Back in June 2016 I wrote a piece on the then announcement of Alicia Vikander being cast in the role of Lara Croft for the new Tomb Raider film. There have been quite a few updates from when I last spoke about the film, the major point being the release of the poster and the first teaser trailer for the film. For those who haven’t seen the latter, let’s have a look right now, then I’ll go through parts I like along with some other general stuff
Okay, so let’s get into this.
First things first, the film has a reported release date of March 16 2018. At the time of writing that is still half a year away. Teaser trailers are usually sent out before the film has been signed off, so a lot of people complaining about poor CGI quality, it’s not fully representative of the final film. Yes, it’s odd to show it in a trailer if it’s not representative of a final film, but hey-ho, look at Suicide Squad. But while the CGI doesn’t look particularly good, the stunts are done for real. Looking at this behind-the-scenes featurette (warning: may contain spoilers), you can see for yourself that the sets are largely built and that the Stunt Co-ordinator is none other than Franklin Henson (whose list of credits is extensive). He has worked on similar themed films such as Indiana Jones and the Temple Of Doom and National Treasure: Book Of Secrets, which if they are anything are fun, pulpy adventure films that Tomb Raider should fit comfortably alongside.
One point I also want to make is that I love how many references to the 2013 game are in the trailer. The majority of the film is based on the 2013 reboot, along with dashes of the sequel to said reboot, which was released in mid-2015. These are more than just a wink-and-a-nod to the audience who are in the know, these are the scenes ripped direct from the screen to the…erm, slightly bigger screen. The slow-motion jump from the ship, falling through the broken glass of an airplane cockpit, climbing the broken wing of another airplane; these are all shots players of the reboot will recognise. This is probably to appeal to us fans since the film won’t be truly following the game, but that’s adaptations for you, what works for one medium won’t work for another. One scene from the game that hasn’t been shown in the trailer is Lara’s first kill. Lara is using her bow and axe in the trailer, so it’s guaranteed they’ll be some bloodshed, so I hope that this dramatic and memorable scene from the game, where Lara is covered in blood and in shock after killing someone for the first time is in there.
Sadly, there is no Sam or Sam-approximate featured (Lara’s possible beau in the reboot series), just a few lines from Kirsten Scott Thomas being the only female interaction in the trailer. Vikander stated that the film will pass the Bechdel Test, so there has to be some more female characters in there. In the same interview, Vikander also stated the film “…actually has relationships and stories…” so maybe it could be a subtle approach to the perceived “not-straightness” at play in Tomb Raider, which I’ve written about here.
The trailer and the behind-the-scenes featurette do sadly give away a bit too much of the plot for my liking. Maybe that’s my fault for watching too much, but to be honest, apart from the trailer and poster, I’ve stayed away from news about this film. I’m not going to go through the trailer and start dissecting all the scenes and speculate about what might happen in the story (despite previously doing it for Red Dead, Call of Duty, Assassin’s Creed and many more on this exact site) because the trailer is pretty clear on the narrative beats, evil scheming and all. Thinking about it, it’s better than Assassin’s Creed, which hid half of its bogus story away from the trailer, making us all believe more than half of it was going to be in the Animus.
Talking of Assassin’s Creed, yeah I know. We’ve all been burned before. Assassin’s Creed was a personal one for me. I’m going to keep harping on about Macbeth forever, because it was the perfect precursor to what an Assassin’s Creed film could look like. That film was excellent, and yet despite having the exact same cast and crew, Assassin’s Creed was a confusing mess, despite showing us the exact opposite in it’s promotional material. Maybe I’m too forgiving of Hollywood, maybe I’m clutching at straws in the hopes of a game I love being adapted for a wider audience. All it has to do is not be terrible. That really shouldn’t be a big ask.
Finally, I just want to address the wave of backlash against Alicia Vikander as Lara Croft. Check out the comments for the trailer up above, or the comments in IGN’s thread on the trailer. I called this back in May, that Vikander was going to have a hard time because she wasn’t “real Lara” i.e. Lara from the 1990s. Despite Vikander herself, the trailer, the behind-the-scenes clips and the poster all saying or inferring that this is an origin story, some people are just not getting it. However, the lovely Easter Egg at the end of the trailer with the dual pistols is a neat nod to the series roots, especially since they look like the same pistols from Angelina Jolie’s TR films…
And hey, Nick Frost is in there, it’s always nice to see him.
Those are my thoughts (or looking back on it, ramble) on the Tomb Raider trailer. Time will tell if the film is going to be any good, but I’m already excited.
Banner photo source: nerdist.com.
I think we can all agree that La La Land was pretty good, right? While I am only comfortable only saying that three of its record-equalling fourteen Academy Award nominations were justified (best director, musical score, and cinematography), it is still going to be remembered for years as not just the movie that nearly stole Moonlight‘s Best Picture win, but also on its own merits of being a stupendously good film.
Most of the pre-Oscar buzz was that it didn’t deserve most of its nominations because it was just pandering to Hollywood. I can see where that line of thought comes from; Hollywood has shown time and time again that making films about Hollywood will net you a good couple of nominations and wins if you play it right. Remember The Artist from 2012? It did the exact same thing, but going back to the Silent Era rather than the Golden Age of musicals like La La Land did. However, I disagree that La La Land got its Oscars by just being a throwback to when Hollywood was the only market in the world.
