Tag Archives: Fantasy

Fantasia (1940)

14 Sunday Apr 2019

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D: James Algar, Samuel Armstrong, Ford Beebe Jr, Norman Ferguson, David Hand, Jim Handley, T. Hee, Wilfred Jackson, Hamilton Luske, Bill Roberts, Paul Satterfield, Ben Sharpsteen / 125m

With: Deems Taylor (narrator), Leopold Stokowski

Viewing Fantasia nearly eighty years after its release, it’s astonishing to think just how much of a gamble this was for Disney. Borne out of a desire to boost the popularity of Mickey Mouse, Disney began work in 1936 on a deluxe cartoon short featuring Mickey called The Sorcerer’s Apprentice, but as the budget increased beyond its original expectations, Walt Disney realised that on its own, the short wouldn’t be profitable. In 1938, the decision was made to create a feature length movie that would include not only The Sorcerer’s Apprentice, but seven other animated sequences based on well known pieces of classical music. With conductor Leopold Stokowski already on board as the movie’s musical director, Disney forged ahead with the kind of project that had never been done before – and until its belated sequel, Fantasia 2000 (1999), wouldn’t be attempted again. And this was only Disney’s third full-length animated feature. There’s no modern corollary for this; only the House of Mouse has made anything remotely like Fantasia, and perhaps it’s because there’s a very obvious reason: it’s that good.

It’s a perfect combination of music and visuals, each segment given its own unique style and presentation, and the animation is so beautifully in tune with the music that it’s easy to be drawn into the narratives and to be carried along by the emotions invoked by the music. Whether it’s a sense of wonder at the depiction of Earth’s beginnings as portrayed via Rite of Spring by Igor Stravinsky, or the fun to be had from the animal ballets of Amilcare Ponchielli’s Dance of the Hours, or even the menacing apparition of the devil Chernabog in Modest Mussorgsky’s Night on Bald Mountain, the combination of sound and vision is hugely impressive. It’s a movie where the range of the animators’ imagination is such that the viewer is taken to places they could never have expected, and shown sights that remain indelible once seen. Conceptually bold, and daring, the movie is a panoply of colour and sound that is transformative and vibrant, the music soaring and dipping in time with the imagery, at once urgent and demanding of our attention, at other times, subtle and intriguing, and on yet other occasions, sensitive and emotive, all of it providing a wellspring of extraordinary moments.

That it continues to hold up as well as it does – it is, after all, a masterpiece – should be no surprise. Disney was so confident in its ability to enthrall and amaze that he planned to re-release the movie every so often with a new segment replacing one of the originals each time. But poor box office returns (the movie didn’t turn a profit until its 1969 re-release), and the US entering World War II put paid to Disney’s plan. But even though a sequel was eventually made, Fantasia should be appreciated for being one of a kind, a movie no one else could have made except Disney, and one that continues to astound today, even with all the advances made in CG animation. It’s also quite obviously not a children’s movie – though they might enjoy Mickey’s antics and the dancing hippos – and this is another reason why it’s such an ambitious movie: it knows there’s an audience out there for it, and it trusts that people will find it and appreciate it. Again, whether it’s the abstract visual concepts employed for the opening Toccata and Fugue in D Minor by Johann Sebastian Bach, or the centaurian revels depicted in the mythical Greco-Roman world created for Ludwig van Beethoven’s Pastoral Symphony, Fantasia remains a fascinating, delightful, wonderful, and hugely effective exercise in exploring the boundaries of then-contemporary animation – and revealing the beauty of what’s been discovered beyond those boundaries.

Rating: 9/10 – the use of music is sublime, and so is the animation that accompanies it, and it’s this perfect melding of the two art forms that make Fantasia such an amazing and entertaining movie experience; breathtaking in its scope and ambition, it’s a movie that has never been bettered, and which stands even now as a testament to the visionary talents of its creator.

The Kid Who Would Be King (2019)

10 Sunday Mar 2019

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D: Joe Cornish / 120m

Cast: Louis Ashbourne Serkis, Denise Gough, Dean Chaumoo, Tom Taylor, Rhianna Dorris, Angus Imrie, Rebecca Ferguson, Patrick Stewart, Genevieve O’Reilly

Alexander “Alex” Elliot (Serkis) and his best friend, Bedders (Chaumoo), are twelve year olds with a common problem: they’re being bullied by two older pupils, Lance (Taylor) and Kaye (Dorris), at their school. When Alex finds himself chased by them after school one day, he takes refuge in a nearby building site. There he discovers a sword lodged in a stone pedestal. Alex removes it, and takes it with him: later, he and Bedders learn that the sword is the legendary Excalibur. The next day, a strange new pupil calling himself Mertin (Imrie) arrives at the school and seems very interested in Alex. That night, Alex is attacked by a skeletal creature at his home, and is only saved by Mertin’s intervention. Revealed to be the ancient sorcerer Merlin, “Mertin” explains to Alex that his finding the sword wasn’t an accident, and that King Arthur’s malevolent half-sister, Morgana (Ferguson), long imprisoned within the earth, has grown strong enough to be on the verge of regaining her full powers; it’s down to Alex as Arthur’s true heir, to defeat her and save Britain once again from being plunged into irrevocable darkness…

The release of Joe Cornish’s first movie, Attack the Block (2011), seems like an Arthurian age ago now, and though he’s been busy with other projects in the meantime – most notably the script for Ant-Man (2015), and being in the running to direct Star Trek Beyond (2016) – the wait for his second feature has created a palpable sense of anticipation. Alas, the movie he’s devoted most of his time and energy to, isn’t as rewarding as his first. On the surface it’s a fun children’s movie, a modern day medieval romp replete with swords and chases on horseback, a wicked sorceress, and the fate of the world as we know it in the balance. There are further elements included: bullying, an absentee father for Alex, and the burdens of leadership, and though Cornish throws them all into the mix with the best of intentions, his modern fantasy never fizzes with the necessary invention needed to make it entirely successful. It’s a shame, as The Kid Who Would Be King is a terrific idea in theory, but in practice it stumbles too often, and there are too many narrative lulls that hamper the flow of the material. A trip to Tintagel is a strong case in point, an extended section of the movie that feels like it should be important to the overall story, but which, ultimately, only provides the solution to a minor plot point.

Little about Cornish’s movie feels like it’s working in the way that he envisioned when he set out to make it. Too much feels perfunctory or blandly rendered, and it always feels like it’s having to work harder and harder as it progresses to maintain the audience’s attention. Cornish throws in the odd visual flourish – Morgana’s skeletal army is an asset, the Lady of the Bath, erm, Lake is another – but this is also a movie that betrays its modest studio budget by looking drab for most of the running time, and by allowing the work of its normally reliable DoP Dick Pope to look like it’s been deliberately underlit as a conscious directorial choice. And unfair as this may seem, the young cast aren’t very interesting to watch, their lack of experience leading to some uncomfortable moments when things need to get emotional. Only Imrie is able to inject any energy into his performance, and he does so by somehow managing to play his role both completely straight and with his tongue lodged firmly in his cheek at the same time; when he’s not on screen he’s sorely missed. As a family movie it’s not without a certain degree of likeability, and Cornish adds some solid humour to leaven the serious fantasy aspects, but it’s likely that only children will submit to its charms, while adults may well find it something of a struggle to sit through.

Rating: 5/10 – already likely to lose the studios that bankrolled it around $50 million, The Kid Who Would Be King has a solid basic premise, and Cornish should have been able to use it as the springboard for a truly entertaining magical adventure, but instead it feels listless and inassertive; one to watch when The Goonies (1985) – or even Holes (2003) – isn’t available, this is the first major disappointment of 2019.

Border (2018)

18 Monday Feb 2019

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Original title: Gräns

D: Ali Abbasi / 105m

Cast: Eva Melander, Eero Milonoff, Jörgen Thorsson, Ann Petrén, Sten Ljunggren, Kjell Wilhelmsen, Rakel Wärmländer

Tina (Melander) is a Swedish customs agent who has a very special gift: she can literally smell people’s guilt. One day, she stops a man whose phone (it’s later revealed) contains child pornography. She explains her gift to her boss (Petrén), and she’s asked to help with the investigation into who filmed the images on the man’s phone. At around the same time, she encounters a man (Milonoff) who has similar facial features to her own, and it turns out, a scar in the same place where she has one. His name is Vore, and he tells her he will be staying at a local hostel. Puzzled by the number of things that they appear to have in common, Tina visits Vore, where she finds him eating maggots off a tree. Despite this strange behaviour, Tina invites Vore to stay in her guest house. Her partner, Roland (Thorsson), is unhappy about this, but as she gets to know him better, much of Vore’s approach to life begins to make sense to her, including his disdain for other people. However, it’s not until a fateful walk in the nearby woods that Tina’s life is turned completely, and unexpectedly, upside down…

What if you felt completely different from all the other people around you – including your parents – but you could never work out why? And what if that sense of being different kept you apart from everyone? How would you react if you met someone who could answer those questions for you, and put your feelings into perspective? Would you embrace wholeheartedly what you’re told, or would you be frightened by what it all means? And how would you feel if the truth was darker, much darker, than you could ever have expected? Those questions and more are at the centre of Border, an adaptation of the short story by John Avjide Lindqvist. And the answers take Ali Abbasi’s second feature into uncomfortable territory indeed, a fantasy world where Tina’s life and sense of reality are challenged at every step. For some viewers, it may prove to be too much of a challenge as well, because where the narrative takes us is somewhere so strange and so off-kilter that it almost dares us to look away. It’s a twilight world of unspeakable horror, with character motives that are both unjustifiable and strangely appropriate at the same time. Watching as this dynamic unfolds, the movie exerts a terrible grip that keeps us watching even though we might not want to.

Giving away too much of the plot and storyline would be to spoil what happens once Tina and Vore take that fateful walk in the woods. Suffice it to say, there’s not another movie like it, and it’s as grim and unrelenting as possible, with malevolent undercurrents that make for a chilling, uneasy, and yet unforgettable experience. Featuring sombre, melancholy visuals courtesy of DoP Nadim Carlsen, Border is strong on atmosphere, and also features several moments where it projects an eerie, oppressive nature that is both unnerving and compelling. It also has two equally compelling performances from Melander and Milonoff as the outsiders who have a common origin, and who might share a common destiny. Both buried under layers of prosthetic makeup, the pair still manage to explore and reflect their characters’ emotions and their desires, and though the expression of some of those desires may not be entirely palatable, there is a sincerity to both portrayals that is affecting (albeit for different reasons). Working with Lindqvist and Isabella Eklöf – whose own disturbing look at a dysfunctional relationship, Holiday, was released in 2018 – Abbasi has fashioned a grim fantasy for our times that speaks to the darkest impulses of human behaviour but which still offers us hope from the unlikeliest of sources.

Rating: 9/10 – with a sex scene that ranks as a first in cinema history, and a number of moments of true, visceral horror, Border begins as a dark, brooding thriller before morphing into something that’s darker and more sinister than could ever be expected from its low-key opening; not for all tastes, and unwilling to compromise in telling its story, it’s a movie that unsettles as much as it fascinates, but it’s a rewarding experience nevertheless.

Mary and the Witch’s Flower (2017)

11 Friday Jan 2019

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Original title: Meari to majo no hana

D: Hiromasa Yonebayashi / 103m

Cast: Hana Sugisaki, Yūki Amami, Fumiyo Kohinata, Jiro Sato, Shinobu Otake, Hikari Mitsushima, Ryunosuke Kamiki, Eri Watanabe, Kenichi Endō

Mary Smith (Sugisaki) is a young girl spending the summer with her Great-Aunt Charlotte (Otake) in the British countryside. A local youngster, Peter (Kamiki), teases her about her red hair (which she hates), but it’s his two cats, Tib and Gib, who lead her into finding some mysterious blue glowing flowers in the nearby woods. Said to contain magical powers, Mary learns the flowers are called “fly-by-night”, and when she later discovers an old broomstick in the woods and accidentally crushes one of the flowers against it, the broomstick comes to life and whisks Mary and Tib to a wondrous place hidden in the clouds called Endor College. Mistaken for a new trainee witch, Mary meets Madame Mumblechook (Amami), the headmistress, and Doctor Dee (Kohinata), the chemistry master. When Mary admits that the source of her magic is a fly-by-night, and that Tib isn’t her familiar, but Peter’s cat, she is allowed to leave. But the next day, and with the magic worn off, Mary receives a message from Madame Mumblechook telling her that unless Mary gives up the remaining flowers, Peter (who has been abducted) will never be seen again…

The first feature from Studio Ponoc, the company founded by ex-Studio Ghibli producer Yoshiaki Nishimura, Mary and the Witch’s Flower is an appealing, deftly handled movie that makes up for what it lacks in depth and narrative ambition, by creating a marvellously detailed and often beautiful fantasy world hidden above the clouds. Adapted from the children’s book The Little Broomstick by Mary Stewart, the movie proper begins wistfully enough with nostalgic representations of the English countryside that have a timeless feel to them, and the kind of small village ambience that speaks of a bygone age. Yonebayashi, along with co-screenwriter Riko Sakaguchi, invests these early scenes with a bucolic nature that is attractive and reassuring, even as the script begins to introduce hints of the troubles to come. There’s an increasing sense of unease that develops, as Endor College gradually reveals its secrets, and the motives of Madame Mumblechook and Doctor Dee become more evident. But then the narrative, boxed in by the requirement that fly-by-night induced magic only lasts for twenty-four hours, becomes episodic, and loses some of the momentum it’s built up until then. Cue a handful of set pieces that feel isolated from each other, and  though the animation is often majestic, it’s in service to material that doesn’t entirely resonate.

That said, Mary is a likeable heroine, endearing in her clumsiness and brimming with increased confidence with every magical encounter. As she grows into the role of the world’s saviour, she tackles each obstacle with growing determination and acuity. She’s another in the long line of animated heroines that viewers can warm to from the start. Inevitably, there will be comparisons with the output of Studio Ghibli, and while some of those comparisons may be invidious – and rightly so, there’s still room for movies such as this one, that takes the ideals and the commitment to traditonal hand-drawn animation that epitomised Studio Ponoc’s predecessor and helps keep them alive. Though the storyline and the narrative may not be as sharp as they could be, the movie’s visual stylings are still a joy to explore and experience, and there’s an inventiveness that could only come from the unique mindset of Japanese animators. As a first feature, Studio Ponoc should be congratulated for trying to make movies that honour the spirit and adventurous nature of the Studio Ghibli output, and if they haven’t quite succeeded in their aim then, hopefully, there will be plenty of opportunities in the future to do so.

Rating: 7/10 – with exactly the kind of stunning animation that we’re used to seeing from movies such as this, Mary and the Witch’s Flower is a visual treat: vibrant, colourful and just plain gorgeous to look at; the slightness of the story lets it down, as well as the stop-start approach in the latter half, but this is still exemplary stuff from a company that can only get better and better.

Welcome to Marwen (2018)

05 Saturday Jan 2019

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D: Robert Zemeckis / 116m

Cast: Steve Carell, Leslie Mann, Diane Kruger, Janelle Monáe, Gwendoline Christie, Merritt Wever, Eiza González, Leslie Zemeckis, Stefanie von Pfetten, Neil Jackson, Falk Hentschel, Conrad Coates

Following a vicious beating by five white supremacists that robbed him of any personal memories he had before the attack, illustrator Mark Hogancamp (Carell) has managed to rebuild much of his life, but he’s no longer able to draw. Instead, he has created the fictional Belgian town of Marwen, a one-sixth scale model of which he’s built in his yard. Populated by dolls that represent some of the people who have been important to him since the attack, Mark has created a World War II storyline for the dolls of Marwen, and he takes photographs of them in carefully staged positions. These photographs have become regarded as art, and an exhibition of his work is due to take place in the near future. Also due to take place is the sentencing hearing of the men who attacked him, something that Mark’s lawyer (Coates) is pressing him to attend. But with Mark suffering from PTSD, and the Marwen stories occupying so much of his time, it’s only the sympathetic attention of a new neighbour, Nicol (Mann), that starts to bring Mark back to reality…

They say that truth is stranger than fiction, and that’s certainly the case with Mark Hogancamp, a man so violently assaulted that his attackers literally “kicked the memory” out of him. In creating the fictional village of Marwen, Hogancamp gave himself a way back to “normality”, even if it was through the use of an alternate, fantasy world populated by revamped Barbie dolls and Nazi soldiers who never die. It’s this aspect of the movie, with its model sets and plastic toy figures and props that makes the most impression, and Zemeckis – no stranger to giving life to CGI characters based on real people and performances – gives these scenes an urgency and a vibrancy that makes Marwen the kind of place we’d all like to visit (even if we’re likely to be shot at by marauding Nazis). With a great deal of charm, and visual wit, Zemeckis and co-scripter Caroline Thompson have created a cinematic variation of Hogancamp’s imagination and story-telling that is in its own way, brave and affecting, and which touches on more serious themes such as gender identity, persistent emotional trauma, drug addiction, and social isolation. There’s plenty of humour here too, but it’s more knowing than it is overt, and there’s a sadness behind it that make it all the more effective.

But while the scenes with Cap’n Hogie and his female coterie are the backbone of the movie and its MVP, the rest of the movie feels more fanciful and fictitious than the idea of dolls toting sub-machine guns and wearing stilettoes during wartime (look it up). Hogancamp is portrayed as a lovable yet tormented man who is personable yet reserved, and socially awkward, yet the introduction of Nicol, whose character feels like a stock idea lifted wholesale from Screenplay 101, grates with every scene she appears in (despite the best efforts of both Carell and Mann), while Hogancamp’s PTSD is laid on with the thickest of dramatic trowels. Carell at least has the measure of the character, but is hampered by the script’s insistence on making him depth-free, and something of a perennial man-child. Elsewhere in the “real world”, there are a number of stodgy contrivances – Nicol’s ex-boyfriend and nasty piece of work, Kurt (Jackson), exists only so he can double for the chief Nazi in Marwen, Nicol is completely unfazed and unconcerned by Hogancamp’s liking for wearing women’s shoes – and after a while any excuse to return to Marwen is likely to be gratefully accepted by the viewer, because that’s where the movie’s true heart and soul resides.

Rating: 6/10 – immensely enjoyable when the action is based in and around Marwen, but stilted and perfunctory when set away from there, Welcome to Marwen is a movie that struggles to balance both halves of its necessarily fractured narrative; Zemeckis directs with his usual flair and gift for visual flamboyance (and gets to include a clever nod to Back to the Future), but is let down by his own decision to make the real world look and sound like a bad soap opera, and by making the dolls more human than the humans.

The Butterfly Tree (2017)

21 Friday Dec 2018

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D: Priscilla Cameron / 96m

Cast: Melissa George, Ewen Leslie, Ed Oxenbould, Sophie Lowe, Ella Jaz Macrokanis, Lauren Dillon, Paula Nazarski, Steve Nation

In a small Australian town, widowed father Al (Leslie) and his son, Fin (Oxenbould), are both struggling to deal with the recent death of Fin’s mother, Rose (Dillon). Al is a teacher at the local college who has sought comfort in a string of short-term physical relationships, and who is currently sleeping with one of his students, Shelley (Lowe). Fin has retreated into a fantasy world populated by butterflies and happy memories of his mother. Both in their own way are looking for a love to replace the one they’ve lost, and when retired burlesque dancer, Evelyn (George), opens a flower shop nearby, they soon fall under her spell. Fin becomes possessive of her, while Al believes a new, more long-lasting relationship is possible – once he can extricate himself from the persistent attentions of Shelley. But father and son soon find themselves at loggerheads over their attraction for Evelyn, and their antagonism towards each other escalates, bringing up painful memories of Rose’s passing, and at a time when Evelyn has her own problems to deal with, problems that she has kept from both of them…

Movies that deal with grief and longing are often melancholic and hard to watch. Seeing other people’s misery acted out in front of us isn’t something that’s likely to attract large audiences or much in the way of mainstream appeal. But there’s definitely a niche market for such movies, and any feature that tries to examine how we deal with the pain and grief of losing a close relative is to be applauded for venturing into territory that most people want to avoid. But though The Butterfly Tree is one of those less fearful movies, it’s also one that struggles to find a consistent identity as it tells its oh-so-sad story. It has an uneven mix of styles, from its poignant magical realist opening as Fin imagines himself surrounded and then transported by thousands of butterflies, to the arch comedy of Shelley’s blinkered pursuit of an unwilling Al, to the romantic possibilities created by both Al and Fin’s super-fast infatuations with Evelyn, and to the wistful, philosophical mood it aims for when Evelyn wittingly or unwittingly (you decide) helps with Fin’s infatuation. And that’s without the drama of Al and Fin going to war against each other, a war that’s sparked by teenage jealousy and cinema’s usual approach of ensuring that two characters avoid talking to each other.

With all these elements vying for our attention, writer/director Priscilla Cameron (making her feature debut) has trouble keeping them all in line, and it’s not long before you begin to wonder if perhaps this is a movie that has been improvised from start to finish, and not least with the dialogue, which often sounds awkward, and awkwardly phrased. The movie is at least often luminous to look at, thanks to Jason Hargreaves’ careful use of colour saturated photography, and Charlie Shelley’s evocative production design, which makes Evelyn’s heady, over-stylised home, itself a riot of competing colours and textures and sights, a visual delight. But all in all, this is a movie that seems content to flirt with many of the heavy-hitting themes it seeks to explore, and which signposts many of the twists and turns in its narrative, making it not just predictable, but laboured as well. There are good performances from George and Oxenbould, though Leslie is hampered by the script’s insistence that Al should not be able to confront Fin over his behaviour at any point (until it’s dramatically too late). And by the time Evelyn’s main problem comes to the fore and adds further gravitas to everything else, it’s a diversion that, like much else in the movie, fails to have any appreciable impact.

Rating: 5/10 – though clearly made with the best of intentions, The Butterfly Tree falls short of achieving its goals thanks to Cameron’s lack of focus, and a script that doesn’t want its characters to suffer too much; shot through with a hazy, quirky sensibility that hints at any meaning being up for grabs, it’s a movie that unfortunately frustrates more often than it impresses.

Pin Cushion (2017)

10 Friday Aug 2018

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D: Deborah Haywood / 82m

Cast: Joanna Scanlan, Lily Newmark, Sacha Cordy-Nice, Saskia Paige Martin, Bethany Antonia, Loris Scarpa, Chanel Cresswell, John Henshaw, Isy Suttie, Nadine Coyle, Bruce Jones

It’s time for a new start for Lyn (Scanlan) and her teenage daughter, Iona (Newmark). Having moved to a new town, both are ready to fit in with their new surroundings. But several things aren’t likely to work in their favour: Lyn is a hunchback whose right leg is shorter than the other; she’s also socially awkward. Iona is almost desperate to fit in, but she has less life experience than her peers, and is easily manipulated. At her school she tries to be friends with a trio of girls – Keeley (Cordy-Nice) and her cohorts in bullying, Stacie (Martin) and Chelsea (Antonia) – and though she’s treated appallingly by them, Iona still regards them as her best friends, even when Keeley steals away the one boy (Scarpa) who’s shown any interest in her. Meanwhile, Lyn struggles with self-esteem and -confidence issues, and is rebuffed by everyone she meets, from an aggressive neighbour (Cresswell) to the organiser of a local support group (Suttie). As each suffers, their once solid relationship begins to fracture and tear…

When we first meet Lyn and Iona, their combined appearances immediately mark them out as different, as the kind of people society in general will be unkind to. And so it proves in Deborah Haywood’s first feature, a strikingly misanthropic and unremitting tale of deliberate social exclusion and unconscionable bullying. That both Lyn and Iona are victims is a given: they mis-read social cues, trust in others even when experience teaches them they shouldn’t, and persevere in the face of untold setbacks. They’re figures of fun for the people they encounter, a source of endless amusement and/or disgust, but such is the nature of their own needs that they carry on, hoping to make some connection – any connection – that can exist independently of their own. Being that much older (if not wiser), Lyn is more reluctant to engage with others; she’s had enough disappointment in her life already, and the depth of the pain she’s had to endure because of her physical appearance can only be guessed at (when she explains the circumstances of Iona’s conception it’s horrifying and heartrending at the same time). She tries her best, but the self-styled Dafty One (Iona is Dafty Two) can only absorb the blows she receives with a grieving acceptance.

Iona’s plight is explored in greater detail, and Haywood really piles on the agony. As Keeley and her pals take her under their wing, their ulterior motives are as obvious as Iona’s desperate need to fit in. It’s an awful thing to contemplate, but there’s a horrible symbiosis here, and the script exploits Iona’s capacity for self-abasement in such a rigidly unforgiving way that what begins as bullying becomes something worse: a situation in which she is entirely culpable. Haywood orchestrates Iona’s journey of self-deception as a terrifying coming of age drama spliced with fantasy moments that serve as pointers to the character’s self-delusions. It’s a supremely confident first feature, enhanced by Nicola Daley’s impeccable cinematography, and featuring two exemplary and moving performances from Scanlan as Lyn and Newmark as Iona (in her first starring role). Both actresses shine, highlighting their characters’ innate feelings of loneliness and vulnerabilities, and making the viewer hope that they’ll find some small measure of acceptance, even though it’s unlikely. In some ways, this is an urban horror movie, and there are moments of body horror that Haywood could have taken further, but she employs a restrained, matter-of-fact approach that is actually more effective. Mesmerising and fascinating, this an impressive first feature that isn’t so easily shaken off once it’s been seen.

Rating: 8/10 – with a deeply unsettling mise en scene and two central characters whose lives are blighted to such an extent that each successive misfortune they endure adds to the discomfort of spending time with them, Pin Cushion is a triumph for its writer/director; with an excess of style and form to help it along, this is a movie that’s unafraid to leave a nasty taste in the viewer’s mouth, or provide anything remotely close to a happy ending.

Two for the Kids: Molly Moon and the Incredible Book of Hypnotism (2015) and Curse of Cactus Jack (2017)

12 Thursday Jul 2018

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Molly Moon and the Incredible Book of Hypnotism (2015) / D: Christopher N. Rowley / 98m

Cast: Raffey Cassidy, Lesley Manville, Emily Watson, Dominic Monaghan, Celia Imrie, Joan Collins, Anne-Marie Duff, Ben Miller, Sadie Frost, Omid Djalili, Gary Kemp, Jadon Carnelly Morris, Tallulah Evans, Tom Wisdom

Hardwick House is an orphanage that’s run on a tight rein by its headmistress, Miss Adderstone (Manville). Sour and unlikeable, and disliking the children in her care, she has to contend with Molly Moon (Cassidy), a constant thorn in her side, and someone for whom getting into mischief – deliberately or not – seems to be a way of life. When Molly discovers a book on hypnotism at the local library, she uses it to begin making life at the orphanage that much better. But she’s drawn toward living a better life far away, and travels to London, where she tricks her way into replacing incredibly famous Davina Nuttel (Evans) as the star du jour. But she’s being pursued by would-be arch-criminal Nockman (Monaghan), who wants to use the book as a means toward robbing a diamond house. Will Molly thwart Nockman’s plans, and in the process, will she abandon her friends at Hardwick House altogether…?

Based on the 2002 novel by Georgia Byng, Molly Moon’s Incredible Book of Hypnotism is a lightweight adaptation that hits its marks with all the energy and bounce of a movie that knows it’s not quite going to measure up in the entertainment department. This is despite a plethora of generous acting performances by a talented cast who all know what’s required of them, and a script that doesn’t skimp on making it seem as if being an orphan isn’t really that bad. Molly’s adventures in London – becoming a mega-star overnight, saving a friend, Rocky (Carnelly Morris), from the perils of middle class adoptive parents, and foiling Nockman’s plans – are played out in a day-glo fantasy world of crude ambition and guilt-free wish fulfilment. That it stays just on the right side of amiable and is even (whisper it) enjoyable for the most part, is a tribute to the invested cast and director Rowley’s simplistic approach to the material. It lacks depth – something that’s not unusual in these circumstances – and avoids presenting its target audience with anything that might be recognised as real life. But this is part of its charm, and though it relies heavily on adult caricature and Molly’s authority-defying behaviour, it’s pleasant enough, and at times, funny in a way that children will enjoy far more than the grown ups.

Rating: 6/10 – targeting its intended audience with almost laser precision, Molly Moon and the Incredible Book of Hypnotism will amuse and entertain those of a pre-teen persuasion, but older viewers won’t be so impressed; a great cast helps the script overcome some serious narrative hurdles, and the whole thing breezes along like a modern day fairy tale – just with manufactured magic.

 

Curse of Cactus Jack (2017) / D: Craig McMahon / 82m

Cast: Billy Kitchen, Katie Kitchen, Mitch Etter, Aaron Seever, Julie Van Lith, Glen Gold

Billy and Katie live with their parents (Seever, Van Lith) and their grandfather (Etter). When their mum and dad aren’t paying attention – which is often – their grandfather regales them with tales of the Old West, and in particular, the legend of Cactus Jack, a gold prospector who found what was said to be the most lucrative gold mine of all. Fearful of his find being taken away from him, Jack never revealed the location of his mine, though he left behind a bunch of keys and a map with cryptic clues as to its whereabouts. Now in their grandfather’s possession, he hands them over to Billy and Katie. The next day, while their parents are at work, Billy and Katie determine to find the mine and Cactus Jack’s long-hidden horde. Using the map and its clues, they realise that the mine is near to where they live (conveniently), and soon find an entrance that leads them into the mine and the first of many obstacles put in place by Cactus Jack. Risking their lives, they venture further and further into the mine, and discover the reason why the mine is known as the curse of Cactus Jack…

A tightly budgeted adventure movie for kids, Curse of Cactus Jack is an Indiana Jones-style feature that pits its intrepid siblings against a variety of deadly obstacles, but makes itself somewhat redundant in terms of actual peril thanks to the script’s decision to make almost every snag and hindrance solvable through the use of one of the keys (conveniently) left behind by Cactus Jack. This might hamper the effectiveness of the narrative, but it’s ultimately of little consequence thanks to the casting of real life siblings Billy and Katie Kitchen. The pair are most definitely a team, supportive of each other (though Billy does get to mention that he’s “been a great brother” a little too often to avoid sounding as if he’s crowing about it), and on the same page throughout. There’s no sibling rivalry here, no bickering or complaining, and while it fits with the overall blandness of their characters, it’s refreshing to see them just getting on with it all. Against this, mum and dad are the parental equivalent of Bobble Heads, grandpa speaks as if he’s just stepped out of the Old West himself, and there’s a supernatural element that sits uncomfortably amongst proceedings as if the story really needed it (it doesn’t), but this is a pleasant enough diversion, and its target audience will most likely be pleased to see two pre-teens being so proactive and capable.

Rating: 6/10 – something of a one-man show – director McMahon is also the co-writer, co-producer, cinematographer, editor, and post-production supervisor – Curse of Cactus Jack is amiable and inoffensive, but also enjoyable for being a basic, no frills kids’ adventure movie; first-timers the Kitchens are acceptable as the movie’s protagonists, but if there’s one character that steals every scene he’s in, it’s Scooter Bear – now let’s see him get his own movie.

Monthly Roundup – March 2018

31 Saturday Mar 2018

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The LEGO Ninjago Movie (2017) / D: Charlie Bean, Paul Fisher, Bob Logan / 101m

Cast: Jackie Chan, Dave Franco, Justin Theroux, Fred Armisen, Kumail Nanjiani, Michael Peña, Abbi Jacobson, Zach Woods, Olivia Munn

Rating: 6/10 – when you’re the despised son (Franco) of an evil warlord (Theroux), there’s only one thing you can do: vow to defeat him with the aid of your ninja friends; after a superhero mash-up and a solo Batman outing, The LEGO Ninjago Movie brings us ninjas, but in the process forgets to provide viewers with much in the way of story, though the visual  innovation is still there, as is (mostly) the humour, making this something that is only just more of a hit than a miss.

