Once in a while you become so immersed in a film that you forget you're watching one, and you simply exist in the same reality as the characters on screen for a small slice of their life which momentarily becomes your own. You see yourself in these characters, but for a moment you even become them, reliving an all-too heart-breaking or euphoric scenario from your past through the characters experience of an entirely different moment, that is in its essence completely the same. These moments come in all of their melancholic glory in a conversation Elio shares with his father in the closing moments of the film. A conversation that soon becomes an honest lesson of life from an experienced academic who wasn't lucky enough to find what Elio so clearly experienced for even just a matter of moments. It's a beautifully touching scene that pleads to the inner romantic in all of us to muster up the courage and take every opportunity life throws at us. Because as we have learned on this journey we all share, even if just for a moment, to love and be loved by someone in return so completely is rarer than one could imagine. To ignore something so wonderful is to ignore what makes life worth living. What a waste indeed.
Reviews
17 Reviews
Pride
(I) (2014)
Irresistible
29 September 2014
When the aim of a film's plot is to portray a relatively unknown storyline through reasonably unknown actors working under a production company that barely managed a wide-release, you're building yourself a huge mountain to climb, even if the picture does manage an investment in their audience members. Fortunately, Pride is a movie that goes above and beyond its required pay grade in every way imaginable, leaving it a rising star that's getting more and more popular by the second (as opposed to the other way around – always a good sign).
The story centres on a group of gay activists who meet regularly to go on marches and collect money in support of gay rights. From there, we're pretty quickly launched into the idea of the miner's strike and how the problems they're facing now are similar to the problem the gays have been facing all their lives, and how they should team up to rebel against the Thatcher regime. That's pretty much it in terms of plot, but this is a history feature retelling a story that's so high up on the feel-good scale, you'll forget its flaws in a heartbeat. Such flaws do exist unfortunately, with the main one being the characters. Not that they're not interesting enough, but that there's too many of them, and the film tries to focus on this wide abundance as opposed to giving us deep insight into a select few. As a result we see limited character development and often don't have enough insight into their backstories to care as deeply as we want to be allowed to. There is also no clear central character driving the story forwards, with the one given the most screen time proving the weakest of the bunch.
With all of that said, as promised, you don't really notice (or care about) such drawbacks because you're having such a great time. The tone of the film kicks in right from the opening raucous song and you can't help but be dragged into the battle and root for victory anyway. If there isn't a strong lead protagonist to drive the film, then the wonderful soundtrack does a fine job, with the flawless acting from familiar and unknown faces alike forcing you to invest in the subversion. Irresistible.
The story centres on a group of gay activists who meet regularly to go on marches and collect money in support of gay rights. From there, we're pretty quickly launched into the idea of the miner's strike and how the problems they're facing now are similar to the problem the gays have been facing all their lives, and how they should team up to rebel against the Thatcher regime. That's pretty much it in terms of plot, but this is a history feature retelling a story that's so high up on the feel-good scale, you'll forget its flaws in a heartbeat. Such flaws do exist unfortunately, with the main one being the characters. Not that they're not interesting enough, but that there's too many of them, and the film tries to focus on this wide abundance as opposed to giving us deep insight into a select few. As a result we see limited character development and often don't have enough insight into their backstories to care as deeply as we want to be allowed to. There is also no clear central character driving the story forwards, with the one given the most screen time proving the weakest of the bunch.
With all of that said, as promised, you don't really notice (or care about) such drawbacks because you're having such a great time. The tone of the film kicks in right from the opening raucous song and you can't help but be dragged into the battle and root for victory anyway. If there isn't a strong lead protagonist to drive the film, then the wonderful soundtrack does a fine job, with the flawless acting from familiar and unknown faces alike forcing you to invest in the subversion. Irresistible.
Before I Go to Sleep
(2014)
Adrenaline Rush
5 September 2014
"Tonight as I sleep, my mind will erase everything I know today"; The simple yet satisfying plot-line of this movie as spelled out by our lead protagonist in the opening scene is enough to draw anyone into this wonderful thrill ride of a film. Such a story-line sees the aforementioned central character (played by Nicole Kidman) slowly put back together the extremely complex puzzle that is her memory of the last 14 years, lost after an 'accident' involving a mystery perpetrator.
The plot, although clearly ludicrous when heard, somehow works remarkably well when experienced on screen. This is primarily down to the breakneck pace of the movie, never allowing audience members to get bored or have enough time to ponder the numerous plot holes noticed after the final credits. Not that this matters of course, as BIGTS is a picture to be enjoyed in the moment and at surface level.
Another of the film's major assets is the brilliant performances from the central three characters. Kidman is back on form, exasperating any memory of a certain picture that occurred sometime in the previous 14 years; Firth is excellent also as Ben, with Strong matching him in equal measures on levels of sinister and downright frightening unpredictability. Not only is such fantastic acting a joy to watch, it is another factor in helping the plot-line to be accepted without question by audiences who might think twice if only they weren't having so much fun.
As entertaining as the picture is, this isn't groundbreaking original stuff here, nor is it something that is terribly deep in content. However if you want to spend 90 odd minutes utilizing only the first third of your seat, then you're in for a treat.
The plot, although clearly ludicrous when heard, somehow works remarkably well when experienced on screen. This is primarily down to the breakneck pace of the movie, never allowing audience members to get bored or have enough time to ponder the numerous plot holes noticed after the final credits. Not that this matters of course, as BIGTS is a picture to be enjoyed in the moment and at surface level.
