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Fails as both a comic book film and a blockbuster

Posted : 1 year ago on 1 January 2016 04:52 (A review of Fantastic Four)

"We are not gods, just people. And we are stronger together than we are apart."

It should surprise absolutely nobody to learn that 2015's Fantastic Four is garbage. The movie polluted multiplexes after months of bad press, with rumours about endless reshoots and battles between the creative team and the studio, to the point that director Josh Trank swiftly disowned the final cut. Fantastic Four attempts to spawn a new cinematic franchise for the Marvel brand after previous failures, this time shedding colour and all sense of fun for a darker, grittier incarnation, striving for a fresh take to distinguish itself in the superhero marketplace. Unfortunately, Fantastic Four was only produced because Twentieth Century Fox is engaged in a stubborn dick-measuring contest with Marvel Studios, and want to retain as many comic book characters as possible. In other words, the motivation behind this cinematic travesty is similar to the thought process that led to the horrendous, now-defunct The Amazing Spider-Man series. As an adaptation of the comics, Fantastic Four is a dismal failure, with Trank himself having discouraged the actors from picking up a comic book since he cared so little about fidelity to the source. And as a superhero blockbuster, this is still a pile of crap, lacking a clear vision and identity, let down by terrible scripting, terrible acting, terrible humour, ugly visuals and terrible pacing.


As children, Reed Richards (Miles Teller) and his pal Ben Grimm (Jamie Bell) begin work on a teleportation device that could revolutionise science, with the pair eventually displaying their innovation at a school science fair. Although their demonstration is far from perfect, Reed and Ben gain the attention of scientist Dr. Storm (Reg E. Cathey) and his adopted daughter Sue (Kate Mara), who believe that the teenagers may have cracked inter-dimensional travel. Invited to study and perfect his device with proper resources and funding, Reed jumps at the chance to help to construct inter-dimensional teleportation pods, joined by the unstable Victor Von Doom (Toby Kebbell), while Storm also brings in his rebellious son Johnny (Michael B. Jordan). With the project about to be turned over to NASA, Reed wants his team to be the first to test the pods, convincing Ben to tag along as well. But an accident occurs in the alien realm known as "Planet Zero" during the experiment, irreversibly changing the team.

Fantastic Four actually plays out a lot like an unofficial follow-up to Trank's 2012 directorial debut Chronicle, even rehashing the same basic story of arrogant teens inadvertently gaining superhero abilities through alien technology. After the lab accident, the movie randomly jumps ahead to find Reed, Ben, Sue and Johnny being held at an underground military bunker, and after one halfway interesting body horror sequence of the characters coming to grips with their powers, the movie randomly jumps ahead another full year, finding the protagonists conscripted as covert ops soldiers while they search for a cure. The transition is as baffling as it sounds, and it feels like a solid half-hour of content is missing. This bizarre structure could be forgiven to an extent if it was an excuse to jump straight into the action, but we aren't that lucky. Instead, the characters just spend their time moping, setting up crises of conscience so that they don't have to go anywhere that might be potentially too expensive for the budget.


In an attempt to distance itself from the previous incarnation of Marvel's first family, this Fantastic Four is almost a David Cronenberg-esque body horror flick, sold with the same brand of dour self-seriousness that has become prevalent since Christopher Nolan's Batman Begins. It sounds interesting in theory, but the execution is downright disastrous, hampered by terrible acting and woeful scripting, while the flick also forgets to be fun. The tone is excessively grim, but there are also horrendous attempts at comedy which were presumably added during the reshoot process. Problem is, the "humorous" dialogue is so witless that the movie would be better off without it. And considering how bad the movie is as a whole, that's a huge fucking call. The script for this muck is every bit as infantile and stupid as a Transformers movie, but the gritty tone wants you to believe it's smart and thoughtful. Although it is possible to create a reflective superhero picture that's low on action, such a movie needs actual, fleshed-out thematic undercurrents and genuine smarts, two base requirements that this Fantastic Four fails to deliver.

