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thedullwoodexperiment

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Tag Archives: Surfing

Big Wednesday (1978)

02 Tuesday Apr 2019

Posted by dullwood68 in Movies

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Tags

Drama, Favourite movie, Gary Busey, Jan-Michael Vincent, John Milius, Malibu, Review, Surfing, Vietnam War, William Katt

D: John Milius / 120m

Cast: Jan-Michael Vincent, William Katt, Gary Busey, Patti D’Arbanville, Lee Purcell, Sam Melville, Darrell Fetty, Gerry Lopez

Malibu, 1962. Three friends – Matt Johnson (Vincent), Jack Barlow (Katt), and Leroy Smith (Busey) – are the best surfers at the beach, and live carefree lives with little responsibility other than to their surfing. On the verge of adulthood, they party a lot, get drunk, and focus on having as much fun as possible, but inevitably things become more serious for them. Matt’s girlfriend, Peggy (Purcell), announces she’s pregnant, and the shop where they were able to get free boards is forced to close.  In 1965, the draft comes calling, and though Matt and Leroy manage to avoid going to Vietnam, Jack does, along with another friend, Waxer (Fetty). Three years later, much has changed for all three friends, and the way of life they were used to has all but vanished, with new surfing heroes challenging for the positions they all held, and their personal lives affected by their inability to adapt to changing times. It’s not until 1971, and the appearance of the greatest swell of all, the fabled Big Wednesday, that the three friends get together for one last ride amongst the waves…

A labour of love for its director (whose own experiences formed the basis of the script, co-written with fellow surfer Dennis Aaberg), Big Wednesday is a coming-of-age tale that slowly, and almost remorselessly, develops into a melancholy examination of the passing of an era. It’s no coincidence that Milius begins his movie in the early Sixties, a time of enormous promise in the US with Kennedy’s presidency in full swing and advances being made in relation to civil rights, and the movie reflects the mood of the country in the actions and the behaviour of its central trio; they’re young, they’re brimming with confidence, and (as far as they’re concerned) they’re invincible. The folly of youth is depicted with a bracing honesty, Milius acknowledging through his characters his own innocent naïveté, and as the friendship between Matt, Jack and Leroy fractures and sends them on their separate paths, the movie offers a wistful commentary on the perils of expecting things to always remain the same. The spectre of the Vietnam War hovers over the friends’ journey into adulthood, altering them in different ways (as it did the country), and swiftly neutering the confidence and vitality they had just a few short years before. Milius details all this with a compassion that reflects the confusion that many were feeling during the late Sixties and early Seventies.

It’s this sense of an era changing direction, and not necessarily for the better, that drives the narrative and through the battered camaraderie of its central trio, allows the viewer to understand just how and why surfing was so important an avenue of escape for so many young men and women. But the surfing is just the backdrop to the much more important of the friendships forged in the swells and on the beaches, a sub-culture that has its own aristocracy (Matt, Jack and Leroy), but which is doomed to be superseded by a new, younger generation (as represented by real life surfer Gerry Lopez). With an elegiac feel to its final section that allows for an emotional intensity as the three friends reunite to say goodbye to their younger selves. It’s probably Milius’ most personal movie to date, and his passion and commitment is evident in every scene. With instinctive and intuitive performances from Vincent, Katt and Busey (all three never better than they are here), and breathtaking surfing imagery courtesy of Bruce Surtees, the movie has a telling sense of the era it’s depicting, and Milius laces it with enough nostalgia to make viewers – even the casual ones – wish they’d been a part of it at the time.

Rating: 8/10 – with its themes of loyalty and youthful hopes dashed by hard lessons learned and the inevitable burdens of responsibility, Big Wednesday is a movie with more going on under the waves than most, and which, thanks to Milius’ distilling of his own past into the material, resonates with affection for, and understanding of, its unsuspecting characters; ambitious in its scope (though not as mythic as Milius was probably aiming for), and deftly handled by its usually bullish director, this is a cult classic that deserves its hard-won status (it was a flop on its original release), and which represents a high point in the world of fictional surfing movies.