The nominations idea would only make sense if everyone outside of Hollywood did not enjoy it. I can safely say that’s not the case. Personally, I gave it 10/10 and went to go see it twice, something which I never did in my stint as a film critic. I have a different theory for why it became so popular and not just that it has been so long since we’ve seen an truly dyed-in-the-wool musical. Heck, Disney has been reliably been doing that since the early 1990s. No, my theory entails going back to 1971 and the Dragon himself, Bruce Lee.
What Bruce Lee can teach us about La La Land
Why do we go see films? Sorry to throw such a philosophical question right at the start of a new section, but it does warrant thinking about for my analogy. I’ve thought up a few ideas; narrative, escapism, favourite actor, favourite director, great marketing or its been lauded as a classic by your friends, family, and critics. Those have been some I reasons I have gone to see films. But all of that can be boiled down into one word; spectacle.
Spectacle as been at the forefront of cinema since the conception of the film industry. People went mad when they saw a train pulling into a station on screen and started fleeing the cinema because they thought it was going to burst through the screen and flatten them all. Imagine when Al Jonson first started speaking in The Jazz Singer, people probably went mental over hearing sound and screen in sync with one another. For a more modern example, why do we pride ourselves on watching the most sick and depraved films we can find? Why do films like The Human Centipede Trilogy, A Serbian Film or Martyrs have an odd cultural capital around them? Why do we go and watch horror films, even though a lot of us hate the loud noises and flashing spooky faces? Spectacle. We love seeing things of screen that would be hard to replicate on stage, on television, or even in real life. Now onto Bruce Lee.
In a fascinating interview in 1971 with Pierre Berton, Bruce Lee discussed his blossoming acting career, his history with martial arts, and his personal philosophies. Even for non-martial artists, it is still an interesting watch to see one of the most clued-in men who ever lived give his wisdom on certain aspects of life. At the beginning of the interview Berton and Lee talk about the latter’s movie career and how most of it is translated for the wider Chinese audience (Lee spoke Cantonese while most of mainland China speaks Mandarin). Staring at 2:14 the conversation goes like this;
Berton: I gather in the movies made here, the dialogue is rather stilted anyway…
Lee: Yeah, I agree with you. I mean, see to me, a motion picture is motion…
Lee: I mean, you gotta keep the dialogue down to a minimum.
Obviously Lee was talking about his own films. His films were to showcase his extraordinary abilities at martial arts, any story that was there was to just set up the next protracted hand-to-hand sequence. But I like his theory, the film is about motion and so should be reflected in the film.
Don’t get me wrong, I love a good talkie movie. I think Casablanca is objectively the best film ever made and that is mostly people talking to one another in a bar or on an airstrip. But it is that something, that spectacle of seeing an incredible dance performed on screen, in La La Land‘s case in one take. Remember this tap dancing sequence? (For those who do not wish to be spoiled, don’t watch the clip)
This is exactly what Lee was talking about. It is the motion of Gosling and Stone, how in sync they are with their moves that makes it inherently watchable and enjoyable. That’s why if you YouTube that clip, you’ll find so many remakes or news clips about how influential it is. People love to see that spectacle and wish to recreate it. For another, look at any dance number Fred Astaire and Ginger Rogers performed. Or if you want to go to the extreme, the fights scenes from The Raid or The Raid 2.
The two latter films are another great example of what Lee said, dialogue kept to a minimum so that we can see some gloriously choreographed fights. Fighting and dance are incredibly close; both require full body motion nearly at all times which is why they are so amazing to watch on screen. Edit: In an interview on BBC 5 Live, Gareth Evans, director of The Raid discussed how he would work out choreography to his fight scenes to music,
Kermode: …for me, the best of those [martial arts] movies…are closer to musicals, to dance numbers than anything else and that’s how they should be understood.
Evans: It is interesting you say that because when we are actually doing the choreography we clap along, we figure out what the rhythm is to the fight. So the idea between how long blocks before a punch is kind of like percussion…it takes on a certain musical form. (9:11).
Another famous martial artist, Jackie Chan, also follows this principle when he choreographs fight scenes. In commentary for the film Project A, film executive Bey Logan comments,
“…and there is a rhythm also, to the way shots are performed, and also the way they are edited. And Jackie said something very interesting, that the audience don’t know the rhythm there until it is NOT there.” (4:18).
Following on from that, the YouTube channel Every Frame A Painting mentions, “Jackie’s fight scenes have a distinct musical rhythm, a timing he sets out with the performers.” (4:29).
We get spectacle, either from seeing an excellent spring ball-change or a man getting hit in the face with a claw hammer. Both require a rhythm and endless practice, but once they are done filming they are some of the most electric scenes ever put to screen.
But anyway that’s my theory for why La La Land became such a big hit. It wasn’t just that it made a musical that could have stood up there with Singin’ In The Rain, but that fact that it played up to the motion part of the motion picture, with a performance that was more than just your average dance or action scene.