movie, Chicken Run, and Flushed Away. Aardman are, I suppose, the closest thing to a British version of Pixar, routinely producing films which are, if nothing else, a showcase for the highest standards of creativity and craftsmanship, and Nick Park is their highest-profile creator (he has a habit of turning up to the Oscars in all-advised home-made bow ties).

Given it routinely takes years of work, comprising thousands of person-hours, to complete a movie, one wonders just how Park settles on one of his feature-length projects: I’d be terrified of getting bored halfway through or realising the idea just wasn’t as strong as I’d thought. No matter how his process works, the end result this time sees Park and his team venturing into new territory.

As the title suggests, Early Man is set in prehistoric times, and concerns Dug (voiced by Eddie Redmayne) and his tribe of easy-going and generally inept cavemen (we should probably call them cavepeople, come to think of it). Catching even a rabbit is a push for this lot, and Dug’s ideas that they should branch out into mammoth hunting seem wildly optimistic.

Soon, however, they have bigger problems, for their verdant and peaceful valley is annexed by the forces of a much more advanced Bronze Age civilisation, overseen by the avaricious Lord Nooth (Tom Hiddleston, not that you can tell). Most of the tribe is driven into the hostile badlands where they are easy prey for predatory geese, but Dug finds his way to Lord Nooth’s city where he discovers the invaders have an unexpected Achilles’ heel – they are all mad about football (or soccer, depending on which variety of English you speak).

Dug hits upon a cunning plan – he challenges Lord Nooth’s team, Real Bronzino, to a match to determine the fate of the valley. Win, and the cave people get their home back and can live there peacefully. Lose, and they all go down the mine together. The gamble seems worthwhile, except for the fact that none of them have ever played football before…

Early Man opens with a tip of the hat from one master animator to another, as Nick Park lovingly spoofs one of Ray Harryhausen’s more famous films, the Hammer caveman picture One Million Years BC. Indeed, it initially looks like the whole thing is going to be a send-up of that kind of thing, with a few slightly Flintstones-esque jokes stirred into the mix. But then there are suddenly some jokes about football, and then the bad guys turn up, doing an array of outrageous European accents, and suddenly, it’s clear that… well, it’s clear that it’s very unclear what this film thinks it is, except on the most basic level.

Let us get the slightly problematic aspect of this film out of the way. Just as virtually every major American release these days is deconstructed to determine just what its attitude is to the Trumpclasm and the Unique Moment (etc, etc), so every significant British film is equally analysed to see if it is saying something about the probable British departure from the European project. Early Man is about a plucky bunch of cave people with British accents who come together to save their homeland from the depredations of a bunch of exploitative outsiders with French, German, and Italian accents. Togetherness and old-fashioned pluck is all it takes for them to win the day and reclaim their independence (if you doubt that this metaphor about the cave people representing the UK is intentional, the script is explicit about the fact that it was Dug’s lot who initially invented football and exported it to the rest of the world, who then learned to play it better than they did).

It’s not exactly scintillating stuff (unless you’re an op-ed chimp for the Daily Express or Daily Mail, anyway), but it least it suggests a level of depth to the film which just isn’t there most of the rest of the time: I suppose you could say Early Man is a kind of parody of sports movies (I found myself thinking particularly of Escape to Victory, but probably only because the two films are equally implausible), but a lot of the time it’s just a sports movie sprinkled with some rather variable gags, and hardly any of the little in-jokes and cinematic allusions one has come to expect from Aardman films. Quite apart from the sledgehammer satire, there are probably just a few too many gags about bodily functions for this to really qualify as a children’s film, strictly speaking, but on the other hand there’s not a great deal here for adults to enjoy on their level, either.

If you compare it to a film like Coco, which was at least as inventive and visually impressive, but also managed to be genuinely moving and included some lovely, resonant metaphors and a universal message, Early Man just comes across as rather shallow, knockabout stuff – unsophisticated slapstick backed up by a load of really bad puns. I’m not going to suggest that this isn’t a funny film, because I did laugh quite a lot, but it’s not exactly side-splitting, either, and some of the jokes earn their laughs solely because of their sheer perseverance.

There is the usual voice cast of distinguished actors, including Maisie Williams, Timothy Spall, Rob Brydon, Richard Ayoade, Miriam Margolyes, and so on, and the film’s technical achievements are genuinely impressive, as usual. The problem is that the script just isn’t up to the same level, and isn’t really built around a sufficiently strong central idea. This isn’t actually a bad film, and if it had been made by anyone else I expect it would be greeted as an impressive piece of work. But judged by the standards of other Aardman movies, Early Man can’t help but feel a little underpowered.

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