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Under an Arctic Sky (2017)

26 Monday Nov 2018

Posted by dullwood68 in Movies

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Tags

Chris Burkard, Documentary, Iceland, Icelandic winter, Isafjordur, Justin Quintal, Review, Sam Hammer, Storm, Surfing

D: Chris Burkard / 40m

With: Chris Burkard, Sam Hammer, Steve Hawk, Sigurdur Jonsson, Heidar Logi, Elli Thor Magnusson, Ingo Olsen, Justin Quintal, Mark Renneker, Timmy Reyes

For six highly regarded surfers, the chance to test their skill on a surfboard in the challenging waters of Northwest Iceland is a challenge that’s willingly accepted. Their timing might seem a little off though, as they arrive in Reykjavik during the Icelandic winter, and in conditions that none of them have encountered before – let alone surfed in. Journeying along the coast to connect with the ship that will take them to their planned destination of Isafjordur, they take an impromptu detour to surf some waves, and get the measure of the experience ahead of them. Once on board ship though, the advance of a storm that will come to be regarded as the worst in twenty-five years, forces the ship’s captain to turn back. But the surfers know that once the storm has passed, in its wake will follow some of the most breathtaking swells imaginable, and the opportunity to surf in a stretch of Icelandic waters that is almost virgin surfing territory. Aided by a group of their Icelandic counterparts, the six surfers decide to travel by road through the storm to reach Isafjordur, and those majestic waves…

Although only a compact forty minutes in length, Under an Arctic Sky is an engrossing, fascinating account of how surfing can truly be thought of as radical. A romantic’s idea of surfing might not stretch to its taking place in the depths of a bitter Icelandic winter, and at a location so isolated and inhospitable that the Icelanders themselves haven’t settled there, but there is a romanticism here that lends itself to the whole crazy endeavour. There’s a genuine spirit and sense of camaraderie between the men, all friends and mutual admirers, and their decision to surf the icy cold waters of Iceland’s remote Hornstrandir Nature Reserve. They’re also modern day adventurers, literally charting new territory in terms of surfing, and literally doing what no other surfers have done before. It’s inspiring, it’s incredible to witness, and it leaves you thinking that they’re all as mad as a box of frogs – but in a good way. Each time they take to the water, you wonder how they can stand the cold, especially as they’re warned at one point that hypothermia can set in in under ten minutes. Brave, foolish, mad, heroic? All of them? You decide.

But the key strength of the movie is Ben Weiland’s incredibly impressive cinematography. This is a documentary that features an embarrassment of visual riches, from shots of the snow-covered Icelandic mountains to the steel-blue waters that nudge against the Icelandic coast, and in the movie’s most powerful and uplifting sequence, the final, post-storm bout of free surfing, where Justin Quintal is framed against a backdrop of luminescent waves, while the sky above him ripples with the eerie glow of the Northern Lights; it’s simply awe-inspiring (and if you can, see the movie on the biggest screen possible – the image above doesn’t do the effect any justice). Directed with clear-eyed passion and verve, the movie leads up to this one moment, and the wait is worth it. Inevitably, the run time means we don’t get to know the likes of Quintal and Hammer too well, but this is a small price to pay when the rewards are so beautifully presented. Even the scenes set during the storm have a magnificent, rugged, terrifying beauty to them. In the end – and like all the best documentaries about a pastime that most of us take a pass on – it leaves you wanting to grab a board and hope that you don’t get raked over before you’ve even begun.

Rating: 8/10 – even if you’re not a fan of surfing, Under an Arctic Sky remains a compelling look at how the search for greater challenges can lead to the most sublime of experiences; guaranteed to impress purely thanks to its visuals, this is also a movie about a group of men who treat each other with unstinting respect and affection, and whose passion for their chosen sport is acknowledged with an equal amount of respect, and admiration.