Braven (2018) / D: Lin Oeding / 94m

Cast: Jason Momoa, Garret Dillahunt, Stephen Lang, Jill Wagner, Zahn McClarnon, Brendan Fletcher, Sala Baker, Teach Grant, Sasha Rossof

Rating: 4/10 – a trip for Joe Braven (Momoa) and his father (Lang) to their family cabin located in the Canadian wilderness sees them fighting for their lives when drug runners come to claim a shipment that has been hidden in the cabin; an unsophisticated action thriller, Braven has an earnestness to it that sees it through some of its more absurdist moments, but its Nineties vibe works against it too often for comfort, and despite the occasional effort, Dillahunt remains an unconvincing villain.

Passport to Destiny (1944) / D: Ray McCarey / 61m

Cast: Elsa Lanchester, Gordon Oliver, Lenore Aubert, Lionel Royce, Fritz Feld, Joseph Vitale, Gavin Muir, Lloyd Corrigan

Rating: 6/10 – in World War II, a cleaning woman, Ella Muggins (Lanchester), who believes herself to be protected from harm thanks to a magical glass eye, determines to travel to Berlin and kill Hitler; a whimsical comic fantasy that somehow manages to have its heroine save a German officer (Oliver) and his girlfriend, Passport to Destiny is an uneven yet enjoyable product of its time, with a terrific central performance by Lanchester, and a winning sense of its own absurdity.

Hellraiser: Judgment (2018) / D: Gary J. Tunnicliffe / 81m

Cast: Damon Carney, Randy Wayne, Alexandra Harris, Paul T. Taylor, Gary J. Tunnicliffe, Helena Grace Donald, Heather Langenkamp

Rating: 3/10 – the hunt for a serial killer finds its lead detective (Carney) coming face to face with the Cenobites – still led by Pinhead (Taylor) – but the solution to the case isn’t as obvious as it seems; the tenth movie in the series, Hellraiser: Judgment at least tries to offer something new in terms of the Cenobites’ involvement, but in the end it can’t escape the fact that Pinhead et al are no longer frightening, the franchise’s penchant for sado-masochistic violence has lost any impact it may once have had, and as with every entry since Hellbound: Hellraiser II (1988), it fails to introduce one single character for the viewer to care about.

The Final Year (2017) / D: Greg Barker / 89m

With: Ben Rhodes, Samantha Power, John Kerry, Barack Obama

Rating: 7/10 – a look at the final year of Barack Obama’s second term as President of the United States focuses on his foreign policy team and their diplomatic efforts on the global stage; featuring contributions from some of the key players, The Final Year is an interesting if not fully realised documentary that never asks (or finds an answer for) the fundamental question of why Obama’s administration chose to concentrate so much on foreign policy in its last days, something that keeps all the good work that was achieved somewhat in isolation from the viewer.

And Then Came Lola (2009) / D: Ellen Seidler, Megan Siler / 71m

Cast: Ashleigh Sumner, Jill Bennett, Cathy DeBuono, Jessica Graham, Angelyna Martinez, Candy Tolentino, Linda Ignazi

Rating: 4/10 – in a series of Groundhog Day-style episodes, the undisciplined Lola (Sumner) is required to rush a set of photographs to her interior designer girlfriend, Casey (Bennett), so she can seal the deal at a job interview – but she has varying degrees of success; an LGBTQ+ comedy that stops the action every so often to allow its female cast to make out with each other, And Then Came Lola doesn’t put enough spins on its central conceit, and doesn’t make you care enough if Lola comes through or not.

The Ritual (2017) / D: David Bruckner / 94m

Cast: Rafe Spall, Arsher Ali, Robert James-Collier, Sam Troughton, Paul Reid, Maria Erwolter

Rating: 7/10 – following the tragic death of one of their friends, four men embark on a memorial hiking trip in Sweden, but when one of them is injured, taking a short cut through a forest puts all their lives in jeopardy; a creature feature with a nasty edge to it and above average performances for a horror movie, The Ritual employs mystery as well as terror as it creates a growing sense of dread before it runs out of narrative steam and tries to give its monster a back story that brings the tension up short and leads to a not entirely credible denouement.

Jumanji: Welcome to the Jungle (2017) / D: Jake Kasdan / 119m

Cast: Dwayne Johnson, Kevin Hart, Jack Black, Karen Gillan, Rhys Darby, Bobby Cannavale, Nick Jonas, Alex Wolff, Ser’Darius Blain, Madison Iseman, Morgan Turner

Rating: 7/10 – four teenagers find themselves transported into a video game called Jumanji, where, transformed into avatars, they are charged with thwarting the dastardly plans of the game’s chief villain (Cannavale); a reboot more than a sequel, Jumanji: Welcome to the Jungle has the benefit of well-drawn, likeable characters, winning performances from Johnson, Hart, Black and Gillan, and confident direction from Kasdan, all things that serve to distract from the uninspired game levels and the predictable nature of its main storyline.

Paddington 2 (2017) / D: Paul King / 103m

Cast: Hugh Bonneville, Sally Hawkins, Ben Whishaw, Hugh Grant, Brendan Gleeson, Julie Walters, Jim Broadbent, Peter Capaldi, Imelda Staunton, Sanjeev Bhaskar, Ben Miller, Jessica Hynes, Noah Taylor, Joanna Lumley

Rating: 9/10 – the theft of a unique pop-up book sees Paddington (Whishaw) end up in jail while the Brown family do their best to track down the real thief, Phoenix Buchanan (Grant); an absolute joy, Paddington 2 is just so unexpectedly good that even just thinking about it is likely to put a smile on your face, something that’s all too rare these days, and which is thanks to an inspired script by director King and Simon Farnaby, terrific performances from all concerned, and buckets of perfectly judged humour.

Gangster Land (2017) / D: Timothy Woodward Jr / 113m

Original title: In the Absence of Good Men

Cast: Sean Faris, Milo Gibson, Jason Patric, Jamie-Lynn Sigler, Peter Facinelli, Mark Rolston, Michael Paré

Rating: 4/10 – the rise of boxer Jack McGurn (Faris) from potential champion to right-hand man to Al Capone (Gibson), and his involvement in Capone’s feud with ‘Bugs’ Moran (Facinelli); a biopic that’s hampered by lacklustre performances and a leaden script, Gangster Land wants to be thought of as classy but budgetary constraints mean otherwise, and Woodward Jr’s direction doesn’t inject many scenes with the necessary energy to maintain the viewer’s interest, something that leaves the movie feeling moribund for long stretches.

Pitch Perfect 3 (2017) / D: Trish Sie / 93m

Cast: Anna Kendrick, Rebel Wilson, Brittany Snow, Anna Camp, Hailee Steinfeld, John Lithgow, Ruby Rose, Matt Lanter, Elizabeth Banks, John Michael Higgins, DJ Khaled

Rating: 4/10 – the Borden Bellas are back for one last reunion before they all go their separate ways, taking part in a European tour and competing for the chance to open for DJ Khaled; a threequel that adds nothing new to the mix (even if you include Lithgow as Wilson’s scoundrel father), and which is as empty-headed as you’d expect, Pitch Perfect 3 isn’t even well thought out enough to justify its existence and trades on old glories in the hope that the audience won’t notice that’s what they are.

Something Real and Good (2013) / D: Luke Rivett / 81m

Cast: Matt Jones, Alex Hannant, Colton Castaneda, Marla Stone

Rating: 4/10 – he (Jones) meets her (Hannant) in an airport lounge, and over the next twenty-four hours, get to know each other, flirt, have fun, and stay in a hotel together due to their flight being cancelled; the slightness of the story – boy meets girl, they talk and talk and talk and talk – is further undermined by the cod-philosophising and trite observations on life and relationships that they come out with, leaving Something Real and Good as a title that’s a little over-optimistic, though if it achieves anything, it’ll be to stop people from striking up random conversations with strangers in airports – and that’s now a good thing.

Ladies First (2017) / D: Uraaz Bahi / 39m

With: Deepika Kumari, Geeta Devi, Shiv Narayan Mahto, Dharmendra Tiwari

Rating: 8/10 – the story of Deepika Kumari, at one time the number one archer in the world, and her efforts to obtain Olympic gold in 2012 and 2016; a sobering documentary that for a while feels like it’s going to be a standard tale of triumph over adversity (here, relating to Indian culture and gender equality), Ladies First offers a much deeper examination of success and failure than might be expected, and shows that in India, as in many other countries, there are precious few opportunities for women to be anything more than wives and mothers.

Heritage Falls (2016) / D: Shea Sizemore / 88m

Cast: David Keith, Coby Ryan McLaughlin, Keean Johnson, Sydney Penny, Nancy Stafford, Devon Ogden

Rating: 4/10 – three generations of males head off for a bonding weekend designed to overcome the divisions that are keeping them distant or apart from each other; a mixed bag of drama and lightweight comedy, Heritage Falls wants to say something sincere and relevant about father-son relationships, but falls way short in its ambitions thanks to a script that can’t provide even one of its protagonists with a convincing argument for their position, a bland visual style, and even blander direction from Sizemore, making this a turgid exercise in emotional dysfunction.

The Long Dark Hall (1951) / D: Anthony Bushell, Reginald Beck / 86m

Cast: Rex Harrison, Lilli Palmer, Denis O’Dea, Reginald Huntley, Anthony Dawson, Brenda de Banzie, Eric Pohlmann

Rating: 7/10 – when an actress is murdered in the room she rents, suspicion falls on her lover, married man Arthur Groome (Harrison), but even though he goes on trial at the Old Bailey, his wife, Mary (Palmer), stands by him; an early UK attempt at film noir, The Long Dark Hall has its fair share of tension, particularly in a scene at the Groome home where Mary is alone with the real killer (Dawson), but Harrison doesn’t seem fully committed (it wasn’t one of his favourite projects), and the screenplay lurches too often into uncomfortable melodrama, though overall this has an air of fatalism that keeps it intriguing for viewers who are used to their crime thrillers being a little more straightforward.

Ready Player One (2018) / D: Steven Spielberg / 140m

Cast: Tye Sheridan, Olivia Cooke, Ben Mendelsohn, Lena Waithe, T.J. Miller, Simon Pegg, Mark Rylance, Philip Zhao, Win Morisaki, Hannah John-Kamen

Rating: 7/10 – in 2045, people have become obsessed with a virtual reality game called Oasis where anything can happen, but when its creator (Rylance) reveals there’s a hidden prize within the game, one that will give overall control of the game and its licence to the winner, it’s up to a small group of gamers led by Parzifal (Sheridan) to stop a rival corporation from winning; an elaborate sci-fi fantasy that provides a nostalgia overload for fans of Eighties pop culture in particular, Ready Player One has plenty of visual pizzazz, but soon runs out of steam in the story department, and offers way too much exposition in lieu of a proper script, a situation it tries to overcome by being dazzling if empty-headed, but which in the hands of Steven Spielberg still manages to be very entertaining indeed – if you don’t give it too much thought.

The Temple (2017) / D: Michael Barrett / 78m

Cast: Logan Huffman, Natalia Warner, Brandon Sklenar, Naoto Takenaka, Asahi Uchida

Rating: 4/10 – three American tourists – best friends Chris (Huffman) and Kate (Warner), and Kate’s boyfriend, James (Sklenar) – are travelling in Japan when they hear about an abandoned temple and decide to go there, little knowing what will happen to them once they get there; even with its post-visit framing device designed to add further mystery to events, The Temple is a chore to sit through thanks to its being yet another horror movie where people behave stupidly so that a number of uninspired “shocks” can be trotted out, along with dreary dialogue and the (actually) terrible realisation that movie makers still think that by plundering legends and myths from other countries then their movies will be much more original and scary… and that’s simply not true.

Chokeslam (2016) / D: Robert Cuffley / 102m

Cast: Chris Marquette, Amanda Crew, Michael Eklund, Niall Matter, Gwynyth Walsh, Mick Foley

Rating: 5/10 – a 10-year high school reunion gives deli owner Corey (Marquette) the chance to reconnect with the girl he loved, Sheena (Crew), who is now a famous female wrestler; a lightweight romantic comedy that pokes moderate fun at the world of wrestling, Chokeslam is innocuous where it should be daring, and bland when it should be heartwarming, making it a movie that’s populated almost entirely by stock characters dealing with stock situations and problems, and which, unsurprisingly, provides them with entirely stock solutions.

All the Money in the World (2017) / D: Ridley Scott / 132m

Cast: Michelle Williams, Christopher Plummer, Mark Wahlberg, Romain Duris, Timothy Hutton, Charlie Plummer, Marco Leonardi, Giuseppe Bonifati

Rating: 8/10 – a recreation of the kidnapping in 1973 of John Paul Getty III (Charlie Plummer), and the subsequent attempts by his mother, Gail (Williams), to persuade his grandfather (Christopher Plummer) to pay the ransom, something the then world’s richest man refuses to do; Scott’s best movie in years, All the Money in the World is a taut, compelling thriller that tells its story with ruthless expediency and features yet another commanding performance from Williams, something that takes the spotlight away from the presence of Christopher Plummer (who’s good but not great), and which serves as a reminder that money isn’t the central concern here, but a mother’s unwavering love for her child.

5 Headed Shark Attack (2017) / D: Nico De Leon / 98m

Cast: Chris Bruno, Nikki Howard, Lindsay Sawyer, Jeffrey Holsman, Chris Costanzo, Amaanda Méndez, Ian Daryk, Jorge Navarro, Lorna Hernandez, Michelle Cortès, Nicholas Nene

Rating: 3/10 – a four-headed shark terrorises the waters off Palomino Island in Puerto Rico before mutating into a five-headed shark, and being hunted by both the island’s police force, and a team of marine biologists from a local aquarium; operating at the bargain bucket end of the movie business, 5 Headed Shark Attack, SyFy’s latest cheaply made farrago, references Sharknado (2013) early on (as if it’s being clever), and then does it’s absolute best to make its audience cringe and wince and wish they’d never started watching in the first place, something the awful screenplay, dialogue, acting, special effects and direction all manage without even trying.

The Girl Who Leapt Through Time (2006)

25 Sunday Mar 2018

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Original title: Toki o kakeru shôjo

D: Mamoru Hosoda / 98m

Cast: Riisa Naka, Takuya Ishida, Mitsutaka Itakura, Ayami Kakiuchi, Mitsuki Tanimura, Yuki Sekido, Sachie Hara, Utawaka Katsura, Midori Ando

Makoto (Naka) is a seventeen year old whose life consists of one lucky break after another: whether she oversleeps or not she still gets to school in the nick of time, she does well enough on her tests even though she doesn’t study too hard, and when she loses control of her bike heading downhill toward a train crossing, she always manages to regain control just before reaching the barrier. She has two male friends, Chiaki (Ishida) and Kosuke (Itakura), whom she plays baseball with after school, and a female friend, Kaho (Tanimura). But her various relationships undergo a variety of changes – some good, some bad – when an accident at school leaves her with the ability to leap back in time. At first she tries to help her friends in different ways, but her plans and ideas always seem to backfire, and she has to keep repeatedly going back to the same times and places to try and fix the things that she’s caused to happen. Soon Makoto learns that she has a finite number of time leaps available to her, and as they begin to run out, she has to double her efforts to ensure that everyone affected – including herself – is better off than when she started.

It’s heartening to discover that in The Girl Who Leapt Through Time, the girl is only interested in using her gift to help others. She finds that helping herself has adverse effects on others that she couldn’t have predicted, while she also finds she has only modest ambitions for herself. Instead she tries to bring Kosuke and Kaho together (an idea that suffers a multitude of setbacks), and attempts to find out more about her newfound gift. One of the nicest things about Satoko Okudera’s script, itself a semi-sequel to Yasutaka Tsutsui’s 1967 novel of the same name, is that it doesn’t preach about the perils of interfering in the lives of others, or how dangerous it might be to meddle with time. What we get instead is a sensitive portrait of teen anxiety in the face of unresolved romantic feelings, and a heartfelt treatise on the nature of individual responsibility. What hampers Makoto from getting things right is her inexperience and her naïvete; she can’t see the potential consequences of her actions, no matter how unselfish they might be.

Hosoda brings all this together in charming and winning fashion, and provides an often beautiful backdrop for the action. The backgrounds are often astonishing for their vibrancy and depth of colour, and many scenes have a simplicity of style and execution that is inspiring. However, while the characters are well drawn, certain aesthetic decisions conspire to make them look outlandish and bizarre. Makoto suffers the most, with one scene showing her tipping her head back with laughter and her mouth widening to the extent that it looks freakish (or something out of a horror movie). And Hosoda curiously elects to remove all facial features from characters when they are in the background. These elements, along with a sub-plot about a time traveller from the future and a particular painting Makoto’s aunt is restoring, distract from the overall effect, and prove unsettling and unrewarding in equal measure. But there is a fresh, joyous quality to the material that makes up for much of this, and there are plenty of subtle emotional layers to be savoured throughout the movie. The voice cast acquits itself well, and though Hosoda’s direction is uneven at times, this remains a delightful, if unspectacular, coming-of-age anime.

Rating: 7/10 – it’s easy to forget that there are other animation studios in Japan beside Studio Ghibli (here it’s Madhouse), but despite some obvious flaws, The Girl Who Leapt Through Time is a positive reminder; engaging and unpretentious, it’s a movie that treats its more serious themes with genuine integrity, while adding a lively sense of humour, all of which makes for an entertaining, if not entirely polished, viewing experience.

I Kill Giants (2017)

24 Saturday Mar 2018

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D: Anders Walter / 106m

Cast: Madison Wolfe, Zoe Saldana, Imogen Poots, Sydney Wade, Rory Jackson, Art Parkinson, Jennifer Ehle

For Barbara Thorson (Wolfe), the existence of giants is a given, as much a part of the fabric of her daily life as brushing her teeth or riding the bus to school. Barbara is an expert on giants, she knows their origins and their proclivities, but worse still, she’s seen one in the forests outside the town where she lives. Knowing their destructive power, she determines to save the town, and constructs elaborate traps designed to kill the giant. Of course, no one else believes her when she talks about these terrible creatures, not her adult sister, Karen (Poots), or her older brother, Dave (Parkinson). At school she’s treated like the outsider she’s happy to be, and is regularly targeted by the school bully, Taylor (Jackson). The arrival of Sophia (Wade) from England gives her a chance to make both a friend and an ally in her fight against the giants, but with the omens and portents pointing toward a greater threat than even she is prepared for, Barbara’s behaviour becomes increasingly erratic. Her friendship with Sophia suffers, she rejects the help of the school psychologist, Mrs Mollé (Saldana), and does her best to avoid talking about the reasons why her main weapon against the giants is called Coveleski…

Adapted from the graphic novel of the same name by Joe Kelly and JM Ken Niimura, and with a script by Kelly, I Kill Giants is a winning blend of teen drama and fantasy thriller that plays it straight throughout, and when it does add humour, ensures that it’s as mordaunt as possible. Barbara’s world is convincingly structured from the start, and as the movie progresses, Kelly’s script adds the kind of layers that make it difficult for the viewer to dismiss Barbara’s fantasy world as being just that (there are moments when you’ll be sure it’s all in her head, and then moments when you won’t be). The movie provides clues as to the reality of what’s happening, but unless you’ve already read the original graphic novel, it’s unlikely you’ll piece it all together before the end. This means that the tone of the movie is dark overall, with its themes of imminent peril from without (the giants) and from within (Taylor), the fractured dynamic of Barbara’s family, and the cause – if there is one – of her retreat into a fantasy world.

With all these elements in place, you could be forgiven for thinking that I Kill Giants is a dour, depressing movie, but thanks to Kelly’s understanding of the characters and first-timer Walter’s sympathetic approach, not to mention an impressive performance from Wolfe, this is often uplifting stuff when it’s not addressing the serious natures of its various themes. Inevitably, Barbara is the kind of precocious child who can talk to adults on their own level, and leave them dumbfounded (something that only seems to happen in the movies), while her friendship with Sophia goes through the kinds of trials that leaves Sophia feeling less like a fully developed character and more of a deus ex machina. Elsewhere, there’s a striking animated section that depicts the origins and various incarnations of the giants, and several moments where the sound is either distorted or withdrawn in order to show Barbara’s disorientation when faced with certain unpalatable facts. Rasmus Heise’s cinematography, with its largely muted colour scheme, adds to the overall tone, and there’s a fascinating degree of detail in Stijn Guillaume’s set decoration.

Rating: 8/10 – an ambitious Irish/Belgian co-production, I Kill Giants tells its story with a great degree of warmth and affinity for its central character, and in doing so, proves itself to be noticeably sincere; it’s a cleverly assembled movie, forthright and stirring in places, and like all the best stories, it doesn’t give up its secrets until it absolutely has to.

Monthly Roundup – February 2018

28 Wednesday Feb 2018

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‘C’-Man (1949) / D: Joseph Lerner / 77m

Cast: Dean Jagger, John Carradine, Lottie Elwen, Rene Paul, Harry Landers, Walter Vaughn, Adelaide Klein, Edith Atwater

Rating: 5/10 – a US Customs agent (Jagger) finds himself looking for the killer of his best friend (and fellow Customs agent), and the person responsible for the theft of a rare jewel – could they be the same man?; an odd noir crime thriller that betrays its low budget production values, ‘C’-Man is short on character but long on action, and is fitfully entertaining, though the performances vary wildly and the script contains some very po-faced dialogue, making it a movie you can’t really take your eyes from – and not in a good way.

When We First Met (2018) / D: Ari Sandel / 97m

Cast: Adam Devine, Alexandra Daddario, Shelley Hennig, Andrew Bachelor, Robbie Amell

Rating: 3/10 – Noah (Devine) falls for Avery (Daddario) and winds up in the friend zone, but thanks to a magic photo booth, he gets the chance to go back and change their relationship into a romantic one; a dire romantic comedy that struggles to be both romantic and funny, When We First Met can’t even make anything meaningful out of its time travel scenario, and is let down by a banal script and below-par performances.

The Phantom (1931) / D: Alan James / 62m

Cast: Guinn Williams. Allene Ray, Niles Welch, Tom O’Brien, Sheldon Lewis, Wilfred Lucas, Violet Knights, William Gould, Bobby Dunn, William Jackie

Rating: 3/10 – a reporter (Williams) tries to track down the titular criminal mastermind when he targets the father of his girlfriend (Ray), but finds it’s not as simple a prospect as he’d thought; an early talkie that shows a lack of imagination and purpose, The Phantom struggles from the outset to be anything but a disappointment, what with its unconvincing mix of comedy and drama, its old dark house scenario, and a clutch of amateur performances that drain the very life out of it at every turn.

Black Panther (2018) / D: Ryan Coogler / 134m

Cast: Chadwick Boseman, Michael B. Jordan, Lupita Nyong’o, Danai Gurira, Martin Freeman, Daniel Kaluuya, Letitia Wright, Winston Duke, Sterling K. Brown, Angela Bassett, Forest Whitaker, Andy Serkis, Florence Kasumba, John Kani

Rating: 7/10 – the king of outwardly poor but inwardly technologically advanced Wakanda, T’Challa (Boseman), faces a coup from an unexpected source (Jordan), while trying to work out whether or not his country’s scientific advances should be shared with the wider world; though Black Panther does feature a predominantly black cast, and speaks to black issues, this is still a Marvel movie at the end of the day and one that adheres to the template Marvel have created for their releases, making this an admittedly funny and exciting thrill ride, but one that’s also another formulaic entry in the Marvel Cinematic Universe.

Atomic Blonde (2017) / D: David Leitch / 115m

Cast: Charlize Theron, James McAvoy, John Goodman, Toby Jones, Eddie Marsan, James Faulkner, Roland Møller, Sofia Boutella, Bill Skarsgård, Sam Hargrave, Jóhannes Haukur Jóhannesson, Til Schweiger

Rating: 6/10 – in the days before the fall of the Berlin Wall, a spy (Theron) must find a list of double agents that are being smuggled into the West, a task complicated by the involvement of the Americans, the Russians and a number of other interested parties; an attempt to provide audiences with a female John Wick, Atomic Blonde does have tremendous fight scenes, and a great central performance by Theron, but it’s let down by a muddled script, an even more muddled sense of the period it’s set in, and by trying to be fun when a straighter approach would have worked better.

Beauty and the Beast (2017) / D: Bill Condon / 129m

Cast: Emma Watson, Dan Stevens, Luke Evans, Josh Gad, Kevin Kline, Ewan McGregor, Ian McKellen, Emma Thompson, Nathan Mack, Audra McDonald, Stanley Tucci, Gugu Mbatha-Raw

Rating: 5/10 – the classic fairy tale, and previously a classic animated movie, is given the live action treatment by Disney; if the latest installment of a certain space opera hadn’t been released in 2017, Beauty and the Beast would have been the number one movie at the international box office, but though the House of Mouse might point to this as a measure of quality, the reality is that Watson was miscast, the songs lack the emotional heft they had in the animated version, and the whole thing has a perfunctory air that no amount of superficial gloss and shine can overcome.

The Case of the Black Parrot (1941) / D: Noel M. Smith / 61m

Cast: William Lundigan, Maris Wrixon, Eddie Foy Jr, Paul Cavanagh, Luli Deste, Charles Waldron, Joseph Crehan, Emory Parnell, Phyllis Barry, Cyril Thornton

Rating: 6/10 – a newspaper reporter (Lundigan) gets involved in a case involving a master forger (the Black Parrot), an antique cabinet, and a couple of mysterious deaths; an enjoyable piece of hokum, The Case of the Black Parrot gets by on a great deal of understated charm, a whodunnit plot that doesn’t overplay its hand, and by having its cast treat the whole absurd undertaking with a sincerity that is an achievement all by itself.

Murder on the Orient Express (2017) / D: Kenneth Branagh / 114m

Cast: Kenneth Branagh, Tom Bateman, Lucy Boynton, Olivia Colman, Penélope Cruz, Willem Dafoe, Judi Dench, Johnny Depp, Josh Gad, Manuel Garcia-Rulfo, Derek Jacobi, Marwan Kenzari, Leslie Odom Jr, Michelle Pfeiffer, Sergei Polunin, Daisy Ridley

Rating: 5/10 – the famous Belgian detective Hercule Poirot (Branagh) is faced with a complex mystery: which one of a dozen passengers killed an infamous kidnapper, and more importantly, why?; yet another version of the Agatha Christie novel, Murder on the Orient Express strands its capable cast thanks to both an avalanche and a tepid script, leaving its director/star to orchestrate matters less effectively than expected, particularly when unravelling the mystery means having the suspects seated together in a way that clumsily replicates the Last Supper.

The Boss Baby (2017) / D: Tom McGrath / 97m

Cast: Alec Baldwin, Steve Buscemi, Jimmy Kimmel, Lisa Kudrow, Tobey Maguire, Miles Bakshi, James McGrath, Conrad Vernon, ViviAnn Yee, Eric Bell Jr, David Soren

Rating: 6/10 – when seven year old Tim (Bakshi) finds he has a new baby brother, Theodore (Baldwin) – and one dressed in a business suit at that – he also finds that Theodore is there to stop babies from being usurped in people’s affections by puppies; a brightly animated kids’ movie that takes several predictable swipes at corporate America, The Boss Baby wants to be heartwarming and caustic at the same time, but can’t quite manage both (it settles for heartwarming), and though Baldwin may seem like the perfect choice for the title character, he’s the weakest link in a voice cast that otherwise sells the performances with a great deal of enthusiasm.

Game Night (2018) / D: John Francis Daley, Jonathan Goldstein / 100m

Cast: Jason Bateman, Rachel McAdams, Kyle Chandler, Billy Magnussen, Sharon Horgan, Lamorne Morris, Kylie Bunbury, Jesse Plemons, Danny Huston, Michael C. Hall

Rating: 5/10 – when a group of friends led by Max (Bateman) and Annie (McAdams) are invited to a game night at the home of Max’s brother, Brooks (Chandler), the evening descends into murder and mayhem, and sees the group trying to get to the bottom of a real-life mystery; like an Eighties high concept comedy released thirty years too late, Game Night has a great cast but little direction and waaaay too much exposition clogging up its run time, all of which makes a couple of very funny, very inspired visual gags the only reward for the viewer who sticks with this to the end.

Bright (2017)

23 Saturday Dec 2017

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D: David Ayer / 118m

Cast: Will Smith, Joel Edgerton, Noomi Rapace, Lucy Fry, Edgar Ramírez, Veronica Ngo, Alex Meraz, Happy Anderson, Ike Barinholtz, Dawn Olivieri, Matt Gerald, Margaret Cho, Joseph Piccuirro, Brad William Henke, Jay Hernandez, Enrique Murciano

And so, like the cinematic equivalent of a pair of socks (but for the same foot), we have Bright, the latest Netflix original to grace the small screen and remind us that not all the bad movies get a cinema release. Penned by Max Landis and directed by David Ayer, this lumpen mix of fantasy and crime arrives D.O.A. before it’s even started, and not once during its near-on two hour run time, shows any sign that it can be resurrected (unlike one of its characters). If you have to see this movie, then be warned: it’s as if Alien Nation (1988) never happened.

Mismatched buddy cop movies have been around for some time now, but rarely have they been as ill-advised and as poorly constructed as this movie. Bright takes a great central conceit – what if magic was real and fantasy creatures co-existed with us in some alternate reality? – and then keeps on reminding the viewer that beyond this central conceit, the script has no idea what to do with it other than to make an action thriller out of it, and one that rarely makes any coherent sense. There’s a Dark Lord who was vanquished two thousand years ago, and now a bad elf, Leilah (Rapace), wants to use one of three magic wands to bring the Dark Lord back so he can kill billions of people and enslave the rest. (As wth most fantasy movies where there’s a Big Bad who just wants to destroy everything, there’s no actual reason given as to why they want to do all this, or why they have followers who can’t see this isn’t actually a good thing.) Our heroes are a couple of L.A. cops, the mismatched buddies of this paragraph’s first sentence. One is Daryl Ward (Smith), a long-serving officer about to resume active duty after being shot, and the other is his partner, Nick Jakoby (Edgerton), the first and only Orc to become a police officer.

It won’t surprise anyone that Nick being an Orc gives rise to notions of racism, both casual and institutional, and the movie does spend some time examining this particular theme, but it does so in such a clumsy, ham-fisted way that it’s almost embarrassing. The Orc population primarily lives in ghetto-ised areas, while the Elves have their own exclusive part of town, are rich and influential, and apparently exist to go boutique shopping (there are fairies too but they’re not important). Both keep out of each other’s way, both have sketchily drawn histories, and there’s no attempt to explain how they and humans came to be co-existing with each other, or how long it’s been going on. Landis and Ayer aren’t interested in creating a credible world that makes any sense, and that’s evident by the way in which the movie throws the viewer in at the deep end and then wanders off without throwing them a lifeline. Instead, Ward and Nick are soon running from everyone in their efforts to keep Leilah’s magic wand – stolen by good elf Tikka (Fry) – from ending up in the wrong hands. Corrupt cops want it, a local gang wants it, Leilah and two of her followers (Ngo, Meraz) want it, and an FBI agent, Kandomere (Ramirez), wants it as well. What’s a couple of increasingly isolated police officers to do?

The answer is to wait until the movie delivers on a piece of information a minor character imparts near the beginning. The title refers to someone who can wield a magic wand – usually an elf – but who can also be human, even though the odds are (unsurprisingly) astronomical. With this fairly important tidbit introduced into the narrative, and in such a way as to draw direct attention to it, the ending of the movie is set up, and any tension intended to keep viewers on the edge of their seats wondering how Leilah can be defeated, is abandoned. Landis and Ayer know what’s going to happen, the viewer knows what’s going to happen, and if you took a straw poll of a hundred random strangers, they’d all know too. This means wading through a number of encounters that offer a succession of action beats – one inside a convenience store is at least well choreographed – interspersed with scenes that are meant to reveal more about the characters. Sadly, much of this is tedious to watch and dramatically redundant. This is fantasy by numbers, and Landis’s script doesn’t bring anything new to the table, just stock characters and a predictable scenario.