Another of the film's major assets is the brilliant performances from the central three characters. Kidman is back on form, exasperating any memory of a certain picture that occurred sometime in the previous 14 years; Firth is excellent also as Ben, with Strong matching him in equal measures on levels of sinister and downright frightening unpredictability. Not only is such fantastic acting a joy to watch, it is another factor in helping the plot-line to be accepted without question by audiences who might think twice if only they weren't having so much fun.
As entertaining as the picture is, this isn't groundbreaking original stuff here, nor is it something that is terribly deep in content. However if you want to spend 90 odd minutes utilizing only the first third of your seat, then you're in for a treat.
The Expendables 3
(2014)
Sacrifices
31 August 2014
The first two 'Expendables' movies followed pretty much the same format, with a big cast (literally) and a shed-load of explosions filling in for the lack of story line, character development and just about anything else that constitutes a "good film". This ultimately left the first and second picture falling into the "so bad it's not good but we love it anyway" category. The same could be said for sequel no. 2, just with the "love it anyway" part left out.
The first was a guilty pleasure because it was fun, the second was a guilty pleasure because we wanted more fun and didn't really care if the filmmakers couldn't be arsed with new material, but by the time came for Sly and the gang's third outing, we're too exhausted from the last one to care anymore.
What plot there is proves so totally irrelevant that i'm not going to bother boring everyone. While I could go into detail on the numerous flaws this is, as we all know, a film that doesn't take itself too seriously and to enjoy it you simply have to take it at surface level for what it is. The problem however is that you can have too much of a good thing, so you can definitely have too much of a bad thing; even viewers new to the franchise will notice that the film is terribly dragged out.
An array of fresh faces are on-hand to deliver brand new corny one- liners (well, not entirely brand new....GET TO THE CHOPPER!), the only factor that really makes this tired second-sequel worth a watch; Wesley Snipes fits right in as the imprisoned hard-man, Antonio Banderas offers comic relief, but it's Mel Gibson's impressive turn as the most memorable bad guy yet that keeps this sinking ship afloat.
To say that you have to be in the right mood to enjoy watching such anarchy (in every sense of the word) would be an understatement; more of the same here, however if you enjoyed the first two then be sure to check it out.
The first was a guilty pleasure because it was fun, the second was a guilty pleasure because we wanted more fun and didn't really care if the filmmakers couldn't be arsed with new material, but by the time came for Sly and the gang's third outing, we're too exhausted from the last one to care anymore.
What plot there is proves so totally irrelevant that i'm not going to bother boring everyone. While I could go into detail on the numerous flaws this is, as we all know, a film that doesn't take itself too seriously and to enjoy it you simply have to take it at surface level for what it is. The problem however is that you can have too much of a good thing, so you can definitely have too much of a bad thing; even viewers new to the franchise will notice that the film is terribly dragged out.
An array of fresh faces are on-hand to deliver brand new corny one- liners (well, not entirely brand new....GET TO THE CHOPPER!), the only factor that really makes this tired second-sequel worth a watch; Wesley Snipes fits right in as the imprisoned hard-man, Antonio Banderas offers comic relief, but it's Mel Gibson's impressive turn as the most memorable bad guy yet that keeps this sinking ship afloat.
To say that you have to be in the right mood to enjoy watching such anarchy (in every sense of the word) would be an understatement; more of the same here, however if you enjoyed the first two then be sure to check it out.
Guardians of the Galaxy
(2014)
Fresh Feeling
8 August 2014
Marvel's latest entry into the MCU is what would appear from the overly explosive trailers to be a film given a sky-high budget to set off expensive fireworks for two hours and leave the story-line/character development at the door, raking in a shed-load of profit in the mean time to fill in for the Avengers. Certain assumed knowledge such as this gives audience members a particular mindset as to what to expect, forces them to buy more popcorn to help them through it but ultimately leaves them pleasantly surprised when that once-in-a-blue-moon blockbuster takes a turn for the better.
GOTG is one of those blockbusters, and while there are explosions galore, this thankfully proves to be one of the film's assets rather than a downfall. The main factor that separates it from other Marvel films is that it could easily be viewed as a comedy as well as a sci-fi action drama or even part-thriller; with both visual and verbal gags running constantly throughout, a feel-good soundtrack blasts viewers back to the 80s in a ballsy picture that isn't afraid to not take itself too seriously.
With that said, the movie's greatest strength also proved a major weakness with the dialogue, although hilarious at times, turning cringe- worthy and often boring when time had to be taken out to explain what was actually going on (since the whipper-snapper one-liners didn't quite milk it). It didn't help either when certain scenes were 'rescued' by overly-extensive action sequences that seemed to drag on, often making the film appear rather desperate to make it through the 2-hour run time.
All in all however, GOTG was a welcome relief from the same-old superhero movies Marvel seems to be churning out quarterly. Breaking new grounds in the field of comedy (and with pretty decent characters to portray it), it left us Hooked on a Feeling for number 2.
GOTG is one of those blockbusters, and while there are explosions galore, this thankfully proves to be one of the film's assets rather than a downfall. The main factor that separates it from other Marvel films is that it could easily be viewed as a comedy as well as a sci-fi action drama or even part-thriller; with both visual and verbal gags running constantly throughout, a feel-good soundtrack blasts viewers back to the 80s in a ballsy picture that isn't afraid to not take itself too seriously.