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Welcome to the World of High Concept/Low Return – Don’t Breathe (2016) and The Shallows (2016)

18 Sunday Sep 2016

Posted by dullwood68 in Movies

≈ 1 Comment

Tags

Action, Blake Lively, Blind man, Drama, Dylan Minnette, Fede Alvarez, Home invasion, Horror, Jane Levy, Jaume Collet-Serra, Medical student, Mexico, Murder, Review, Robbery, Seagull, Shark, Stephen Lang, Surfing, Thriller

dont-breathe

Don’t Breathe (2016) / D: Fede Alvarez / 89m

Cast: Jane Levy, Dylan Minnette, Stephen Lang, Daniel Zovatto, Franciska Töröcsik

You can hear the pitch even now: “What if these thieves tried to steal a lot of money from someone, and that someone was blind and he trapped them in his house and turned the tables on them?” A grateful production executive greenlights the project in seconds, and sometime later, the finished project is hitting screens with all the fanfare required of an original thriller (Don’t Breathe is being advertised and touted as a horror movie. It’s not; but more of that later.)

However, the grateful production executive clearly abdicated any responsibility for the project once he gave it the go-ahead. If he hadn’t, then maybe he could have insisted that the basic storyline, the marginally interesting characters, and the increasingly silly narrative be better developed before filming began. Sadly, it wasn’t, and the intriguing pitch that started everything off goes nowhere fast before throwing itself head first into the Comedy Zone in its last twenty minutes.

Every year the critics – and audiences – latch on to a movie they believe is a cut above the rest when it comes to other thrillers/horror movies/comedies etc. Don’t Breathe is one such movie, but as it does so little to justify its elevated importance, it’s tempting to wonder if the critics – and audiences – have seen a completely different cut of the movie; and if they have, why aren’t we allowed to see it? The basic premise is somewhat intriguing – three delinquents, Rocky, Alex and Money (Levy, Minnette, Zovatto), decide to go for broke on their next robbery/home invasion, but come up against a blind man whose resourcefulness (and unnerving ability to be in the wrong place at the right time) puts them in a life or (mostly) death situation.

dont-breathe-scene

Alvarez is a rising star in the horror firmament, and his remake of Evil Dead (2013) was better than expected. But here he’s in classic thriller territory, with a group of “innocents” being pursued by a relentless killer (Lang’s preternatural blind man), and finding themselves pushed beyond their limits. And though Alvarez is undoubtedly talented, here it’s obvious that he doesn’t have any answers when a script breaks its own rules – repeatedly. The blind man is referred to as an Army veteran, and because he’s played by Lang, we know he’s going to be a hard man to beat. But where a blind person’s other senses are often enhanced, here they come and go on a whim and a prayer. One minute he can hear extremely well, enough to pinpoint someone’s position in a ventilation system, the next he can’t hear a heavily wounded Minnette sneak up on him.

The problem with Don’t Breathe is that it wants to be a thrill ride with bloody (but non-horror) moments, but it forgets to add the thrills. A string of attempts to escape the house are repeatedly set up for Rocky and Alex to fail (Money exits stage left early on), and the plot’s major “twist” seems at first to be “great”, but it’s more of a way to keep the plot from collapsing in on itself (and pad out what would otherwise be a pretty meagre running time). In the end, the script, by Alvarez and Rodo Sayagues, runs out of steam and values unfortunate laughs over the muted tension it’s achieved earlier on. And as for the coda, well, let’s just say that clumsy is as clumsy does, and the end of the movie is very, very clumsy indeed.

Rating: 5/10 – with no one to care about or root for, Don’t Breathe becomes an exercise in soulless thriller tropes that let’s down the viewer continually once the blind man makes his presence felt; notwithstanding an eerie sequence in the basement when the lights go out, and some excellent production design, the movie will have long-standing fans of the sub-genre yawning at the absurdity and hamfisted nature of it all.

