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Reviews
The Hobbit: An Unexpected Journey (2012)
An enjoyable return to Middle-earth.
After the unfortunate, but inevitable end to the original breathtaking trilogy in 2003 the reemergence of both Middle-earth and Peter Jackson has unquestionably created a great sense of anticipation over this festive season, as there is a constant questioning of whether this extended adaption of the original Hobbit novel will match the same sense of success as its flawless predecessors. Unarguably the production is extremely enjoyable, as the adventures of Bilbo Baggins expose the viewer to an explored side of Middle-earth that is accompanied by the thankful return of many familiar faces. However there is certainly a sense of expected seriousness and tension that often falls absent, as this is only worsened by the senseless CGI dominance that prevent "The Hobbit" from aspiring to a success that is associated with the original trilogy.
Following the legendary adventures of Bilbo Baggins, he unwillingly accompanies a faction of Dwarfs led by Gandalf the Grey who seek to retake their homeland that was spontaneously laid siege to by the great dragon "Smaug". For the most part the plot is fairly lighthearted and often employs comedy within the dialogue and habits of all the adventurers, yet the dark moments of battle and conflict offer little amusement. With a widespread selection of fairly unknown characters, the film is left to often rely on Mckellen's major role and the several other cameo appearances from individuals such as, Christopher Lee and Hugo Weaving in order to retain a sense of familiarity in relation to the previous trilogy, as the revisiting of previously minor characters interweave perfectly within this fairly unknown and unexplored narrative. However regardless of these thankful returns to familiar faces, in some cases certain climatic moments that result in fast paced action do not reach the expected level of anticipation that has been become a trademark of Jackson's interpretations of the 4 novels. With that in mind when events do eventually reach the peak of excitement, they often end in laughter and relief for the characters fates.
CGI had unquestionably been a major factor within the visual successes of all 3 previous works, yet Jackson's ludicrously experimental decision to double the previously used 24 frames per second serves as a huge hindrance to the films questionable appearance. Previously many of the Orc's had been primarily presented within a handmade costume design that proved to be disturbingly authentic,yet on this occasion Jackson disregards this in turn total CGI dominance. At times the CGI does work in creating beautifully designed setting and special effects, yet in action sequences in particular it is simply too unauthentic and fast paced, as an ill timed blink could leave you oblivious to an enjoyable segment of a battle. With that in mind this fast paced action is another element of its differentiation from the original works that may possibly prove more popular in the future, as for now the action is still enjoyable, but not perfected.
Jackson's supposedly avid and relentless interest in Martin Freeman's involvement in the production was certainly justified due to the accurate portrayal of an earlier and less adventurous "Bilbo Baggins" he delivers. Freeman consistently keeps within the lighthearted approach by providing his own personal comedy within this unexpected hero and wanderer of Middle-earth, as his performance falls very close to predetermined expectations. Ian Mckellen's return as the wandering wizard "Gandalf" was evidently vital for the films success and overall reception, as his major role committed him to far more action and screen time than ever before in this saga. Much like Freeman viewers are also exposed to a fair amount of humour, but as mentioned it is his action and leading role that have contributed to Mckellen's successful portrayal of one of the greatest fictional heroes of all time.
Flawless casting choices continue to flourish within the unexpected appearance of Richard Armitage as Dwarve "Thorin". His transition from T.V to Hollywood seems virtually effortless, as to distinguish Armitage as a primarily T.V actor from this production alone would encounter much difficulty. His ability to create a stubborn and fearless character may not entitle him to the becoming the most likable character in the production as leader of the Dwarfs, but his performance is admirable and essential to the past of the unfortunate Dwarfs that the viewer is exposed to. The cameo appearances from Christopher Lee and Hugo Weaving as their respective characters did serve the film greatly, yet it is the return of Gollum that ironically proves a sight for sore eyes. This clear doppelganger and chaotic character is once again played to perfection by Andy Serkis, as this disturbing characters inclusion in the plot reveal his first encounters with Bilbo and allow viewers to make the links to these events that were not explicitly covered in "The Fellowship of the Ring".