With that said, the movie's greatest strength also proved a major weakness with the dialogue, although hilarious at times, turning cringe- worthy and often boring when time had to be taken out to explain what was actually going on (since the whipper-snapper one-liners didn't quite milk it). It didn't help either when certain scenes were 'rescued' by overly-extensive action sequences that seemed to drag on, often making the film appear rather desperate to make it through the 2-hour run time.
All in all however, GOTG was a welcome relief from the same-old superhero movies Marvel seems to be churning out quarterly. Breaking new grounds in the field of comedy (and with pretty decent characters to portray it), it left us Hooked on a Feeling for number 2.
The Purge: Anarchy
(2014)
A Step in the Right Direction
7 August 2014
2013's 'The Purge' was greeted with universally negative reviews in spite of it being a box-office smash hit. With the uniquely original plot-line of making all crime legal for one night a year (the annual 'Purge'), Anarchy's predecessor fell short part-way through the second act, when the interesting concept turned into what was essentially a home break-in movie. The sequel steers clear of such restriction by diverting our attention to what's going on out on the streets, portraying the 2023 Purge through a number of different sets of characters that eventually come together in the hope of survival.
The multiple story lines introduced to the audience pre-purge is one of the film's major assets, with the film lending a hefty first act to character development thus allowing audience members to know and care for our protagonists before they get placed in the dangerous street environment. This ultimately allows what could be viewed at surface level as a fest of gratuitous violence to become a character-driven thrller, shifting the focus to the people involved rather than what's happening around them.
Where TP:A falls short however is with the inconsistent mix of acting and dialogue alike. Frank Grillo kills it as the bad-ass leader of the group, however this only serves to emphasize the mediocre performances of other leads who can barely keep up with his gritty delivery, and makes the extras (who are given far too much screen-time in a single shot) look like they've just been dragged in off the street. It doesn't help either when the dialogue used is gripping at one point, corny at the next, and then downright lazy, making the entire picture a slightly frustrating watch from start to finish.
Thankfully however, the strengths outweigh the weaknesses in this flawed yet surprisingly impressive first sequel (surely many more to come - 364 days til the next Purge anyone?) that includes just enough cathartic destructiveness to make it a winner.
The multiple story lines introduced to the audience pre-purge is one of the film's major assets, with the film lending a hefty first act to character development thus allowing audience members to know and care for our protagonists before they get placed in the dangerous street environment. This ultimately allows what could be viewed at surface level as a fest of gratuitous violence to become a character-driven thrller, shifting the focus to the people involved rather than what's happening around them.
Where TP:A falls short however is with the inconsistent mix of acting and dialogue alike. Frank Grillo kills it as the bad-ass leader of the group, however this only serves to emphasize the mediocre performances of other leads who can barely keep up with his gritty delivery, and makes the extras (who are given far too much screen-time in a single shot) look like they've just been dragged in off the street. It doesn't help either when the dialogue used is gripping at one point, corny at the next, and then downright lazy, making the entire picture a slightly frustrating watch from start to finish.
Thankfully however, the strengths outweigh the weaknesses in this flawed yet surprisingly impressive first sequel (surely many more to come - 364 days til the next Purge anyone?) that includes just enough cathartic destructiveness to make it a winner.
Apes. Together. Strong.
17 July 2014
The title of this review being a direct quote from the movie also serves as a quick lesson in film making for any director looking to follow a similar path: Character is key, and when you've got the audience so immersed in the picture due to their love and care for non-human CG- created Apes more so than the arguably still strong human characters, you know it's going to turn out quite special.
The fact that audience members can so easily relate to and thereby care deeply for our primate pals is of course due to the stunning motion capture CGI technology on show, such a method that is currently making huge strides in redefining the fantasy and sci-fie genre. It is because of this technological magic that our lead protagonist Caesar (played by Andy Serkis, mesmerizing) alongside other lead Apes look and feel so real.
DOTPOTA is set some time in the fairly near future after ROTPOTA. Still in San Francisco, a group of Apes led by Caesar have made camp up in the hills, with small groups of humans still left scattered around the earth after the virus went viral. With Caesar striving for peace between humans and apes, things turn sour when another ape (Koba, genuinely frightening) has doubts about Caesar's leadership skills and contrasting feelings about the presence of humans near camp.
A tad too long, the film can feel repetitive at times during the third act, with battle sequences seeming to occupy the majority of screen time and the lack of human interaction forcing too much ape talk which can be a tire to keep up with. However this is just nit-picking at what is probably one of the best movies so far this year, possibly the best in it's field. Right from the opening close-up of Caesar's war-painted face to the concluding set piece, it never ceases to amaze viewers, a compliment largely due to the masterfully crafted scripting and a plot that is constantly second guessing cliché expectations.
In conclusion Dawn of the Planet of the Apes offers a huge step up from an already fantastic reboot, even if the editing department could have done a slightly better job. GO!!! (see it).
The fact that audience members can so easily relate to and thereby care deeply for our primate pals is of course due to the stunning motion capture CGI technology on show, such a method that is currently making huge strides in redefining the fantasy and sci-fie genre. It is because of this technological magic that our lead protagonist Caesar (played by Andy Serkis, mesmerizing) alongside other lead Apes look and feel so real.