 

the-shallows

The Shallows (2016) / D: Jaume Collet-Serra / 86m

Cast: Blake Lively, Óscar Jaenada, Angelo José Lozano Corzo, José Manuel Trujillo Salas, Brett Cullen, Sedona Legge, Diego Espejel

As with Don’t Breathe, you can hear the pitch just as clearly: “What if a surfer, a lone woman even, gets trapped on a rock two hundred yards from land, but can’t get there because there’s a huge great shark stopping her?” And once again, a grateful production executive greenlights the project in seconds, and sometime later, the finished project is hitting screens with all the fanfare required of an original thriller. And yet…

The problem with The Shallows, however, is that, like Don’t Breathe, you don’t get a chance to really care about the main character, Nancy (Lively). We get to spend an awful lot of time with her, and while her predicament is scary enough on its own, it isn’t really enough in general terms for it all to work as well and as harmoniously as it would like. We get some back story – Nancy’s making a pilgrimage to the beach her mother, who has died recently, fell in love with twenty-five years before – but it’s very perfunctory and serves to pad out the script at the movie’s beginning. Then we have an extended section that shows just how good a surfer Blake Lively’s stunt double is, before Nancy’s leg gets chomped on and she makes it to the rock (along with an injured seagull).

And then the movie does something unforgivable: it makes Nancy’s predicament boring to watch. As if realising that having its heroine stranded on a rock with nowhere to go isn’t quite as cinematic as it hoped, the movie brings in a drunken Mexican (and brings back two surfers from earlier on), and serves them up to the shark as a way of re-engaging the audience’s interest (the drunkard’s death is particularly nonsensical, and any viewer who doesn’t hang their head in despair at the way in which he goes to his death, should give up now if they think it makes any sense whatsoever). Then it’s full speed ahead to the final showdown, Nancy vs shark, and the kind of over the top outcome that provokes laughter instead of relief.

the-shallows-scene

After a string of uneven yet mostly effective thrillers starring Liam Neeson – Unknown (2011), Non-Stop (2014), Run All Night (2015) – Collet-Serra seems unable to do anything positive with Anthony Jaswinski’s tension-free script. From the decision to shoot most of the movie against a green screen (making most shots and scenes look false and oddly lit), to failing to address issues of continuity (how do the two surfers fail to see the drunkard’s remains on the beach when they come back?), Collet-Serra allows the fractured narrative to play out with barely an attempt at tightening things up, or avoiding treating the viewer like a numpty (sure, you can “stitch” a bite wound with just a couple of pieces of jewellery and not bleed out – no problem).

As the injured yet resourceful Nancy, Lively is a good enough actress that she can overcome some of the more bizarre decisions her character makes – resetting a seagull’s dislocated wing, anyone? – but for most of the time she’s either yelling in pain or shouting for help. Some of the earlier scenes are geared around showing off her figure, and there’s a particularly gratuitous surfboard-cam cleavage shot that adds nothing to the sequence it appears in, but as the movie progresses she keeps covered up and her predicament is kept to the fore – until the end when she’s required to strip back down to her bikini. We may be in the twenty-first century but in certain regards, it seems, the times they aren’t a-changin’ (or are ever likely to).

Rating: 4/10 – a thriller that plays out by the odd numbers alone, The Shallows does everything it can to fall short of expectations and commitment; with its unhappy use of CGI, and an overbearing score courtesy of Marco Beltrami, it’s a movie that brings apathy and indifference to the table in ever increasing portions.

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Ride (2014)

17 Tuesday Nov 2015

Posted by dullwood68 in Movies

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Tags

Brenton Thwaites, Comedy, David Zayas, Drama, Helen Hunt, Luke Wilson, Mother/son relationship, Review, Surfing, Writing

Ride

D: Helen Hunt / 93m

Cast: Helen Hunt, Brenton Thwaites, Luke Wilson, David Zayas, Elizabeth Jayne, Callum Keith Rennie, Robert Knepper, Leonor Varela

Helen Hunt’s first directorial outing, Then She Found Me (2007), looked at the relationship between a mother and her daughter. Hunt also co-wrote the movie, co-produced it, and starred as the mother. The movie has its flaws, but all in all it’s enjoyable enough, even if some of the relationships don’t ring entirely true. This time round, Hunt addresses the relationship between a mother and her son, and as before she co-produces, stars and writes (solo this time). The result is a similar movie in terms of the relationships, but one that also has its flaws.