Now although Jackson may have lacked the ability to create a production piece worthy of the same status as his perfected previous works, "The Hobbit" in its own right is an extremely enjoyable production. A fruitful mixture of both new and familiar characters and their ability to converge in a simplistic yet intriguing plot is where the films true successes lie in relation to retaining a sense of familiarity and at the same time offering a unique element of differentiation. My only hope for the next equally anticipated sequel is that Jackson leaves behind the awful CGI techniques and returns to the sublime presentation he has been widely recognized for.
Battleship (2012)
Battleship sinks to new depths.
With the potential to be a production piece of spectacular Sci-Fi, this unexpected disappointment in light of the high anticipation it set within its trailer debut is emphasized by a quite frankly boring and PG dominant plot and a cast that offers little within their restrictive and unexciting characters. With an extensive $200,000,000 budget that is only reflected within the impressive visuals, "Battleship" offers few positive elements and takes a similar foreboding course as the Titanic by sinking to new unwelcoming depths.
In terms of the events that occur in relation to the plot, the origin of the narrative is certainly spontaneous and fairly uninteresting. As attempts to contact the newly found Planet G are regrettably successful, a large US naval force is forced into deadly combat with a heavily armed alien invading fleet. The marketing of "Battleship" seemed to relay the impression that the production would lay waste to a modern war blitz of an epic naval battle against unknown invaders, however the battles are as disappointing as the production as a whole. The encounters are simply not on a wide scale and are consistently one sided adding to the films unwelcoming sense of predictability throughout. Despite a 12A rating Battleship often reduces itself to the unwelcoming inclusion of PG smothered events and moral messages that the production team attempt to convey, which is simply irritating for the more mature viewers, as it forces a sense of disengagement upon them. If "Battleship" was more loyal to the preliminary expectations rather than focusing on an attempt to desperately emphasize how the underdog can succeed under the gravest of circumstances then the plot could have been considerably more enjoyable.
Never the less the visuals that "Battleship" employs are very impressive. The destruction of ships and firing of both human and alien weaponry is of a high standard that is also seen within the costume designs of the aliens and their associated props. Without a doubt the visuals certainly account for the extensive $200,000,000 budget, as without this the film would suffer heavily as the visuals stand as the the only major positive feature. Despite an impressive costume design the aliens themselves are extremely inconsistent and at times rarely threatening. They are simply inconsistent in terms of their superiority over their naval enemies and rarely take advantage in order to achieve victory. Yet the true frustration is that we strangely obtain no insight into their incentive to spontaneously invade Planet Earth, as the gaps in the narrative cannot be ignored.
Little is done to amend the films failures in terms of the ambition lacking cast that has been assembled with little consideration. No cast members are likable enough to offer anything unique to the production, something essential in any successful production piece. Taylor Kitsch takes them lead role as Lieutenant Alex Hopper the irrational younger brother of Commander Stone Hopper who is a central character throughout, as he only serves to portray an arrogant and failing member of the American Navy who throughout the majority of the film is beyond irritable. With his major role in the production as the unexpected hero, many of his lines contribute heavily to the frustrating PG elements that rarely fall absent. Despite a direct opposition in morals and values as the sensible sibling, Alexander Skarsgard's portrayal of Commander Alex Hopper does nothing to offer any likability that is absent within the protagonist. Although he doesn't follow his on screen partner in being extensively irritable, he is an unexciting character and extremely bland. Rihanna's appearance in this production was certainly unexpected and clearly emphasized how the majority of music stars simply lack the desirable skills to jump the band waggon in terms of industries. Rihanna's portrayal of Petty Officer Weps could have been played by almost any other young female in the film industry and at that any other replacement most likely would have done a much better job due to Rihanna's frequently poor delivery of dialogue. Although past music stars such as Alicia Keys had achieved success (Hers being in the crime thriller "Smokin Aces" in 2008)Rihanna doesn't achieve this and instead is thoughtlessly thrown into a production in which her performance is below par. And yet at the height of the casting failures stands the unexpected minor role of Liam Neeson in the production. Someone as highly credited and talented as Neeson was just what was needed to salvage the films total failure,yet Neeson's appearances as Admiral Shane are extremely rare and insignificant, as being tied down to such a minor role results in a no show of Neeson's tremendous acting talent.
With originally high expectations set for "Battleship", the frequent failures within both the narrative and the cast result in an diabolical and anti-climax end product. Regardless of the impressive visuals, "Battleship" offers nothing to excite or engage viewers and with the direct result of this thoughtlessness is a film that will leave viewers relieved at the thankful finish of such an all-round disappointment.