DOTPOTA is set some time in the fairly near future after ROTPOTA. Still in San Francisco, a group of Apes led by Caesar have made camp up in the hills, with small groups of humans still left scattered around the earth after the virus went viral. With Caesar striving for peace between humans and apes, things turn sour when another ape (Koba, genuinely frightening) has doubts about Caesar's leadership skills and contrasting feelings about the presence of humans near camp.
A tad too long, the film can feel repetitive at times during the third act, with battle sequences seeming to occupy the majority of screen time and the lack of human interaction forcing too much ape talk which can be a tire to keep up with. However this is just nit-picking at what is probably one of the best movies so far this year, possibly the best in it's field. Right from the opening close-up of Caesar's war-painted face to the concluding set piece, it never ceases to amaze viewers, a compliment largely due to the masterfully crafted scripting and a plot that is constantly second guessing cliché expectations.
In conclusion Dawn of the Planet of the Apes offers a huge step up from an already fantastic reboot, even if the editing department could have done a slightly better job. GO!!! (see it).
Boyhood
(I) (2014)
A Once-in-a-lifetime experience
13 July 2014
By some miracle, the run time of this movie has proved to be the exact same length as that of the forth installment of the Transformers franchise. Having slogged through nearly three hours of robots hitting robots shot from a camera permanently fixed between the thighs of our lead female protagonist a week earlier, Richard Linklater's latest contribution to modern cinema was a more than welcome reminder that visionary filmmakers still exist, and that the actual run time compared to how long the run time feels speaks much of film quality.
Boyhood documents the early life of a boy called Mason, beginning at six, then continuing all the way through middle-school, high school and eventually his move to college at eighteen years of age. Although the story line is fairly simplistic and one might argue, unadventurous, the sheer ambition of the director is reason enough to hand your money over; shot over twelve years with the same group of actors, audiences can experience the true evolution of a character like never before.
However as Linklater said himself, if the audience see this merely as an experiment, then he has failed at his task. The movie has its own story to tell. The aforementioned criticism of an overly simplistic plot is what makes the story so identifiable not just for young people, but for adults as well; the film could easily be called 'adulthood' or 'parenthood' or even take a more generalised title of 'Life' - Linklater understands people, and is therefore one of the few modern filmmakers who understands the importance of well-rounded, interesting and relatable characters to tell a story.
When watching Boyhood, you don't think of the ramifications, the possible pitfalls and how difficult it must have been to make. You instead choose to enjoy it at surface level, only truly appreciating the sheer brilliance of what has been achieved after the film. This really is a once-in-a-lifetime film and therefore a once-in-a-lifetime experience for anyone watching it. Soon to be a modern classic, this is a picture that will be looked back on as one of the greatest ever made.
Boyhood documents the early life of a boy called Mason, beginning at six, then continuing all the way through middle-school, high school and eventually his move to college at eighteen years of age. Although the story line is fairly simplistic and one might argue, unadventurous, the sheer ambition of the director is reason enough to hand your money over; shot over twelve years with the same group of actors, audiences can experience the true evolution of a character like never before.
However as Linklater said himself, if the audience see this merely as an experiment, then he has failed at his task. The movie has its own story to tell. The aforementioned criticism of an overly simplistic plot is what makes the story so identifiable not just for young people, but for adults as well; the film could easily be called 'adulthood' or 'parenthood' or even take a more generalised title of 'Life' - Linklater understands people, and is therefore one of the few modern filmmakers who understands the importance of well-rounded, interesting and relatable characters to tell a story.
When watching Boyhood, you don't think of the ramifications, the possible pitfalls and how difficult it must have been to make. You instead choose to enjoy it at surface level, only truly appreciating the sheer brilliance of what has been achieved after the film. This really is a once-in-a-lifetime film and therefore a once-in-a-lifetime experience for anyone watching it. Soon to be a modern classic, this is a picture that will be looked back on as one of the greatest ever made.
How to Train Your Dragon 2
(2014)
Turkish Delight
6 July 2014
The metaphorical reasoning behind this chosen title is due to this item being the best way to describe the film: magnificent to look at, scrumptious at first taste, however a repetitive notion once you reach the juicy center is difficult to ignore, and you can't help but struggle to overcome the omnipresent sense of familiarity.
Starting with the perks, this picture has many - most notably the stunning visual effects; right from the opening sequence the movie draws you in, instantly capturing your attention and maintaining it through a spellbinding display of flawless animation. There's simply so much to look at, that a dazzling score to accompany the wonderful flying sequences would (and in parts does) provide non-stop entertainment for a substantial duration of time.
However a wisely selected soundtrack overlaying fantastic visual art is only part of the battle, with the primary drawback of HTTYD2 providing an explanation as to why Pixar are considered the masters of animation as opposed to Dreamworks. Pixar understands that story is key. They understand that likable characters engaging in interesting dialogue catering to both children and adults alike is essential in the process of achieving something special. HTTYD offered a step in the right direction, however the sequel offers little progression in an already limited story line, and the overly child-friendly scripting only makes the characters feel washed up and overused.
Judged on its own, this picture is an entertaining one-time watch. However when the inevitable comparison with better films of a similar genre does happen, it'll be forgotten before you can say toothless.
Starting with the perks, this picture has many - most notably the stunning visual effects; right from the opening sequence the movie draws you in, instantly capturing your attention and maintaining it through a spellbinding display of flawless animation. There's simply so much to look at, that a dazzling score to accompany the wonderful flying sequences would (and in parts does) provide non-stop entertainment for a substantial duration of time.
