Cannes 2013: Last Days on Mars Review

Director: Ruairi Robinson

Writer: Clive Dawson

Starring: Liev Schreiber, Romola Garai, Elias Koteas, Olivia Williams, Johnny Harris

Synopsis: A research team in their last few hours on Mars discover a deadly enemy that soon dangerously jeopardizes their lives.

Since Ridley Scott’s Alien many space exploration films have focused on perils and perdition in lonely atmospheres. Ruairi Robinson’s first feature, Last Days on Mars, is one such film clearly influenced by Scott and other works such as Event Horizon and Sunshine. It does not offer much more than what has come before it yet is an extremely impressive debut that hits all the right notes for fans of the sub-genre.

Centred on Mars explorers with a few hours left until returning to Earth, the first half of Last Days on Mars is a measured analysis of an alien terrain shot and crafted through CGI beautifully. The second half then amps up the pace once the crew become infected – still well-shot but certainly less artistic. The style that swaps from a measured character and landscape study to a fast-paced horror/thriller is not so jarring, thanks to Robinson’s clear direction and an expectation from this type of story.

How Robinson constructs the film is incredibly mature and knowing; he clearly understands genre and the parameters of CGI and practical filmmaking. For what would imaginably be a CGI-heavy and clichéd Hollywood version, Robinson’s independent production has allowed a more solemn and realistic (and therefore more frightening) take on astronauts and aliens.

The lead astronaut is Liev Schreiber, brilliant throughout though somewhat overshadowing actors like Elias Koteas and Olivia Williams, regrettably. This could alter Schreiber’s career and provide him with less supporting roles, and perhaps more leading material, as he’s a great hero to follow. He stands out as the least passé character of the group, instilling some originality.

Some parts may seem predictable and there are examples of stock characters, yet they are truisms of the genre that cannot always be side-stepped. For what Robinson is hoping to achieve (an accomplished, entertaining entry into the sci-fi horror genre) he should not be faulted; his mise-en-scène is impeccable, creating a-near flawless ambience. It is, in sum, a smartly-written, elegantly executed genre-piece. It may not inject much new blood into the catalogue of space-exploration horror but it will deservedly find its audience.

Last Days on Mars was competing in the Director's Fortnight Selection at Cannes 2013. Also published in Nisimazine Cannes 2013 (page 23)

LFF: Hyde Park on Hudson Review

Director: Roger Michell

Writer: Richard Nelson

Starring: Bill Murray, Laura Linney, Olivia Williams, Olivia Colman, Samuel West, Elizabeth Wilson

Plot: Margaret Suckley (Linney) has never much thought about her distant relation to President Franklin D. Roosevelt until one afternoon he requests her presence. FDR tells her she helps him relax and continues to invite her over to Hyde Park on Hudson. Soon the two become great friends but certain tension arise during the first American visit of Monarchs – King George VI (West) and Queen Elizabeth (Colman).

Many of the American Presidents had fantastically rich stories – public or private – that lend themselves well to TV, Film and books. Franklin D. Roosevelt was one such Commander in Chief whose personal life interested many people. His strive alone (getting into office even with a paralyzing form of polio) warrants a full biopic though Hyde Park on Hudson is more focused on his adulterous alter-ego and one pivotal weekend with the Royals.  

Only on few occasions in the film is FDR seen as cruel for his wayward manner with women. Instead, Bill Murray’s portrayal of the 32^nd President demonstrates charm, wit and kindness. With alternate casting this persona may not have been as noticeable as the affair angle of Roosevelt’s life was recurrent and would certainly sully the man’s image. Murray’s innate allure enables the film to remain jovial and tread past the sinful implications of FDR’s secret life.

It shares many similarities with The King’s Speech; a happy air to the film, a drama under the surface and the presence of “Bertie” and Queen Elizabeth. In some ways this comparison damages the film’s credibility as it becomes a dreary side-piece to Tom Hooper’s Oscar-winner. Samuel West and Olivia Colman are terrific as King and Queen but you cannot help but think of them in regard to Colin Firth and Helena Bonham Carter. They do bring a distinct edge to their portrayals though are all too often caricaturised as posh buffoons. West’s Bertie stands out only when he is the company of Roosevelt; these are the scenes where the film has an original pull and spark.

Too much attention is set on Laura Linney’s Margaret Suckely (though with it being inspired by Suckley’s letters and diary entries it’s understandable) and her interaction with Roosevelt which has very little chemistry or drama. Murray could have easily carried this film on his own, centred only on FDR. What spoils the film is having him surrounded by lacklustre familial and staff characters; only the monarchs prove fascinating company.

Whereas Roger Michell has an interesting CV that flaunts his ability to present memorable relationships (Notting Hill, Enduring Love and Venus), his last effort (Morning Glory) and Hyde Park on Hudson see him losing his touch. Even with a short run-time, it boils down to Murray and the pleasing soundtrack as the only single two elements keeping the audience entertained.

**

By Piers McCarthy. Also posted on LiveForFilms