Batman & Robin (1997)
From hero to subzero.
With "Batman Forever" previously standing as the worst addition to the Batman saga in cinema history, its unlikely anyone would blame Tim Burton for completely dropping out of this production due to the massacre that his formerly praised contributions have endured. With Joel Schumacher in full control all hope of a long awaited respectable installment is lost in one swift, ridiculed and utterly appalling excuse for a Batman movie.
Disappointment is present within every aspect of the films shameful creation, as the narrative surpasses the foolishness of the previous two productions, as it is evident that Schumacher had learned nothing from the disturbing lack of seriousness in "Batman Forever". In this installment Batman and Robin face a trio of adversaries, as with Mr Freeze hellbent on putting Gotham City on ice in attempt to cure his wife, Poison Ivy intervenes with her own agendas with the assistance of a reckless super solder otherwise known as Bane. The plot is severely flawed, as the idea of a temperature restricted super villain attempting to transform Gotham into a work of the arctic is simply ludicrous. What is even more frustrating is the lack of development or reasonable origins for the three villains, as they are all unsubstantial and quite frankly inexcusable. Furthermore the absurd style in which the plot is delivered for the matter results in viewers caring little for the damned city of Gotham regardless of how far Mr Freeze progresses with his villainous plans. Besides the main plot, aspects of the sub-plot bring forward several undeveloped issues to the viewer all of which lack consistency in terms of the focus upon them, as all of these disappointing factors result in a plot unworthy of any recognition due to its disregard for seriousness and inability to fully develop characters and minor aspects of the plot.
Visuals remain a key issue from the previous installment, as Joel Schumacher's personal touch to various elements of the films visuals in particular only serve to worsen the production further. With the artificially luminous colour pallet still in use it tends to negatively coincide with the poorly designed and endless ice based props all courtesy of Mr Freeze's reign of ludicrous terror. The most stupid of all however is the inclusion of not only Bat bums, but nipples, skates, surfing and a bank card designed specifically for the Caped Crusader, as these pointless props add to the ridiculous style and the excessive number of goofs.
Standing as the 3rd Batman in just 4 films the lack of consistency in the casting of Batman evidently leads to the shambles of a performance that George Clooney forces upon a now disappointed fan base. Clooney simple exceeds the disappointment of any past cast caped crusader, as he obtains no heroic qualities leading to an unauthentic performance due to his lack of belonging in the production. With Chris O'Donnell's unfortunate return as Robin, the reckless, young and inferior sidekick has become an even more unlikable character as his arrogance allows him to be utterly disliked and irritable throughout. Furthermore the on screen chemistry between the two is abysmal at best. The pair simply squabble or fill the air with ludicrous solutions and shameful one liners that are undesired to say the least. The epitome of casting however is evidently seen in the reckless decision to include Batgirl, as this ridiculed hero sums up everything that is wrong with Batman and Robin. Alicia Silverstone portrays an arrogant and spoilt teenage girl who's arrival as Batgirl is not only unwelcoming, but disturbingly spontaneous.
Unsurprisingly many of the casting choices in terms of the villains are severely flawed, yet a successfully comical performance from Arnold Schwarzenegger as Mr Freeze stands as the only pleasing performance. His performance is surprisingly enjoyable thanks to his trademark and significantly strong Austrian accent dominating lines from the literally puns personified iceman. Where there's room for one pun Schwarzenegger gives you two and regardless of how inappropriate they may seem you can't help but laugh and at least enjoy one aspect of this painfully awful production. Unfortunately in terms of the casting and presentation of the remaining 2 villains nothing could be more insulting to the films comic book origins. With a ridiculous costume design, Uma Thurman's performance is simply diabolical. With a tendency to irritably and spontaneously narrate in a form of poetic verse, her actions in the film are simply repetitive and unbearable which evidently accounts for the film's equally poor narrative. Considering his origins are that of a super soldier high expectations were certainly set for Bane who originally stood as a diverse villain, however such a poor representation of such a superior character disgraces the honoured work of Bob Kane. Bane is reduced to a giant, grumbling, slow and motionless character, a representation completely opposite to his first appearance in a Batman comic in 1993. If Bane is unable to break the Bat he can certainly contribute in breaking this formerly admired franchise.