However a wisely selected soundtrack overlaying fantastic visual art is only part of the battle, with the primary drawback of HTTYD2 providing an explanation as to why Pixar are considered the masters of animation as opposed to Dreamworks. Pixar understands that story is key. They understand that likable characters engaging in interesting dialogue catering to both children and adults alike is essential in the process of achieving something special. HTTYD offered a step in the right direction, however the sequel offers little progression in an already limited story line, and the overly child-friendly scripting only makes the characters feel washed up and overused.
Judged on its own, this picture is an entertaining one-time watch. However when the inevitable comparison with better films of a similar genre does happen, it'll be forgotten before you can say toothless.
EXPLOSIONS..............explosions....
5 July 2014
The explosive nature with which American box office records were being broken on opening weekend promised big things about this unnecessary third sequel in the Transformers franchise. Since Megan Fox started sleeping around and Shia Labeouf isn't 'famous anymore', Bay has recruited Mark Wahlberg to befriend the autobots and then stand their for 3 hours while a load of stuff blows up around him. Accompanying him on his quest to make sense of the plot are a few other horrendous actors nobody's ever heard of before, which naturally includes an insanely hot female who can't seem to lose her makeup no matter how much dirt, ash or Transformium (no really) is thrown at her.
This time round, the limited story line of the transformers going into hiding and the humans hunting them down is outlined at the beginning of what proves to be a rather compelling, and though unoriginal, thoroughly engaging first act. The scene is set and we get to know our characters more than you might expect to, gaining insight into their life stories and ultimately caring more about their fate. The problem is, in part, the film's greatest asset - Wahlberg and Tucci stand out like a sore thumb for all the right reasons, leaving every other two-bit 'actor' to deliver utterly unconvincing performances alongside true professionals. The end result is almost embarrassing, especially when you consider that this is an entry in the franchise that foolishly chooses to focus more on the boring human characters than their robotic counterparts.
Now, this is where the real problems begin to arise - if I walk into a blockbuster that's directed by Michael Bay and has a near 3-hour running time (far too long), then I expect to see a shed-load of action, explosions and cool visual effects. Although this is pretty much what you do get, the emphasis on the humans force the transformers into the background, making the battles almost a distraction to the over- complicated and often boring dialogue tossed back and forth between boring actors who just look like they couldn't give a toss - it also doesn't help when the soundtrack and screenplay feel somewhat of an afterthought; not to Bay: corny one-liners don't make up for half an hour of lazy dialogue.
In conclusion you pretty much get what you expect from Transformers: Age of Extinction, although the intimidatingly lengthy run time feels twice as long following a repetitive and disappointing conclusion, whose ultimate purpose is to set up entry no. 5 - but we're wise to the act now - I wouldn't slog through that again if you paid me.
This time round, the limited story line of the transformers going into hiding and the humans hunting them down is outlined at the beginning of what proves to be a rather compelling, and though unoriginal, thoroughly engaging first act. The scene is set and we get to know our characters more than you might expect to, gaining insight into their life stories and ultimately caring more about their fate. The problem is, in part, the film's greatest asset - Wahlberg and Tucci stand out like a sore thumb for all the right reasons, leaving every other two-bit 'actor' to deliver utterly unconvincing performances alongside true professionals. The end result is almost embarrassing, especially when you consider that this is an entry in the franchise that foolishly chooses to focus more on the boring human characters than their robotic counterparts.
Now, this is where the real problems begin to arise - if I walk into a blockbuster that's directed by Michael Bay and has a near 3-hour running time (far too long), then I expect to see a shed-load of action, explosions and cool visual effects. Although this is pretty much what you do get, the emphasis on the humans force the transformers into the background, making the battles almost a distraction to the over- complicated and often boring dialogue tossed back and forth between boring actors who just look like they couldn't give a toss - it also doesn't help when the soundtrack and screenplay feel somewhat of an afterthought; not to Bay: corny one-liners don't make up for half an hour of lazy dialogue.
In conclusion you pretty much get what you expect from Transformers: Age of Extinction, although the intimidatingly lengthy run time feels twice as long following a repetitive and disappointing conclusion, whose ultimate purpose is to set up entry no. 5 - but we're wise to the act now - I wouldn't slog through that again if you paid me.
The Raid 2
(2014)
Simply Epic
1 April 2014
Having not seen, or even heard of The Raid up until about 2 weeks prior to the sequel's screening, I wasn't quite sure what to expect from an unknown (to me) Welsh filmmaker directing a foreign action flick. After watching the predecessor, my next course of action was to immediately book tickets for the (apparently) long-awaited second-installment, and when the time finally arrived, Evans delivered once again.
The first thing you'll notice is that The Raid 2 is quite a bit longer than the first film, probably because of the limited environment the original was set in. Not that this is at all a negative however; as soon as the film kicks into action with a jaw-dropping opening scene, time becomes a mere fantasy as you become lost in Evans' dazzling world of violence, gore and snippets of dark humor.
As mentioned previously, the environment in which the new (and a few of the old) characters find themselves in is a lot more varied. This is one of the movie's main strengths, showcasing more areas for character interaction and more importantly for them to beat the hell out of one another, the ever-changing back-drop is the primary asset that maintains interest and keeps the picture afloat for what may originally seem an exhausting 150 minutes.
