Tag Archives: Eric Bana

Hanna (2011)

You could say that Joe Wright is an energetic director. You wouldn’t be wrong, but you also wouldn’t want to go so far as to compare him to a guy like Danny Boyle, who approaches every shot like he’s directing the X-games. But Wright has certainly established a style, and seems to be honing it in his latest, Hanna. This style is built on a fluid mix of a number of different approaches. Wright often employs deep, throbbing club music in his action, nearly taking away any of the diegetic sound. He also likes to keep his cameras close to his actors and hold his cuts as long as possible, giving the impression that there is always something just off-camera ready to strike. And though he has no problem picking up the pace of his films, Wright is just as prepared to slow things way, way down. What culminates in these choices is a style of filmmaking that never truly allows you to relax. For a film that deals with a 16-year-old girl entering the world for the first time and kicking a whole lot of ass, this could be the most effective choice in a barrel full of good ones.

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Funny People (2009)

It seems like comedy has more to do with putting yourself out there completely than anything else.  If it’s not funny then it’s not funny, likewise for being overly offensive or dated, but if the comedy is non-committal than everything else will fall short anyway.  With his latest direction, Funny People, Judd Apatow exercises this notion possibly to a fault.  The director throws everything he’s got into his third feature film, an exercise made more strenuous by the looming uncertainty of what this film is…Comedy?  Drama?  Both?  Neither?  B-Movie Sex Horror?  No…no, it’s not that.

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Munich (2005)

Some of Steven Spielberg‘s best work. As he is gaining the freedom to do what he wants, he is taking advantage of it in a really great way. Making message films that won’t necessarily please a universal audience. My only complaints were that it felt a wee bit patronizing by the end. The entire movie is setting up this idea of “war and the warrior-is it worth it in the end and if not, why do we continue to fight so passionately?” Granted, this is a powerful message and should be made clear, but it’s more powerful when the audience can find it on their own. Continue reading