It is evidently clear that since Schumacher's hijack of the Batman franchise upon his arrival on the scene of Batman Forever has ensured its utter deterioration. Surpassing the disappointment of previous installments, this horrific and disgraceful production is undeserving of any major credibility and is unlikely to be forgotten in the painfully reminiscent years to come.
Outpost: Black Sun (2012)
The Black Sun rises in Hollywood associated success.
After the enjoyable action horror production "Outpost" that Steve Barker graced audiences with worldwide a sequel seemed unimaginable and unidealistic. However Outpost Black sun improves on the faults of the previous installment and furthermore maintains the positive aspects that its predecessor is well known for in an surprisingly impressive sequel.
Set directly after the events of the first installment of this progressing saga General Klausener leads his undead army across Europe in an attempt to maintain the unthinkable 1000 year Reich, while the rest of the population look to suffer the same fate that awaited the mercenaries in the previous film. With Klausener's army on the move a physicist and a Nazi war crime hunter pursue both Klausener and his infamous machine with their own vendettas in mind. What is most enjoyable about the narrative is its ability to link in perfectly with its predecessor. As few questions are left answered and previous significances such as the cursed bunker and previous characters are both mentioned and revisited, the viewer is constantly able to revert back to specific events in the previous film which many film sequels in the modern day generally fail to achieve. What is also appreciated in Black Suns narrative is the progression from the plot in "Outpost" in terms of a previously small scale event in to a now large scale invasion threat. Its a trait very similar to what the 28 days/weeks later film franchise achieved as Outpost Black Sun indulges in a similar success factor.
Despite the large jump in terms of its narrative Black Sun includes the previously appreciated horror aspects and furthermore develops them into something equally as impressive for the most part. Not only is there just as much gore despite the films lowered certified rating from 18 to 15 years (most likely in an attempt to make it more accessible), but just as many or possibly even more typical climatic horror moments. Although at times it is undoubtedly clear that one of these undead maniacs will pop out from somewhere, the majority of the time it is ultimately unsuspecting and is worsened by their wretched appearance.
With once again a fairly unfamiliar cast the performances like the sequel itself are remarkably exceptional. Steve Barker however does include some famous faces, such as Clive Russell who only makes a brief appearance as Marius and is fairly insignificant in the plot, never the less Russell is a familiar face to many which is something this film lacks (whether that be a positive or negative aspect). Catherine Steadman most likely to be best known for her recent contribution to "Salmon Fishing in the Yemen" takes the lead role as Nazi war crime hunter Lena. From a male dominated cast in the previous film Steadman's performance receives few complaints with her die hard attitude in eliminating Klausener. Also taking a lead role is Richard Coyle as Wallace whose typical portrayal of the modern day physicist with his knowledge far more valuable than his lacking military capability is certainly genuine. The pair engage throughout the film in a conflict and work based friendship as the chemistry on screen is satisfactory. Other significant roles include Daniel Caltagirone as squad commander Macavoy who plays a similar role to DC in the previous installment due to his leadership and military based skills. As only one of two returning cast members Julian Wadhams returns to the set (more or less) with his attributes that were seen previously now absent in a whole new warped Francis Hunt.
Steve Barkers character creation deserves credit, as he also attempts to develop the characters more than he had done in Black Suns predecessor, something that stood as one of the films few faults. The more extensive development is seen within Lena and Wallace for the most part which is essential considering they are the protagonists, however other characters who are still fairly significance in the narrative don't receive the same treatment. This is something that Barker should be keen to improve on in his recently announced 3rd installment to this continuously improving Nazi zombie saga.
Outpost Black Sun simply improves on the previously lacking elements of its predecessor while still including the films unique and desirable features. Along with the applaudable performances of the relatively less familiar cast and engaging narrative, all these elements contribute to Outpost Black Sun being a justified and enjoyable sequel.
Batman Forever (1995)
Riddle me this, what is the expected outcome of a production with a lack of realism and endless stupidity?