It’s concerning that Landis thinks of this movie as his “Star Wars“, and that Ayer has said (in response to a negative review) that “it’s a big fun movie”. Landis needs to rethink his opinion, and Ayer needs to reflect on what aspects could be regarded as “fun”. Following on so soon after the debacle that was Suicide Squad (2016), Ayer should be persuaded to avoid big budget fantasy spectacles and maybe concentrate on smaller, more personal movies or return to making gritty, immediate cop thrillers such as End of Watch (2012). Equally, Landis should forget about high concept screenplays and maybe write some more of the quirky, low budget stuff that actually has an impact, such as Mr. Right (2015). The trap that both men have fallen into is in believing that audiences will just accept what they’re being shown, and will be more than happy with the numerous action scenes that bulk out the movie. But when everything seems either laboured or ignored or both, audiences will take that on board, and they will be disappointed.

The performances are adequate, with Edgerton coming away with a degree of kudos for his portrayal of Nick, but for Smith this is another misfire in what seems to be a consistent series of misfires stretching all the way back to Men in Black 3 (2012). Whether you believe his judgment has been affected in some way, and that his choice of projects over the last five years has made him appear “off his game”, what remains is a portrayal here that doesn’t resonate in the way that a Will Smith performance used to. There isn’t the energy or the knowing humour that we’ve come to expect in the past; instead it’s another occasion where his presence is almost a guarantee of disappointment. Rapace has even less chance of making an impact, reduced as she is to playing generic villain of the month, while the rest of the cast make up the numbers in a variety of unassuming and unaffecting ways. It all looks gloomy and portentous, but not in a good way, and there are moments where any good intentions or creative ideas appear to have been jettisoned in favour of sticking to Landis’s screenplay. There’s a great movie to be made from the idea of fantasy creatures inhabiting the same world as humans, and living side by side with us, but unfortunately, Bright isn’t it.

Rating: 3/10 – with a sequel already greenlit and Smith set to return, the notion that Netflix have seen all they need to see in relation to Bright is quite a worrying development, especially as there’s nothing here to warrant continuing Ward or Nick’s story; loud, dumb, and superficially entertaining, it’s a movie that lacks heart and soul and a sense of wonder at the world it’s seeking to show, and which quickly descends into a melee of rote situations and trite outcomes.

Monthly Roundup – October 2017

31 Tuesday Oct 2017

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Miss Tulip Stays the Night (1955) / D: Leslie Arliss / 68m

aka Dead by Morning

Cast: Diana Dors, Patrick Holt, Jack Hulbert, Cicely Courtneidge, A.E. Matthews, Joss Ambler

Rating: 6/10 – a crime writer (Holt) and his wife (Dors) discover that a weekend break in the country is no guarantee that murder won’t come calling to disturb them, and so it proves when the garrulous Miss Tulip (Courtneidge) is found dead in the cottage; an amiable if too leisurely paced murder mystery, Miss Tulip Stays the Night relies on hoodwinking the viewer from the start and keeping a vital piece of information all to itself until the end, but as a vehicle for Dors it isn’t quite as successful as may have been hoped originally, as the actress is too often sidelined in favour of having Holt attempting to solve the mystery before the police do.

Power Rangers (2017) / D: Dean Israelite / 124m

Cast: Dacre Montgomery, Naomi Scott, RJ Cyler, Ludi Lin, Becky G, Elizabeth Banks, Bryan Cranston, Bill Hader, David Denman

Rating: 4/10 – five teens discover the remains of a space ship buried in a hillside, and also find that they have been chosen to defend the Earth from an evil alien called Rita Repulsa (Banks), something that means wearing colourful outfits and playing with super powers; as if the likes of the Transformers or Teenage Mutant Ninja Turtles franchises hadn’t already shown that there is a dwindling audience for this kind of thing, Power Rangers goes ahead and makes the same narrative mistakes as its confederates, and only makes a decent fist of things when it’s focusing on the inter-relationships of the teens, and not the frankly ridiculous storyline that needed four writers to work on it.

Sunset Murder Case (1938) / D: Louis J. Gasnier / 60m

aka High Explosive

Cast: Sally Rand, Esther Muir, Vince Barnett, Paul Sutton, Lona Andre, Mary Brodel, George Douglas, Reed Hadley, Kathryn Kane, Dennis Moore, Henry King

Rating: 4/10 – when her policeman father is murdered, a showgirl, Kathy O’Connor (Rand), decides to pose as a fan dancer at a nightclub in an effort to find out who killed him; Rand’s presence is the only interesting thing about this deadly dull drama that stops too often for musical interludes, and which seems to run longer than it actually does, making Sunset Murder Case a disappointing exercise that lacks for thrills  and any kind of appeal that might make it look or sound better.

The Guest House (2012) / D: Michael Baumgarten / 82m

Cast: Ruth Reynolds, Madeline Merritt, Tom McCafferty, Jake Parker, Jennifer Barlow

Rating: 3/10 – wild child Rachel (Reynolds), stuck at home for the weekend after splitting up with her boyfriend, gets to know her father’s new employee, Amy (Merritt), when she comes to stay in the guest house…and not just as a friend; a low budget insult to any lesbians who happen to watch this farrago, The Guest House is ludicrous in the way it depicts lesbian lovemaking, and ludicrous in the way that writer/director Baumgarten could have ever thought that his script was even halfway adequate enough to make this worth watching – and that’s without the two terrible performances at the movie’s centre.

Sparks and Embers (2015) / D: Gavin Boyter / 88m

Cast: Kris Marshall, Annelise Hesme, Waleed Akhtar, Valda Aviks, Sean Baker, Len Trusty

Rating: 4/10 – five years after they met while stuck in a lift, Tom (Marshall) and Eloise (Hesme), meet up again just as she’s on the verge of leaving London to go off and marry another man, making this Tom’s last chance to win her back after their relationship has ended; a movie that wants so much to say something profound about love (but doesn’t know how to), Sparks and Embers wastes its two co-stars’ time, and the audience’s, on a story that lacks any kind of spark, and which sees the couple wandering along London’s South Bank, aimlessly back and forth, and oddly, at different times of the year, which is no mean feat when Tom has just forty-five minutes to persuade Eloise not to leave.

My Name Is Lenny (2017) / D: Ron Scalpello / 91m

Cast: Josh Helman, Michael Bisping, Chanel Cresswell, Charley Palmer Rothwell, Nick Moran, John Hurt, Rita Tushingham, Frankie Oatway, George Russo, Martin Askew, Jennifer Brooke

Rating: 4/10 – the story of British bare knuckle boxer Lenny McLean (Helman) as he tries to deal with the demons that still haunt him from his childhood, while also trying to keep his marriage from falling apart, and defeat main rival Roy Shaw (Bisping) – and all at the same time; a raucous, cheaply made biopic that has a good sense of the period it’s set in, My Name Is Lenny is undermined by Helman’s decision (supported no doubt by director Scalpello) to portray McLean as a constantly gurning nutjob with all the self-awareness of, well, someone who’s taken too many punches to the head, and a number of violent scenes that are there to make the movie more interesting (though only briefly) than it actually is.

The Living Ghost (1942) / D: William Beaudine / 61m

aka Lend Me Your Ear; A Walking Nightmare

Cast: James Dunn, Joan Woodbury, Paul McVey, Vera Gordon, Norman Willis, J. Farrell MacDonald, Minerva Urecal, George Eldredge, Jan Wiley, Edna Johnson

Rating: 5/10 – when a wealthy businessman disappears only to return in a semi-comatose state that no one can explain, ex-detective Nick Trayne (Dunn) is persuaded to investigate; eerie goings-on coupled with a lot of broad comedy makes The Living Ghost more entertaining than it has any right to be, particularly as the script flits from one ill-thought out idea to another, and the more than competent Dunn is left to carry the picture on his own, a situation that isn’t any good for him or the audience.

Turn the Key Softly (1953) / D: Jack Lee / 78m

Cast: Yvonne Mitchell, Terence Morgan, Joan Collins, Kathleen Harrison, Thora Hird, Dorothy Alison, Glyn Houston

Rating: 7/10 – three women – lovelorn Monica (Mitchell), selfish Stella (Collins), and good-natured Granny Quilliam (Harrison) – are released from prison on the same day, but though all three have plans to stay on the right side of the law, temptations put them all in jeopardy of landing right back where they started; a nimbly executed drama that poses some unexpected questions about the likelihood of prison being a place of reform, Turn the Key Softly benefits from the performances of Mitchell, Collins and Harrison, and by an assured use of London as a backdrop to the action.

No More Ladies (1935) / D: Edward H. Griffith / 80m

Cast: Joan Crawford, Robert Montgomery, Charles Ruggles, Franchot Tone, Edna May Oliver, Gail Patrick, Reginald Denny, Vivienne Osborne, Joan Fontaine, Arthur Treacher

Rating: 5/10 – lovesick Marcia (Crawford) finally lands the man of her dreams, committed Lothario Sherry (Montgomery), only to find that being married hasn’t dampened his ardour for the company of other women; though the script is by Donald Ogden Stewart and Horace Jackson, neither man can make this turgid tale of jealousy and vengeful scheming as credible as it needs to be, and despite the best efforts of Crawford and Montgomery, it fails to impress, leaving only Ruggles and Oliver to elevate the material, and then merely by being present and on fine form.

Rough Night (2017) / D: Lucia Aniello / 101m

Cast: Scarlett Johansson, Jillian Bell, Zoë Kravitz, Ilana Glazer, Kate McKinnon, Paul W. Downs, Ryan Cooper, Ty Burrell, Demi Moore

Rating: 6/10 – when five friends get together for a bachelorette party, they don’t plan on the male stripper they’ve hired ending up dead, or how difficult it will be to dispose of the body without anyone finding out; an uneasy mix of sweet-natured girl power and the kind of gross-out material that always makes for an equally uneasy combination, Rough Night features a great cast as the five friends (McKinnon is on good form as usual), but often leaves them stranded while the next set up is… set up, making this a comedy that relies on too much exposition to be truly effective, and which is only occasionally funny – though when it is, it is funny.

Geostorm (2017) / D: Dean Devlin / 109m

Cast: Gerard Butler, Jim Sturgess, Abbie Cornish, Andy Garcia, Ed Harris, Alexandra Maria Lara, Daniel Wu, Eugenio Derbez, Amr Waked, Adepero Oduye, Robert Sheehan, Talitha Eliana Bateman, Richard Schiff

Rating: 5/10 – when a satellite system (called Dutchboy) that controls the Earth’s weather starts to malfunction, causing all sorts of catastrophes, it’s up to warring brothers Jake (Butler) and Max Lawson (Sturgess) to save the day, and to uncover the person behind it all – which might just be the US President (Garcia); despite having a ton of sincerity poured all over it, Geostorm is still as silly and as earnestly po-faced as you’d expect, with Butler in full-on macho mode, Sturgess doing perpetual anguish, Cornish wondering if her career will survive this, and all in support of a number of disaster porn episodes that, frankly, have lost the ability to impress thanks to all the other disaster porn movies that have come before it (some of which writer/director Devlin will be all too familiar with).

Thor: Ragnarok (2017)

24 Tuesday Oct 2017

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D: Taika Waititi / 130m

Cast: Chris Hemsworth, Tom Hiddleston, Cate Blanchett, Idris Elba, Jeff Goldblum, Tessa Thompson, Karl Urban, Mark Ruffalo, Anthony Hopkins, Benedict Cumberbatch, Taika Waititi, Rachel House, Clancy Brown

Ah, Thor, God of Thunder – where have ye been? And what have ye done? Is there anything we should know about? After seeing Thor: Ragnarok, you might be thinking, no, there isn’t, as Marvel’s latest attempt to spin an interesting solo movie out of the Son of Asgard throws punchline after one liner after humorous quip as it tries to draw the audience’s attention away from the fact that, once again, Marvel have very few ideas as to what to do with the character (or Loki, or Odin, or worse still, Bruce Banner/Hulk). By making this a de facto comedy, somewhere along the line they forgot to provide a compelling story. Sure, there’s drama in Hela, the Goddess of Death (Blanchett) coming to destroy Asgard, and yes, there’s further drama in Thor and Hulk both ending up on the same planet and needing to team up to save themselves and Asgard, but it’s all buried under a layer of humour that is often clumsy and intrusive.

The main problem is with Marvel’s decision to split the narrative in two. At the beginning we have the re-emergence of Hela and the threat to Asgard as we know it. Hela proves a formidable opponent to Thor and sends him spinning off through time and space where he ends up on the planet of Sakaar. This is where the movie becomes a little schizophrenic, hopping to and fro from Sakaar, where Thor finds himself prisoner of the Grandmaster (Goldblum), a futuristic Nero-in-waiting who organises gladiatorial games in the kind of overblown colosseum where the unlucky folks in the seats all the way at the top need to bring binoculars in order to see the duels properly, and Asgard, where Hela spends her time waiting for Thor to come back for the big showdown (sorry, that should read behaving nefariously and cruelly to the people of Asgard). Either of these stories could have made an effective single movie, but here they only serve to rub up against each other awkwardly, and as a result, neither are particularly effective.

While Hela misbehaves in Asgard, Thor discovers he’s not alone on Sakaar. Loki (Hiddleston) is also there, having suffered the same fate at the hands of Hela as his brother. Of course, Loki is just as conniving and deceitful as ever, but equally as ever he can still be persuaded to do the right thing when the need arises. Also on Sakaar is Bruce Banner (Ruffalo), still transformed into the Hulk from his last appearance in the Marvel Cinematic Universe towards the end of Avengers: Age of Ultron (2015). Hulk is the Grandmaster’s champion gladiator, still indomitable, still fuelled by rage but also satisfied by not having returned to being his weaker alter ego. And then there’s a third “refugee”, Scrapper-142, otherwise known as Valkyrie (Thompson), an Asgardian whose presence (and age) aren’t fully explained in the script, but who has history with Hela. Together, Thor, Hulk, Loki and Valkyrie must team up to escape from Sakaar, head for Asgard, and defeat the waiting Hela (sorry, that should read defeat the nefarious and cruelly behaving Hela).

While all this takes place over a matter of days (presumably), it lacks for tension and suspense. We all know that Thor and his team of Revengers will escape from Sakaar, even if it is through the notorious Devil’s Anus (a spectacular wormhole that hovers conveniently over Sakaar), but half the problem is that it takes him so long to do so. And by the time everyone’s back in Asgard for the big showdown, it leaves the final battle feeling a little rushed. Along the way, Bruce relays his reluctance to return to being Hulk, Loki plays both sides to his own advantage, Valkyrie is convinced to help Thor, and the Grandmaster behaves in the kind of off-kilter, quirky, madcap kind of way that only Jeff Goldblum can manage. Meanwhile, Hela sits on the throne of Asgard, glowers a lot, dispenses with a horde of Asgardian warriors in quick fashion, makes an acolyte of Karl Urban’s opportunistic Skurge, and goes back to glowering and waiting for Thor to return (sorry, that should read glowering and plotting the end of Asgard – though you’d think that, having been banished for what seems a very long time, she would have a firm course of action in mind by now).

It’s all put together by Marvel newbie Waititi in bright, airy fashion and with huge dollops of the aforementioned humour to wash it all down with. Some of the humour does work – the already seen in the trailer, “he’s a friend from work”, a lovely mini-performance by Hopkins as Loki playing at being Odin, and Thor trying to break a window – but overall there are just too many moments where the humour is forced or feels like it’s there to carry the scene instead of being an integral part of it. It also comes perilously close to making Thor seem like an inveterate joker rather than the more serious God of Thunder. Even Hela gets a number of wry, pithy observations to put across, and while Blanchett is clearly having fun, having the main villain sounding like a bored straight man trying to get a laugh doesn’t help at all. Marvel seem to be experimenting with each new instalment in the MCU, and Thor: Ragnarok has all the hallmarks of a comedy script that’s been beefed up dramatically thanks to the inclusion of Hela.

That the movie is still a lot of fun despite all this is a tribute to the talent of Waititi and his directorial skills, and the Marvel brand itself, increasingly less homogeneous of late, but still sticking to a winning formula. But there’s very, very little here that adds to the twenty-two movie story arc that will culminate in Untitled Avengers Movie (2019), and if this movie didn’t exist it’s not entirely certain that anyone would be too concerned if Thor and Hulk didn’t show up on our screens until Avengers: Infinity War (2018). Thor himself does undergo some changes (and it’s not just the hair), but where they will ultimately take him if there are to be any further solo movies is open to debate. As for Bruce Banner and his jolly green alter ego, the greater problem of how to provide him with his own solo movie remains unsolved, as the movie keeps him in a supporting role and shows just how effective the character can be when he’s not the main focus. A pleasant diversion then before we delve into the world of Wakanda, but one that’s like a bowl of ice cream: memorable only while it’s being consumed.

Rating: 7/10 – despite the critical drubbing that Thor: The Dark World has taken since its release in 2013, and despite the infusion of a huge amount of comedy, Thor: Ragnarok is ultimately the least of the God of Thunder’s outings so far (though only just); with too many holes in the script, and too many occasions where the characters react and behave in service to the humour rather than the other way around, this is still entertaining stuff, just not as bold or as consistent as it could, or should, have been.

The BFG (2016)

31 Thursday Aug 2017

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D: Steven Spielberg / 117m

Cast: Mark Rylance, Ruby Barnhill, Penelope Wilton, Jemaine Clement, Rebecca Hall, Rafe Spall, Bill Hader, Ólafur Darri Ólafsson, Adam Godley, Michael Adamthwaite, Daniel Bacon, Jonathan Holmes, Chris Gibbs, Paul Moniz de Sa

Steven Spielberg meets Roald Dahl against the backdrop of a billion computer generated pixels – less a case of “Who could ask for anything more”, and more a case of “Be careful what you wish for”. This is very much a movie where the child in Spielberg has been sat on and made to go without his dinner. While this is a movie that looks absolutely stunning – in Giant Country at least, London feels drabbed down in comparison – and there’s a richness to the colours and the detail that few other directors would have achieved for their movie, overall The BFG lacks something that has been a consistent part of Spielberg’s directorial skills over the last forty-plus years, and that’s honest, heartfelt emotion.

It’s an odd feeling to realise, but this is a movie where Spielberg has managed to avoid creating an emotional connection between the characters and the audience. Right from the start, and from our first encounter with tomboyish Sophie as she hides under a rug late one night at the orphanage (handily called the Orphanage) where she lives, what should be a tale that inspires various levels of child-friendly awe and wonder, does so in dribs and drabs, and rarely feels inspired or inspirational. Even the moment when Sophie spies a large, very large hand righting a fallen rubbish bin – which should provoke a degree of wonder all by itself – plays out plainly and matter-of-factly. The scene would have played out much the same if it the bin had been knocked over by a cat, and the cat had turned round and picked it up by itself. It’s the first of many moments that fail to achieve the necessary degree of childish delight that would allow viewers – and not just adults – to connect with the material.

Elsewhere, the relationship between Runt (the BFG in question) and Sophie soon develops into the kind of easy-going father-daughter dynamic that allows for few disagreements and full-on harmony. Both of them may be unlocking nurturing instincts in each other, but Melissa Mathison’s adaptation of Dahl’s hugely popular novel foregoes any depth and relates everything in a matter-of-fact manner that leaves their relationship feeling perfunctory instead of earned. While it’s expected that they hit it off and prove to be firm friends, there’s still little in the way of any grounding to their friendship, and it happens with barely a whisper of discord between them. Even when Runt tells Sophie she can’t go back to the orphanage, her reaction has all the impact of a child being told that they can’t have semolina for dessert. It’s another example of the way in which Spielberg’s direction can’t elevate the material and make the movie more interesting. Instead it ambles along, creating indifference for long stretches and relying heavily on Rylance’s performance as the BFG.

Rylance, who has become Spielberg’s first choice, go-to actor since they made Bridge of Spies (2015), is on terrific form, his motion capture performance perhaps the very best thing the movie has to offer. Whether he’s muttering and mumbling about snozzcumbers or frobscottle, or a myriad of other Giant-ish terms, Rylance’s simple, delicate portrayal is affecting and whimsical, an object lesson in how not to let a CGI conversion take anything away from the performance itself. But thanks to Spielberg’s puzzling detachment from the material, Rylance’s portrayal is operating in a vacuum, separated from the rest of the movie by an invisible wall that even he can’t penetrate. It’s like giving the world’s greatest footballer the chance to score from five yards out, and then removing the goal just before he shoots.

On the performance front, Rylance is surprisingly alone in terms of the quality of his portrayal. Elsewhere, there are problems galore, from Barnhill’s stilted line readings to Wilton’s wide-eyed and easily dismayed Queen of England, to Hall’s unexpected and underwhelming turn as the Queen’s maid (a role that could have been played by anyone, such is its importance to the story). And that’s without Clement’s turn as chief unfriendly giant, Fleshlumpeater, a performance that leaves him sounding like David Walliams with a bad nasal infection. Rylance aside, this is a movie where the cast aren’t given much to do, and the imbalance between the success of his efforts and theirs is telling. This is largely the fault of Mathison’s screenplay, which maintains its focus on the BFG at all times, and to the detriment of the other characters, who feel unsupported and under-developed at the same time.

This being a Roald Dahl story, there should be plenty of subtexts shoring up the main plot, and the notion of Runt and Sophie creating their own family as a way of confronting their sense of being alone should be one of them, but instead of informing their bond and its importance to both of them, it’s given an occasional and brief acknowledgment before the movie heads into another visually impressive but empty bout of physical comedy. Said comedy is a mix of pratfalls – cue those loveable cannibal giants! – incredible shrinking orphan moments, and CGI corgis, and these should find favour with viewers younger than ten. But adults, for whom Dahl wrote just as much as he did for children, will find themselves curiously locked out of the garden of delights that have been broadly assembled out of Mathison’s screenplay. A movie then that’s lacking in too many areas for it to be entirely or even moderately successful in its ambitions, a state of affairs that is all the more surprising given the quality of the source material and its director’s affinity for children’s fantasy.

Rating: 5/10 – a movie that’s easy to admire but very difficult to engage with, The BFG sees Spielberg operating at half throttle, and dialling back on the emotional elements of Dahl’s story; Rylance is the key player here, giving a captivating performance and anchoring the movie in a way that he shouldn’t have to given the quality and the experience of the rest of the cast, and the very talented crew.

The Dark Tower (2017)

21 Monday Aug 2017

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D: Nikolaj Arcel / 95m

Cast: Idris Elba, Matthew McConaughey, Tom Taylor, Dennis Haysbert, Jackie Earle Haley, Claudia Kim, Fran Kranz, Abbey Lee, Katheryn Winnick

Problems, problems, problems…

It’s taken eleven years for an adaptation of Stephen King’s magnum opus, The Dark Tower, to reach our screens, and now that it’s here, it’s not even an adaptation of King’s work. Instead it’s an approximation of King’s tale, a clumsy reshaping of a story that had the potential to be one of the most impressive fantasy series ever made. You could argue that King has been spectacularly hard done by over the years when it comes to adaptations of his novels, what with the likes of Dreamcatcher (2003), Cell (2016), and über-awful The Mangler (1995) proving that King’s fertile imagination doesn’t always translate well to the screen. What’s also noticeable is that over the years the quality of adaptations has dwindled to the point where a movie or TV version of a King novel or short story evokes dispassion and/or protracted bouts of ennui rather than enthusiasm. Take for example 11.22.63 (2016), a TV mini-series based on one of King’s more well received recent novels. Who remembers it now?

The Dark Tower, though, should have been another matter altogether. It should have raised the bar for big screen fantasy movies. But instead of a movie to herald in a series replete with narrative complexity, flawed yet fascinating characters, high stakes adventure, a carefully constructed yet organic mythology, and pursuing elements of fate and predestination, we have a hodgepodge of ideas and a crude collage of scenes from the books as a whole, all stitched together with little or no concern as to how it all looks as a final product. Stories of post-production problems have been rife, with an early cut of the movie being greeted with the kind of dismay that leads to producers considering replacing their director. And that’s without reshoots designed to provide more backstory about the rivalry between Idris Elba’s vengeful gunslinger, Roland Deschain, and Matthew McConaughey’s evil predator in black, Walter Padick. It doesn’t take much to wonder why such a backstory wasn’t thought out and shot originally, but it does point to the terrible ineptitude that appears to have been prevalent throughout.

Problems, problems, problems…

Watching the movie itself, there is one immediate flaw that shows that director Arcel, his co-writers Akiva Goldsman, Jeff Pinkner, Anders Thomas Jensen, and the producers weren’t paying attention to the structure or the set up of King’s novels at all. That flaw is the decision to make Roland a supporting character. When the main character who drives an eight-volume saga is reduced to playing second fiddle to a pre-teen, then you know that something is terribly, dreadfully wrong. Whether or not this was an attempt to broaden the movie’s chances at the box office is hard to decipher, but when a movie gets something this fundamentally wrong, then there’s little hope for the rest of it. The quest for the Dark Tower is Roland’s quest, and to play down this really quite important aspect of King’s novels is to show no understanding of the story at all. And then there’s the ending…

Perhaps it was too much to ask that The Dark Tower would turn out to be all that it could be. After all, if movie makers of the calibre of JJ Abrams and Ron Howard couldn’t make it work, whether as a series of movies, or a mix of movies and TV series, then what confidence could anyone have in this particular incarnation? With its budget of $60 million, and a running time of ninety-five minutes, how do you build another world that exists alongside our own? The answer, as anyone who’s seen the movie knows, is easy: you don’t. Aside from some impressive desert vistas, and a couple of sequences set in Mid-World, the movie remains firmly rooted in New York, keeping its characters there for long periods and managing the expectations of fans by ignoring them altogether.

Problems, problems, problems…

With the makers unsure of just what exactly they want to do with the material at their disposal, the movie itself struggles to make any sense or provide any depth. This is a dreadfully flat, unnecessarily dry “adaptation” that skips over any attempts at character development, keeps exposition to a minimum, and favours action scenes that seem content to showcase the various ways that Roland can reload his guns instead of making them exciting to watch. As Roland, Elba has no choice but to ramp up the sincerity and make the gunslinger as taciturn as possible. That he gives a good performance is more of a tribute to his skill as an actor than any skill possessed by the writers, and even though he’s burdened by the kind of trite, clichéd dialogue that most actors would fail to overcome, Elba makes the best of moments such as when he’s called upon to recite the most long-winded, and excruciating, mantra in movie history (it begins with, “I do not shoot with my hand”). Opposite him is McConaughey, an actor who has surpassed everybody’s expectations (except possibly his own) in recent years, but here all he does is remind us that when he’s not working with a strong-minded director who’ll keep him in line, his performance will suffer. Here he gives us a caricature of a villain, and a pantomime one at that.

Taylor as Jake lacks presence, and the likes of Haley, Kim and Haysbert are given too little to do to make an impact. There’s too much jumping through portals, too many moments where the script trips itself up (bullets are supposed to be scarce in Mid-World but Roland never runs out), and too many references to characters and places in other King novels (prizes though for spotting a shop called Barlow and Straker’s). As it’s unlikely that The Dark Tower will be successful enough to warrant any further adventures that aren’t based on King’s original novels, all these references feel like gratuitous easter eggs rather than attempts to (subtly) build on the notion that there are worlds next to worlds, and there are more connections than even Roland or Jake are aware of. It’s another example of Arcel and co. lacking the insight into the material to make it work more effectively, making the movie a shoddy, ill-lit, tension-free exercise in damage limitation.

Rating: 4/10 – professionally made at least, but lacking energy and conviction, The Dark Tower is a dramatically sprawling yet visually restrained fantasy action movie that won’t interest fans of the novels, or win over viewers who have no connection to them at all; Arcel exerts very little control over the material, and what few glimpses there are of what could have been, only add to the disappointment and the horror of what’s been done with the source material – literally nothing.

Everything, Everything (2017)

19 Saturday Aug 2017

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D: Stella Meghie / 96m

Cast: Amandla Stenberg, Nick Robinson, Anika Noni Rose, Ana de la Reguera, Taylor Hickson, Danube Hermosillo, Sage Brocklebank

The latest romantic drama to involve teenagers, Everything, Everything is a movie that wants to tug at the heartstrings (and this may work with teenage girls, or those with a very low tolerance for this sort of thing), and put across the obvious message that true love is both everything (as the title suggests) and able to overcome any and all obstacles. There’s a definite market for this type of movie, and the bigger the obstacle, the more likely it is that teenage audiences will flock to see just how said obstacle is dealt with on the road to true, everlasting love. Often bearing little relation to the real world, these movies play out in a fantasy land that we can all recognise, but which remains just that: a fantasy land, with clearly observed roles and dilemmas and backdrops. And Everything, Everything subscribes to that idea and that fantasy world very closely.

Adapted from the novel of the same name by Nicola Yoon, the movie introduces us to Madeleine ‘Maddy’ Whittier (Stenberg), a seventeen year old who lives with her mother, Pauline (Rose), in their hermetically sealed home. Maddy can’t leave the house because she has Severe combined immunodeficiency (SCID), a condition that means she has a compromised immune system that makes her extremely vulnerable to infectious diseases; any contact could potentially be fatal. Maddy seems to have adapted to being at home all the time, but she’s not totally alone. She has a nurse, Carla (de la Reguera), who visits every day, and Carla’s daughter, Rosa (Hermosillo), is allowed to come over as well. Otherwise, Maddy is on her own. Things change, however, with the arrival of new neighbours next door, including teenage son Olly (Robinson). It isn’t long before Olly takes an interest in Maddy, and she takes an interest in him. They text, they e-mail, he plays amusing games with a bundt cake. Soon, Maddy wants him to come over, and convinces Carla to allow it.

Olly’s visits give the now eighteen year old Maddy such a boost that she begins to consider what it might be like if she went outside. Before then, her mother finds out about Olly’s visits and puts more draconian measures in place to keep Maddy ‘safe’. But Maddy won’t be put off, and she devises a plan whereby she and Olly will go on a short break to Hawaii. Once there, their relationship develops from a fraternal one to a physical one, but there’s a consequence: Maddy falls ill and is hospitalised. Back home, her mother tells Maddy that there’s no future in her relationship with Olly, as he is bound to meet someone else who isn’t as restricted in her movements as she is. Seeing the logic in this, Maddy doesn’t encourage Olly any further and doesn’t respond to his entreaties to contact him. And then Maddy receives a call that changes everything…

In assembling Everything, Everything, writer J. Mills Goodloe and director Stella Meghie have retained as many of the novel’s fairy tale elements as they can, and in doing so have made a movie that operates at a remove from our own world and in a place that constantly makes the viewer question what they’re seeing. Maddy is the beleaguered princess, locked up like Rapunzel in a glass prison (we see her looking out of windows for most of the movie’s first half). Olly is the dashing prince, come to rescue the princess out of true love (though in a pick-up truck and not on a white charger). SCID translates as the curse that keeps the princess imprisoned, while there are no prizes for guessing which role Maddy’s mother occupies. The parallels are there for everyone to see, and the movie makes no real effort to hide them, but as a result, the movie becomes an easy one to anticipate as it progresses steadily along its time-worn path.

Watching as events unfold, the viewer will likely find themselves asking lots of awkward and annoying questions (annoying because of the frequency with which they’ll pop up). Questions such as, if she never leaves the house, why does Maddy have shoes? Or why does she have a hundred white tops? Or, just how much credit would an eighteen year old be given on her first credit card? And would it be enough to pay for flights to Hawaii, or an obviously 5-star hotel room, or cover their expenses while they’re there? More importantly, if Maddy’s condition makes her susceptible to any and all infectious diseases, how can she or her mother or Carla (or anyone for that matter) be sure they don’t have an infectious disease each time they arrive at the house (going through some kind of airlock at the front of the house just doesn’t seem to cover it). But over and above all these issues, one question will soon be paramount in the minds of viewers everywhere: why don’t Maddy and Olly ever just talk to each other on their phones instead of texting all the time?

Despite all these distractions, Everything, Everything is likeable enough, with a couple of minor fantasy sequences where Maddy and Olly’s text conversations are acted out in Maddy’s head using the backdrops of architectural models that she’s created as part of her home learning. The movie as a whole is brightly lensed by DoP Igor Jadue-Lillo, with the Hawaii sequences (actually shot in Mexico) displaying a crisp, immersive quality, and Meghie, while not called upon to do anything too spectacular, does draw out appealing performances from Stenberg and Robinson. The romantic aspects range from sappy to heartfelt, but manage to avoid any unnecessary gooey sentimentality, and the outcome is never in doubt. All in all, it’s a movie that knows what it’s doing, does it competently enough, and will attract fans who don’t need their movies to be any more complicated than girl-meets-boy, girl-loses-boy, girl-regains-boy.