For a movie which boasts a respectable $120 million budget, Fantastic Four is oddly lacking in scope, with the latter half of the movie mostly taking place in labs and underground sets, only leaving the dank bunker for the computer-generated Planet Zero. Reportedly, three full action sequences were excised from the movie for timing reasons, and that's a problem. Pacing is all over the shop, and though the movie is relatively short at close to 100 minutes, it feels agonisingly long, because there are no surprises as the narrative progresses and there's no sense of fun, leaving us to wait for each narrative box to be ticked. The reshoot footage is mostly obvious, with Mara sporting a blonde wig that looks seriously comical, while Teller has facial hair that appears and disappears at its own leisure. Furthermore, the quality of the special effects is curiously mixed. The digitally-created Human Torch looks decent while the Thing is convincing to an extent, but Doom looks like digital vomit, Planet Zero resembles a PS2-era game environment, and some scenes boast green screen effects that would look too phoney even in a Sharknado sequel. Visually, the film is flat, drab and far too desaturated, making it impossible to derive any enjoyment from this cinematic black hole.


No thespians on Earth could have enlivened the woeful material, but suffice it to say, the acting here is genuinely ghastly. Although Teller showed promise in The Spectacular Now and Whiplash, he's a mostly awful actor, and it's a wonder why Hollywood insists on putting this irritating ten-year-old in movies. Mara is flat and unremarkable, while Jordan is so generic that he barely registers. Bell is hopelessly wasted as the Thing, mainly because his rock monster portrayal is too dedicated to "gritty realism," denying any flashes of actual personality to come through. It's hard to like any of the central characters, to be honest; we don't buy them as family or even as friends, and it's even harder to root for them as they work to defeat the saran-wrapped abomination that's supposed to be Victor Von Doom during the climax.

Speaking of Doom, he's one of the greatest comic book villains in history, yet his depiction here is outright insulting. Randomly reappearing towards the tail end of the third act, Doom's plan is hopelessly muddled - it's unclear exactly what his endgame is beyond "destroy the Earth," and his motivation is even vaguer beyond being annoyed that he was left for dead on Planet Zero, even though he seems pretty chuffed with his new abilities. Oh, and he's lovesick for Sue and resents her interest in Reed, because the script is a cliché breeding ground. The final battle should be an epic showdown that compensates for the fucking interminable build-up, but it's hampered by lack of scope, with the destruction of Earth limited to a couple brief cutaways right as Doom begins to execute his plan. The battle is oddly unremarkable and plays out awkwardly, lacking that spark of tension to keep us on the edge of our seats. The movie should keep cutting back to Earth to show what's at stake, and perhaps even check in with established characters in peril to establish a sense of threat, but no dice. The climax is a dud.


There's no joy to Fantastic Four, which is devoid of blockbuster thrills and rich characters, with the titular team reduced to a sullen, bitter group of people lacking believable camaraderie. It doesn't even have a fucking Stan Lee cameo! And just as the film begins winding down, the team engage in a horrendously written talk about their powers and discuss what to call themselves; the film might as well have ended on a freeze frame of the cast in mid-laugh like some cheesy old television show. Fantastic Four is one of the very worst comic book movies ever produced, a travesty on the same level as Green Lantern, X-Men Origins: Wolverine and Ghost Rider: Spirit of Vengeance. This is the golden age of superhero blockbusters, yet we're still left waiting for, and wanting, a worthwhile Fantastic Four movie. Interestingly, Fox were so hasty to make a franchise out of this property that a release date for Fantastic Four 2 was pencilled in fifteen months before this instalment even came out. Let’s just be thankful that this movie bombed and the sequel has been removed from the release calendar. We have suffered enough.

3.1/10


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Uniquely excellent western oddity

Posted : 1 year ago on 27 December 2015 12:27 (A review of Bone Tomahawk)

"Say goodbye to my wife. I'll say hello to yours."