Considering the indisputable disappointment of the unpromising "Batman Returns" the absence of Tim Burton as director of this reboot certainly would have created an optimistic atmosphere, as instead Burton returns as one of two producers. However with Burton's absence Joel Schumacher does nothing to amend the previous films mistakes and instead further plunges the Batman saga into disarray and failure, as "Batman Forever" not only provides little justice to the comics or the original 1989 "Batman", but somehow manages to offer a production even more unsatisfying and inadequate than its insufficient predecessor.
With the potential to deliver an at least enjoyable plot, the prolonged absurd events that transpire throughout result in an unthinkable and preposterous narrative in place of a previously optimistic outlook. In this appalling reboot Batman is forced to do battle with both The Riddler and Two Face, as their criminal agendas leave Gotham City in potential Peril. Unable to take down his villainous adversaries alone, The Caped Crusader has no choice but to converge with an inexperienced and irrational sidekick, "Robin". The plot simply fails to offer any suspense or tension due to an undesired collection of ludicrous events that have transformed Batman into something of a comical nightmare.At the centre of the plot, the Riddler's grand scheme to outdo the Caped Crusader along side his criminal accomplice offers little in terms realism and is utterly preposterous, as the dark tone that Burton set within the plot of his original Batman production has been utterly diminished. With a constant feeling of stupidity and thoughtlessness from the start to the thankful finish the inclusion of Robin was a risky decision that unsurprisingly failed to pay off, as his inferior and irritable figure in popular culture transfers over to this painful production and only serves to worsen it extensively.
Schumacher's mistakes continue with the disappointing disregard for Burton's original lighting style. Tim Burton's iconic choice of lighting and colour pallet previously had allowed Gotham to be viewed as a hellish and criminally diseased city in chaos, yet with Schumacher's arrival this lighting associated master piece is disregarded along with any potentially realistic and pragmatic events. Instead Schumacher creates a disturbingly luminous and artificial appearance for Gotham City, as nothing in terms of the setting seems genuine as it only serves to add to the lack of realism that is a reoccurring issue throughout.
The casting choices do little to amend the films endless failures within its visuals and plot, as the performances from this collection of poorly represented characters fall short of satisfactory quality. Val Kilmer, a casting as surprising as any arrives as the 3rd actor to play Batman and with high standards set by Michael Keaton this only adds further to the second rate performance the viewers are subjected to. Kilmer's performance much like the deteriorated visuals purely lacks authenticity, as despite a satisfactory performance as the masked vigilante his portrayal of Bruce Wayne are where the true faults lie. His dialogue at times seems lifeless, yet the main issue is in his appearance as Kilmer just doesn't strike you as the alter ego leading billionaire which is not surprising when attaching himself to the most unsuited pair of ancient glasses that are constantly at his disposal. The second of the films heroes Chris O'Donnell as Robin delivers everything you would expect of the second class hero, unfortunately not in a positive way. Standing as inferior to Batman, his irrational and narrow minded attitude is undesired to say the least as this leads to Robin being a severely irritable and unlikable character. His dialogue in particular results in disastrous on screen line deliverance that both heroes are equally responsible for. Evenmoreso Nicole Kidman's role as Dr. Chase Meridian is equally as disappointing and fault ridden. The performance simply is unpolished, as her dialogue at times as well as her prematurely developed focus point in the narrative (her role as a psychologist) needed a lot more crucial attention.
Surprisingly the villains in retrospect succeed in only just outshining their heroic adversaries. Jim Carrey manages to steal the spotlight in his portrayal of the Riddler, yet despite lacking the initial intellectual side seen in the comics (although it is somewhat attempted), the wacky lunatic approach Carrey adopts at times is certainly comical, not to mention the inclusion of a very creative costume design and dialogue is one of the films guilty pleasures. This performance allows him to stand as the figure head for the style Schumacher has created, despite this being a most likely unwanted title. His villainous counterpart Two Face however lacks this likability as Tommy Lee Jones' performance is a huge factor in branding Batman Forever as an anti climax title. Although Jones' employs a welcoming aggressive style for his portrayal of the coin wielding criminal as well as engaging in a fairly impressive on screen chemistry with Jim Carrey in at least a comical manner, a lot of extensive symbolism ruins a potentially accomplished performance. Not to mention the poor make up design of Two Face is not only inaccurate but visually idiotic. A considerable amount of failure surrounds Jones' performance due to Two Face's absence in the original 1989 "Batman". His absence in Burton's first production in terms of Dent's criminal persona evidently caused a high level of anticipation in light of his appearance in this shameful production, as Jones' performance simply didn't live up to expectations set by eager fans.