Rating: 6/10 – another teen romance that brings very little that’s new to the table, Everything, Everything is still watchable, albeit in an undemanding, none too stressful way; sufferers with SCID will scoff at the way it’s portrayed, and the ease with which Maddy and Olly get to Hawaii should raise more than a few eyebrows, but again this is a romantic fantasy drama, and on that level, it’s effective enough for the receptive viewer.

Valerian and the City of a Thousand Planets (2017)

08 Tuesday Aug 2017

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D: Luc Besson / 137m

Cast: Dane DeHaan, Cara Delevingne, Clive Owen, Rihanna, Ethan Hawke, Herbie Hancock, Kris Wu, Sam Spruell, Alain Chabat, John Goodman, Elizabeth Debicki, Rutger Hauer

There’s a phrase, “Beware of Greeks bearing gifts”, that needs an update. It should now read, “Beware of French movie directors making vanity projects”. A project that’s been on his mind to make since The Fifth Element (1997), Luc Besson’s Valerian and the City of a Thousand Planets arrives trailing a cosmos-worth of hype and anticipation, but somehow manages to land with a massive, resounding thud. This is a movie that looks continuously busy, but at the same time it feels like it’s leaden and ponderous. It’s another loud barrage of a sci-fi movie driven by mounds of uninteresting exposition, and supported by empty visuals that look amazing but offer as much refreshment as an empty bottle of water. It’s a mess, and one that never lets up in its efforts to impress you with its meticulously detailed sets and costumes, and its tired characterisations. There’s a love story too, between two charismatic military operatives, Valerian (DeHaan) and Laureline (Delevingne), that offers occasional and all too brief periods of respite from the CGI onslaught, and which feels as organic as the pixelated backgrounds it plays in front of. And there’s a villain, one so obvious that they might as well stomp around yelling, “I’m the bad guy!” (in case the viewer isn’t sure).

There’s more, lots more, lots and lots and lots of it, with Besson aiming to include a veritable kitchen sink’s worth of alien species, high-tech weaponry, dazzling backdrops, vibrant colours, impressive make up designs, and specious action scenes. There’s a story in there too – somewhere – but it’s overwhelmed by the movie’s need to keep moving from one breakneck-paced scene to another. There are long stretches where the viewer might find themselves wondering if they’ve transitioned into watching the video game version of Valerian… and other stretches where they might also be wondering if Besson actually knows what’s supposed to happen next. Too often, things happen for no better reason than that Besson wants them to, and the pacing seems relentless, as the writer/director flings his lead characters into danger after danger, but without once actually putting them in danger.

The cast suffer almost as often and as much as the viewer. As the titular hero, DeHaan tackles the role with enthusiasm and a fair degree of commitment, but is hampered by Besson’s decision to make Valerian look and sound like a high school kid on his first day at an entry-level job. DeHaan is a talented actor but fantasy sci-fi is not his forte, and he rarely seems comfortable with all the running and leaping about and firing guns. Delevingne, meanwhile, appears to be far more in tune with Besson’s ambitions for the movie, and her knowing, unimpressed demeanour works well for the character, and acts as a subtle commentary on the movie as a whole. But too often, Laureline has to play second fiddle to Valerian, an unhappy circumstance that gives rise to the idea that in the 28th century, sexism still hasn’t been consigned to the dustbin of history.

There’s a great supporting cast, too, used to occasional good effect, but too often required to stand around waiting for the next clunking shift in the storyline to get them moving again. Owen’s character is an angry clown in a self-consciously big hat, Rihanna is a shapeshifting cabaret artist whose admittedly enjoyable stage routine still stops the movie dead in its tracks, Hawke (as Jolly the Pimp no less!) seems to be acting in another movie altogether, while Hauer gets off lightly with a Presidential address at the start of the movie that has all the hallmarks of being a favour to the director. Only Spruell as an harassed general seems to have grasped Besson’s intentions for his character, and as a result, his appearances are a godsend.

In case you’re wondering if there’s anything remotely good about Valerian and the City of a Thousand Planets, then rest assured there is, but unfortunately it’s all packed into the first fifteen to twenty minutes. Here we see the International Space Station grow in size as several countries from Earth send representatives in space vehicles that attach themselves to the station. As time goes by, alien life-forms also visit the station, and the same welcoming rituals are observed: a handshake, a bemused smile/grimace from the human in charge, and a succession of impressively realised aliens who seemed equally bemused by the idea of said handshake. As more and more ships arrive and attach themselves, the space station becomes – ta-da! – Alpha, the city of a thousand planets. It’s a terrific idea, well executed, and bodes well for the rest of the movie. Things look even better when the narrative shifts to the planet Mül, and we’re introduced to the race that live there, a peaceful, pearl-cultivating civilisation that becomes central to the plot later on (as expected), and which is apparently wiped out by events happening nearby in space. But with that prologue out of the way, we’re thrust thirty years on and forced to put up with the romantic aspirations of Valerian, and the machinations of a plot that serves as a second cousin retread of Besson’s earlier work on The Fifth Element (watch that movie now and you’ll see how inter-connected they are).

When a director announces that they’re finally going to make a long-cherished project, and one that they’ve delayed making due to the limitations of existing technology, it should be a cause for celebration. After all, it wouldn’t be wrong to believe that as they have such a passion for the project, that they’d make every effort to ensure the finished product was a vast cut above their other movies, the pinnacle of their career perhaps. But somewhere along the way, Besson has settled for making a movie that is plodding and uninspired. Scenes and characters come and go without making the slightest impact, and Besson makes the same basic error that so many other fantasy/sci-fi directors make: they mistake a distinct visual style for substance. This leaves Valerian… feeling like it’s only half the movie Besson envisaged, and with a generic genre score by the usually reliable Alexandre Desplat to add to the misery, this is a strong contender for Most Disappointing Movie of 2017.

Rating: 4/10 – technical wizardry aside, Valerian and the City of a Thousand Planets is an unabashed dud, content to make as little effort as possible, and trading on its writer/director’s past glories; with its €197 million budget making it the most expensive European and independent movie ever made, it’s a shame that all that money has been used to such undemanding and underwhelming effect.

Fantastic Beasts and Where to Find Them (2016)

27 Thursday Jul 2017

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D: David Yates / 133m

Cast: Eddie Redmayne, Katherine Waterston, Colin Farrell, Dan Fogler, Samantha Morton, Ezra Miller, Alison Sudol, Carmen Ejogo, Ron Perlman, Jon Voight, Kevin Guthrie, Johnny Depp

There are some movies that come along and you immediately think: shameless cash-in. Or just: really? Some movies try to be smart and come at a franchise from a different angle, seeking to retain the original fanbase but at the same time giving them something newer, something related but not quite as familiar. Fantastic Beasts and Where to Find Them is one such movie, an attempt by J.K. Rowling and Warner Bros. to squeeze another series of movies out of the Potterverse, and justifying doing so by setting it in the 1920’s (1926 to be precise). Add the fact that what was once meant to be a trilogy will now be a quintet, and you should have a pretty good idea of the motivation in making this new series in the first place.

Which is understandable on a business/financial level, but not on an artistic or creative one. Warner Bros and J.K. Rowling are entitled to make whatever movies they like, but where the Harry Potter saga was clearly that: a saga with an over-arching plot and main storyline, Fantastic Beasts… looks and feels very much like a stand-alone movie that Rowling et al hoped would be successful enough to warrant further entries. Well, financially, it has been – $814,037,575 according to boxofficemojo – but on closer inspection, there are problems that no amount of magical skill can deal with. Partly because of Rowling’s script (her first), and partly because of Yates’ direction. Both lack the credibility needed to make the movie appear better than it is. Rowling knows her wizarding world but this time around she doesn’t have as compelling a story to tell as she did with Harry Potter.

One of the problems with Rowling’s approach is the character of Newt Scamander (Redmayne), a protege of a certain future headmaster of Hogwarts (“Now… what makes Albus Dumbledore… so fond of you?”). Newt is possibly the most under-developed character in the entire Potterverse. As played by Redmayne he’s a closed book that the viewer never gets to know or appreciate, and Rowling never attempts to make him anything other than a floppy-fringed creature collector with all the social skills of a man in a coma. Redmayne has no chance against this, and he ambles and mumbles his way through the movie giving a performance that he looks and feels uncomfortable with. Let’s hope that future installments give us the chance to get to know him better, otherwise he’s going to remain a pedantic nerd whose dialogue consists largely of exposition.

Then there’s the plot itself, which involves a multitude of characters, all of whom waltz around each other in inter-connected ways that don’t add up and which don’t further the nonsensical narrative in any convincing way. We’re alerted at the start to a wizard-gone-bad called Gellert Grindelwald (Depp). Forewarned of his evil nature we wait patiently for him to appear properly only to find that he’s not part of the storyline (at least not in the way we expect). Instead we’re prodded back and forth between Newt and MACUSA (Magical Congress of the United States of America) agent Tina Goldstein (Waterston), or eavesdrop on the lives of the Barebone family, whose matriarch, the forever-adopting Mary Lou (Morton), is head of the New Salem Philanthropic Society, a group seeking to expose the wizarding world for no particular reason other than that’s the motive Rowling gives them for existing. There’s a sub-plot involving a young child that may or may not be the source of a devastating magical creature called an Obscurus (of which naturally, Newt has some experience), and there’s a No-Maj (US slang for Muggle), would-be baker Jacob Kowalski (Fogler), who gets involved thanks to an old-fashioned suitcase switch that only happens in the movies.

There’s more – way more – with Rowling trying to cram in enough incidents for the planned series as a whole, but mostly the movie revolves around Newt’s search for some of the beasts in the title, the ones who manage to escape the suitcase he keeps them in. All these things and again, way more, serve only to make the movie a piecemeal adventure that flits from scene to scene in its attempts to tell a coherent, and more importantly, interesting story. Too much happens for reasons beyond the skill of Rowling to explain, and while a handful of the performances rise above the constraints of the script – Fogler’s, Sudol as Tina’s Legilimens sister Queenie, Miller as the tortured Clarence Barebone – they aren’t enough to rescue the movie as a whole.

Which leads us to Yates, whose direction isn’t as bold or as confident as it was with Harry Potter parts five through eight (and who is attached to the rest of this series). Here, Yates is clearly a director for hire, and if he had any input into the tone or feel of the movie then it looks to have been dismissed with a wave of Rowling’s pen. The movie lacks for energy in its many action scenes, and any attempts at corralling the wayward script is lost in a welter of special effects, many of which aren’t that impressive (a common fault with movies set in the Potterverse). Yates’ skill as a director is missing here and scenes that should have an emotional impact pass by as blandly as the rest. Ultimately what’s missing is the sense of awe and wonder the audience should be experiencing at seeing these fantastic beasts, and from being allowed to explore this new/old (you decide) era in wizarding history. That the movie never achieves this is disappointing, and doesn’t bode well for the remaining four movies coming our way.

Rating: 5/10 – not the most auspicious of starts to a franchise, Fantastic Beasts and Where to Find Them is by-the-numbers moviemaking that doesn’t make the most of its fantasy trappings or its Twenties New York setting (it literally could have been set anywhere and it wouldn’t have made a difference to the story or the characters); Rowling shoehorns in as much as she can but can’t quite manage to make any of it as exciting or significant as she did with the boy wizard, all of which leaves the movie looking and sounding like a cynical exercise in milking further dividends from a previously successful franchise. (25/31)

Wonder Woman (2017)

02 Friday Jun 2017

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D: Patty Jenkins / 141m

Cast: Gal Gadot, Chris Pine, Connie Nielsen, Robin Wright, Danny Huston, David Thewlis, Saïd Taghmaoui, Ewen Bremner, Eugene Brave Rock, Lucy Davis, Elena Anaya, Lilly Aspell

On the hidden island of Themyscira live the Amazons, a fierce warrior tribe of women whose presence in the world has been kept from the rest of mankind by the wishes of Zeus. The only child on the island is Diana (Aspell), the daughter of Queen Hippolyta (Nielsen). Diana is precocious, challenging, disobedient, and determined to become a warrior like the rest of the Amazons, but her mother forbids it. Hippolyta’s sister, Antiope (Wright), trains Diana in secret, though, and she grows into a young woman (Gadot) to be reckoned with: the quickest, most agile, most determined Amazon of them all. With her fighting skills honed under the stewardship of Antiope, Diana finds she lacks a clear purpose in life, until one day the shield keeping the island hidden is penetrated by a plane that crashes into the sea. Diana rescues the lone pilot, Steve Trevor (Pine), who tells the Amazons of “a war to end to all wars”, and who provides all the reason Diana needs to leave the island and seek her destiny (once she leaves she can never return).

The pair travel to London where Trevor alerts the British High Command – led by Sir Patrick Morgan (Thewlis) – to a plot by Germany’s General Ludendorff (Huston) to end the War by use of the most deadliest form of mustard gas yet created. Forced to go it alone, Trevor recruits three old friends – would-be actor Sameer (Taghmaoui), sharpshooter Charlie (Bremner), smuggler the Chief (Brave Rock) – and with Diana, travels to the Belgian Front, where Ludendorff and his chief scientist, Dr Maru (Anaya), are in the process of preparing their new weapon to be used for the first (and they hope, last) time in the War. But Diana has no intention of letting them succeed in their plan, and convinced that Ludendorff is the modern incarnation of Ares, the disgraced God of War, she takes the fight to the Germans, and in the process learns something about herself that has been hidden from her all her life…

The question everyone is asking is an easy one to answer. The question is, is Wonder Woman the best DC Extended Universe movie to date? And the easy answer is Yes, it is. But that’s like saying, if I have one leg shorter than the other, and I have an operation to correct this, will I be better able to walk? Again, the answer is Yes, of course. And so it goes with Wonder Woman, a movie that provides a sharp upturn in quality in relation to its predecessors – Man of Steel (2013), Batman v Superman: Dawn of Justice (2016), Suicide Squad (2016) – but which still embraces many of the issues and problems that have plagued those same DCEU productions.

It’s yet another movie where the tone is so earnest and so po-faced that when the script does make an attempt at humour, it’s the same as when Garland Greene says of Billy Bedlam in Con Air (1997): “he’s so angry moments of levity actually cause him pain; gives him headaches. Happiness, for that gentleman, hurts.” The humour is there, tucked away in odd places, but it never feels like an integral part of the overall tone and feel of the movie. It’s as if Allan Heinberg’s script was accused of being too heavy, and was charged with including moments of levity as a direct consequence. What this means in practice is that the movie rarely feels comfortable when it’s tasked with being funny, and seems to breathe a sigh of relief when it can move on and concentrate on providing audiences with an industrious trek through the land of superhero clichés.

As an origin story, it’s akin to the first Thor movie, in that it introduces us to a realm built on myth and legend, and after a suitable period, hijacks the central character and thrusts them into the “real” world, with all its problems and rewards. Themyscira is a first for the DC Extended Universe, a beautifully realised paradise that features sun-dappled buildings, verdant fields, and the healthy glow of bronze and gold. Its relentlessly blue skies stretch as far as the eye can see, and the azure waters of the sea are dazzling. But once the island of Themyscira is left behind, the movie defaults to the muted colour palette and downplayed visual aesthetic that governs all the movies in the DC Extended Universe. Whether we’re in London or the battle-torn Belgian countryside, the movie does its best to be all gloomy backdrop and sombre foreground. It all fits in with the earnest, dramatic nature of the material, but as a visual statement it’s less than satisfying and helps to drain some of the life from the movie as a whole.

Where the movie does score more highly is in its attention to the horrors of life on the Western Front, and the effects of warfare on the local populace. But even that acknowledgment is over quickly so as to facilitate the next action sequence (which unfortunately features the kind of jerky CGI gymnastics from Wonder Woman that you’d be forgiven for thinking wouldn’t be attempted anymore in a movie costing $149 million and released in 2017). There are other nods to the horrors of war – Charlie’s PTSD, musings on the terrible things that man can inflict on his fellow man – but while it’s good to see them addressed – however briefly – it’s as near to depth as the movie gets, and they seem shoehorned into the main storyline rather than arising naturally from it. Diana’s obsession with hunting down Ares also gives rise to further arguments about the nature of war and man’s predilection towards it, but these are largely spurious and serve only to weigh down a final showdown between Diana and Ares that quickly descends into yet another dispiriting bout of disaster porn theatrics.

As the 5000 year old Amazon princess, Gadot builds on her appearance in Batman v Superman: Dawn of Justice, and proves that the praise she received in that movie wasn’t just a result of her standing out against its poor structure, lacklustre script, and wayward direction. There are some roles that can only be played by certain actors or actresses, and Gadot owns the part in a way that the likes of Sandra Bullock, Catherine Zeta-Jones, and Beyoncé Knowles – all considered for the role in the past – would find incredibly difficult to match or improve upon. Elsewhere, Gadot isn’t the most convincing of actresses, but here she gives a compelling, intuitive performance that stretches her skills as an actress but does so in a way that marks her out – in the DC Extended Universe at least – as the character to look out for. She’s ably supported by Pine who reins in his usual cocky charm; Huston as yet another less than memorable villain; Thewlis as the politician who may or may not be all that he seems; and Wright as Diana’s strong-willed aunt. However, if anyone in the supporting cast has to be picked out, it’s Bremner, who injects some much needed energy into his scenes and who makes Charlie possibly the most well rounded character in the whole movie.

Much has been made of Patty Jenkins being the first female director of a superhero movie featuring a female character as its lead, and Jenkins does do a decent enough job of pushing against the narrow confines of a DC superhero movie. But though she does manage to incorporate some elements of feminism into the story, there aren’t enough to make the movie into something more relevant than it is, and it’s curiously flimsy as an example of female empowerment. This is still, and despite the presence of Wonder Woman herself, a Boys’ Own adventure that could have featured any number of superheroes as its lead protagonist. It gets full marks for its period setting (something that was avoided for a long time before production finally began), but the movie takes too long in getting its audience from London to the Front, takes too much time in attempting to flesh out characters that don’t need fleshing out, and provides enough exposition to deaden the senses more effectively than Dr Maru’s poison gas. A small-scale triumph, then, and a definite improvement on the movies already mentioned above, but there’s still a long way to go before DC and Warner Bros. overcome the same problems they seem incapable – at present – of recognising and prevailing over.

Rating: 6/10 – a movie that starts out strongly (much in the way that Suicide Squad did), Wonder Woman seems set on delivering on the promise it showed in its trailers, and the advance word from preview screenings, but it soon falters and falls prey to the apparently carved-in-stone requirements of the DC Extended Universe; bold and confident in places, yet haphazard and stumbling in others, it’s a movie that surprises more than it dismays, but when it does dismay the effect is, unfortunately, far more noticeable, and has far more repercussions.

Pirates of the Caribbean: Dead Men Tell No Tales (2017)

30 Tuesday May 2017

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aka Pirates of the Caribbean: Salazar’s Revenge

D: Joachim Rønning, Espen Sandberg / 129m

Cast: Johnny Depp, Javier Bardem, Geoffrey Rush, Brenton Thwaites, Kaya Scodelario, Kevin McNally, Golshifteh Farahani, David Wenham, Stephen Graham, Angus Barnett, Martin Klebba, Adam Brown, Giles New, Lewis McGowan, Orlando Bloom, Paul McCartney

Six years after Pirates of the Caribbean: On Stranger Tides appeared to have brought the franchise to an end, Disney and Jerry Bruckheimer have resurrected Captain Jack Sparrow for one more round of hijinks on the high seas. This movie and a potential sixth in the series were being planned even before On Stranger Tides was released, but production delays and script problems kept Dead Men Tell No Tales from our screens until now. It’s debatable that anyone outside of the cast and crew and studio bosses were enthusiastic about the idea of a fifth movie, and it’s doubtful that even die-hard fans were expecting too much from it, but the series has made a lot of money since it began back in 2003 – over $3.7 billion before this installment – so perhaps another entry shouldn’t be too much of a surprise.

Dead Men Tell No Tales harks back to the simpler, more effective pleasures found in the series’ first movie, Curse of the Black Pearl, and attempts to forget the bloated excesses of the previous two installments by imitating much of what made that movie so successful. However, this approach hasn’t meant a return to form, but instead has stopped the rot. You can argue that this is a better movie than On Stranger Tides, and you wouldn’t be wrong, but both as a stand-alone entry and the continuation of a series that provides links to its predecessors in an ongoing game of Guess-the-Reference, number five in the series is still found wanting.

For a start, there’s the plot, a mish-mash of ideas that are borne out of the idea that hidden somewhere at sea is the Trident of Poseidon, and that this is the cure for all the curses of the sea. At the start of the movie, a young Henry Turner (McGowan) confronts his father, Will (Bloom), and tells him of his plan to find the Trident and free him from his fate as the Flying Dutchman. Will believes the Trident can’t be found, but Henry is determined. Nine years later, Henry is now a young man (Thwaites), and still searching for the Trident, as is astronomer Carina Smyth (Scodelario). She has a book that gives clues to the Trident’s whereabouts, but has been condemned by the British as a witch. Henry, meanwhile, has encountered the ghost of Captain Salazar (Bardem) who is seeking revenge on Captain Jack Sparrow for his supernatural existence. On the island of St Martin, Henry, Carina and Jack all come together and make sail for the unmarked island that can’t be navigated to, closely followed by Salazar and interested party Barbossa (Rush).

There’s more – much more – and therein lies one of the movie’s biggest problems: it takes what should be a fairly straightforward idea and twists it so far out of shape that every attempt to straighten it out merely serves to make it less and less, and less, straightforward. The plot becomes buried under layer after layer of unnecessary twists and turns and double crosses and “clever” subterfuges. The characters’ individual storylines become convoluted and unwieldy, with one relationship forged out of nothing, and as for any character development, that’s been ignored in favour of getting everyone from point A to point B with a minimum of effort or fuss. For a movie that was delayed partly because of script problems, it makes you wonder just how bad scribe Jeff Nathanson’s original screenplay really was (or if Johnny Depp’s widely credited contributions are to blame instead).

Another problem lies with the character of Jack Sparrow himself. Five movies in and it’s clear that the character has run out of steam both dramatically and comedically. He’s a pale shadow of his former self, no longer as witty as he once was, or retaining the skewed moral compass he once had, and halfway to being a lampoon. And for the most part Depp is going through the motions, offering brief glimpses of the portrayal that made such an impact fourteen years ago, but unable to rekindle the past glories that came with that portrayal. The usual grinning and grimacing are there but that’s the point: it’s exactly the same grinning and grimacing we’ve already seen four times before. When your main character becomes more and more of a caricature with every outing, then it’s time to really shake things up and do something different.

But doing something different – anything different – isn’t part of the movie’s agenda. Instead, newcomers Rønning and Sandberg cleave to the look and feel of the first movie, but are hamstrung by having little in the way of dramatic meat to work with, and a preponderance of comedic moments that are self-referential and which largely fall flat. Yes, there are moments where you’ll smile and maybe chuckle to yourself, but outright laughs are as rare as someone in Salazar’s crew having a complete body. The various action set pieces offer the occasional frisson, but again there’s very little that holds the attention or seems fresh by design or in execution. A bank heist early on plays like a low-budget version of the vault robbery from Fast Five (2011), while the finale steals its set up from the parting of the Red Sea in The Ten Commandments (1956).

On the acting front, returnees Rush, McNally, Klebba, Graham, Barnett, New, and Bloom do what they need to do within the confines of the script, while newcomers Bardem, Thwaites, Scodelario, Farahani (as a thinly disguised version of Naomie Harris’s Calypso), and Wenham face exactly the same problem. When an actor of the calibre of Javier Bardem can’t manage to make a character such as Salazar even occasionally memorable then there’s definitely something wrong going on. And just when you thought there wasn’t a rock star who could give a worse performance than Keith Richards in a Pirates movie, up pops Paul McCartney as Jack’s Uncle Jack, an appearance that makes you pray he doesn’t pop up again.

In essence, this is a movie (and a fourth sequel to boot) that atones for the appalling nature of its immediate predecessor, but which in doing so, defaults to being predictable and safe. This makes it a movie that offers few rewards for its fans, and even fewer rewards for anyone coming to the franchise for the first time. A post credits scene sets up a sixth movie which looks set to bring back another character from the series’ past, but if it does, then it will have to be a vast improvement on this entry, and perhaps require a complete rethink of a franchise that has gone astray and which shows no immediate signs of finding its way back.

Rating: 4/10 – impressive CGI and beautiful locations are about the best things in Pirates of the Caribbean: Dead Men Tell No Tales, but even they aren’t good enough to rescue a movie that opts for mediocre as a first choice, and is only fitfully entertaining; a tiptoe in the right direction for the franchise but still an underwhelming experience for anyone who remembers the glory days of the first Pirates of the Caribbean movie.

Colossal (2016)

19 Friday May 2017

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D: Nacho Vigalondo / 109m

Cast: Anne Hathaway, Jason Sudeikis, Dan Stevens, Austin Stowell, Tim Blake Nelson, Hannah Cheramy, Nathan Ellison

Gloria (Hathaway) can’t resist a night out with her friends; or more specifically she can’t resist having a drink or two, or three, or four, when she’s out with her friends. Unable to deal with her repeated denials about her behaviour and her alcohol dependency, Gloria’s boyfriend, Tim (Stevens), ends their relationship, forcing her to move back to her old hometown, somewhere she hasn’t been in over ten years. She moves in to her parents’ old home, which is unfurnished. The next day, after having purchased an air mattress to sleep on, she runs into an old friend from her school days, Oscar (Sudeikis). Now the owner of a bar, Oscar takes her there and introduces Gloria to his friends, Garth (Nelson) and Joel (Stowell). Several drinks later, Gloria staggers home, passing through a nearby park on the way.

The next day, the world’s media is in a frenzy over the appearance of a giant monster in Seoul, South Korea. Gloria sees the footage and like everyone else is astonished by it. That night Gloria gets drunk again and goes home through the park. The next morning, the news reports a second appearance by the monster, but Gloria is surprised to see that it makes a similar gesture to one that she makes, and that it looks as if it’s trying to carry something over its shoulder, as she did with the air mattress. Putting two and two together and hoping it’ll add up to five, Gloria heads for the park where she strikes a number of specific poses. When she sees the latest footage, the monster strikes the exact same poses. Realising there’s some kind of link between them, Gloria tells Oscar and his friends.

The appearance of a giant robot alongside the monster is connected to Oscar, who shows signs of drinking too much (while Gloria starts drinking less). With Gloria having spent the night with Joel, and the sudden arrival of Tim, Oscar becomes aggressive towards Gloria, and threatens to cause havoc and destruction in Seoul if she doesn’t stay with him. Unsure of what to do, matters come to a head when Oscar tries to stop Gloria from leaving with Tim…

It’s safe to assume that, however many movies you see in 2017, you won’t see a stranger, more inventive movie than Colossal, the latest feature from Spanish writer/director Nacho Vigalondo. It’s a weird beast: by turns funny, dramatic, thrilling, challenging, poignant, even uplifting – and when was the last time you could say all that about one movie? And Vigalondo has the temerity to make it all look so easy. The movie is an unexpected cause for celebration, because this is a monster movie that is about so much more than just a creature terrorising downtown Seoul a la Godzilla and Tokyo. No, this is a movie concerned with notions of personal responsibility, self-respect, emotional insecurity, and redeeming past mistakes. It’s a movie with a very clear message: it’s never too late to start over, and to confound the expectations of those around you.

What could have been just another derivative monster movie also becomes, thanks to Vigalondo and his cast and crew, a surprisingly well grounded and credibly portrayed examination of survivors’ guilt, as both Gloria and Oscar deal in their very different ways with an event that happened when they were children, and which has left its mark on both of them. Gloria left her hometown for New York and fame and fortune as a writer, but she’s found alcoholism instead. Oscar has remained in their hometown and found that he can’t leave, that invisible ties hold him back, invisible ties, though, of his own making. Both are plagued by a sense of seemingly inevitable decline, that their lives are failing in terms of their potential, and neither of them know how to combat this. But by being given a chance to revisit that childhood incident, and to understand how it has affected them, both have the opportunity to rectify matters and move forward.

Of course, it’s not so easy, and Vigalondo twists the knife into both his lead characters, adding a layer of abuse to his increasingly dark and disturbing tale, and taking the story into places that the average fantasy drama wouldn’t even dream of trying to incorporate. And yet, with all this going on, Colossal isn’t as “heavy” as you might think, thanks to Vigalondo leavening things with massive doses of hope and pitch black humour. He’s helped tremendously by the performances of Hathaway and Sudeikis, two actors who might not be regarded as first choices for their roles, but who excel as two people struggling with their personal demons as best they can. Hathaway hasn’t been this good in quite some time, and she can sometimes seem removed from the character she’s playing, but here the opposite is true. She details Gloria’s growth from self-negating alcoholic to re-empowered avenger with such passion and empathy for the character that her performance gets better and better as the movie progresses. It’s impressive, and it’s courageous, and it’s Hathaway’s most deceptively skillful portrayal by far.

She’s matched by an intense, unsettling performance from Sudeikis, whose transformation from genial, easy-going bar owner and childhood friend to self-hating, conscience-free thug is one of the movie’s many highlights. When we first meet Oscar, Sudeikis plays him in much the same fashion as he’s played characters in other movies: with his trademark grin, amused yet casual demeanour, and equally casual delivery of his dialogue. Here, Sudeikis gets to subvert that image, and he seizes the opportunity with undisguised gusto. It’s a role that could so easily have descended into that of an unwavering, motiveless psycho, but between them, Vigalondo and Sudeikis have created a character whose psychopathy is believable to the point that when Gloria hits on what “ails” Oscar, the viewer can nod sagely and say to themselves, “that explains everything”.

The other characters aren’t given anywhere near as much depth as that shared by Gloria and Oscar, and Tim in particular is a distracting presence in the movie, with Stevens playing him as a shallow yet well-meaning putz. Thankfully, and one scene late on in the movie aside, Tim appears sparingly, and Vigalondo never makes him seem too important a part of Gloria’s future (she can do so much better and she probably knows it). As perhaps befits the tone of the movie, the visuals are kept muted, with the colour palette restricted to dull browns and distressed greys. The use of the monster and his giant robot adversary is kept in service to the story, and anyone expecting a full-on slugfest to close out the movie will be sorely disappointed. However, what does happen is clever, sad, and redemptive all at the same time, and allows the movie to end on one of the best sighs ever. Yes, a sigh, but one that says it all.

Rating: 8/10 – a bona fide gem, and chock full of surprises, all of them a pleasure to encounter and experience, Colossal is a movie that constantly moves the goalposts in its efforts to provide something different and extraordinary; Vigalondo has made an eloquent, remarkable movie that has something to say throughout and for once, it’s a movie that also knows just how to say it.

King Arthur: Legend of the Sword (2017)

10 Wednesday May 2017

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D: Guy Ritchie / 126m

Cast: Charlie Hunnam, Astrid Bergès-Frisbey, Jude Law, Djimon Hounsou, Eric Bana, Aidan Gillen, Freddie Fox, Craig McGinlay, Tom Wu, Kingsley Ben-Adir, Neil Maskell, Annabelle Wallis, Geoff Bell, Poppy Delevingne, Bleu Landau, Peter Ferdinando, Mikael Persbrandt, Michael McElhatton

The tagline for King Arthur: Legend of the Sword is a simple yet effective one: “from nothing comes a king”. But to quote William Shakespeare (and with the most sincerest of apologies), a better tagline would be, “nothing will come of nothing”. In fact, there are several famous Shakespeare quotes that are apposite for Guy Ritchie’s latest outing, so in an effort to provide a unique review for a movie that offers nothing that is in the remotest sense “unique”, here are some of the Bard’s most well known pieces of dialogue, and their relevance to King Arthur: Legend of the Sword.

