Review #1,340: 'Mute' (2018)

Shortly after he wowed cinema-going audiences with his independent debut feature Moon back in 2009, director Duncan Jones talked about his next project, a 'spiritual sequel' to his breakthrough film about a mute man searching for his lost love. Of course, this didn't exactly go to plan, as he followed Moon with the entertaining Source Code in 2011 and big-budget misfire Warcraft: The Beginning in 2016. Jones' stock had fallen, but strength of his debut meant that his next film would always invite interest. After years trying to get his idea onto the screen, Mute finally arrives on Netflix, the kind of platform that would allow Jones to follow through on his unique ideas without the pressure of having to please an audience who had just coughed up £10 to see the film.

The result is a bigger disappointment than Warcraft, mainly because his 2016 effort already had the video-game adaptation stigma attached to it so expectations were understandably reserved. Mute is strange, but not in a good way. It spends over 2 hours telling two loosely connected stories which, when they finally cross over, will no doubt inspire "is that it?" reactions for those who try to remain patient with it. The film starts with an accident involving a young boy in the water. His Amish parents refuse to have the surgery that would allow him to speak, so the boy, named Leo, grows up physically scarred and unable to speak. Unfortunately for him, the technology of the future relies heavily on voice commands, so the imposing lug (played by Alexander Skarsgard) finds it difficult to connect to other people and his surroundings, all except his girlfriend, the beautiful and blue-haired Naadirah (Seyneb Saleh).

A lot of time is spent developing their relationship as one of tenderness and genuine affection, but it is clear that Naadirah has a secret. This is the kind of the film where a character says "I love you, but you don't know me," and keeps a straight face. One night, Leo shows up at the Berlin nightclub in which they both work, only to find her missing. Fearing the worst, the hulking mute sets about uncovering the truth for himself, encountering sleazy brothels and dangerous gangsters along with way. Meanwhile, disgraced American surgeon 'Cactus' Bill (Paul Rudd) runs a black market clinic for the criminal underworld, as he waits for the arrival of forged documents that will allow him and his young daughter to leave Germany. The shifty Bill, a melting pot of anger, bitterness and shame, clearly has something to hide, and so does his creepy friend Duck (Justin Theroux). Could it be related to Naddirah's disappearance?

One of Mute's main issues is that it takes a hell of a long time to get going, taking a whole hour to reveal where it's taking you, and by which point you'll have likely lost interest. The stories of Leo's quest to find Naddirah and the illegal shenanigans of Bill and Duck feel like they belong in two completely different movies, with the tones differing so significantly that it disrupts the film's flow and atmosphere. Rudd, as a sort of evil version of his moustachioed Brian Fantana character from Anchorman, feels miscast at first before settling down and eventually stealing the film. The biggest disappointment of all is the sense of the world-building. This is a longtime passion project for Jones and the idea has likely lingered in his mind for years, but the world he has created feels shockingly hollow. It feels like a half-arsed attempt to replicate Blade Runner, but it's really put to shame by last year's sequel to Ridley Scott's 1982 masterpiece, and the visuals are so unengaging that they hinder the plot rather than moving it forward. There is a hint of a good movie buried in there somewhere, so this is precisely why I'll still go into Jones' next movie with high hopes.


Directed by: Duncan Jones
Starring: Alexander Skarsgård, Paul Rudd, Justin Theroux, Seyneb Saleh, Robert Sheehan
Country: UK/Germany

Rating: **

Tom Gillespie

Review #1,076: 'Warcraft: The Beginning' (2016)

It was only a matter of time before the massive online role-playing game World of Warcraft was adapted for the big screen. With high fantasy still hugely popular thanks to Peter Jackson's Lord of the Rings and The Hobbit trilogies and HBO's Game of Thrones, now seemed the ideal time to bring Warcraft's world of orcs, mages, trolls and elves to the cinema-going audience. Yet even with a talented director at the helm, Duncan Jones, Warcraft flopped hard domestically, but proved such a smash-hit in China that there's now talk of a sequel tailored solely for the Chinese market. That little factoid, symbolic of the increasing importance of overseas box-office to U.S. productions, is probably the only interesting thing to emerge from the film.

Somewhere in this tale of giant green orcs, giant grey orcs, magical portals, hairy men, hairier mages, grumpy dwarves and huge CGI battles, there's the faint whiff of a plot that focuses on both sides of a war between the peaceful humans and a brutal hoard of orcs. In order to cater for us noobs - those of us who have never spent days slurping energy drinks and munching on Doritos in front of our computer playing the game - writers Jones and Charles Leavitt spend most of the film explaining this world to us and the many factions that operate within it. The main focus on both sides of the battle is Durotan (Toby Kebbell), an orc chieftain with a pregnant partner, and Anduin Lothar (Travis Fimmel), a stock warrior-type with a charisma vacuum.

Durotan is under the command of warlock Gul'dan (Daniel Wu), who has already sucked the life out of one world using a dangerous magic called 'fel' and has used sorcery to open a portal into the next world, Azeroth. Lothar, observing the devastation caused by one of their attacks, comes across mage Khadgar (Ben Schnetzer), who wants to bring the traces of fel to the attention of Guardian Medivh (Ben Foster) and the king Llane Wrynn (Dominic Cooper). When an orc scouting party are beaten by Lothar and his fellow humans, they capture half-orc slave Garona (Paula Patton) and send Durotan back to the hoard defeated. However, seeing the devastation Gul'dan is causing to the land and his dismissal of honourable orc tradition, Durotan secretly plans to team up with the humans to defeat the evil tyrant and free his people.

I actually quite enjoyed the opening 30 minutes of Warcraft. Unhappy with portraying yet another man vs. evil orcs story, Jones' decision to give them both a voice is a breathe of fresh air. But this thoughtful approach quickly gives away to a textbook of cliches, from the humble warrior with a great destiny to the annoying young sidekick who just may be the one to save them all. And don't expect a complete film, as the 'Beginning' in the title means exactly that. Clearly the film-makers were banking on squeezing a trilogy out of this, and don't bother to give us an actual conclusion that would make us want to see a next instalment. With daft names that anyone unfamiliar with the world of Azeroth won't remember, you'll be too busy trying to figure out what's going on to care about many of the characters, with only Kebbell - delivering another impressive motion-capture performance - and Foster getting through it with their reputation in tact. And so the search for a decent video game adaptation goes on.


Directed by: Duncan Jones
Starring: Travis Fimmel, Paula Patton, Ben Foster, Dominic Cooper, Toby Kebbell, Ben Schnetzer, Daniel Wu, Ruth Negga
Country: China/Canada/Japan/USA

Rating: **

Tom Gillespie