After high hopes were initially set after the failures surrounding Tim Burton's previous instalment, nothing is improved on in its shameful predecessor thanks to Schumacher's unwelcoming style.It is clear that absence of both Tim Burton and Michael Keaton damaged the film extensively, as Gotham City now stands as an artificial wasteland worsened extensively by poor performances and a disastrous plot, as Schumacher's overly imaginative style has ensured Batman Forever's reputation as an utter failure to successfully reboot a deteriorating franchise.
In Bruges (2008)
Once your in Bruges you'll never want to leave.
Centered in the small and unappealing town of Bruges in Belgium, this very British based production achieves Hollywood perfection. Redefining the ability to cross cut two differing genres, In Bruges is a comical yet tense work that stands superior to any past production piece regardless of its genre, in which a deep feeling of envy should be felt.
Employing a narrative that does not stretch any further than being simple yet engaging, it is a story that features both deep sorrow and realistic humour. As two hit men Ray and Ken exile to Bruges after a hit goes terribly wrong, it focuses on the morals and trauma surrounding the pairs past killings as they engage with the historical beauty of Bruges and the alternate lifestyle it offers. The director Martin McDonagh is vigilante not to glorify the pairs criminal career in any way, which is essential to the realistic factor the film employs, as there is a deep focus on the aftermath and trauma of both their failures and lack of mercy for their victims. The plot from early on is fairly engaging, but it is the truly unsuspecting plot twist that engages the viewer further into the the tension that begins to climatically build from that point. Regardless of the change of attitudes and tipping balance of genre focus that switches between comedy to drama at various points, the comical and emotion provoking actions that the characters commit provide a narrative that is not only unique but surprisingly enjoyable.
With a strong focus on a shrewd use of comedy throughout, "In Bruges" provides the viewers with an extensive collection of memorable scenes due to the many comical moments and factors that account for the films comedy based success. Being dominated by a fairly broad range of foul mouthed arguments often ending in violence, the more significant comedy factor is present within the difference in ideology and interests between Ray and Ken. With the pairs similarities stretching no further than their corrupt career path, the pair often resemble the powerless father and brat like child relationship in the early aspects of the plot. Yet it is the lack of belonging the pair experience in the somewhat unideal town of Bruges that provide the most credible element of amusement throughout, as two Irish hit men in a small Belgium town is unsurprisingly unideal, as their actions from early on indicate.
Incorporating a fairly small yet diverse range of characters, the casting follows other aspects of the films success in being impeccable. With Colin Farrell heading the cast as the guilt stricken hit-man Ray, his performance of a far from stable individual with a lack of enthusiasm for his partners historical interests or Bruges itself is of the highest caliber. Farrell's revival of his often disregarded Irish accent is highly approved of, as it certainly emphasizes the comedy within his dialogue and is obviously an essential factor for the characters portrayal. Brendan Gleeson shares not only the strong Irish accent employed by Farrell, but equals the high standard of his performance. Gleeson's portrayal of the culture loving hit-man Ken tends to be so genuine that his characters career choice tends to seem hard to believe, which is far from a criticism considering his characters purpose is to blend in with the law abiding citizens of Bruges. Ralph Fiennes on the other hand is a far more clouded character for the most part as Ken and Ray's boss Harry. Displaying the ruthlessness not present within the exiled pair of hit men, Fiennes' performances as yet another villain is just as flawless in comparison to his contributions in past productions and his casting colleagues in this one.
Where as the visual factors of "In Bruges" are immaculate, its relevant soundtrack deserves the same credit. With a primarily piano based soundtrack it is not only suitable for the location of the film, but also adds to the sense of foreboding which ensures the comical factor disappears in the more serious sequences of the films narrative. Without this imperial soundtrack the impressive balance between drama and comedy would certainly be lost.
Undoubtedly "In Bruges" is one of the most unsuspecting film successes of the 21st century. With a narrative that is easy to follow and thus more engaging, a likable cast of characters and flawless performances by the cast themselves, "In Bruges" genuinely is a must see film and shouldn't be overshadowed by its lack of popularity on the big screen.