“Now is the winter of our discontent” (Richard III) – strictly speaking, it’s spring right now, but the sentiment remains the same whatever the season. Ritchie, along with co-screenwriters Joby Harold and Lionel Wigram (his producing partner), offers audiences a King Arthur re-style that lurches from one CGI-heavy action sequence to another, all of which are edited in such a way as to remove every last ounce of excitement from every single one of them.

“Lord, what fools these mortals be!” (A Midsummer Night’s Dream) – it’s hard to work out just who fits this quote more, Warner Bros. for asking Ritchie to make this movie, or Ritchie for accepting the challenge. Perhaps it should be a joint award, as the end result stretches credibility at every turn, appears as if it was collated from a dozen different scripts, and ensures its cast of characters remain as one-dimensional as possible in order to match the quality of the narrative. This leads to Hunnam et al all struggling to give decent performances, and all looking uncomfortable throughout.

“We have seen better days” (Timon of Athens) – each year brings us a fantasy movie that attempts to bring us something out of the ordinary, something we haven’t seen before, and King Arthur: Legend of the Sword certainly has aspirations in that department, but instead it ends up looking and sounding like an uninspired retread/mash up of The Lord of the Rings (with bigger elephants), Game of Thrones (without the style), and weirdly, In the Name of the King: A Dungeon Siege Tale (2007) (skip the better days angle on this one).

“Some are born great, some achieve greatness, and some have greatness thrust upon them” (Twelfth Night) – this is the central conceit that infuses the character of Arthur, but once again we have to put up with a character denying his destiny for half the movie before taking up the mantle that he’s been due all along, and then finally going out and kicking some ass. It’s a tired character arc that’s been done so often it’s lost any kind of dramatic weight, and now feels obligatory, as if every character faced with this kind of choice has to be humble and committed to self-denial. If the movie had really wanted to bring us something out of the ordinary, Arthur would have found out he was the rightful King, grabbed up Excalibur, left Londinium, and killed evil uncle Vortigern (Law) at the first opportunity (and shaved at least half an hour off the movie’s two hour running time).

“All that glisters is not gold” (The Merchant of Venice) – the presence of Ritchie behind the camera, and with such a talented cast in front of it, just goes to show that you can’t judge a movie by its intentions. If you saw the first trailer and thought, “Hmm, this looks great!” then a) the makers of that particular trailer got off lightly, and b) there’s not much anyone can do for you. This is a movie that delights in showing off its various boxes of tricks, but as so often happens in these cases (where ambition should have been strangled at birth), once the tricks have been showcased, it becomes obvious that there wasn’t any substance behind them at all. And this is what this movie wants you to forget: that it’s made up of various boxes of tricks and very little else.

“Misery acquaints a man with strange bedfellows” (The Tempest) – watching King Arthur: Legend of the Sword is an often painful, dispiriting way to spend a couple of hours, but it’s also one that should have no problem in uniting audiences in expressing their general displeasure at what they’ve witnessed. They say that watching movies at the cinema qualifies as a communal experience. It’s such a shame then that so many people are going to be disappointed by a movie that flails around looking for a cohesive story to tell, and which does so without any attempt at providing wit or panache to help it along.

“But, for my own part, it was Greek to me” (Julius Caesar) – in this reimagining of the Arthurian legend (complete with a Camelot that isn’t mentioned by name, only title caption), the once and future king is an East End brothel owner long before there were actual East End brothel owners, and long before anyone added the word “mate” to the end of a sentence. Ritchie and his screenwriter chums may believe this adds a certain piquancy to the dialogue, but instead it feels more out of place than organic, and on occasion, forced. It’s a verbal affectation that does the movie no favours and soon becomes distracting instead of part and parcel of the movie’s overall tone (as intended).

“It is a tale told by an idiot, full of sound and fury, signifying nothing” (Macbeth) – while Ritchie is by no means an idiot (libel lawyers take heed), this is still a movie that assaults the senses at every opportunity, and which never keeps still. This is a movie for people who can’t bear to see a shot last more than five seconds, who can’t watch an action sequence unless it’s cut into non-sequential chunks, and who like their soundtrack pumped up as much as the movie hopes they are already. The action lacks intensity (though it strives repeatedly to attain the intensity it needs in order to be halfway effective), and the spectacle soon becomes mind-numbing in its repetitiveness. And the occasional quiet moments? Just filler, until the next action sequence comes along.

Rating: 3/10 – you’ll laugh (unintentionally but often), you’ll cry (at the cumulative absurdity/lack of ideas on display), you’ll want to believe that somewhere, in an alternate reality perhaps, that Ritchie has made a masterpiece; alas, a terrible plot and central narrative counter any such notions, and King Arthur: Legend of the Sword reaches us adrift on a shoddy raft of its own making, taking on water with every swell, and capable only of letting off distress flare after distress flare.

The Warriors Gate (2016)

13 Thursday Apr 2017

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D: Matthias Hoene / 107m

Cast: Uriah Shelton, Mark Chao, Ni Ni, Dave Bautista, Sienna Guillory, Francis Chun-Yu Ng, Zha Ka, Dakota Daulby, Luke Mac Davis

Jack Bronson (Shelton) is a teenager whose online gaming avatar, the Black Knight, is a complete badass, winning fantasy encounter after fantasy encounter. Away from his computer, however, he’s not quite so powerful or dominating. His life has its fair share of problems: his mother, Annie (Guillory), is a realtor who hasn’t sold a property in months (which means money is fast becoming an issue), and at school he’s being bullied by an older teen called Travis (Daulby). Jack does have a job, at least, even if it doesn’t pay an awful lot, but his boss likes him, enough to give Jack a gift: a large wooden, ornamental box. Jack takes it home and keeps it in his room. That first night, Jack wakes to find a sword at his throat, and an ancient Chinese warrior (Chao) asking if he’s the Black Knight. Even though he’s clearly not the fierce warrior the stranger is looking for, Jack is still given a task: to protect the Princess Su Lin (Ni) from harm.

The Princess is left in Jack’s care – but not before her bodyguard disappears back to their world via the box. The Princess is used to getting her own way, and it’s not long before she has Jack take her to the local mall so that she can learn how to blend in. But it’s also not long before mercenaries from the Princess’s world come for her, and despite Jack’s best efforts (which aren’t that great anyway), she’s taken back to her world. Jack follows, and finds himself in the company of the bodyguard, whose name is Zhoo. Soon, Jack learns that the Princess is the target of a murderous warlord called Arun the Cruel (Bautista). Arun plans to wed Su Lin, and once they’re married, kill her and assume the role of Emperor. Zhoo’s mission is to rescue her and kill the warlord. With the occasional aid of a wizard (Ng), and Jack himself, Zhoo sets off for the Imperial Palace.

Along the way they encounter danger in the form of three tree nymphs with a taste for human flesh, a number of Arun’s men, and having to cross a large lake despite Zhoo being unable to swim. Once at the Imperial Palace, their attempt to rescue the Princess is stalled, and they find themselves imprisoned. It’s only when a butterfly appears at their cell window that Zhoo is certain that his plan (which he’s making up as he goes along) will actually work.

If nothing else, The Warriors Gate proves that with great publicity comes greater accusations of racism. Zhang Yimou’s bloated melodrama The Great Wall (2016) came in for heaps of criticism for having an Occidental hero coming to China’s rescue when faced with hordes of rampaging dragons. Here, Matthias Hoene’s tiresome fantasy swaps Matt Damon’s Irish mercenary for Uriah Shelton’s whiny teenager as a Chinese dynasty comes under threat from a surly warlord who’s massively into face painting. And yet The Warriors Gate is just as guilty of cultural whitewashing as its more expensively mounted compatriot. More so, perhaps. How galling must it be for Chinese audiences to see their heritage, their culture, and their fierce warrior history ignored in favour of making the hero a – let’s say it again – whiny teenager.

Bad as this approach is, The Warriors Gate has far more things wrong with it than there are good. A pale imitation of the far more entertaining The Forbidden Kingdom (2008), Hoene’s follow-up to the low-concept, low return Cockneys vs Zombies (2012) sees him take a script by Luc Besson and Robert Mark Kamen (who really should have known better) and turn it into a bland, functional, and entirely unremarkable teen fantasy movie that feels like it was made in the Nineties and has only recently secured a big screen release. With its bizarre set up, fortune cookie philosophising, bland time travel theatrics, agonising moments of teen humour, bullying subplot, cultural indifference to Chinese history, off-putting tonal shifts (sometimes in the same scene), and forgettable characters, the movie struggles hard to work on any level… and then struggles some more.

It’s a movie that steals from other, better movies too, and in doing so, only serves to highlight just how derivative and unoriginal it all is. Jack’s lack of self-confidence is such a staple of teen heroes and heroines these days that it’s a wonder any of them get out of bed in the first place. Naturally he has a skill that will enable him to defeat the bad guy, but the script can’t decide if it’s inside him all along or is something that he’ll need to learn. In the end, the movie settles for Jack being shown one single, semi-meditative pose and it’s all he needs to be the warrior Zhoo has been looking for. Inside of him all along, or a simple technique easily learned – either way Jack steps up and never looks back. And of course, everyone says they always believed in him (and yet Zhoo doubts him repeatedly).

There’s also the small issue of the reason Jack follows the kidnapped Princess into her world: he’s horny, has never been kissed, and fancies Su Lin like mad. (His hormones made him do it!) Even when he’s fully aware of what’s at stake if Arun’s plan succeeds, Jack is still thinking with his ‘nads, and though it’s unreasonable to assume he’s trying to help for more noble reasons, the movie keeps him firmly in place as a teenager with only one thing on his mind: getting the girl. With this level of ambition, it’s no wonder Jack is a character who screams “superficial!” when compared with his Chinese assistants – sorry, enablers. Unsurprisingly, Su Lin is attracted to Jack, but their romance has all the emotional clout of a Hallmark movie of the week.

The script sabotages itself too often for comfort. Arun the Cruel is revealed to be a pretty fair despot on the whole, and possessed of a sly line in humour. Bautista gets the tone right fortunately, but can’t do anything with the silly-sounding dialogue he’s lumbered with. As the Princess, Ni is allowed to be haughty for all of five minutes before falling for Jack’s, err, charms, while Chao has the dour straight man role and as a result, sometimes fades into the background. Ng is clearly enjoying his turn as a comedy wizard, while Guillory gets the thankless role of worried mother. The cast as a whole are hampered by having to deal with perfunctory characterisations and finding themselves unsupported by Hoene and the script. The fight sequences have a certain panache, but when the final showdown between hero and villain takes place, it’s too little too late (and no one ever explains why the Princess is hanging by her wrists the whole time).

Rating: 4/10 – sloppy writing and an uninspired vibe make The Warriors Gate (yes, there’s no apostrophe) a disappointing entry in the teen fantasy stakes; acceptable only if you don’t care enough to be insulted, the movie can best be summed up by stealing a paraphrased line from the New York Times movie critic A.O. Scott: it sets a very low bar for itself, and then trips over it repeatedly.

The Great Wall (2016)

07 Tuesday Mar 2017

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D: Yimou Zhang / 103m

Cast: Matt Damon, Pedro Pascal, Tian Jing, Willem Dafoe, Andy Lau, Hanyu Zhang, Lu Han, Kenny Lin, Eddie Peng, Xuan Huang, Ryan Zheng, Karry Wang, Cheney Chen, Pilou Asbæk

On paper it must have sounded like a great idea. A US/China co-production directed by Yimou Zhang and starring Matt Damon, and telling one of the legends behind the creation of the Great Wall of China: that it was built to stop a species of monster called the Tao Tei from over-running the country. On paper it promised Zhang’s visionary skill as a director, Damon’s solid acting presence, and some of the most exciting battle scenes this side of The Lord of the Rings trilogy. It would also be the most expensive movie in Chinese history, costing $135 million.

But somewhere along the way, what everyone – the production companies and the producers, Zhang and Damon, anyone else involved – forgot was that the movie was going to need a decent script. Or maybe they were aware it needed a decent script but decided to make do with the one they had (or maybe working with more than one hundred on-set translators didn’t help). However it was, The Great Wall reaches us with its goal to entertain its audience undermined almost from the word go. And it never recovers, offering lazy characterisations, even lazier motivations for its characters, plotting that goes beyond ridiculous, and the kind of moments that are meant to be, well, meaningful but just look and sound awkward. It’s only the well-mounted action sequences that provide any fun, but by the end, any credibility they’ve given the movie has run dry as well. So step forward Max Brooks, Edward Zwick and Marshall Herskovitz who came up with the story, and Carlo Bernard, Doug Miro and Tony Gilroy who actually wrote the script. Give them all a hearty round of applause – and let that be the only acknowledgment they get for coming up with this farrago.

Now obviously, The Great Wall is a fantasy movie, and none of it ever happened for real, but that doesn’t mean that it can’t be grounded as far as possible within its own fantastical world. Matt Damon and Pedro Pascal as mercenaries trying to steal black powder (gunpowder) from the Chinese? Okay, that one’s possible. The Great Wall built to stop a horde of monsters from over-running the country (and by extension, the world)? Ahh, hang on a minute. No, that’s not going to work. There are problems with that idea straight away, and these are problems the movie ignores, as if by ignoring them no one will stop and say, ahhh, hang on a minute… The problem lies with those pesky, awkward timescales, the ones the movie itself comes up with. Seventeen hundred years to build. Okay, but the Tao Tei attack every sixty years, and again according to the movie, have been doing so for two thousand years. So the obvious question is: how is it that the Tao Tei haven’t over-run the country already? There’s thousands upon thousands of the ugly creatures (which must mean their Queen is kept very busy).

To be fair, the movie does try to provide an answer to this conundrum, by mentioning that the Tao Tei are evolving with each sixty year cycle, and becoming more and more intelligent. But then it shoots itself in the foot – again – by giving Damon’s character, William, a large chunk of magnetised rock (don’t ask; really, don’t). Magnets apparently have the ability to literally put the creatures to sleep, something the Chinese are aware of but which they’ve never put to the test. Cue a mission to capture one of the creatures. Once secured, the creature is then whisked off to the capital city of Bianliang where the magnet is removed far enough for the creature to wake up and transmit its location telepathically to its Queen (oh, yes, they’re telepathic as well). And just at the same moment, the Chinese, led by Commander Lin (Jing) and Strategist Wang (Lau) discover that the Tao Tei have been digging a massive tunnel through the Wall and are heading for Bianliang (and no one has noticed this, or spotted them heading for the capital; no, really, no one).

If after all this, you’re not convinced that The Great Wall has a really duff script then you’ll really have to see it for yourself. What was probably meant to be an effective melding of Western and Eastern movie making, or at the very least a Chinese tale adapted for a wider international audience, in the end becomes a collection of cinematic clichés, desultory character beats, and an ending that’s so rushed you get the feeling that maybe you’ve missed something (one minute the tunnel is discovered, the next, everyone’s climbing onto unstable hot-air balloons to reach Bianliang before the Tao Tei get there). It’s a movie that doesn’t seem to trust itself with any depth or nuance, as if audiences wouldn’t appreciate their inclusion. In its aim to be as entertaining as possible, it appears to have shed anything that might be thought-provoking, original, or ambitious.

During the movie’s production there was a lot of criticism surrounding Damon’s casting (as if no one realised this was an international co-production). Accusations of the movie using a white saviour narrative prevailed for a long while, and on watching the movie, it’s not hard to see why such accusations were made. Whether they’re well-founded or not will be down to the individual viewer, but as the Chinese have been fending off the Tao Tei for centuries, and only defeat them once Damon’s character turns up – well, you do the math. There’s also the inevitable attraction between Damon’s early medieval archer and Jing’s initially wary (but intrigued) commander. Their relationship remains entirely platonic throughout, with admiring glances appearing here and there, but the idea of an actual romance is firmly kept in its place. This may be an international co-production made for modern audiences, but let’s not get several centuries ahead of ourselves.

In the end, this is an American production that takes an ostensibly Chinese story (it was actually dreamed up by Legendary Entertainment CEO Thomas Tull and World War Z author Max Brooks), makes it on Chinese soil with a largely Chinese cast and crew, appropriates a Chinese national monument, and then jettisons anything that makes it truly, identifiably Chinese. (There’s also a corollary with World War Z as the Tao Tei climb up and over each other in their efforts to scale the Wall.) Should the Chinese feel insulted by this? That’s a difficult one to answer, their having been involved in this almost from the beginning, but if the white saviour narrative does apply then this is arguably one of  the most racially condescending movies made in a very long while.

But inevitably, with all the talent involved, there are some things that the movie gets right, it’s just that there aren’t enough of them to make up for when it goes wrong. The movie is often beautiful to look at, with a dazzling array of colours for the Chinese to wear and be seen against, and the overall production design by John Myhre is equally dazzling. The Wall’s defences are impressive too, with one unexpected, built-in feature proving particularly effective against the Tao Tei (though frustratingly it’s only used once). And one character’s death prompts a beautiful display of sky lanterns against the backdrop of the night sky. But as already mentioned, these aspects don’t make up for the clumsy, substance-free elements that are thrust centre-stage, from those awkward timescales, some truly awful dialogue, a subplot involving Dafoe’s captive mercenary and his plan to steal the black powder, and the inclusion of a young soldier who proves his bravery when everyone (except William) doubts him.

Rating: 4/10 – as dumb as dumb can be, The Great Wall is a terrible mis-step by Zhang, and by everyone else involved; big on spectacle but short on invention and lacking any internal logic, it’s a movie built out of nothing and unsurprisingly, is well on course to lose a lot of money for the studios who made it.

Monthly Roundup – February 2017

01 Wednesday Mar 2017

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Life on the Road (2016) / D: Ricky Gervais / 96m

aka David Brent: Life on the Road

Cast: Ricky Gervais, Ben Bailey Smith, Tom Basden, Jo Hartley, Tom Bennett, Mandeep Dhillon, Andrew Brooke, Andy Burrows, Steve Clarke, Michael Clarke, Stuart Wilkinson

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Rating: 5/10 – post-Wernham Hogg, David Brent (Gervais) is now a salesman with dreams of becoming famous by putting together a band, Foregone Conclusion, and going on tour; the gulf between Life on the Road and The Office (2001-03) can be gauged within the first ten minutes as Gervais treats his most enduring (and sympathetic) character with a complete disregard for Brent’s development, and by being unnecessarily cruel to everyone else, making this a chore to sit through, and only slightly more enjoyable than Special Correspondents (2016).

Pete’s Dragon (2016) / D: David Lowery / 103m

Cast: Bryce Dallas Howard, Oakes Fegley, Wes Bentley, Karl Urban, Oona Laurence, Robert Redford, Isiah Whitlock Jr

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Rating: 7/10 – following a car crash that kills his parents and leaves him lost in the woods, a young boy called Pete is “adopted” and cared for by Elliot, who just happens to be a dragon, a situation that continues until civilisation comes calling in the form of a logging operation; a good-natured remake of the 1977, Pete’s Dragon original offers good performances all round, beautiful New Zealand backdrops, a lovable dragon, and keeps it all light and airy, all of which compensates for a script that wavers too often in its attempts to put Elliot in any real danger from Urban and his men.

Mr. Perrin and Mr. Traill (1948) / D: Lawrence Huntington / 92m

Cast: Marius Goring, David Farrar, Greta Gynt, Raymond Huntley, Edward Chapman, Mary Jerrold, Ralph Truman

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Rating: 8/10 – when a new teacher at an all-boys’ school, Mr Traill (Farrar), proves more popular with the pupils, and the school nurse (Gynt), than the older Mr Perrin (Goring), personal and professional jealousies lead to an unexpected tragedy; an adaptation of the novel by Hugh Walpole, Mr. Perrin and Mr. Traill expertly creates a hothouse environment for its title characters, but never comes down fully on the side of either, making this a surprisingly jaundiced view of male rivalry, and a movie that features an exemplary performance from Goring.

Don’t Hang Up (2016) / D: Alexis Wajsbrot, Damien Macé / 83m

Cast: Gregg Sulkin, Garrett Clayton, Bella Dayne, Jack Brett Anderson, Parker Sawyers, Sienna Guillory

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Rating: 5/10 – two phone pranksters, Sam (Sulkin) and Brady (Clayton), find themselves on the receiving end of a psycho(?) who’s willing to play their own game against them, with increasingly disturbing and violent results; basically the first ten minutes of Scream (1996) stretched to breaking point, Don’t Hang Up will soon have you rooting for the psycho as Sam and Brady behave as stupidly as you might expect, even to the point of continually picking up the phone, or answering their mobiles, just so the story can advance a bit further.

Lady Luck (1946) / D: Edwin L. Marin / 97m

Cast: Robert Young, Barbara Hale, Frank Morgan, James Gleason, Don Rice, Harry Davenport, Lloyd Corrigan

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Rating: 7/10 – Mary (Hale), who’s staunchly anti-gambling marries Scott (Young), who does his best to reform, but a trip to Las Vegas – on their honeymoon, no less – soon puts their marriage in jeopardy; a lightweight romantic comedy featuring smooth performances and a pleasing sense of its own absurdity, Lady Luck is carefree, populist piece of entertainment that hits a few dramatic potholes along the way to its final scene, but is nevertheless an enjoyable way to spend ninety-seven minutes.

Friend Request (2016) / D: Simon Verhoeven / 92m

Cast: Alycia Debnam-Carey, William Moseley, Connor Paolo, Brit Morgan, Brooke Markham, Sean Marquette, Liesl Ahlers, Shashawnee Hall, Nicholas Pauling

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Rating: 4/10 – the suicide of one of her classmates leads Laura to regret unfriending her on social media, a decision that has dire consequences for her and her friends, as her classmate’s ghost seeks revenge from beyond the grave; in amongst the horror motifs and distressed editing techniques that are now a depressing norm of the genre, Friend Request does have some pertinent things to say about popularity and the perils of social media, but it’s done in such a ham-fisted, unconvincing way that all that effort goes to waste very quickly.

Sleepwalker (1984) / D: Saxon Logan / 50m

Cast: Joanna David, Bill Douglas, Nickolas Grace, Heather Page, Fulton Mackay, Michael Medwin, Raymond Huntley

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Rating: 7/10 – two couples at an isolated farmhouse share an evening deriding each other’s class and social values, unaware that the sleepwalking tendencies of one of them will lead to blood being spilt; part curdled Abigail’s Party and part baroque thriller, Sleepwalker has much to say about middle class angst, the antagonism inherent in middle class relationships of the time, and sets it all against the backdrop of a social evening from hell.

A Monster Calls (2016)

23 Monday Jan 2017

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D: J.A. Bayona / 108m

Cast: Lewis MacDougall, Liam Neeson, Sigourney Weaver, Felicity Jones, Toby Kebbell, James Melville, Geraldine Chaplin

Thirteen year old Conor O’Malley (MacDougall) is experiencing nightmares. In them, the church near his home collapses when the ground around it splits open, and Conor has to try and save his mother (Jones) who is in danger of disappearing into one of the fissures this devastation has wrought. When he wakes from these nightmares each night it is always 12:06. But the nightmares aren’t the only problem Conor has to deal with. His mother is suffering from cancer, and she’s not responding well to her treatment. His grandmother (Weaver) keeps mentioning that at some point, Conor will have to come and stay with her, but he doesn’t want to leave his mother; he still clings to the hope that she’ll get better. His father (Kebbell) lives in the US and is generally unsupportive, using the physical distance between them as an excuse. And at school, he’s the victim of bullying by one of the other boys in his class, Harry (Melville).

One night, at 12:07, Conor is drawing a picture of the view from his bedroom window when the large yew tree that is situated in the nearby graveyard transforms into a monster (Neeson) made from the tree’s trunk and branches. It approaches the house and after grabbing Conor from his bedroom, tells him that he’ll receive further visits from the monster, and that the monster will tell him three stories, after which Conor will then tell a fourth story, the truth behind his nightmares, which only he can tell. The monster is true to his word. On the first visit, he tells Conor the story of an old king who marries a young woman who many regard as a witch. When he dies she rules as regent until his grandson comes of age. She rules fairly but doesn’t want to relinquish her position, intending to marry the grandson instead. But the murder of the grandson’s true love leads to her being convicted of the crime, and she is only saved by the monster at the last moment.

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The second story concerns an apothecary whose livelihood is condemned by the local parson. When a terrible sickness breaks out, the parson’s two daughters fall ill, and he begs for the apothecary”s help, and swears he will do anything in order for his daughters to live, but the apothecary refuses, and the girls die. The monster appears and demolishes the parson’s house as a further punishment for his lack of faith. The third story concerns a man who feels himself to be invisible because no one ever takes notice of him, but when the monster aids him in this, it doesn’t solve things, merely adds further problems for him to deal with. These stories help Conor to deal with the various emotions he’s struggling with, and to make sense of them, leading inevitably, as the monster predicted, to his telling the fourth story, the truth about his nightmares…

At its heart, A Monster Calls is about impending loss and the grief that comes with it, both before and after. Adapted by Patrick Ness from his own novel, the movie is a dark, compelling, visually innovative tale of personal redemption in the face of overwhelming emotional distress. It’s a children’s tale about adult themes and how they can affect someone who is “too old to be a kid, too young to be a man”. By making Conor and his struggle to manage the full implications of his mother’s illness – her terminal illness – the focus of the story, Ness and director J.A. Bayona allow the movie to express the kind of feelings and emotions that we forget children can and do experience in these kinds of circumstances. It’s an obvious lesson, but presented in such a clear, immediate manner that Conor’s plight is readily acceptable, and convincingly played out.

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There may be some who will query why Conor’s road to the acceptance of his mother’s impending demise needs the presence of a fantasy giant made out of a yew tree. But allegory has always been a pertinent and effective way of dealing with, and expressing, the kinds of emotions that we keep buried inside us because of how painful they are. Conor’s emotions spill out through his nightmares, and in his search for an answer he calls on the monster, albeit unwittingly. When they first meet, Conor makes it clear he’s not scared, and nor should he be; after all, the monster is a creation formed from Conor’s own subconscious. But the stories the monster tells are far more than stories – they’re explanations of the various emotions and feelings that Conor is struggling with. And they pave the way for the truth, the real hurdle he must overcome in order to move forward. All this is relayed in such a plausible, non-sensationalist, and poignant fashion that any doubts as to the efficacy of such an approach is dismissed moments after the movie has begun.

The look of the movie is very important too, and here Bayona mixes a variety of styles to potent effect. There’s an almost documentary feel to the scenes where Conor is at school, as if the camera is eavesdropping on him. Then there are the scenes at home, the modest environment that looks like an inviting update on homes from the Seventies, what with Eugenio Caballero’s production design making everything look that just a little bit lived in, and Pilar Revuelta’s sterling set decoration as well. And then there are the animated interludes, the stories themselves, rendered in a mixture of styles, and each one enhancing the story it portrays. The movie is at its most confident in these sequences, taking the viewer away from the grim real world, and painting portraits of worlds where life is even harsher and less likely to offer the kind of solace Conor needs – at first glance, that is. It’s a brave decision, but one that pays off handsomely, as each sequence is captivating in its own right.

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The look of the monster is endlessly fascinating as well, with Neeson’s mo-capped features and physique a perfect fit for such an iconic creature. Despite not being “real”, the monster’s presence in the movie serves as a reminder that fantasy doesn’t have to mean an absence of credibility, and thanks to Ness’s tightly developed screenplay, this isn’t an issue the movie has to deal with at all. As the monster, Neeson delivers a perfectly modulated vocal performance, one replete with emotional nuances and textures that support the drama and justify his role in the production. As the two mothers connected by their shared love for each other, Weaver and Jones both give heartfelt performances that avoid unnecessary sentimentality, while Kebbell’s role calls for him to be affectionate yet callow, sympathetic yet distant, and emotionally obtuse. But it’s MacDougall’s performance that stands out, a complex, yet honest portrayal of a young boy’s struggle to acknowledge his own deep-rooted and frightening feelings about his mother, and what those feelings might do to him if he faces up to them. It’s a quietly bravura performance, generously encouraged by Bayona and the rest of the cast, and is as good as any performance by an adult actor in 2016.

There will be accusations that A Monster Calls is unremittingly bleak, and that its subject matter is not best suited to the so-called Young Adult market that many people will believe this is aimed at. Though Ness wrote the novel with that particular audience in mind, this version transcends notions of age and worldly experience by making Conor’s feelings universal, and for children and adults alike. Yes, it is bleak at times, and yes, it’s not an openly optimistic movie, but it is an uplifting, inspiring movie that celebrates maternal love, the sacrifices adults sometimes have to make to ensure that children remain children for just that little bit longer, and the resilience that we often forget children have when it comes to dealing with the darker aspects of growing up. This is a movie that does something completely unexpected: it challenges us to look at ourselves and ask, if we were in Conor’s shoes, would we beahve any differently? We might not call upon a monster to help us, but then, would it be such a bad idea?

Rating: 9/10 – an impressively mounted exploration of identity, hidden grief, and growing emotional despair, A Monster Calls is a crushingly honest look at how it feels to be losing someone you’re incredibly close to, and how those feelings can affect everything else around you; brilliantly realised, and with a tremendous performance from MacDougall, this is exceptional stuff indeed, and proof that intelligent, thought-provoking movies can also be beautiful and moving at the same time.

Mini-Review: Underworld: Blood Wars (2016)

22 Sunday Jan 2017

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D: Anna Foerster / 91m

Cast: Kate Beckinsale, Theo James, Tobias Menzies, Lara Pulver, Charles Dance, James Faulkner, Peter Andersson, Clementine Nicholson, Bradley James, Daisy Head, Oliver Stark

Seconds out… round five! Yes, four years after the resoundingly awful Underworld: Awakening (2012), the world is treated to yet another unwanted, unneeded, unnecessary, and unwatchable Underworld movie. Nothing has changed. The Vampires and the Lycans are still at war with each other (though the Lycans appear to have the upper hand), Selene is still an outcast from her fellow bloodsuckers for killing Victor way, way back in Underworld (2003), blood is still the most important commodity on both sides, Kate Beckinsale still looks great in skin-tight black leather, and the plot makes about as much sense as building a dam from ten packs of waffles. It’s complete and utter tosh, and you get the sense that no one was really taking this seriously; not one person.

What plot there is concerns the Lycans reducing Vampire numbers by the coven load, thanks to the inspired leadership of Marius (Menzies), who appears to be a kind of enhanced werewolf. On the Vampire side, Elder Thomas (Dance) is supported by Vampire Council member Semira (Pulver) in bringing Selene (Beckinsale) back into the fold in order for her to use her unique skills in fending off/killing the Lycans. Selene relcutantly accepts but is soon betrayed by the scheming Semira, and flees to the Nordic Coven, where a Lycan attack led by Marius leaves her dead beneath the ice. With Semira further emboldened by news of Selene’s death, she allows the Lycans access to the Eastern Coven, and soon the place is overrun by werewolves. With only Thomas’s son David (James) to lead them – which is handy as he’s the true heir to the Vampire leadership – the Vampires are in danger of being wiped out once and for all…

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By now, any movies in the Underworld franchise that find a release (and Alexander Corvinus help us, there’s another one in the works), are purely for the fans only. They will make a certain amount of money – so far Blood Wars has made over $75 million, more than double its production budget – and they’ll gain a respectable (new) lease of life on home video. For the makers, it’s a win-win situation, and to some degree, it’s the same for the fans. Kate Beckinsale as Selene + warring Vampires and Lycans + shoddy CGI effects + incomprehensible storylines and dialogue + the same steel blue lighting effects in each movie + poorly edited action sequences = the franchise that good taste can’t kill.

Like the Resident Evil series, which also foists a movie on us every few years, the Underworld movies feature a strong-minded, invincible heroine, and the merest interest in logic or credibility. As long as there’s a fight scene every ten minutes, and the villains are appropriately nasty and conniving and amoral, then nothing else is really needed. Well, except for an establishing shot to set up the next instalment, that is. That these movies continue to attract the likes of Beckinsale and Dance is possibly the only thing that’s impressive about them, but not even Beckinsale can do anything with lines such as, “There is no beginning, there is no end. There is only the coming.” That’ll be Underworld: Dead Poor then.