And then there's the action sequences. Well. Just when you thought the violence couldn't get any more horrific, fast-paced or simply all-round spectacular, Evans brings in a host of new faces to raise the bar yet again. The wider range of characters and deeper plot provide an opportunity for a fairly intriguing story line to emerge, dispersing the action sequences between the moments of dialogue. If there had to be a criticism, then it may be that some of the 'talking' scenes seem a bit too prolonged at times. However upon reflection these really did contribute to the unfolding plot, and when the ever-more epic action did arrive, the build-up made it seem even more monumental (if that's possible to imagine!)
All in all The Raid 2 presents a big step up from the first film - and trust me, that's saying something. No spoilers here, but when Rama says "watch over me" about 25 minutes before the conclusion is reached, fasten your seat belts - cos something's about to hit the fan!
The first thing you'll notice is that The Raid 2 is quite a bit longer than the first film, probably because of the limited environment the original was set in. Not that this is at all a negative however; as soon as the film kicks into action with a jaw-dropping opening scene, time becomes a mere fantasy as you become lost in Evans' dazzling world of violence, gore and snippets of dark humor.
As mentioned previously, the environment in which the new (and a few of the old) characters find themselves in is a lot more varied. This is one of the movie's main strengths, showcasing more areas for character interaction and more importantly for them to beat the hell out of one another, the ever-changing back-drop is the primary asset that maintains interest and keeps the picture afloat for what may originally seem an exhausting 150 minutes.
And then there's the action sequences. Well. Just when you thought the violence couldn't get any more horrific, fast-paced or simply all-round spectacular, Evans brings in a host of new faces to raise the bar yet again. The wider range of characters and deeper plot provide an opportunity for a fairly intriguing story line to emerge, dispersing the action sequences between the moments of dialogue. If there had to be a criticism, then it may be that some of the 'talking' scenes seem a bit too prolonged at times. However upon reflection these really did contribute to the unfolding plot, and when the ever-more epic action did arrive, the build-up made it seem even more monumental (if that's possible to imagine!)
All in all The Raid 2 presents a big step up from the first film - and trust me, that's saying something. No spoilers here, but when Rama says "watch over me" about 25 minutes before the conclusion is reached, fasten your seat belts - cos something's about to hit the fan!
It could have been a lot worse....
28 March 2014
Since I wasn't a huge fan of Cap's first outing, the levels of expectation were kept to a minimal here as I took my seat in a sold-out movie theater in the heart of Manchester; and to be fair, the events to follow were no less (and certainly no more) than I expected.
Substituting a well-thought out script, character development and an actual plot for cheesy one-liners, multicolored onesies and big-ass explosions, this second installment in the Captain America side-quel franchise simply fails at being anything more than a money-spinner. If this is your kind of thing then I would probably recommend the big- screen experience, especially if you're a Marvel-lover. However if you appreciate quality rather than quantity then you might want to head for the corner house down the road.
The main issue with The Winter Soldier is the main man - Chris Evans just fails to deliver a convincing hero that us, the audience, can relate to and root for. It doesn't help when he's placed in the company of Academy regulars such as the likes of Samuel L Jackson and Robert Redford, who almost have fun showing him up for what he really is.
Even with a half-decent lead this film still would have sucked due to the screenwriter apparently being on minimum wage and not able to care deeply enough about the characters to make the audience do anything else other than laugh at how pathetic they are.
The reason this film has a '6' as opposed to say a '2' is because of the action sequences, which were the only aspect of the film that kind-of succeeded. At the same time as being insanely preposterous and at times just plain ridiculous, the magic of cinema really did immerse you in some jaw- dropping battle sequences (of which there were many) and unintentional comic fight scenes; and since this factor is what these films are all about for most people, I suppose Russo was successful in that respect.
It must be said however that if I was watching this picture for the first time on the small screen, the rating would be considerably lower.
Substituting a well-thought out script, character development and an actual plot for cheesy one-liners, multicolored onesies and big-ass explosions, this second installment in the Captain America side-quel franchise simply fails at being anything more than a money-spinner. If this is your kind of thing then I would probably recommend the big- screen experience, especially if you're a Marvel-lover. However if you appreciate quality rather than quantity then you might want to head for the corner house down the road.
The main issue with The Winter Soldier is the main man - Chris Evans just fails to deliver a convincing hero that us, the audience, can relate to and root for. It doesn't help when he's placed in the company of Academy regulars such as the likes of Samuel L Jackson and Robert Redford, who almost have fun showing him up for what he really is.
Even with a half-decent lead this film still would have sucked due to the screenwriter apparently being on minimum wage and not able to care deeply enough about the characters to make the audience do anything else other than laugh at how pathetic they are.
The reason this film has a '6' as opposed to say a '2' is because of the action sequences, which were the only aspect of the film that kind-of succeeded. At the same time as being insanely preposterous and at times just plain ridiculous, the magic of cinema really did immerse you in some jaw- dropping battle sequences (of which there were many) and unintentional comic fight scenes; and since this factor is what these films are all about for most people, I suppose Russo was successful in that respect.
It must be said however that if I was watching this picture for the first time on the small screen, the rating would be considerably lower.