Hunt plays Jackie, a literary editor whose twenty year old son, Angelo (Thwaites), is writing a novel as he prepares to go off to university. He’s having trouble with the ending, and Jackie isn’t helping. She’s critical when she should be supportive, and keeps undermining Angelo’s confidence. In effect, she treats him like a child who needs to stand on his own two feet but every time he tries she tells him he’s doing it wrong. Faced with this continual barrage, it’s no wonder that Jackie’s marriage to Angelo’s father ended years ago, and he now lives with his new family in Los Angeles, a continent away from Jackie and Angelo who live in New York.

Ride - scene3

With his enrolment at university settled, Angelo takes a trip to see his father. Angelo loves surfing, and while he’s out in L.A. he spends most of his time at the beach. His love of surfing is so obvious that it’s unsurprising when Jackie learns he’s dropped out of university. Without a backward glance about her work commitments, or even if it’s the right thing to do, Jackie jumps on a plane and heads for L.A. And… here’s where the movie starts to become less about a mother and son relationship, and more about Jackie learning how to be less uptight and more relaxed.

This change in direction leads to the movie becoming disjointed and unfocused, with Jackie hijacking the driver who’s met her at the airport, Ramon (Zayas), to help her spy on Angelo and what he’s doing. It’s at odds with the direct, bulldozing approach that Hunt has established for Jackie, and while it’s meant to inject some humour into proceedings, it’s forced and not at all believable. Ramon becomes a bystander to Jackie’s odd behaviour and never once questions who Angelo is or why she’s following him. When she finally talks to him and he tells her he felt stifled by his life in New York and that surfing is what he wants to do, Jackie’s reaction is predictable: she accuses him of running away from being a writer and that he needs his education to succeed. And with no better argument, he criticises her in return for dismissing surfing when she’s never even tried it.

Ride - scene1

By now the even occasionally astute viewer will be able to guess what happens next. Jackie decides to learn to surf, but crucially, Hunt leaves out any clear-cut reason for her doing this, and we’re treated to several scenes where she stumbles about in the surf falling over, unable to get on her board, and generally acting as if surfing was the easiest thing in the world to master. It’s an obvious case of schadenfreude, and Hunt milks it for all its worth, from the difficulty in getting into a wetsuit to paddling out to the breakwater. Eventually she accepts help in the form of a surfer called Ian (Wilson). And… here’s where Hunt’s script further downplays the mother-son relationship even further, as Jackie embarks on an affair with Ian, and Angelo’s story is reduced to a couple of scenes where he reveals a family secret to a girl (Jayne) he meets on the beach.

With Hunt splintering her story into several different directions at once, the movie becomes less interesting and less involving. There’s a big, angry confrontation between Jackie and Angelo that comes out of the blue and feels shoehorned in to give the movie some much-needed drama, while Jackie’s journey of discovery weighs things down to the point that the viewer could be forgiven for hoping that Jackie’s board will fatally clump her on the head when she gets thrown off. And the resolution, when it comes, is entirely dependent on Jackie repeating something Ian tells her earleir on, and which she takes to heart without even a second thought. We’re meant to think that because she has to learn how to surf, and she’s not immediately proficient at it, that this has a way of humbling her. But Hunt doesn’t connect the dots in this regard, and much of how the movie is concluded seems awkward and clumsy, as if Hunt didn’t have a clear idea on how to round things up.

Ride - scene2

Hunt the director serves Hunt the star well, and there are glimpses in her performance that this could have been a different story entirely if Hunt the writer hadn’t felt the need to include so many surfing sequences (possibly in an effort to show how fit the actress is at fifty-two – though what appears to be one too many facelifts doesn’t help her case; her forehead is truly disturbing). With too many subplots thrown in at random as the movie unfolds, and with too many instances where Hunt’s script leaves a barrel big enough for two surfboards to plough through, Ride becomes an occasionally interesting viewing experience, and one that could have done with its script being tightened up considerably.

Rating: 5/10 – dead in the water for most of its running time, Ride‘s unfocused, repetitive script is its biggest downfall (how many times do we have see Jackie and Angelo text each other?); with a good cast given very little to do, and with Hunt unable to pep things up, it remains a movie that should be filed under Could Have Been So Much Better If…

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