Rating: 3/10 – the first truly “meh” movie of 2017, Underworld: Blood Wars has all the attraction of root canal work and a rectal exam put together; unfailingly predictable, and trite on almost every level, the directorial debut of TV helmer Foerster readily shows that the producers are firmly in charge and there’s no room for originality – at all.

Kubo and the Two Strings (2016)

30 Wednesday Nov 2016

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D: Travis Knight / 102m

Cast: Charlize Theron, Art Parkinson, Matthew McConaughey, Ralph Fiennes, Rooney Mara, Brenda Vaccaro, George Takei, Cary-Hiroyuki Tagawa

In Ancient Japan, a young mother, Sariatu (Theron), is washed ashore with her infant son, Kubo. She is fleeing her family: her father, the Moon King (Fiennes) and her two sisters (both Mara). Her sisters have killed her husband, Hanzo, and stolen Kubo’s left eye for their father; and now he wants Kubo’s other eye. The infant grows into a young boy (Parkinson) who looks after his mother by night, and by day, tells stories to the folk in the nearby village, and who uses the magic he’s inherited from his mother to animate pieces of paper to help tell his tales. Kubo is well-liked, but often he can’t finish his stories because he has to be back before sunset, or his aunts will find him.

When an Obon festival proves too tempting to miss, Kubo finds himself still near the village when night – and his aunts – descend. They attack him, but he’s saved by the intervention of his mother; later she succumbs to her sisters and Kubo is left alone… though not for long. He finds he has a companion on a trek to track down his father’s sword, armour and helmet. The companion is called Monkey (Theron), and she was once a little wooden snow monkey charm that Kubo carried with him everywhere. Now she acts as his guide and protector, as the pair set off to find Hanzo’s equipment. Along the way they meet Beetle (McConaughey), one of Hanzo’s apprentices, who agrees to go with them.

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They find the sword in a cave full of bones, and cross the Long Lake in a boat woven together by leaves and thanks to Kubo’s magic. But they’re attacked by Sariatu’s sisters, just as Kubo attempts to retrieve the armour from the bottom of the lake. With only the helmet to be retrieved, the trio travel to Hanzo’s home where Kubo has a dream about an old man (Fiennes). Tricked into travelling to the village near where he lived, Kubo must face the Moon King alone, and find a way of avoiding the fates of his mother and father.

A vibrant, multi-layered fantasy adventure, Kubo and the Two Strings is animation company Laika’s fourth release, following Coraline (2009), ParaNorman (2012), and The Boxtrolls (2014). With such a track record already firmly in place, the chances of Kubo… not adding to that run of successes seems unlikely, and on a critical level, so it proves. But in a year when animation has accounted for three of the top five grossing movies, Laika’s latest has stumbled at the box office, only just earning back its budget. And yet, it’s easily better than two of those three top grossing movies – Finding Dory and The Secret Life of Pets – and on a par with the third, Zootopia. With its impressive visuals, cleverly constructed storyline, and accessible characters, Kubo and the Two Strings is a triumph that brings together those aforementioned elements, and compliments them with style, originality and verve.

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It’s all due to the script by Marc Haimes and Chris Butler, and the efforts of first-time director Knight (he’s also Laika’s president and CEO). There’s such a richess of detail, both in the dialogue and the characters, that the visual backgrounds and their immediate surroundings don’t always register as the beautifully created world that said characters exist in. Ancient Japan has been witnessed in so many other movies over the years that it should be hard to bring a fresh perspective to the period and the milieu. But Laika’s expert team of animators – working with CGI and traditional stop-frame animation – achieve the movie’s distinctive look with ease, blending the two animation formats to perfection and helping the viewer immerse themselves in this beautiful yet dangerous environment.

The animators have done their homework too. The sisters’ fighting styles are straight out of several highly successful martial arts/wire-fu movies, and there’s a crispness to the movements of the characters when in combat that is both arresting and profound (if you think that’s a little over the top for an animated movie, then just watch the scene where the sisters attack the boat, and see just how much effort has gone into making their actions so intense and so precise, and so exciting). There’s also an energy in these scenes that doesn’t appear anywhere else in the movie, and while that may sound like a criticism, there’s nothing anyone could – or should – do about it. (And that goes for the eyes in the sea, one of the most remarkable visual effects seen in recent years.)

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With its themes of loss and regret, and love and perseverance, the movie isn’t quite the children’s feature that some viewers may be expecting, but Laika have always been most impressive when introducing adult themes into their projects, and Kubo… is no exception. By adding depth to Kubo’s quest, and by introducing a layer of melancholy to it all, Knight and his team create a dynamic among the characters – good and bad – that can be appreciated by viewers of (nearly) all ages. It’s a delicate balancing act but one they pull off with unwavering conviction. And the way in which Kubo’s quest is resolved, and the Moon King’s threat is neutralised, it’s all accomplished in such a constructive, intelligent – and affecting – way that it offers viewers a much more satisfying conclusion all round.

As usual with a Laika production, the voice cast has been chosen with care. Theron brings a tenderness and subtlety to her performances that works perfectly for both characters, while McConaughey injects a mix of broad and pointed humour into his role as Beetle (even if his Southern drawl is allowed to slip through too often to maintain any consistency of voice). Parkinson effectively portrays the sadness and hopeful determination that combine to push Kubo ever forward, Mara essays the sisters as chilling echoes of each other, and Fiennes is formidable as the Moon King.

Rating: 9/10 – very minor quibbles aside, Kubo and the Two Strings is another triumph for Laika, and one of the very best animated movies of this or any other year; touching, poignant and thrilling, it features ravishing animation, terrifying villains, and speaks to the viewer on an emotional level that most live action movies fail to come even close to.

Miss Peregrine’s Home for Peculiar Children (2016)

05 Saturday Nov 2016

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D: Tim Burton / 127m

Cast: Eva Green, Asa Butterfield, Samuel L. Jackson, Ella Purnell, Judi Dench, Rupert Everett, Allison Janney, Chris O’Dowd, Terence Stamp, Finlay McMillan, Lauren McCrostie, Hayden Keeler-Stone, Georgia Pemberton, Milo Parker, Raffiella Chapman, Pixie Davies, Joseph Odwell, Thomas Odwell, Cameron King, Kim Dickens

Teenager Jake Portman (Butterfield) is very close to his grandfather, Abe (Stamp), who tells him stories of when he was a boy and lived on an island off the coast of Wales during the Second World War. Abe lived at Miss Peregrine’s Home for Peculiar Children, a place where children with paranormal abilities could live freely and without fear of persecution. In time, Abe had to leave, but he’s never forgotten his time there, and he’s told Jake many stories during the course of Jake’s growing up, but Jake has always believed them to be Abe’s version of fairy stories. But one day, Jake finds his grandfather’s body in the woods near Abe’s home; he’s been attacked and his eyes removed. With his last breath, Abe exhorts Jake to find “the bird, the loop and September 3, 1943”.

The discovery of a letter from Miss Peregrine to Abe, added to advice given by Jake’s therapist (Janney), sees Jake and his dad, Franklin (O’Dowd), heading for Wales. They stay at the local inn, and soon, Jake is searching for the “peculiar” home. He finds it in ruins, the result of a direct hit by a German bomb on September 3, 1943. But while he marvels at confrmation of the home’s existence, several of the children Abe has told him about, make themselves known and draw Jake into their world. They travel through a “loop”, a part of time that has been folded in on itself and now re-plays the same day over and over: September 3, 1943. And Jake meets Miss Peregrine (Green) herself, the children’s guardian, called an Ymbryne, a bird able to take human form (and vice versa) and manipulate time.

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Miss Peregrine wastes no time in welcoming Jake into the home, and he spends the evening there until he realises his father will be looking for him. He returns as quickly as he can, but not before Miss Peregrine shows him just how dangerous it is outside of her protection. Jake sees a hideous creature called a “Hollowgast” come for the children before Miss Peregrine dispatches it with a crossbow. From there stems a warning relating to Wights, former Peculiars who have been the unfortunate victims of an experiment to harness an Ymbryne’s power. One Wight in particular, Mr Barron (Jackson), has made it his mission to track down all the Ymbrynes and take their eyes. But while the way through the loop remains hidden, the children are safe… until Jake unwittingly leads Mr Barron right to them…

When author Ransom Riggs’ novel, Miss Peregrine’s Home for Peculiar Children was first published in 2011, it was an unexpected success. Riggs’ tale of peculiar children with strange abilities and the evil creatures that hunt them was the first in a trilogy of novels that breathed new life into gothic fantasy. It was obvious that a movie version would be made, and who better to bring the novel to life than Tim Burton? His brand of weird humour and his visual stylings were perfect for Miss Peregrine…, and with a script courtesy of Jane Goldman (X-Men: Days of Future Past, Kingsman: The Secret Service), all the signs were good that the movie would be as dark and strange and captivating and exciting as the novel.

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And for the most part it is. Ultimately, it’s the adaptation that doesn’t work entirely, with Goldman unable to pin down the main storyline, and fumbling with the subtext relating to humans as monsters during World War II (it’s no coincidence that Abe is a Polish Jew and a survivor of the ghetto, and that the hollowgasts’ name sounds like something else from World War II). With the main ingredients of Riggs’ tale broadened at first and then allowed to carry on broadening, the movie ends up being only half as rewarding as it could have been. Things begin well with Stamp’s genial yet firm Abe trying to keep Jake safe from the threat of the Wights and the Hollowgasts, but once Abe dies there’s an uneasy switch from Abe and Jake to Jake and Franklin, and their trip to Wales. Goldman rushes things along and soon Jake is getting to know the likes of Emma Bloom (Purnell), who is lighter than air and has to be weighted down; Millard Nullings (King), an invisible boy; and Olive Abroholos Elephanta (McCrostie) who can set things alight just by touching them.

It’s this stretch of the movie that is the most enjoyable, as Jake (and the viewer) gets to know everyone, and the idyllic, if repetitive, nature of the children’s existence is explored. There are terrific performances from all the child actors playing the Peculiar Children of the title, and a wonderful performance from Green as their guardian. With her probing stare and knowing smiles, Green is the movie’s ace in the hole, and the movie misses her energy whenever she’s off screen. Once things start to unravel and Mr. Barron gains the upper hand, the movie pauses to regroup itself, and heads for a crowd-pleasing finale at the end of Blackpool Pier that involves a riotous showdown between Hollowgasts and animated skeletons á la Jason and the Argonauts (1963). Along the way it abandons any notion of cohesion and continuity, and its attempts to make sense of the time loop/time travel conundrum the Peculiars and Jake find themselves in are brief and inconclusive (and baffling to anyone not paying full attention).

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But while the script tries to work out how best to tell the story, and in doing so deviates from Riggs’ original halfway cliffhanger-ish ending, the movie is rescued by Burton and his striking visual compositions and the movie’s darkly exuberant set design and decoration. This is, at times, a sumptuous movie to watch, and Burton’s trademark gothic flair is well in evidence as he guides the viewer through a series of imaginative and impressive sequences that more than adequately show how good a fit for the material he is. But again, when the story has to take centre stage it’s often weak and lacking focus, though to be fair to Goldman she is trying to cram an awful lot into a two hour movie, and as good as she is as a screenwriter, when the source material is as detailed as it is, it’s unsurprising that some of the good stuff is going to be overlooked or a way for it all to fit in isn’t explored with any vigour.

Alongside Burton’s efforts, those of Green, Jackson, Stamp and Purnell are most welcome, with Jackson’s pantomime performance proving weirdly appropriate. Fans of the novel will be surprised to find that this is, unless a sequel is green-lit, a stand-alone movie with only a couple of nods to the book’s original ending. Does this work? The answer is impenetrable, either way. Fans and supporters of the novels will be disappointed that this isn’t the beginning of a series, and newcomers will most likely have wanted to spend more time getting to know all the peculiar’s; all in all, there’s something for everyone, just not as much for avid fans of the book.

Rating: 7/10 – with its script proving too wayward, and feeling like it was rushed (or hastily rewritten at some point prior to filming), Miss Peregrine’s Home for Peculiar Children entertains in fits and starts; and yet it’s hugely enjoyable when Goldman and Burton’s sensibilities meet in the middle, and there’s more than enough on display to justify the movie’s being seen by as many people as possible, so perhaps this is one adaptation where advance knowledge of the plot isn’t necessary… or desirable.

Doctor Strange (2016)

25 Tuesday Oct 2016

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D: Scott Derrickson / 115m

Cast: Benedict Cumberbatch, Chiwetel Ejiofor, Rachel McAdams, Tilda Swinton, Mads Mikkelsen, Benedict Wong, Michael Stuhlbarg, Benjamin Bratt, Scott Adkins

Stephen Strange (Cumberbatch) is a gifted neurosurgeon. He’s also an arrogant pain in the ass. His ego is on a par with Tony Stark’s, and he enjoys reminding people just how good he is. But one rainy evening, Strange’s car ends up in the river and his hands are so badly damaged that he’ll never be able to operate again. Angry and full of self-pity, Strange learns of a man who suffered a severed spine and was paralysed from the chest down, but who somehow managed to walk again. Strange tracks the man (Bratt) down, and is told of a monastery in Kathmandu, Nepal, where he learned how to walk again. Strange travels there and meets The Ancient One (Swinton), a mystic who teaches him that their plane of existence is one of many, and that Strange must let go of everything he thinks he knows in order to achieve “enlightenment”.

Strange proves to be an eager and willing (if still slightly sceptical) pupil. He learns how to cast spells, how to travel from one place to another by visualising it in his mind and creating a portal through which to get there, and the existence of a former pupil, Master Kaecilius (Mikkelsen), who believes he can gain immortality by helping a creature from the Dark Dimension, Dormammu, take over the Earth. As Strange’s powers grow, Kaecilius begins attacking the three sanctums that help keep Dormammu and his like from entering our world. Aided by another Master, Baron Mordo (Ejiofor), Strange attempts to stop Kaecilius from bringing about the end of the world; he also receives help from an unlikely source: the Cloak of Levitation, which chooses Strange as its master.

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But the London sanctum falls to Kaecilius’s onslaught, and he moves on to attack the sanctum in Hong Kong. Strange and Mordo arrive too late to avoid its destruction and the arrival of Dormammu in our world, but Strange has an idea that will counter-act all the death and destruction that has followed in Dormammu’s wake. If he fails, however, it will mean the end of all life on Earth…

Another Marvel movie, another origin story. But Stephen Strange has always been the odd character out in the Marvel Universe (cinematic or otherwise), a humbled physician redeemed by the power of magic and able to deal with the kind of villains that would give the likes of Iron Man and Captain America more than a run for their money. (Not that Strange is in any immediate danger here; Kaecilius isn’t exactly the most threatening villain Marvel has come up with, but he is good at running a lot.) With Phase Three of the Marvel Cinematic Universe now under way, this gives Marvel the opportunity to add fresh characters to the roster, and take their ongoing series of movies in a new direction.

But is it any good? Well, predictably, the answer is Yes – for the most part. The standard Marvel formula is firmly in place, although there is less humour to be had this time round, and while the template is tweaked here and there, most viewers will be reassured that the House of Spidey hasn’t strayed too far from the formula that has made their movies so successful in the past. What is different, and markedly so, is the visual style adopted for the movie. Away from all the mind-bending, Inception-style graphics, Doctor Strange is both darker in tone and look. Even the hospital where Strange works isn’t as brightly lit as you might expect. But it’s not a gloomy movie over all, it’s just that for once, Marvel have realised that – scenes involving the Cloak of Levitation aside, and Strange’s “borrowing” habits in the library – this needs to be a serious piece above all.

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Strange’s arrogance, and then his anger, in the beginning gives Cumberbatch the opportunity to play unlikeable with an unexpected fierceness. One scene in particular with McAdams as Strange’s one-time significant other, Christine Palmer, sees the actor deliver cruel lines of dialogue in a way that hasn’t been done before in a Marvel movie (he’s the hero and he’s being delberately objectionable). Even when he begins to accept that magic really does exist, he’s still an egotist, making snarky, caustic comments, but thanks to the script – by Derrickson, Jon Spaihts, and C. Robert Cargill – he’s also on a journey of self-discovery, and this comes across more and more effectively as the movie progresses.

With the main character in good hands (Cumberbatch inhabits the role with his customary panache, and even slips in an Alan Rickman tribute for those paying attention), it’s a shame that the rest are painted in such broad strokes. Baron Mordo, Strange’s arch-nemesis in the comics, is here very much a secondary character whose time will come in a later movie, while The Ancient One, despite being well-played by Swinton, is burdened with some astonishingly po-faced dialogue (“I spent so many years peering through time… looking for you.”) that you start to wonder if the half-smile Swinton adopts at times is in acknowledgment of how daft some of her lines truly are. As mentioned before, Mikkelsen’s master-turned-bad is not one of Marvel’s best villains, while McAdams is sidelined for much of the movie, though at least she’s not there as a damsel in need of being rescued.

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The visuals are, unsurprisingly, stunning. The folding of cityscapes and the weird monstrosities glimpsed in the Dark Dimension are both equally impressive, but there is one sequence which stands head and shoulders above all the others: when Strange reverses the destruction of the Hong Kong sanctum. If anyone wants a clue as to why Marvel is more successful at the box office, and critically, than DC, then it’s this particular sequence that should be watched for one of the answers. Both DC and Marvel have been guilty of going down the destruction-porn road before, and audiences have begun to voice their dislike of these big, CGI-driven demolition extravaganzas. But here, we don’t see the destruction of the Hong Kong sanctum, just the aftermath, and then, in a complete stroke of genius, we see the destruction in reverse – and it’s so much more effective for being shown in this way. Clearly, someone at Marvel is listening.

Where Stephen Strange will fit into the wider Marvel Cinematic Universe remains to be seen (though a pre-end credits scene points him in one particular direction), and he won’t be back in another solo outing for some time, but as an introduction to a character with so much more to be explored, Doctor Strange has to be considered a success. Like most of Marvel’s output in the last eight years, though, it does have its fair share of pitfalls, and it does stumble at times in trying to simplify the more esoteric aspects of playing with magic, but overall this is an exciting, well-crafted, rewarding, and enjoyable first outing for the future Sorcerer Supreme.

Rating: 8/10 – superb spectacle can’t compensate for some poor decisions when it comes to the secondary characters, or the tangled logic surrounding Kaecilius’ need to bring Dormammu into this world, but these are minor gripes in a movie that takes a challenging character and does him justice from start to finish; by doing more than enough with the formula to make it more interesting, Doctor Strange becomes a movie that contradicts the claim that Marvel are just churning out the same movie over and over again.

Monthly Roundup – September 2016

30 Friday Sep 2016

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The Purge: Election Year (2016) / D: James DeMonaco / 109m

Cast: Frank Grillo, Elizabeth Mitchell, Mykelti Williamson, Joseph Julian Soria, Betty Gabriel, Terry Serpico, Edwin Hodge, Kyle Secor

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Rating: 6/10 – several years after the events in The Purge: Anarchy (2014), ex-cop Leo Barnes (Grillo) is now head of security for Presidential candidate Senator Charlie Roan (Mitchell) – whose anti-Purge stance has made her a significant target come the latest Purge night; more of the same from writer/director DeMonaco, with the villainous Founding Fathers coming in for more grief thanks to the series’ need to avoid repeating itself, but without it actually finding a solution to the problem, all of which leads to The Purge: Election Year sounding good on paper, but proving instead that it’s an idea that’s already running out of steam.

Ben-Hur (2016) / D: Timur Bekmambetov / 125m

Cast: Jack Huston, Toby Kebbell, Rodrigo Santoro, Nazanin Boniadi, Ayelet Zurer, Pilou Asbæk, Morgan Freeman, Sofia Black-D’Elia

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Rating: 3/10 – meh; a waste of time, money, resources, the cast, the crew, and another unwanted remake which ruins the one thing it should have moved Heaven and Earth to ensure it got right: yes, the chariot race, a sequence that’s assembled and edited so badly that you won’t have any idea what happens to Messala (Kebbell) other than that he loses.

Robbers’ Roost (1955) / D: Sidney Salkow / 83m

Cast: George Montgomery, Richard Boone, Sylvia Findley, Bruce Bennett, Peter Graves, Tony Romano, Warren Stevens

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Rating: 6/10 – revenge is on the mind of cowboy Jim Wall (Montgomery) as he tries to track down the killers of his wife, some of whom he suspects may be part of a notorious gang of cattle rustlers led by Hank Hays (Boone); an average Western bolstered by a strong cast, Robbers’ Roost is rough and tough and bristling with repressed macho energy, all of which is channelled – eventually – into a less than exciting showdown, and an about-face by Hays that undermines both the character, and Boone’s enjoyable portrayal of him.

Florence Foster Jenkins (2016) / D: Stephen Frears / 111m

Cast: Meryl Streep, Hugh Grant, Simon Helberg, Rebecca Ferguson, Nina Arianda, Stanley Townsend, Allan Corduner, Christian McKay, David Haig, John Sessions, Brid Brennan

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Rating: 7/10 – the true story of musically misguided socialite Florence Foster Jenkins (Streep) as she determines to bring her less than gifted voice to the unsuspecting ears of the public; as light and fluffy as a soufflé (and as enjoyable), Florence Foster Jenkins tries to be serious from time to time, but nothing can detract from Florence’s whimsical nature or the script’s determination to be nicer than nice, even when it needs to be a tad dramatic, such as when Florence’s husband (a terrific Hugh Grant) is shown to be having an affair, or Florence faces jeers rather than cheers from her audience.

The Magnificent Seven (2016) / D: Antoine Fuqua / 133m

Cast: Denzel Washington, Chris Pratt, Ethan Hawke, Vincent D’Onofrio, Byung-hun Lee, Manuel Garcia-Rulfo, Martin Sensmeier, Peter Sarsgaard, Haley Bennett, Luke Grimes, Matt Bomer

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Rating: 4/10 – a land-grabbing, thieving, murdering businessman (Sarsgaard) plays nasty with the small town of Rose Creek and threatens to ruin them all, leaving them with only one choice: to hire a band of mercenaries who’ll save the town and defeat the evil land baron; leaden and uninspired, Fuqua’s remake features characters you don’t care about, a huge body count that quickly becomes tedious to watch, and a cast that move about like they’re wading in treacle searching for some much needed motivation (not that they’re likely to find any, as it’s something the script isn’t interested in exploring in any real depth).

Zoombies (2016) / D: Glenn R. Miller / 87m

Cast: Ione Butler, Andrew Asper, LaLa Nestor, Kim Nielsen, Marcus Anderson, Brianna Joy Chomer, Ivan Djurovic, Aaron Groben, Kaiwi Lyman-Mersereau

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Rating: 3/10 – somehow monkeys become infected with a virus that brings on zombie-like symptoms, and before you can shout “No, don’t open the door!”, they’re loose in the grounds of a massive zoo just days before it opens to the public; rubbish on a bargain basement level, Zoombies is lame in so many ways you’d need more time than the movie plays for to go through it all – and that’s if you can at least stomach the movie’s incessant inanity, and it’s seriously worst-ever gorilla suit.

Ghostbusters (2016) / D: Paul Feig / 116m

Cast: Melissa McCarthy, Kristen Wiig, Leslie Jones, Kate McKinnon, Chris Hemsworth, Neil Casey, Michael Kenneth Williams, Matt Walsh, Andy Garcia, Cecily Strong, Ed Begley Jr, Charles Dance

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Rating: 3/10 – more meh; a perfect example of just how out of tune some movie makers are when it comes to remakes, Ghostbusters is so lame it makes Ghostbusters II (1989) look like a masterpiece of comic horror fantasy, and labours consistently under the impression that if you put four comediennes together in the same room, instant hilarity will be the result – an idea that this farrago lays to rest speedily thanks to Feig and Katie Dippold’s creatively moribund screenplay (and let’s try to forget the awful cameos from Murray, Weaver, Ackroyd, and Hudson).

Trailers – Hacksaw Ridge (2016), Split (2017) and King Arthur: Legend of the Sword (2017)

11 Thursday Aug 2016

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If you don’t know who Desmond T. Doss was, then prepare to be amazed. The trailer for Hacksaw Ridge introduces us to a man whose pacifist leanings led to his being the only non-weapons carrying member of the US Army during World War II, and who was awarded the Medal of Honor for his bravery and courage in rescuing over seventy-five men during the Battle of Okinawa. It’s an incredible tale, and judging from the trailer this could very well be in contention for a whole slew of awards once it goes on general release in November 2016. Advance word is overwhelmingly positive, and many people who’ve seen the movie already are praising its director, Mel Gibson – making his first movie behind the camera since Apocalypto (2006) – for the way in which he presents both the intensity and horror of the conflict on Okinawa, and Doss’s personal faith and its effect on the men around him. Andrew Garfield looks to have finally found a movie that allows him to step up to the mark in terms of his acting ability, and there’s advance word that Vince Vaughn (seen briefly here as a drill sergeant) gives his best performance yet in a movie. If all this early praise is to be believed, then this could prove to be one of the finest war movies ever made, and a reminder that Gibson, whatever his personal problems in recent years, is still a damn fine movie maker.

 

The latest from writer/director M. Night Shyamalan, Split looks like an attempt at making a disturbing psychological thriller based around the notion that a kidnapper with multiple personalities – 23, in fact – is doing so at the behest of the strongest, most fearful personality of the lot… the Beast. It remains to be seen if Shyamalan can pull off this particular storyline with anything like the degree of credibility it needs (and having James McAvoy playing the central character, Kevin(!), will certainly help his chances), or if the mechanics of the narrative will require McAvoy to shift personalities at too rapid a speed for things to remain plausible. This being Shyamalan, it’s hard to tell, but what can be discerned from Split‘s first trailer is that he’s going for a taut, gripping viewing experience, the kind he hasn’t really tried before, and one without any supernatural elements either. It’s easy to dismiss Shyamalan as a writer/director, but The Visit (2015) was a welcome semi-return to form, and he’s such a strong, distinctive, visually arresting director that it’s about time his skills as a writer were able to once again match those he has as a director.

 

At first sight, King Arthur: Legend of the Sword looks like a spirited romp through an alternative Arthurian timeline, one where the fabled King begins life as a child of the streets, but still ends up removing Excalibur from its stone and ruling a kingdom. And while there’s nothing remotely wrong with the idea of retelling the Arthur legend in such a way, what is obviously, clearly, undoubtedly, unquestionably and visibly wrong here is the way in which that idea has been executed. Guy Ritchie may be a very talented director, and he may have assembled a very talented cast – Charlie Hunnam, Jude Law, Eric Bana, Djimon Hounsou, Aidan Gillen, Astrid Bergès-Frisbey, and, erm, David Beckham – but the tone of the movie is plainly off by a country mile. Martial arts fight sequences, modern day humour, large-scale battle sequences straight out of the Peter Jackson Middle Earth Playbook, and a visual style that apes any number of other fantasy movies made in recent years; all these aspects and more make the movie feel derivative and lacking in originality. While it’s evidently been created with the intention of being one of 2017’s must-see tentpole movies, here’s a prediction: come next March we’ll all be asking the same question, “Why, Guy, why?”

Trailers – The Hollars (2016), La La Land (2016) and A Monster Calls (2016)

14 Thursday Jul 2016

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Movies about dysfunctional families are almost a sub-genre all their own, and this latest, written by Jim Strouse – Grace Is Gone (2007), People Places Things (2015) – and directed by actor John Krasinski, features a great cast (which includes the fabulous Margo Martindale), the kind of serio-comic situations that hide a variety of truths beneath the humour, and no doubt, a few life lessons along the way. The trailer focuses, unsurprisingly, on the more comedic elements of the script, but under Krasinski’s stewardship, this should still be a movie that touches the heart as well as the funny bone. Any movie that examines what it is to be part of a family should have a head start on our attention – we’ve all been there, right? – but The Hollars looks a little more smart in its approach, and that makes it a movie worth watching out for.

 

In the latest movie from Whiplash director Damien Chazelle, Ryan Gosling and Emma Stone play Sebastian, a jazz pianist, and Mia, an aspiring actress, who meet and fall in love against a backdrop of ambition and mounting success that threatens to tear their hard-fought-for relationship apart. The trailer acts as a mood piece, allowing us glimpses of the characters and the environments they work in, and tantalising peeks at the various genre elements – comedy, drama, romance,musicals – that Chazelle has utilised in order to tell their story. There are moments of visual wonder as well, with several beautifully framed and lit shots that are simply breathtaking. La La Land is likely to be a strong contender come awards season, but however it turns out, this is definitely one movie that at this stage, warrants an awful lot of anticipation.

 

A Monster Calls may appear to be a children’s tale, but Patrick Ness’s powerful novel, on which this is based (and which has been adapted by him), is a much darker fantasy than you’d expect, and it’s to the movie’s credit that the trailer doesn’t downplay this. Focusing on a young boy, Connor (played by newcomer Lewis MacDougall), who struggles with issues surrounding bullying, deep-rooted anger, and his mother’s battle with terminal cancer, this is as far from lighthearted stuff. Help though comes in the unexpected form of a monster (voiced by Liam Neeson) who like to tell stories – stories that help Connor deal with the problems he’s experiencing. Director J.A. Bayona has previously given us The Orphanage (2007) and The Impossible (2012), two movies with a strong visual style, and an equally strong focus on children overcoming difficult situations, so his involvement here is a good sign that one of the most impressive pieces of low fantasy fiction of recent years will be just as impressive on the big screen.

Gods of Egypt (2016)

12 Sunday Jun 2016

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Gods of Egypt

D: Alex Proyas / 127m

Cast: Nikolaj Coster-Waldau, Brenton Thwaites, Gerard Butler, Elodie Yung, Rufus Sewell, Chadwick Boseman, Courtney Eaton, Geoffrey Rush, Bryan Brown, Emma Booth

Gods of Egypt starts by reinventing Egyptian history. Overly sincere narration informs us that Osiris (Brown) ruled over the populous and bountiful Nile area, while his brother Set (Butler) was given dominion over the barren, desert areas at the far edges of Osiris’ kingdom. Time passes, until Osiris decides to abdicate his throne in favour of his son, Horus (Coster-Waldau). At the crowning ceremony, Set arrives and promptly kills Osiris, blinds Horus by taking out his eyes, and usurps the kingdom. He also sets about killing all the other gods and collecting their individual powers.

A year passes. Set has enslaved the people of Egypt and has put them to building monuments in his name, including one that reaches high into the sky, a tower so great that Ra (Rush), Set’s father, will be able to see it in his heavenly orbit. A slave girl, Zaya (Eaton), convinces her beloved, a thief called Bek (Thwaites), that only Horus can save everyone, but he will need his eyes back. Horus’ eyes are kept in Set’s vaults, and Zaya’s position in the home of master builder Urshu (Sewell) means that she has access to the vaults’ plans and can ensure that Bek avoids any booby traps in his search for the eyes. He retrieves one, but is unable to find the other. In their subsequent escape from Urshu’s home, Zaya is struck by an arrow and dies. Bek continues on to the home of Horus where he bargains for Zaya’s return from the land of the dead in exchange for Horus’ other eye. The god agrees to help him find it.

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Naturally, Set becomes aware of what Horus is doing. He sends assassins, and even himself, to halt their journey to the Egyptian capital and the procurement of Horus’ other eye. But luck is on Bek and Horus’ side, and aided along the way by Hathor (Yung), the goddess of love, and Thoth (Boseman), the god of wisdom, they reach the capital and Horus does battle with Set. With Set having unleashed the world-devouring creature Apep, Horus and Bek must find Horus’ eye, and a way to defeat Set and save Egypt from complete annihilation.

Students of Egyptian history will be shaking their heads in dismay at such a (brief) description of the events that occur in Gods of Egypt. But if they were to actually sit down and watch the movie, that head shaking would quickly turn into uncontrolled apoplexy. As revisionist fantasies go, Gods of Egypt is tawdry stuff, and heavily reliant on spectacle provided by CGI and poor script decisions. The gods can transform into armoured, winged variations of themselves in order to do battle with one another, but this is nothing to the way in which the characters speak an awful mix of cod-literal pseudo-intellectual exposition, and apparently heartfelt twaddle. With deathless lines of dialogue such as “I don’t want to die, I want to live! I want to live down on earth, amongst the lands I have conquered!” (spoken by Set), it’s no wonder that the script, by Matt Sazama and Burk Sharpless – who also co-wrote Dracula Untold (2014) and The Last Witch Hunter (2015), and whose next project is Power Rangers (2017) – contains enough wince-inducing moments to stun a sphinx.