The Double
(2013)
Double and Squeak
27 March 2014
The summary of an article for a film with such a title was simply asking for a pun, and though my choice would appear to have just about nothing to do with the film in question, it must be said that I was aiming for originality in preference to complexity. The only relation to the potato-based cake would be the Q&A session following the screening, apparently using eco-friendly technology that was running off the damn things; but we're getting off topic here.
Having not seen Ayoade's directional debut, I was unsure of what to expect from, who was to me, a two-bit actor from a 'thrown together' type sit-com. However merely from the movie's opening credits there was an element of classiness in the air, proving to be one that was then maintained throughout.
Although it could be said that the themes explored here are borrowed liberally from other (arguably worse) pictures, the true originality stems from Ayoade's distinctive style; with an interesting story line, cracking script and masterful sound editing, it becomes difficult to recount even a moment of the movie which could be described as 'dull' (and certainly not 'mundane')
The icing on the cake is most certainly the performance of our lead protagonist(s), both played by Jesse Eisenberg who has surely never been (or never had) so much fun on screen. Strong performances from his acting colleagues (which includes almost the entire cast of Submarine, so i'm told) compliment Jesse's fine work, and is one of the many aspects helping to pave the golden path of Ayoade's walk to stardom.
If there was one thing that slightly bugged me however then I would have to mention the "foreshadowing" - while i'm a huge fan of this magnificent device, Ayoade's employment seemed far too frequent and quite forced at times, literally spelling out to the audience what will happen later as opposed to cleverly hinting at it. However the intelligent use of symbolism mixed in served to reduce such a harsh impact.
All in all, 'The Double' is one of the finest films done so far this year. While the Academy might not quite be calling Ayoade's name just yet, this exciting director is taking major strides in the right direction.
Having not seen Ayoade's directional debut, I was unsure of what to expect from, who was to me, a two-bit actor from a 'thrown together' type sit-com. However merely from the movie's opening credits there was an element of classiness in the air, proving to be one that was then maintained throughout.
Although it could be said that the themes explored here are borrowed liberally from other (arguably worse) pictures, the true originality stems from Ayoade's distinctive style; with an interesting story line, cracking script and masterful sound editing, it becomes difficult to recount even a moment of the movie which could be described as 'dull' (and certainly not 'mundane')
The icing on the cake is most certainly the performance of our lead protagonist(s), both played by Jesse Eisenberg who has surely never been (or never had) so much fun on screen. Strong performances from his acting colleagues (which includes almost the entire cast of Submarine, so i'm told) compliment Jesse's fine work, and is one of the many aspects helping to pave the golden path of Ayoade's walk to stardom.
If there was one thing that slightly bugged me however then I would have to mention the "foreshadowing" - while i'm a huge fan of this magnificent device, Ayoade's employment seemed far too frequent and quite forced at times, literally spelling out to the audience what will happen later as opposed to cleverly hinting at it. However the intelligent use of symbolism mixed in served to reduce such a harsh impact.
All in all, 'The Double' is one of the finest films done so far this year. While the Academy might not quite be calling Ayoade's name just yet, this exciting director is taking major strides in the right direction.
Starred Up
(2013)
Brutal and Brilliant
21 March 2014
For a film that seemed to come out of nowhere, with a limited advertisement campaign and small budget, Starred Up has proved to be one of the more ballsy pictures released in some time - and with a UK release date sandwiched between two major blockbuster sequels, it had to do something to stand out from the crowd.
The main attribute of the film is its acting, most notably central character Jack O'Connell; a career-best performance from our lead protagonist serves as the driving force of the film, immersing the audience so much in the drama of it all that we can't believe we're feeling sorry for the prick we thought we knew in the opening stages.
However we all know that good acting doesn't necessarily constitute a good film; but placing such talent in the hands of David Mackenzie and providing a gripping (albeit unoriginal) story line is a damn good combination.
Despite the many positives, where this film fails is in the variety of on-screen shenanigans. Although it does slowly progress, the day-to-day life on the inside seems repetitive and predictable, particularly when the overall message is all too familiar and practically clichéd.
All in all however, Starred Up is one of the best prison dramas in a long time, and probably the best British film this year. Not for the faint-hearted, this superbly acted drama will scare you into following the law to the strictest command.
The main attribute of the film is its acting, most notably central character Jack O'Connell; a career-best performance from our lead protagonist serves as the driving force of the film, immersing the audience so much in the drama of it all that we can't believe we're feeling sorry for the prick we thought we knew in the opening stages.
However we all know that good acting doesn't necessarily constitute a good film; but placing such talent in the hands of David Mackenzie and providing a gripping (albeit unoriginal) story line is a damn good combination.
Despite the many positives, where this film fails is in the variety of on-screen shenanigans. Although it does slowly progress, the day-to-day life on the inside seems repetitive and predictable, particularly when the overall message is all too familiar and practically clichéd.
All in all however, Starred Up is one of the best prison dramas in a long time, and probably the best British film this year. Not for the faint-hearted, this superbly acted drama will scare you into following the law to the strictest command.
300: Rise of an Empire
(2014)
For glory's sake....War!
9 March 2014
The words spoken in the trailer by King Xerxes perched precariously atop his Health and Safety test-failed balcony provide the perfect plot summary for this action-packed sequel. Adopting an 'if it ain't broke don't fix it' approach, this second installment in the 300 franchise chooses to throw what story line there was from the first film completely out the window, and focus entirely on the things that its target audience are really interested in: blood, boobs and stylized gore. Did i mention there was blood?
