Paparazzi is one of those ones that probably sounded pretty silly on paper, but one of the studio execs had a good sense of humour on a morning after getting laid and said “aw hell, green light this just for kicks.” It doesn’t hurt to have Mel Gibson as a producer either, who also makes the teensiest cameo. The concept is simple: action film star Bo Laramie (Cole Hauser) is harassed by a sleazy hyena pack of determined celebrity photographers, until they take it one step too far, resulting in tragedy. Bo then plays the art imitating life card, goes all vigilante on them and quite literally hunts each one down and kills them. A synopsis like that has to illicit a dark chuckle from anyone who reads it, and you’d think the resulting film would be oodles of fun, but they’ve somewhat played it safe. A concept this ridiculous should be over the top, reach for the stars insane, a hard R black comedy Death Wish set in Hollywood, if you will. What we get is something more on the glossy side, the filmmakers dipping their toe into the pond of potential, yet never saying ‘fuck it’ and diving right in. The paparazzos are played to the heights of hilarity by a solid scumbag troupe: Tom Sizemore is so perfect as their a-hole ringleader, just a dime piece of a casting choice. Daniel Baldwin looks seriously haggard, while Tom Hollander and Kevin ‘Wainegro’ Gage round out this quartet. Dennis Farina is fun as a sharp, shrewd Detective who gets wise to Bo’s act as well. It’s all serviceable, and yet I wish it went that extra mile to give us something downright shocking and memorable. Perhaps they should have reworked the script, brought in a wild card director and gone the indie route. Oh well.
Joe Wright’s Hanna started as a Vancouver Film School script, funded through grants that would make it the catalyst for the positively unique, incendiary action fairy tale that it is today. It’s crowd pleasing without any superficiality, straight to the point without being over serious, and is made with a slick, vibrant aesthetic that will have your pulse dancing a jig in time with the thumping score by The Chemical Brothers. I held off on seeing this one for years after its initial release, jaded by the prospect of another ‘killer genetically altered female assassin’ flick. One night I finally caved and took a peek on Netflix. I then kicked myself hard for not taking notice sooner, purely on the notion that I wouldn’t dig it based on its formula. I suppose I learnt a little ‘book by its cover’ lesson there, as I was completely enamoured with the film and have seen it at least ten times since then. The tired ingredients of any old formula can be whipped up into a tantalizing new recipe, providing all those involved have the commitment and passion. The filmmakers of Hanna go for broke with one of the best thrillers in years. Saoirse Ronan is an explosive, feral waif as the titular hero, raised in isolation by her badass ex CIA father Erik Heller (underrated Aussie Eric Bana nails the German accent to a T). They reside in the frozen tundras of Lapland, where Erik trains her in the ways of a warrior, instilling survivalism in both physical and intellectual measures, preparing her for their inevitable separation. An enemy from Erik’s past surfaces in the form of evil CIA witch Marissa Wiegler (Cate Blanchett practically breathes fire with a naughty southern accent and a red hairdo that looks acidic to the touch), and both Hanna and him are forced to run, separated from each other. She escapes from a remote facility and begins her journey across Europe, befriended by a lovable squabbling family of travellers, igniting a yearning for companionship in her that Ronan expertly shows the camera. Wiegler enlists the slimy help of a euro trash club owner who moonlights as some sort of freelance über villain (Tom Hollander almost walks away with the movie as the psychopathic, bleached blonde pervo Deutsch-bag) who relentlessly pursues Hanna along with his neo nazi skinhead henchman. The thing about this film is that it’s all been done before, but they find a way to make it fresh, exciting and strike chords which simply haven’t been hit in this sub genre before, providing a film experience that really sticks. Ronan has never been more virile and effective, also proving a mastery of the German accent and embodying Hanna with intense physicality that’s achingly punctuated by a gradual awakening as a person as well. Impressive balance is shown in her character arc, through writing and stunt work alike. This is the first movie to be scored by The Chemical Brothers, and damn I hope we get more. They belt out a technicolor rhapsody of electric music that flows beautifully with the story, hitting every beat, ramping up suspense when needed, being surprisingly weird at times and kicking around your head long after the credits roll. The actors are all easy listening with the dialogue, never feeling forced or making us doubt for a minute that these aren’t real people engaged in genuine interaction. The film neither drags nor rushes, arriving at its often grisly, sometimes touching and always entertaining conclusions exactly when it needs to. It shows uncanny intuition with its pacing, an absence of the need to show off with unnecessary fights or effects which don’t serve the story, and above all a keen desire to entertain us. Terrific stuff.