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Ostensibly an adventure story, the movie packs in the usual amount of over-the-top action setpieces that seem de rigeuer in modern fantasy movies, and in doing so, sacrifices credibility at every turn, and on certain occasions, any coherence it’s built up along the way (which isn’t much). Characters behave erratically, leaving the audience to wonder if Sazama and Sharpless assembled their final script from the scattered pages of previous drafts, and the journey Bek and Horus embark on seems to take in every possible physical environment – from desert to swamp to mountain – available to the screenwriters’ imagination. The movie is a big, sprawling epic, eager to please with each new bout of CGI-rendered spectacle, and yet it’s spectacularly hollow, a crowd-pleasing exercise that lacks subtlety, depth and narrative stability (which begs the question, just which kind of audience is it looking for?).

The cast are lost amid all the surface glamour and overbearing special effects. Coster-Waldau is particularly adrift, varying the level of his performance from scene to scene and never quite managing to find a through line for Horus that doesn’t smack of constantly changing improvisation. He also has trouble giving weight to his dialogue, making Horus sound plaintive and reticent rather than angry and defiant. Thwaites is stuck with the awkward task of motivating Horus and his fellow gods to take up against Set, and providing most of the movie’s humour. That he only succeeds intermittently shouldn’t be much of a surprise, as again the script doesn’t support him in either endeavour, and often leaves him hanging high and dry. And then there’s Butler, chewing the scenery with all the energy of an actor working out a contractual obligation and not caring how bad he is.

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The rest of the cast struggle manfully to maintain a semblance of interest in their characters with only Yung and Boseman injecting any passion into their roles. They’re not helped by the absence of Proyas in the director’s chair. Anyone who’s seen The Crow (1994), Dark City (1998), and I, Robot (2004), will be wondering what’s happened to the idiosyncratic and daring director whose visual ingenuity and flair marked him out as a talent to watch out for. Here, Proyas’ talent is squandered in a maelstrom of pixels and perfunctory plotting that does his reputation no favours, and makes his previous movie, the nonsensical Knowing (2009), look like a masterpiece in comparison. Proyas isn’t connected with another project as yet, but let’s hope he finds one that’s worthy of his talent and commitment.

Rating: 4/10 – overcooked and belligerent in its approach, Gods of Egypt looks good but remains resolutely superficial from beginning to end; an adventure movie that goes through the motions and proves hard to engage with, it trades plausibility for spectacle at every turn, and is entirely forgettable.

Mermaid (2016)

03 Friday Jun 2016

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Mermaid

Original title: Mei ren yu

D: Stephen Chow / 94m

Cast: Deng Chao, Lin Yun, Zhang Yuqi, Show Luo, Hark Tsui, Kris Wu, Zhang Wen

Already the highest grossing Chinese movie ever at the international box office – over half a billion dollars and counting – Stephen Chow’s Mermaid is a sweet-natured fantasy, with strong romantic overtones, and enough comic moments to make it one of the funniest movies of the year. It’s a movie that deserves its success, and despite a limited release in the US and most other territories back in February, should be seen by as many people as possible.

It’s a movie with an environmental message as well. Beginning with scenes that could put off some viewers, especially those who love animals, Chow’s latest sees playboy industrialist and developer Liu Xuan (Deng) acquire a wildlife reserve called Green Gulf with a view to using the area as a sea reclamation project. In partnership with Ruolan (Zhang Yuqi), Liu Xuan plans to use sonar devices to scare off the marine wildlife and use the project to make even more obscene amounts of money than he’s already got. What he doesn’t realise is that his plan will affect not only the local marine wildlife, but has already affected a group of mermaids (and an octopus) that live in the bowels of a shipwrecked tanker in the gulf. Aware of his plan, the merpeople have decided to send an emissary to get to know him and then kill him.

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Their emissary is Sham (Lin), a young mermaid who has discovered a love of chicken, and music and dancing in her brief time out of water. She manages to meet Liu Xuan but he doesn’t pay her much attention, and it’s not until some time later that he calls her wanting to meet up. When he does and Sham finally gets to be alone with him, she finds herself beginning to like Liu Xuan, so much so that she’s unable to go through with the plan to kill him. The next day, Liu Xuan takes her out and asks her to marry him; he’s fallen in love with Sham’s appealing nature, and the fact that she’s not interested in his wealth. But when Sham says no, Liu Xuan goes to her home to get her to change her mind and finds himself captured by the merpeople, who tell him about the real effects that his sonar devices are having. Just as Octopus (Luo) is about to kill Liu Xuan, Sham helps him escape.

Coming to terms with the fact that the love of his life is half-human, half-fish, and that his sonar devices will cause her and the rest of the merpeople harm, Liu Xuan has the devices turned off. He tells Ruolan the reason why, and is shocked to learn that she has known about their existence all along – and wants to hunt them down. Outmanoeuvred by his business partner, Liu Xuan has no choice but to try and reach Sham and the merpeople, and warn them before it’s too late…

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One thing to know in advance about Mermaid is that it’s a fairy tale, a fabulous concoction that features all the basic elements of a fairy tale, and which has the traditional fairy tale ending where good (in this case a reformed Liu Xuan) triumphs over evil (his money and power-obsessed partner, Ruolan). It’s a feelgood movie, entertaining and satisfying for the way in which it blends its environmental message into a narrative that is both fantastical and determinedly romantic, while also providing some huge laughs. Chow, whose previous credits include Shaolin Soccer (2001) and Kung Fu Hustle (2004), has fashioned the kind of family-friendly movie that can be enjoyed by all ages and he’s done so using a great deal of infectious charm.

It’s also unapologetically a Chinese movie, which means that some of the humour may seem a little juvenile, or off, at times – one scene, where Octopus has to submit to having his tenatacles turned into sushi is likely to have Western audiences questioning whether or not such submissive mutilation is truly a source for laughter – but if you go with it there’s lots to enjoy, a goofy, carefree sense of mischief that’s hard to ignore. The movie’s funniest scene comes after Liu Xuan escapes from the tanker and tries to report what’s happened to the local police. Mermaid is worth seeing purely for the various mermaid drawings one of the officers comes up with.

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Set against this is the kind of heightened, bordering on ridiculously saccharine romance that only the Chinese can do so well, with Liu Xuan’s and Sham’s relationship encountering the type of unforeseen obstacles that would cause most couples to call it a day, but which here serve only to strengthen their feelings for each other. From the scene where they serenade each other with Liu Xuan’s favourite song, to the moment where Sham saves his life, their relationship is peppered with the type of challenges that only true love was designed to overcome. Both Deng and Lin have enormous fun with their roles, and this translates to the screen, making their scenes together a joy to watch (and even more so when you consider that Lin, who’d never acted before, won her role through taking part in a talent contest-cum-audition).

There are faults, however. Chow changes the tone too many times to make the movie feel like a cohesive whole, and viewers may find themselves confused by some of Chow’s decisions both as co-screenwriter (with seven others!) and director. And while the visual effects are by and large very successful indeed, some of them are decidedly second-rate as well, and often in a scene where they’ve already been hugely impressive. But these aren’t enough to detract from the overall enjoyment the movie provides, and the often childlike sense of wonder it manages to instill.

Rating: 8/10 – a wonderful surprise for anyone who takes the time to watch it, Mermaid has heart and soul and charm by the bucket load; with terrific performances from its two leads, and a knowing sense of its own absurdity, it’s a movie that rewards the viewer over and over again without even trying too hard.

Monthly Roundup – May 2016

31 Tuesday May 2016

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Max (2015) / D: Boaz Yakin / 111m

Cast: Josh Wiggins, Thomas Haden Church, Lauren Graham, Luke Kleintank, Robbie Amell, Mia Xitlali, Dejon LaQuake, Jay Hernandez, Owen Harn

Max

Rating: 6/10 – after his handler is killed in Afghanistan, Max goes to stay with his handler’s family, and helps expose a plot to supply arms to a Mexican cartel; a feature that ticks every box in the “family movie” canon, Max is enjoyable enough but is also too lightweight to make much of a sustained impact, even though the cast enter wholly into the spirit of things.

They Came to a City (1944) / D: Basil Dearden / 78m

Cast: John Clements, Googie Withers, Raymond Huntley, Renee Gadd, A.E. Matthews, Mabel Terry-Lewis, Ada Reeve, Norman Shelley, Fanny Rowe, Ralph Michael, Brenda Bruce, J.B. Priestley

They Came to a City

Rating: 6/10 – nine individuals find themselves in unfamiliar terrain and on the outskirts of a vast city – and have to decide if they’re going to stay there; J.B. Priestley’s play is as close to a socialist tract as you could have got during World War II, and while They Came to a City betrays its stage origins and is relentlessly polemical, it has a stark, overbearing visual style that is actually quite effective.

Crazy About Tiffany’s (2016) / D: Matthew Miele / 86m

With: Jessica Alba, Katie Couric, Amy Fine-Collins, Fran Lebowitz, Baz Luhrmann, Sam Taylor-Johnson, Jennifer Tilly, Andrew & Andrew

Crazy About Tiffany's

Rating: 6/10 – a documentary charting the rise and rise of Tiffany’s, the jewellery store made even more famous by Truman Capote and Audrey Hepburn (who he despised in the role of Holly Golightly); a tremendously indulgent puff-piece for the company, Crazy About Tiffany’s is redeemed by some fascinating anecdotes, and the faint whiff of pretentiousness given off by most of its customers.

Queen of the Desert (2015) / D: Werner Herzog / 128m

Cast: Nicole Kidman, James Franco, Damian Lewis, Robert Pattinson, Jay Abdo, David Calder, Jenny Agutter, Holly Earl, Mark Lewis Jones, Christopher Fulford

Queen of the Desert

Rating: 5/10 – a biopic of the explorer and writer, Gertrude Bell (Kidman), and how she  won the trust of numerous Middle Eastern tribes at a time when British colonialism was  looked upon with distrust and contempt by those very same tribes; not one of Herzog’s best (or Kidman’s), Queen of the Desert suffers from being treated as history-lite by the script, and never quite being as courageous in its efforts as Miss Bell was in hers (and not to mention a disastrous turn by Pattinson as Lawrence of Arabia).

Zombie Cheerleader Camp (2007) / D: Jon Fabris / 85m

Cast: Jamie Brown, Chris White, Nicole Lewis, Jason Greene, Brandy Blackmon, Daniel Check, Terry Chandeline Nicole Westfall, Micah Shane Ballinger

Zombie Cheerleader Camp

Rating: 2/10 – when cheerleaders attend a summer training camp, they’re unaware that a squirrel exposed to toxic waste will be the catalyst that turns them and a group of horny males into flesh-eating zombies; all you need to know is that Zombie Cheerleader Camp was made at the extreme low budget end of movie making and features camera work that’s so bad it’s almost a challenge to find a well-framed shot anywhere in the movie (and then there’s the “acting”…)

Sharkansas Women’s Prison Massacre (2015) / D: Jim Wynorski / 84m

Cast: Dominique Swain, Traci Lords, Christine Nguyen, Cindy Lucas, Amy Holt, John Callahan, Corey Landis, Skye McDonald, Chris De Christopher

Sharkansas Women's Prison Massacre

Rating: 3/10 – fracking causes the release of an unspecified number of prehistoric sharks into the Arkansas waterways, and this jeopardises the escape of several women prisoners from a work detail; yes, Sharkansas (actually filmed in Florida) Women’s Prison Massacre is as bad as it sounds, and yes it is as cheesy as you’d expect, but it’s also one of the tamest and most annoying of all the recent shark-related movies we’ve had foisted upon us, and not even the talents of low budget movie maestro Wynorski can rescue this from the bottom of the barrel.

The Whip Hand (1951) / D: William Cameron Menzies / 82m

Cast: Carla Balenda, Elliott Reid, Edgar Barrier, Raymond Burr, Otto Waldis, Michael Steele, Lurene Tuttle, Peter Brocco, Lewis Martin, Frank Darien

The Whip Hand

Rating: 6/10 – a journalist (Reid) on vacation stumbles across a mystery involving a lake where the fish have all died, and a nearby ghost town where the remaining locals aren’t too friendly, and he finds himself prevented from leaving; a well-paced but forgettable effort from master production designer Menzies, The Whip Hand starts off well but soon ties itself inside out in trying to be a confident thriller, an ambition it fails to achieve thanks to untidy plotting and thin characterisations.

The Jungle Book (2016)

20 Wednesday Apr 2016

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The Jungle Book

D: Jon Favreau / 105m

Cast: Neel Sethi, Bill Murray, Ben Kingsley, Idris Elba, Lupita Nyong’o, Scarlett Johansson, Giancarlo Esposito, Christopher Walken, Garry Shandling, Brighton Rose, Jon Favreau, Sam Raimi

The first of two live action versions of Rudyard Kipling’s classic tale – the other, just called Jungle Book and directed by Andy Serkis, is due in 2018 – Disney’s remake of their own beloved animated classic arrives with much fanfare and enough hype to stop even Shere Khan in his bloodthirsty tracks. It’s taken over $300 million at the international box office already, and the House of Mouse is keen to get director Jon Favreau and writer Justin Marks back for a sequel (surprise, surprise). The CGI environment created for the characters, and against which token human Mowgli (Sethi) interacts, is incredibly detailed and realistic, while the final showdown between tiger and man-cub is… well… it’s okay.

And that’s the problem with the movie as a whole: it’s okay. When the best thing you can say about a movie is that the backgrounds look realistic, then it’s a sure sign that whatever Favreau and co were aiming for, they didn’t actually achieve it. And yet the material is there to be taken advantage of, as Disney did nearly fifty years ago when they made the animated version. But this version makes some significant changes to the original, and while you don’t want an exact carbon copy of what went before, there’s too much that’s different for the movie to work as well as its predecessor.

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First, there’s the musical elements. Shoehorned into the movie are two of the animated version’s most enjoyable songs, The Bare Necessities and I Wanna Be Like You. This isn’t a musical version of the story, and yet these two songs are included, and awkwardly at that. There’s no reason for them to be there, unless Disney felt that modern audiences, perhaps weaned on the animated version, would feel upset if they weren’t included. As it is, The Bare Necessities is given a nostalgic feel that helps offset the oddness of its inclusion, but the same can’t be said of I Wanna Be Like You, an uncomfortable rendition of which is given by Christopher Walken as King Louie, a giant orang-utan you half suspect has been eating his tribe in order to get so big. Some viewers may well be happy to see these songs included, but in terms of the movie itself they’re interruptions to the flow of the movie and the narrative.

But the flow of the movie is also a problem. Favreau is a capable director but he doesn’t always get the pace of a movie right – check out Iron Man 2 (2010) as a prime example. Here he connects each scene as if they were part of a larger puzzle and he’s got too much time to put it all together. This leads to stretches where The Jungle Book pads along like Shere Khan at the watering hole, full of intention but held back by an unwanted need for restraint. It makes for a choppy, uneven movie that holds the attention completely in certain scenes, but then abandons that attention in favour of just moving on.

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And then there’s the ending, changed from the animated version – where Mowgli heads off to the man village because that’s where his future lies – to reflect… well, it’s not altogether clear. Mowgli has clearly found his true place in the jungle, but it’s at odds with what Shere Khan and even Bagheera have been saying all along: that Mowgli will grow up to be a man, and man has no place in the jungle (it’s even part of the jungle law, but the script ignores this practically the moment it’s been brought up). Back in 1968 this bittersweet ending was the perfect conclusion to Mowgli’s story, but here it seems like a cynical decision to help set up and ensure the sequel(s) that Disney are looking for. In a weird way, the script’s decision to integrate Mowgli more fully with the jungle environment makes him seem like another Tarzan in the making.

On the plus side, Favreau has assembled a great cast to give vocal life to the animal characters, with Murray on fine form as Baloo, and Johansson proving especially effective as Kaa. Kingsley is somewhat swamped by the script’s decision to make Bagheera almost entirely like a resigned schoolmaster, Nyong’o and Esposito make the most of their underwritten wolf parts, while Walken does his best to make King Louie frightening, but weirdly, sounds more like Kevin Spacey doing an impression of Christopher Walken than Walken himself. And then there’s Idris Elba, cast as Shere Khan; somehow his gruff tones don’t seem to suit the role, and his scenes have an awkwardness to them in terms of his voice not fitting the look of the character. In effect, it’s as if his voice has been badly dubbed.

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As the only human in the movie, a lot rides on the abilities of Sethi, and while he’s certainly proficient, his performance isn’t as effective as it could be. In the scene where Mowgli decides to leave the jungle and go to the man village, his lack of experience leaves the scene feeling perfunctory rather than highly emotive, and you get the sense that Favreau was unable to get more from him. If Sethi is to take part in any further movies as Mowgli then it’s to be hoped that his experience this time round proves to be the bedrock for better performances in the future.

All in all, The Jungle Book isn’t a bad movie per se, it’s just that it doesn’t have that spark that would have made it a truly enjoyable movie. And despite its evident popularity with audiences worldwide, it’s likely that its success is due to brand recognition rather than any inherent quality. Remakes are a tricky business to get right, as any studio or production company should know, but with Disney – and it shouldn’t be the case – you somehow expect something a little bit better, and a little bit more entertaining. That it’s just okay is perhaps worse than its being just bad.

Rating: 5/10 – nowhere near the live action remake audiences really needed, The Jungle Book suffers from being too clinical and too respectful of itself (if not Kipling’s original tale); with too many moments that pass without emphasis or emotion, it remains a beautiful movie to watch, but an empty one as well.

Trailers – Our Kind of Traitor (2016), The Family Fang (2015) and The BFG (2016)

11 Monday Apr 2016

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John le Carré has always been a good source for the movies. His stories are both entertaining and complex, and his characters, often as complex and deceptively drawn as le Carré’s plotting, are the kind that actors can have a veritable field day with. Our Kind of Traitor, with its criminal Russian oligarch seeking to defect to the West, is, on the page, a terrific blend of cat-and-mouse political manoeuvring and heightened thrills. By making his main character a naïve teacher (played here by Ewan McGregor), le Carré draws the reader/viewer in by using their lack of experience to muddy the waters further in terms of what’s going on. With luck, the more than competent cast, along with screenwriter Hossein Amini and director Susanna White, can pull off yet another movie adaptation of a le Carré novel that’s both compelling and engrossing, and the cinematic equivalent of a page-turner (just like its source).

 

Making his second directorial feature – after Bad Words (2013) – Jason Bateman brings yet another dysfunctional group to the big screen, The Family Fang. It’s also yet another indie comedy, with quirky characters and even quirkier situations, but this appears to have a better pedigree than most, being an adaptation of the novel by Kevin Wilson – though the script is courtesy of David Lindsay-Abaire, whose last screenplay was for Poltergeist (2015) (not a great recommendation when you think about it). Hopefully, the top-notch cast, including Bateman himself, Christopher Walken, Josh Pais, Kathryn Hahn, Michael Chernus, and Nicole Kidman (in a performance that will hopefully remind us just how good she can be after a slew of recent, underwhelming performances), have brought their A-game to the material, and this will be one movie that proves to be both memorable and funny in equal measure.

 

It’s directed by Steven Spielberg. It’s a children’s fantasy from the extraordinary mind of Roald Dahl. It’s The BFG. And it looks – on the evidence of the trailer – a lot like Pan (2015). But again, this is Spielberg at work here, and when it comes to spinning magic on the big screen, he’s in a league of his own. The BFG also features the final screenplay written by the late Melissa Mathison, whose last collaboration with Spielberg was a little movie called E.T. – The Extra-Terrestrial (1982). And with recent Oscar-winner Mark Rylance playing the titular giant – his amazing voice tips you off before you even see the BFG’s face – it all looks to be in very good hands, even if – and this is just an instant reaction to seeing them – the other giants, Fleshlumpeater et al., all look like early character designs from Warcraft (2016).

The Huntsman: Winter’s War (2016)

05 Tuesday Apr 2016

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The Huntsman Winter's War

D: Cedric Nicolas-Troyan / 114m

Cast: Chris Hemsworth, Charlize Theron, Emily Blunt, Jessica Chastain, Nick Frost, Rob Brydon, Sam Claflin, Sheridan Smith, Alexandra Roach, Sope Dirisu

Once upon a time there were two sisters. One, Ravenna (Theron), lusted for power, and used her dark magic to take over kingdoms and rule them with an iron fist. The other, Freya (Blunt), had yet to find the magic gift she possessed, but Ravenna assured her the day would come when her power would assert itself. And then Freya fell pregnant, and had a baby. But then a tragedy occurred and her baby died in a fire, apparently caused by her baby’s father, her one true love. Her powers exerted themselves then, and Freya’s gift was to be able to control ice in all its forms. She exerted her revenge on her one true love, then left Ravenna’s care to make a kingdom for herself in the North. She became known as the Ice Queen, and she was feared by all.

Her pain found expression in a strange way. She would order the children from the villages in her kingdom to be rounded and trained as warriors for her growing army. All these children had to do was swear allegiance to her and foreswear any notion of love. In return she would give their lives meaning in their service to her. But love will out, and two children grew up to love each other, despite Freya’s law. Eric (Hemsworth) and Sarah (Chastain) made plans to leave Freya’s stronghold and their roles as huntsmen. But Freya learned of their plans and saw to it that they didn’t come to fruition. Eric saw Sarah killed, and he was knocked unconscious and thrown into the river to die.

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But Eric survived. Time passed. Seven years, during which time he helped Snow White rid her kingdom of the villainous Ravenna. But now a new threat is in place. Ravenna’s mirror, a source of very powerful magic, has been stolen, and Eric is tasked with finding it and taking it to a sanctuary where it can be made safe. He agrees to the task, and is joined by two dwarves, Nion (Frost) and Gryff (Brydon). Soon they discover that Freya is trying to find the mirror as well. They seek help from two female dwarves, Mrs Bronwyn (Smith) and Doreena (Roach), and journey into a hidden forest inhabited by goblins to take back the mirror. But once they do they find themselves caught in a trap of Freya’s devising, leading to the mirror’s capture, and only one course of action left to them: to follow the Ice Queen back to her stronghold and destroy her and the mirror once and for all.

Snow White and the Huntsman (2012) was an unexpected success, trading on Theron’s evil hearted queen and Kristen Stewart’s take on Snow White as a fantasy version of Joan of Arc. It had an impressive budget – $170 million – and made back nearly $400 million at the international box office. A sequel was always on the cards, it was just a matter of when. But here’s the rub: The Huntsman: Winter’s War isn’t just a sequel, it’s also a prequel. In it we see the Huntsman’s back story, his childhood years as a trainee in Freya’s huntsman army and his eventual love affair with Sarah, whom he marries in secret. When she dies, fate spares his life and the movie skims over the events of its predecessor with a single line of narrated dialogue (courtesy of Liam Neeson).

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Then we’re fully in sequel mode, as Sam Claflin’s earnest prince convinces Eric to look for the mirror. And Freya, who has been adding nearby kingdoms to her own over the past seven years, gets wind of the mirror and its magical properties. A race against time, then, to see who reaches the mirror first. Alas, no, not really. Instead, after an eventful and encouraging first half hour, the movie settles down into fantasy adventure mode, with humour provided by Frost and Brydon. Freya’s threat is put on the back burner and Eric is confronted with a figure from his past who provides complications for his quest. It’s all serviceable enough, and despite everyone’s best efforts, all entirely forgettable.

The problem lies both with the script by Evan Spiliotopoulos and Craig Mazin, and Nicolas-Troyan’s direction. The script lumbers from one unconnected scene to the next, straining the audience’s patience thanks to semi-amusing quips and snide remarks courtesy of Brydon, cowardly assertions from Frost, an drab, wearing performance from Chastain, and Hemsworth’s assumption that a big grin can pass for acting when he so desires (sorry, Chris, it doesn’t). Ravenna remains the primary adversary, despite being off screen for two thirds of the movie, and Freya’s delusional take on love and its inability to offer true contentment is recounted so often it’s as if the makers weren’t sure an audience would grasp the idea the first time around.

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But if the movie’s storyline and plotting are a cause for alarm, spare a thought for Nicolas-Troyan, bumped up from second unit director on the first movie, and a poor second choice after Frank Darabont, who was attached to the project for some time before he dropped out. He’s not so bad when it comes to the action sequences, but in between times, when the characters have to display their feelings, or the script calls for another bout of humorous insults (which are pretty much all of Brydon’s lines), his lack of experience shines through. Too many scenes fall flat or fail to make much of an impact, and the cast are left to inject whatever energy they can, but with the script and their director seemingly working against them, it’s an uphill struggle for all of them.

This being a big budget fantasy movie, however, it does score highly for its production design, its costumes, and its special effects (though an encounter with a goblin isn’t as effective as it should be, thanks to its looking like an angry ape with a liking for bling). The ice effects are cleverly done, and there’s a pleasing sense of a real world lurking behind all the CGI, while James Newton Howard contributes a suitably stirring score to help prop things up when it all gets a little too silly (which is most of the middle section). And of course, the makers can’t help themselves at the end, and leave a way open for a further (full-fledged) sequel. But if anyone really cares by that stage, then the movie will have truly worked its magic.

Rating: 5/10 – a superficially appealing prequel/sequel, The Huntsman: Winter’s War isn’t the most memorable of fantasy movies, and chances are, viewers will have forgotten most of its content a short while after seeing it; it’s not a bad movie per se, but then it’s not a good movie either, and sometimes, that’s the worst anyone can say about any movie.

Trailers – Miss Peregrine’s Home for Peculiar Children (2016), A Hologram for the King (2016) and Trapped (2016)

15 Tuesday Mar 2016

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If there was ever any doubt as to who would be the first choice to direct the movie version of Ransom Riggs’ best-selling novel, Miss Peregrine’s Home for Peculiar Children, then those doubts will have been allayed with the appointment of Tim Burton to the director’s chair. A perfect match of visionary and material? Perhaps. A great combination of visual flair and dramatic invention? Perhaps again. But if you’ve read the first of Riggs’s Peculiar Children trilogy then you’ll know that it’s a lot darker than what’s glimpsed in the trailer, which highlights the idyllic nature of the children’s existence. The script is by Jane Goldman – always a good sign – so this may be one fantasy adaptation that retains the source’s vitality and creative energy and sticks closely to the story, but if Burton is still finding it difficult to connect with the material, as seems to have been the case in recent outings, then we may be faced with a movie that only achieves a portion of what it sets out to do – and that would be a shame.

One of four Tom Hanks’ movies planned for release in 2016, A Hologram for the King sees the rubber-faced everyman on the cusp of a (late) mid-life crisis, and travelling to Saudi Arabia in the hopes of pulling off that one last deal that will help him regain his self-respect and solve all manner of other issues that he has. Aided by the likes of Ben Whishaw and Tom Skerritt, Hanks’s character, Alan Clay, is the traditional fish out of water, ignorant of the customs of the country he’s in, and out of his depth – at first -when it comes to making his comeback. With a romantic sub-plot involving the lovely Sarita Choudhury thrown in as well, this adaptation of Dave Eggers’ novel, written and directed by Tom Tykwer – Run Lola Run (1998), Cloud Atlas (2012) – looks and sounds great, and hopefully, will prove to be a rewarding alternative in amongst all the big budget superhero movies coming our way in 2016 (and it includes a fantastic Talking Heads parody).

A powerful documentary that won a Special Jury Award at this year’s Sundance Festival, Trapped looks at the increasing number of US states that are introducing so-called “trap” laws, or Targeted Regulation of Abortion Providers. As these states seek to take away a woman’s right to legalised abortion, and in doing so, put many women’s lives in danger, Dawn Porter’s unflinching look at the potential consequences that these decisions could have both in the short and long term is both frightening and appalling. By focusing on the lives of the men and women who are taking the fight to the lawmakers, and who refuse to back down in the face of so much blinkered, often Christian-centric prejudice, the movie becomes a rallying cry for anyone who still believes that the decision in Roe vs Wade still gives a woman the right to choose what happens to her body.

Deadpool (2016)

17 Wednesday Feb 2016

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Deadpool

D: Tim Miller / 108m

Cast: Ryan Reynolds, Morena Baccarin, Ed Skrein, T.J. Miller, Gina Carano, Brianna Hildebrand, Leslie Uggams, Karan Soni, Jed Rees, Stefan Kapicic

Scabrous. Loud. Violent. Poignant. Sarcastic. Silly. Sophomoric. Raunchy. Confident. Sharp. Astute. Uncompromising. Thrilling. Audacious. Genre-defining. Sweet. Provocative. Homicidal. Brutal. Funny. Clever. Slick. Ingenious. Irreverent. Bold. Arresting. Forceful. Romantic. Cool. Bad-ass. Ribald. Biting. Shocking. Unapologetic. Intense. Frenetic. Demented. Gross. Lunatic. Crass. Superb.

You can use any of the above words to describe Deadpool, and they would all be appropriate. Deadpool is the kind of movie that attracts accolades by the inevitable bucket load, its twisted, hyper-real take on the superhero genre at odds with the more predictable, family-friendly approach favoured by Marvel et al. In fact, this is so far beyond anything you’ll have seen since Robert Downey Jr kitted himself out as Iron Man back in 2008 that it’s practically a reinvention of the superhero genre. The jokes are still there, and the sense that there’s one more quip just waiting around the corner is still prevalent, and there’s the usual over the top, physics-defying action sequences, but here it’s all about the tone. And the tone says: fuck ’em if they can’t take a joke.

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Forget Marvel’s small screen successes with Daredevil and Jessica Jones, this is really, really adult stuff, with nudity, anal sex, deliberate on-screen amputations, lascivious one-liners, graphic violence, so many innuendos they could choke a wolverine, and enough off-colour material to offend just about everyone. It really is that kind of movie, a riotous panoply of bad taste, copious use of the F-word, visceral action, and pin-sharp humour. And thanks to the efforts of its director, star and writers, it all adds up to the best superhero movie since X2 (2003) (and minus the downbeat ending).

Of course, we’ve seen Ryan Reynolds as Wade Wilson before, in the poorly devised and executed X-Men Origins: Wolverine (2009). Unforgivably presented with his mouth sewn shut, the self-styled Merc With a Mouth was little more than an obstacle put in the way of the movie’s hero towards the end. But now we have a movie that does him full justice, and in the process, blows away any lingering cobwebs from previous incarnations, and raises the bar for what superhero movies can be.

That said, the basic plot and storyline isn’t the most original, and nor does it have to be, because it’s what the script does with it that makes it all so memorable, along with Reynolds’ relaxed, committed performance. Having found love with Vanessa (Baccarin), a prostitute who shares Wilson’s sense of humour and somewhat jaundiced outlook on the world, our principled mercenary learns he has terminal cancer. But he’s offered a chance: a secret experimental procedure that will both cure his cancer and make him virtually indestructible at the same time. With nothing to lose he takes up the offer, but Wilson finds himself at the mercy of super-soldier Ajax (Skrein) and his sidekick Angel Dust (Carano). Several tortuous procedures later and the dormant mutant genes in Wilson’s system have been awoken, but in doing so they’ve left him looking hideous (“like a testicle with teeth”).

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One spectacular building explosion and subsequent collapse later, and Wilson decides to go after Ajax, who has boasted he can fix his appearance (“like an avocado had sex with an older, more disgusting avocado”). It all leads to a huge showdown at a salvage yard between Deadpool, X-Men Colossus (Kapacic) and Negasonic Teenage Warhead (Hildebrand), and Ajax, Angel Dust and their expendable goons. Oh, and Deadpool has to save Vanessa, who’s been kidnapped by Ajax (what else is a movie girlfriend for?).