Not that this is all bad though. Going into the movie it must be said that I wasn't expecting much in terms of a deep and engaging flick, but was more there for the big screen experience of 3D guts being splattered against the camera lens, essentially what the trailer was implying. And I got exactly what it said on the tin.
Don't bother trying to analyse this film on too many levels as its technically a pretty awful film. But if insane stylized wars are your scene then you're in for a treat. I can honestly say that there wasn't really a dull moment in this film, and with character testosterone levels set to maximum (both visually and mentally), the wars themselves (of which I believe there are about five in total? - so many I lost count) proved almost better than part one.
In conclusion, if you're a fan of clever, inventive and well-acted films, then this may not be your cup of tea. On the other hand, if you're a Zack Snyder fan who wasn't a fan of the first 300 because there wasn't enough ground and pound, then bring popcorn and soda, fasten your seat belt and enjoy the ride.
Not that this is all bad though. Going into the movie it must be said that I wasn't expecting much in terms of a deep and engaging flick, but was more there for the big screen experience of 3D guts being splattered against the camera lens, essentially what the trailer was implying. And I got exactly what it said on the tin.
Don't bother trying to analyse this film on too many levels as its technically a pretty awful film. But if insane stylized wars are your scene then you're in for a treat. I can honestly say that there wasn't really a dull moment in this film, and with character testosterone levels set to maximum (both visually and mentally), the wars themselves (of which I believe there are about five in total? - so many I lost count) proved almost better than part one.
In conclusion, if you're a fan of clever, inventive and well-acted films, then this may not be your cup of tea. On the other hand, if you're a Zack Snyder fan who wasn't a fan of the first 300 because there wasn't enough ground and pound, then bring popcorn and soda, fasten your seat belt and enjoy the ride.
Last Vegas
(2013)
Unsatisfactory would be an understatement
1 March 2014
I watched this film several days ago, choosing not to review the picture immediately after viewing with the mindset that I may appreciate it more with enough time to process it properly - but the more I process it in my mind, the more I realise just how terrible this movie really was.
Entering the theater those few days ago, the expectation was not originality, unpredictability or even a decent performance from cast members (of which there were none). The sole expectation was a fun and entertaining movie that wan't thinking about awards season when being written, but was instead thinking about its audience members and how to keep them engrossed for what turned out to be a very frustrating 105 minutes.
The main issue is the lack of variety - specifically in the screenplay, plot and most of all the jokes. The assumed chemistry between the actors and the jokes that should have worked so well as a result of this were nowhere to be seen. Comedy that did amuse was nothing unexpected due to the main humor already shown in the trailer and all other jokes borrowed liberally from better films of a similar genre. This resulted in the visual gags coupled with shots of the vegas strip standing in as the driving force of the film.
All in all Last Vegas is a movie that never seemed to really get going, making the experience feel short, but for all the wrong reasons. News of a sequel already in the works? You must be joking.
Entering the theater those few days ago, the expectation was not originality, unpredictability or even a decent performance from cast members (of which there were none). The sole expectation was a fun and entertaining movie that wan't thinking about awards season when being written, but was instead thinking about its audience members and how to keep them engrossed for what turned out to be a very frustrating 105 minutes.
The main issue is the lack of variety - specifically in the screenplay, plot and most of all the jokes. The assumed chemistry between the actors and the jokes that should have worked so well as a result of this were nowhere to be seen. Comedy that did amuse was nothing unexpected due to the main humor already shown in the trailer and all other jokes borrowed liberally from better films of a similar genre. This resulted in the visual gags coupled with shots of the vegas strip standing in as the driving force of the film.
All in all Last Vegas is a movie that never seemed to really get going, making the experience feel short, but for all the wrong reasons. News of a sequel already in the works? You must be joking.
Non-Stop
(2014)
A Pleasant Surprise
28 February 2014
On entering the movie theater it must be said that I was in the exact same mindset as the other 400 sitting alongside me; "Just another blockbuster - i'm only here cos its got Liam Neeson in it", and while the lead protagonist was the star of the show (giving his best big- screen performance since Taken), the true genius of the film chose not to rely on the star-studded cast (including Oscar-nominee Julianne Moore) but came down to the crafty nature in which the plot was unraveled, utilizing ambiguity and unpredictability to the greatest effect. Leaving no stone unturned, the audience are Neeson's ally for the whole journey, knowing just as much as he does and shitting themselves with panic of much a similar capacity.
No film is without its flaws however and Non-Stop is no exception, with a repetitive screenplay that throws in several cringe-worthy one-liners, it could be argued that the script is the main factor holding the cast back from unleashing their full potential. But they do with it what they can, and once you get over the unrealistic (yet utterly thrilling) action sequences, you might just see the picture for what it really is: a smart, white-knuckled roller coaster ride that keeps audience members hanging off the edge of their seat for the whole of the thrilling experience - Non-Stop Entertainment!
No film is without its flaws however and Non-Stop is no exception, with a repetitive screenplay that throws in several cringe-worthy one-liners, it could be argued that the script is the main factor holding the cast back from unleashing their full potential. But they do with it what they can, and once you get over the unrealistic (yet utterly thrilling) action sequences, you might just see the picture for what it really is: a smart, white-knuckled roller coaster ride that keeps audience members hanging off the edge of their seat for the whole of the thrilling experience - Non-Stop Entertainment!
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