There’s a whole lot more and it’s all as entertaining and enjoyable as you could have hoped for. Kudos should be given to 20th Century Fox for giving Deadpool a second chance – they made X-Men Origins: Wolverine – and for letting the movie develop in such a way that the character from the comics hasn’t had his reprobate behaviour curtailed. Of course, much of the credit is due to Reynolds and the way in which he stuck by the character over the last seven years. This may well be the role for which he will always be remembered, but if so, it’s unlikely the actor will have any qualms about it. His own deadpan sense of humour shines through, and his casual delivery of Wilson/Deadpool’s dialogue only adds to the overall effect (in fact, some lines are dispensed with so casually you’ll be wondering if you heard them properly).

But in amongst the genre-bending violence – the opening freeway assault is one of the most slickly produced and wince-inducing action sequences ever seen, purely for what happens to some of Ajax’s men – what makes Deadpool even more impressive is the romance between Wilson and Vanessa. As the besotted, sexually adventurous couple, Reynolds and Baccarin imbue their characters’ relationship with an unexpected and plaintive depth; when Wilson is diagnosed with cancer the script ensures it’s not just him that’s affected by the news. Baccarin is a good foil for Reynolds, and their scenes together exude a warmth that’s been missing from other superhero romances.

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With moments where Deadpool breaks the fourth wall with gleeful abandon, to others where the movie pushes its luck in being scurrilous, the movie freewheels and pirouettes through its standard plotting with complete abandon. Reynolds’ Deadpool look (“like Freddy Krueger face-fucked a topographical map of Utah”) actually makes him look amazingly like Ted Danson after an horrific skin peel, while Hildebrand’s teen mutant is a cross between Teddy Munster and any number of Goth princesses. The only “look” that doesn’t quite work is Colossus’ CGI gaze, his lack of pupils making him look a little creepy, as well as a little backward.

All in all this is a tremendous romp, and one that breathes new life into what is fast becoming a moribund genre. Whether or not it prompts other superhero franchises to up their game (though not in the same direction; that would be a big mistake) remains to be seen, but it’s very likely that right now studio executives throughout Hollywood and beyond are looking at existing projects and wondering if they can (as Mark Watney might put it) “Deadpool the shit out of them”. Let’s hope wiser heads prevail, because otherwise, we’re in for a shedload of movies that will fall well short of what is a very impressive mark.

Rating: 9/10 – there’s often talk about superhero movies remaining true to the source material, but Deadpool embraces this idea with relish and comes up trumps as a result; exciting, profane, whip-smart and just plain FUN, this is a movie you can watch over and over again and never tire of.

Mini-Review: The Good Dinosaur (2015)

26 Saturday Dec 2015

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The Good Dinosaur

D: Peter Sohn / 93m

Cast: Raymond Ochoa, Jack Bright, Jeffrey Wright, Frances McDormand, Steve Zahn, Sam Elliott, Anna Paquin, A.J. Buckley, Jack McGraw

Anyone going to see The Good Dinosaur should know a couple of things before they do. One: if you’re expecting a movie as enjoyable and as creative as Inside Out was earlier this year, then you’re going to be disappointed. And two: you’ll be surprised at how bland and pedestrian it all is.

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Getting that out of the way at the beginning of this review makes it easier to write the following: Pixar should have let this one die in development. The movie has had a troubled history. Original director Bob Peterson was removed from the movie in 2013 because he couldn’t come up with a final, third act. All of the cast, with the exception of McDormand, were replaced, large chunks of the script were re-written, and the movie was re-scheduled for release two years after its original, planned release date (27 November 2013). All in all, it feels very much as if, having sunk an awful lot of money into the production, Pixar had a choice: write off the project entirely and take a large financial hit, or carry on in the hope that the finished product will be good enough to earn back its costs.

Obviously they chose the latter, but it was the wrong decision. The Good Dinosaur is a movie that any other animation company could have made, and that’s not what we should be saying about a Pixar movie. It may be unfair, but Pixar is synonymous with animation excellence, both in terms of the visuals and the stories. And while The Good Dinosaur contains some of the most photo-realistic animation ever, when it comes to the story, it becomes clear that it wasn’t only the third act that had problems. Once the basic premise is done with – meteor that wipes out the dinosaurs 65 million years ago misses the earth, leaving dinosaurs to evolve further – the movie doesn’t know if it wants to be the new The Land Before Time (1988), an out-and-out Western, or a distant narrative cousin to The Lion King (1994). And it doesn’t help that against all the beautifully rendered backdrops, we have an apatosaurus whose animation looks like it was sub-contracted out to Aardman (it’s Arlo’s eyes – take a look at Chicken Run (2000) and you’ll see what I mean).

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But whichever story it’s trying to tell, it’s not strong enough to hold the audience’s attention, and scenes pass by that provoke ennui instead of engagement. Even the relationship between Arlo and Spot, normally something you could rely on Pixar to make affecting and charming, proves merely sufficient to the story’s needs, and the “inventiveness” of having Spot being the “pet” wears off pretty quickly. With the movie’s two lead characters lacking a way to connect with the audience, it further hinders the movie’s attempts to make itself a satisfying experience for the viewer.

The movie also has problems with its tone, as it mixes humorous elements with moments of terrible heartbreak, and there’s an unexpected sequence where Arlo and Spot get stoned. The introduction of friendly T-Rexes is a bit of a stretch, and leads to a campfire scene where you wonder if an homage to Blazing Saddles (1974) is on the cards (The Good Dinosaur has lots of these moments, ones that remind you of other, better movies). It all goes to reinforce the idea that Pixar have released their latest movie in the hopes that it’ll recoup its costs before anyone notices how disappointing it is.

Rating: 5/10 – saved from a lower score by the incredible visuals, which elevate the material just by being there, The Good Dinosaur is yet another unfortunate example of Pixar having (mostly) lost their way in recent years; even the talented voice cast can’t do much to improve things, and potential viewers will be better off waiting until Finding Dory (2016) is released for their next Pixar fix.

Pan (2015) or: One More Unnecessary Origin Movie

16 Wednesday Dec 2015

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Pan

D: Joe Wright / 111m

Cast: Hugh Jackman, Levi Miller, Garrett Hedlund, Rooney Mara, Amanda Seyfried, Adeel Akhtar, Nonso Anozie, Kathy Burke, Lewis MacDougall, Cara Delevingne

Let’s cut to the chase: Pan, by itself, is a disappointment, an uneven children’s fantasy movie that is disjointed, awkwardly humorous, suffers from production overkill, and makes very little sense throughout. But unfortunately, Pan isn’t just a movie by itself, it’s an origin story for a beloved children’s tale that didn’t need it in the first place.

In recent years, Hollywood has given us origin story after origin story in an attempt to expand franchises and add “depth” to existing stories. Last year we had Maleficent, a movie that tried to rewrite the Sleeping Beauty story to make its Wicked Queen a more sympathetic character, as if somebody somewhere had decided that a Wicked Queen couldn’t just be a Wicked Queen; no, there had to be a good reason why she was a Wicked Queen. And now we get to see how a foundling called Peter became the high-flying leader of the Lost Boys, Peter Pan. But did we need to? Perhaps there’s a clue in the fact that J.M. Barrie, who created Peter Pan, never felt the need to go back and provide an origin story for him. And if he didn’t feel the need to, do we really need to know either?

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But Hollywood knows better (or so they like to think), and now we have an origin story anyway, but one that’s been given so little thought it’s frightening given all the talent involved in making it. You only have to watch the first five minutes of Pan to know that the makers have got it completely, spectacularly wrong. The scene is London, between the two World Wars. An unidentified young woman, clearly scared and frightened that she’s being followed, carries an infant with her until she reaches the doorstep of the Lambert Home for Boys. There she leaves him but not before she’s told him that they’ll meet again, in this world or another. Already there’s a problem: why does the woman abandon her son so recklessly (it’s not the most pleasant-looking of orphanages) and if he’s in as much danger as she seems to think, why take the risk of leaving him in such an awful place?

We fast forward twelve years and find the infant has grown up to be Peter (Miller), and he’s still at the orphanage (surprise, surprise), and he’s a bright, confident child who has no problem challenging authority, in this case Kathy Burke’s snarling, growling, thoroughly unpleasant Sister Barnabas. At this point the movie introduces a superfluous subplot involving Sister Barnabas hoarding goods before Peter and some of the orphans are kidnapped by pirates who descend through the skylights on bungee cords (the dormitory is located conveniently in the roofspace). Now correct me if I’m wrong, but this now makes the woman’s decision to leave Peter there a tad careless, as she’s placed him in the very place that her adversary – who we learn is the pirate Blackbeard (Jackman) – is stealing children from. (What it is to be undone by unforeseen coincidence…)

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Once in Neverland, the movie takes a left turn by introducing Blackbeard and his merry band of pirates, and what looks like thousands of Lost Boys, as they indulge in a  bit of a sing-song. The song in question turns out to be Nirvana’s Smells Like Teen Spirit, an anachronistic choice that serves only to remind viewers just how well this sort of thing was done in A Knight’s Tale (2001) (and begs the question, does Blackbeard time travel as well for his Lost Boys?). From then on, and despite the introduction of James Hook (Hedlund) (also trapped by Blackbeard), and Tiger Lily (Mara), the princess of the natives, and a plot involving Blackbeard’s determined efforts to wipe out all the fairies (don’t ask why – the movie doesn’t), Pan becomes the Hugh Jackman larger-than-life performance movie as he struts and rampages and roars his way through things with all the gusto of a pantomime villain. It’s not a bad performance per se, it’s just in the wrong movie.

As you’d expect, Neverland is beautifully, stunningly realised, and is a triumph of art direction, set construction, costume design, and special effects, but ultimately it all makes for a hollow confection, an empty shell that the narrative flits and jumps around without any clear idea of where it’s going or why. With the fairies hidden from Blackbeard’s grasp, and of course with Peter as his unwitting accomplice in getting to them, it comes as no surprise that the script shows the fairies completely able to defend themselves from Blackbeard and his men, thus ending any idea that the pirate’s intentions were in any way a threat. It’s not the first time in the movie that the  viewer is likely to be wondering why something is happening, or if it’s likely to be explained (usually not).

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Pan is a movie that should be included in the ever-growing number of movies that come under the heading, Just Because You Can, Doesn’t Mean You Should. Joe Wright’s direction is focused largely on the cast, and while he’s obviously let Jackman do his own thing, he does allow Mara to give a decent performance, and Miller is suitably stout-hearted as Peter, even if he does take everything in his stride a little too easily. And Hedlund acts more by smiling roguishly than actually emoting, but it’s still a likeable portrayal. The only trouble is, Hook is a character who lacks for development, and remains the same from beginning to end.

Pan‘s terrible performance at the box office – so far it’s only grossed $125m against a budget of $150m – will hopefully discourage other studios/production companies from messing with other established, classic stories. These stories are so well-regarded for a reason: they work independently of any others and in many cases are archetypal and don’t need further embellishment or expansion. Such is the case with Barrie’s tale of the boy who never grew up, and Pan serves only to reinforce what a foolhardy idea it is to try.

Rating: 4/10 – lacking a true sense of childlike wonder, or focus in the story it’s telling, Pan is the movie equivalent of pudding: rich, stolid, and if you’ve had too much, weighing too heavily for comfort; another unsatisfactory, unnecessary origin story that shows just how difficult it is to get these things right, and especially when there’s no real need to.

Goosebumps (2015)

06 Sunday Dec 2015

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Goosebumps

D: Rob Letterman / 103m

Cast: Jack Black, Dylan Minnette, Odeya Rush, Amy Ryan, Ryan Lee, Jillian Bell, Halston Sage, Ken Marino, Timothy Simons, Amanda Lund

There’s a moment in Goosebumps when Mr Shivers (Black), having already been rumbled as the writer R.L. Stine, tries to maintain his cover. Not believing him for a second, new neighbour Zach (Minnette) goads him by saying that he’s not as good a writer as Stephen King. Shivers/Stine rounds on Zach and in the process mentions that he’s sold way more books than “Steve”. It’s an odd moment in an otherwise straightforward, enjoyable imagining of Stine’s fictional world of monsters, and while it may be true, you can’t help but wonder if it’s there to give Stine some extra credibility now that he’s been adapted for the movies (not that he needs it). (And maybe it’s an issue for him.)

On the strength of this outing, Stine has little to be worried about. Although Goosebumps is a steadfastly homogenised horror fantasy for children – the zombies aren’t at all frightening, and the abominable snowman is played mostly for laughs – it has enough in the way of heavily stylised fantasy elements to keep its target audience happy for an hour and a half or so, and has been lucky enough to secure the services of Black as the “cursed” author. Black strikes just the right tone as an anxious, over-protective father-cum-author whose creations will spring fully formed and alive from the pages of his books if they’re opened (this doesn’t explain how his books have been published up til now, but it’s a great idea for a fantasy movie).

With Zach believing that his reclusive neighbour is mistreating his daughter, Hannah (Rush), he convinces a school friend, Champ (Lee) to help him break in to the house next door and ensure that Hannah is okay. Along the way, they discover bear traps in the basement and a bookcase full of Goosebumps novels that have locks on them. And in true children’s fantasy style, one of the books is opened, while the others all fall to the floor, leaving at least one of the books unlocked. The trouble is, this particular book features Slappy the ventriloquist’s dummy, and he’s the one monster that Stine doesn’t want to let out at all… and Slappy knows it.

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Soon the town of Madison, Delaware is home to all sorts of rampaging monsters and creatures, and it’s down to Stine, Hannah, Zach and Champ to save the day by getting all of the author’s creations back in their books. But Slappy is one step ahead of them, and is making sure each book is burnt once the creature in it is released. This leaves the quartet with only one option: to make sure Stine has the time he needs to write a new story that involves all the monsters so that they can be returned to the new pages en masse.

There are the usual obstacles to their doing this, and the usual action sequences when they encounter any of the monsters – the lawn gnomes are particularly good – but it’s all done with an energy and a sense of fun that carries the movie along and doesn’t allow it to get bogged down by too many distractions. As mentioned before, Black is great as the author whose sense of responsibility has kept him moving from place to place and isolated his daughter in the process (though a plot twist two thirds in unfortunately cancels this out), while Rush, Minnette and Lee all play their standard teen characters with verve if not too much depth. Ryan is continually sidelined as Zach’s mother and high school vice principal, and Simons and Lund are given brief exposure as the town’s (apparently) lone law enforcement officers, with Lund’s gung ho approach bagging quite a few laughs.

In the hands of screenwriter Darren Lemke, Goosebumps sets out its stall quite early on and sticks to what is a safe formula: kids accidentally release monsters, team up with concerned adult, and find a way to save the day. But the movie avoids outstaying its welcome, though it does takes each new monstrous development in its stride, which is at a cost to the drama and the tension that should be inherent in the storyline. By ensuring that its target audience isn’t too frightened or worried, there’s no real sense of danger or peril, and each “threat” is neatly or quickly dealt with.

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As you’d expect the special effects are woven seamlessly into the physical action, and there’s a pleasing sense of spectacle when the high school is besieged by all the creatures. Keeping things moving with an eye for the quirkier moments, Letterman allows his cast, both human and CGI, their individual moments to shine – Champ rescues the girl he likes from the wolfman, Slappy acknowledges his driving Stine’s car is compromised by not being able to reach the brakes – and includes enough adult humour to keep older viewers happy. And most of all, he manages to keep Zach and Hannah’s blossoming romance from becoming too mawkish or saccharine.

Rating: 7/10 – straying too close to formula to make it stand out from similar fare, Goosebumps is nevertheless a fun ride that can be enjoyed by children and adults alike; if there are to be any more adaptations of Stine’s work then that won’t be such a bad thing at all.

Trailers – The Huntsman (2016) & Zoolander 2 (2016)

18 Wednesday Nov 2015

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Ah, sequels… what would we do without them? Have less movies to watch probably, as movie makers the world over love giving us more of the same – even if it didn’t work out that well the first time. For me, both Snow White and the Huntsman (2012) and Zoolander (2001) were moderately entertaining movies that didn’t aim particularly high and didn’t reach their full potential. So it may not come as a surprise when I say that, based on these latest trailers, I’m not hugely excited about either sequel hitting our screens next year. With The Huntsman it already looks like it’s going to be a triumph of special effects over story and content, while Zoolander 2 has the feel of a long-in-development sequel that looks set to rehash what made the original outing a bit of a cult movie (I kept thinking of Anchorman 2: The Legend Continues (2013) while I was watching it). Still, both movies have their fans, and they’ll probably do well enough to make the option of a third movie in both series a good possibility, but I’m thinking that these trips to the well should be the last. Let me know what you think.

 

The Last Witch Hunter (2015)

02 Monday Nov 2015

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Last Witch Hunter, The

D: Breck Eisner / 106m

Cast: Vin Diesel, Rose Leslie, Elijah Wood, Ólafur Darri Ólafsson, Michael Caine, Julie Engelbrecht, Joseph Gilgun, Isaach De Bankolé, Rena Owen

The fantasy-horror movie has been less than entertaining in recent years, what with Van Helsing (2004), the Underworld series (2003-2012), and I, Frankenstein (2014) showing just how it shouldn’t be done. And yet despite these weary efforts we now have The Last Witch Hunter, a movie that remains as jumbled and ineffectual as its genre predecessors. It’s a project that began life as a featured screenplay in the 2010 Blacklist, and was originally set to be directed by Timur Bekmambetov back in 2012. But those plans fell through, and with the project being championed by Vin Diesel (an avid fan of fantasy role playing games), it made it into production once its star was free after the interrupted filming of Furious 7 (2015).

If the movie proves anything, it’s that scripts on the Blacklist aren’t always filmed as written – the original script by Cory Goodman was rewritten by Dante Harper and Melissa Walack before Matt Sazama and Burk Sharpless finally ended up with the on-screen credit. Well, gentlemen, don’t be so proud, because if Goodman’s original script was really that good, then let’s make it clear: you guys went and ruined it.

It’s a movie that remains frustratingly remote from its audience throughout, and which fails to make its witchcraft-plunging-the-world-into-darkness storyline and plot even halfway exciting or dramatic. It’s a lot more serious than most, and not as po-faced as some of its competitors, but aside from one terrific joke involving a selfie, this is dour stuff that takes the end of the world as we know it and manages to make it about as threatening as flipping a pancake. And no matter how much Diesel glowers and frets, and no matter how much Ólafsson speaks of the world swallowed up by doom, we all know that whatever happens, Leslie is probably going to be the best bet for helping Kaulder – Diesel’s character – as he fights to discover who tried to kill his mentor and friend Father Dolan (Caine). (Oh, and we can be fairly certain that one character will prove to be less than they appear.)

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Fantasy movies have a tough time now, what with the likes of Game of Thrones showing just how it can, and should, be done, and Diesel’s pet project suffers in much the same way as others of its ilk have done: in trying to set their bizarre plots and outlandish characters against the recognisable backdrop of modern times, they then go and wilfully ignore that backdrop in favour of elaborate special effects sequences where anything goes, and where any carefully established grounding in the here and now is catapulted right out of the narrative. If you’re going to have a showdown between good and evil, don’t hide it away in dingy basements or abandoned churches, where the viewer can ogle the impressive art direction or set design, but have it right out in the open: make magic a shocking, but real part of our daily existence (part of the fun of Ghost Busters (1984) is that everyone in New York sees the Stay-Puft Man).

And then there’s the plot itself, which sees Diesel’s barbarian warrior and his pals take on the Witch Queen (Engelbrecht) in pre-medieval times, only for them to fall one by one until it’s left to Kaulder to save the day. But in doing so she curses him to immortality – and provides a handy way for her to be resurrected in the future. And therein lies the movie’s first problem: Kaulder isn’t the last witch hunter, he’s the only witch hunter. But put that aside and then we have another problem: why is it that it always takes so long for the villain of the piece to be able to make a comeback? Here it’s eight hundred years, during which time Kaulder has played policeman in the witch community, and everything is predictably hunky dory (it all has something to do with the Witch Queen’s heart, which apparently, can still beat long after she’s dead – obviously).

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Tasked to “Remember your death” by Father Dolan in the form of a handy clue made while he was being killed, Kaulder can’t just cast his mind back and remember it for himself. Instead he has to enlist the aid of a witch, the conveniently to hand Chloe (Leslie) who has to concoct a potion that will allow him to re-experience that fateful moment. Only that just leads to the next problem: he didn’t die, so why all this rigmarole? Could it be that old screenwriter’s fallback, padding? Or is it just a poorly conceived idea that nobody could fix during shooting (or wanted to)? There’s lots more that doesn’t add up or make sense, and it all goes to reinforce the idea that when it comes to fantasy, as long as the movie looks good – and The Last Witch Hunter does look good – then the story and the dialogue can be as ridiculous as it wants.

With a sequel already in pre-production, and despite a lukewarm reception at the box office, it’s clear that this is an attempt by Diesel to kick-start another franchise he can head up. But while he may be committed to telling further tales as Kaulder, he might just find, based on this “opener”, that not everyone will be as willing to follow him on that particular journey as they are when he gets behind a muscle car and trades macho stares with Dwayne Johnson.

Rating: 5/10 – genre conventions abound in this absurdly watchable yet majorly disappointing piece of fantasy, that at least sees its star smile more in one movie than he’s done in five (and a bit) Fast & Furious outings; derivative and lacking in real purpose, The Last Witch Hunter has neither the style nor the wit to help itself stand out from an already dispiriting crowd.

The Age of Adaline (2015)

24 Sunday May 2015

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Age of Adaline, The

D: Lee Toland Krieger / 107m

Cast: Blake Lively, Michiel Huisman, Harrison Ford, Ellen Burstyn, Kathy Baker, Amanda Crew, Linda Boyd, Hugh Ross, Anthony Ingruber

On New Year’s Eve 2014, Jennifer Larson (Lively) purchases a set of fake I.D.’s before heading off to work at a library’s archive office. There she’s given a collection of old newsreels that need to be digitised. She begins viewing them, and as the footage unfolds, Jennifer remembers her life, one that began on New Year’s Day 1908 when she was born Adaline Bowman. She remembers getting married and having a child, and then her husband dying. And she remembers the fateful trip that saw her spin off the road during a freak snowstorm and plunge into a freezing river – where she died – and the lightning strike that struck her and revived her, causing her to remain twenty-nine from that day onward.

That night she attends a New Year’s Eve party, where she attracts the attention of a handsome man called Ellis (Huisman), who shares an elevator ride with her; she rebuffs his advances. But she is surprised to find him turn off at her office the next day in the guise of a generous benefactor. He asks her out on a date, which she refuses. In retaliation Ellis tells her he’ll withdraw his donation if she doesn’t. This time she agrees and he manages to convince her to see him again; when she does she stays over at his apartment. Afterwards, and despite Ellis’s best intentions, she avoids his calls and is cold to him when they meet in the street.

Eventually, Jennifer relents and agrees to see him again. When they do he asks her to come with him for the weekend to help celebrate his parents’ fortieth wedding anniversary. When they arrive, Ellis’s father, William (Ford) is shocked by her resemblance to a woman he met in England in the Sixties, a woman he knew as Adaline Bowman. Jennifer pretends that Adaline was her mother. William is unable to get over how much she looks like the woman he knew, but everyone else accepts the coincidence. The next day, Jennifer and William are talking when he notices a scar on her left hand that matches one Adaline had, and which was caused while they were hiking together. He confronts her, but even though he does his best to reassure her, she leaves as quickly as she can. A lifetime of hiding her real identity has left Adaline constantly fearful of exposure, and so she aims to disappear yet again, using the fake I.D.’s she’s recently purchased. But as she heads back to her home, and with Ellis chasing after her, another freak bout of snow starts to fall…

Age of Adaline, The - scene

At the New Year’s Eve party, a young man tries out an old pick-up line on Adaline. When he realises she’s heard it before, she confirms it by saying “Just once, from a Bing Crosby … type.” It’s one of those offhand, slightly clever moments you’d expect from a movie that features a character who’s been around for over a century, but thankfully it’s the only example the movie trots out, settling instead for Adaline being incredibly knowledgeable about world events (and picking up the odd extra language). It’s a restrained approach to material that could have focused more on past events than the modern day romance that rightly takes centre stage.

With Adaline’s past consigned to occasional, yet relevant, flashbacks, and with a narrator (Ross) to act as our guide at equally relevant moments, The Age of Adaline is a romantic drama that grounds its fantasy elements in the everyday and the banal: Adaline keeps a succession of King Charles Spaniels; she works in a library; she worries about her daughter, Flemming (Burstyn), now an old woman considering moving into a retirement community. It’s the attempts Adaline makes to live a normal, ordinary life that makes the movie so easy to believe in, and with Lively’s wonderful performance to back it all up, her predicament so credible.

Which makes the central romance all the more disappointing, as Huisman’s so-good-he-can’t-be-real Ellis is such a perfect partner that aside from Adaline’s initial reservations about seeing him, there’s no drama involved at all. It takes Adaline’s past coming back to haunt her to provide any real drama and that doesn’t arrive until over an hour has passed. Until then it’s all build up, and a fairly pedestrian, nearly superficial build up at that. Thank goodness for Lively, who elevates the material by emphasising the tragedy of Adaline’s life, often just by looking pensive and lonely. There’s a depth of feeling in Lively’s eyes during these moments that helps immensely, and leaves Huisman’s easy smile and carefree physicality looking as if the actor is barely trying. It’s Lively’s movie from start to finish, and the actress takes every opportunity to stamp her authority on the role.

She’s matched by Ford who turns in his best performance in years, the moments when William is remembering Adaline and the time they spent together, showing the character’s vulnerability and emotional honesty in a way that is entirely realistic. The scene where William confronts Adaline is a small master class in screen acting. In support, Burstyn does well as Adaline’s daughter but is required to be too wise on too many occasions for comfort, and Baker is left with the unenviable task of making William’s wife (also Kathy) more than an add-on.

But while the supporting characters pale against the attention given to Adaline, the script by J. Mills Goodloe and Salvador Paskowitz, is never less than absorbing, and keeps the viewer interested, even during those repetitive early scenes where Adaline keeps rejecting Ellis over and over. It scores highly when examining themes of love and loss and sacrifice, and maintains an impassioned tone throughout. Krieger directs with a confidence and a firm control of the material that benefits the more fantastical elements, and evokes a strong sense of time and place in the flashback scenes. He’s aided by often evocative cinematography by David Lanzenberg, laudable costume designs for Adaline through the decades by Angus Strathie, and fluid, assured editing by Melissa Kent. All go together to make the movie a rich, rewarding experience, and one of the finest romantic dramas of recent years.

Rating: 8/10 – an intriguing premise given a stronger outing than expected, The Age of Adaline is a worthy throwback to the “women’s pictures” of the Thirties and Forties but with an appropriately modern sheen; with a superb performance from Lively, this is a movie that, thankfully, has more to it than meets the eye.

Tomorrowland: A World Beyond (2015)

23 Saturday May 2015

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Tomorrowland

aka Tomorrowland

D: Brad Bird / 130m

Cast: George Clooney, Hugh Laurie, Britt Robertson, Raffey Cassidy, Tim McGraw, Kathryn Hahn, Keegan-Michael Key, Thomas Robinson, Pierce Gagnon, Matthew MacCaull

At the 1964 World’s Fair, a boy named Frank Walker (Robinson) takes his latest invention, a jet pack, to the science tent in the hopes of winning a $50 prize. But as his jet pack doesn’t actually work properly, the presiding judge, David Nix (Laurie), tells him to come back when it does. As he leaves he’s approached by a young girl called Athena (Cassidy), who gives him a pin with a bright blue T on it, and tells him to follow her when she gets on one of the rides. When he does he finds himself transported to a strange futuristic world where there are tall, shining buildings, trains and vehicles that travel on air, and a launch site for spaceships. There, his jet pack is adjusted to work properly and he’s accepted as a member of Tomorrowland, a world where the brightest and the best – the geniuses of Earth – have gone to create a utopian world devoid of war, social inequality, famine, natural disasters and greed.

Fifty years later, teenager Casey Newton (Robertson) lives near Cape Canaveral with her dad, Eddie (McGraw), and younger brother Nate (Gagnon). Eddie is an engineer working for NASA, and helping to dismantle the nearby Apollo launch site. Casey “knows how things work”, but is using her skills to delay the site’s demolition. When she’s caught and arrested, she finds a pin with a bright blue T on it in amongst her belongings when she’s released. She touches it and is immediately transported to a wheat field where, in the distance, is a city of tall gleaming spires. She drops the pin and is back in her own world. Unable to convince her father that the pin is special, she looks for information about it online, and learns that there is a store in Texas that will buy them.

She travels there but the store owners, Ursula (Hahn) and Hugo (Key), try to take the pin from her by force. Casey is rescued by Athena, who doesn’t look a day older than when she met Frank. Athena explains a little about Tomorrowland but not enough to fully satisfy Casey’s questions. They travel to a remote farmhouse where Casey is left to meet the owner, a now older Frank Walker (Clooney). When agents from Tomorrowland arrive and try to abduct Casey, Frank and Casey manage to escape, and both are reunited with Athena. From there they head for Paris and the Eiffel Tower, which, aside from being a national monument, is also the launch site for a hidden rocket ship. The ship takes them to Tomorrowland, but when they arrive, the trio find it in ruins, and Nix in charge of everything. And it becomes very clear that our world is on the brink of complete destruction, unless Casey can “fix” it, something that Nix doesn’t want her to do…

Disney's TOMORROWLAND..Casey (Britt Robertson) ..Ph: Film Frame..©Disney 2015

The movie that Bird passed on directing Star Wars Episode VII for, Tomorrowland: A World Beyond arrives with no small amount of hype attached to it, and an appropriately high level of anticipation. And up until we meet Casey it’s exactly the movie we’ve been expecting: a richly detailed, nostalgic look back at a time when the future seemed brighter than ever, and technological miracles were being produced that were poised to make our lives all the better. There’s a wistfulness about these early scenes, and a joy in the discovery of Tomorrowland that is infectious and intoxicating, and Bird and his co-writer Damon Lindelof give us an unforgettable introduction to the unforgettable world they’ve created.

And then it all goes horribly wrong. In placing our world in peril, but with the solution located in Tomorrowland, Bird and Lindelof have managed to come up with one of the murkiest, most unconvincing – or clearly explained – storylines in recent years. So much happens that doesn’t make sense, and so much happens that isn’t followed through, that the movie becomes unwieldy and bogged down by too many scenes that fail to advance the plot or deepen the characters. It’s like being given a box of assorted chocolates, only to find that they all have the same centre. For a movie that touches on so many different aspects and themes – nostalgia, individualism, collectivism, fate, unfulfilled love, the benefits of technology, looking to the future, nihilism, hope, manifest destiny – it develops not into a thrilling adventure that matches the joie de vivre of its opening section, but a tired, downbeat, dystopian odyssey that squeezes the life out of its characters and its plot.

What this leads to is an impending worldwide catastrophe that you just can’t care about, and if filmmakers of the calibre of Bird and Clooney can’t make an audience care about the end of the world then there’s definitely something wrong (although, ironically, the idea fits neatly with Nix’s disparaging remarks about everyone else on Earth). It’s as if the initial idea was settled on, but fleshing it out proved too difficult, so any way the story could be continued was seized upon and no further development took place. There’s no tension, an abstract sense of impending doom, and too much reliance on Athena to bail out Frank and Casey when they get in trouble.

The cast struggle gamely with characters who lack shading and depth, though Cassidy is a minor revelation as Athena, her poise and command of her dialogue helping her performance immeasurably (and showing the others how it should be done). Hahn and Key provide some much needed respite (though too early on) from the drudgery, and Robinson is so cute he shouldn’t be allowed. But it’s still not enough to offset the awkward miscalculations made by Messrs. Bird and Lindelof, and the strangely disaffected tone the movie adopts when it returns to Tomorrowland. However, the movie does have a wonderful sheen to it, Claudio Miranda’s cinematography proving an exquisite treat, his mix of light and colour at the World’s Fair being particularly gratifying. If only as much attention had gone into the script.

Rating: 5/10 – with just enough on display to keep it from being a complete disappointment, Tomorrowland: A World Beyond starts out fresh and engaging and ends like a lame athlete finally crossing the finishing line; Bird directs as if he were absent from the set, and it all has the air of a movie that “will just do for now”.