It's difficult to pigeonhole 2015's Bone Tomahawk into a single category. On the surface, it's a western, with a 19th Century setting, the threat of Indians, and a story concerning gunslingers. But it's also a horror movie, at times staging vivid, gory scenes reminiscent of 1980's Cannibal Holocaust. Written and directed by S. Craig Zahler, who makes his directorial debut here, Bone Tomahawk is both unique and unpredictable, with controlled bursts of violence breaking up an otherwise incredibly talky, often meditative 132-minute motion picture. It's atmospheric work bursting with period authenticity, and it shows that low-budget westerns are not necessarily cheap or nasty. Indeed, films like 2014's The Salvation and Bone Tomahawk demonstrate that indie filmmakers with limited funds can oftentimes surpass big-budget Hollywood westerns. (Who remembers The Lone Ranger or Cowboys & Aliens?)


Sheriff Hunt (Kurt Russell) maintains peace in the flyspeck frontier town of Bright Hope, but a grubby drifter named Purvis (David Arquette) stumbles into view, piquing the curiosity of the locals. The next morning, word spreads among the community that local doctor Samantha (Lili Simmons) has been abducted by cannibalistic, cave-dwelling savages, who also took Purvis and the town's Deputy (Evan Jonigkeit). Hunt is quick to assemble a posse for a rescue mission, but he isn't exactly spoiled for choice, with local womaniser Brooder (Matthew Fox) and "Back Up Deputy" Chicory (Richard Jenkins) volunteering for the dangerous undertaking. Samantha's husband Arthur (Patrick Wilson) is also determined to tag along, despite nursing a horrible leg injury that has essentially left him crippled.

Bone Tomahawk is the furthest thing from an upbeat American western, with its solemn tone of horror leeching into most every facet of the narrative. No heroics are associated with the rescue mission, finding the four men mournfully saying their goodbyes, not expecting to survive and make it back home after the ostensibly impossible fight. Zahler spends the majority of the picture observing the four men as they travel across harsh terrain, enduring the inherent dangers of the land. Character development runs rampant, with the movie successfully carving out four distinct, identifiable central characters, with full personalities being moulded. Although none of the four men are especially savoury or heroic, it is easy to root for them, and it's interesting to see how each participant is challenged throughout the journey. Particularly unconventional is Arthur, whose gaping leg wound leaves him struggling to keep up with the others, but who's determined to press on nevertheless. Bone Tomahawk is minimalist in the truest sense - it even contains practically no music - and it's not thankfully weighed down by artsy pretentiousness.


Zahler creates a sense of vulnerability, and consequently it feels as if the main characters are in actual danger and might not even fulfil their task, a masterful subversion of classic cowboy pictures. Indeed, the fun of most westerns and action movies is derived from seeing how the heroes will emerge triumphant, but Bone Tomahawk is riveting because it's unclear if any of characters will survive, let alone achieve their objective. In its final act, the movie develops into a survival horror, and heavens me, it's extremely unnerving. Zahler refuses to skimp on the gore, staging vivid scenes of cannibalistic terror, and the vocal "call" of the troglodytes is genuinely petrifying. But the flick also satisfies in its scenes of righteousness, giving the characters a chance to dispatch some of these savages in a badass fashion. Bone Tomahawk is well-made to boot, even with a reported $1.8 million budget, bolstered by focused cinematography and a sense of authority pervading most every frame.

The actors carry the movie ably, with not a dud performance in sight. This is Russell's first western since the 1993 manly classic Tombstone, and he shows that he's still a badass presence. Sporting an incredibly masculine moustache, Russell is in charge of every frame, showing he still has what it takes to be a star despite being in his 60s. Equally impressive are the other main players, with Wilson showing plenty of gravitas as Arthur, while Jenkins is unrecognisable as the faithful elderly deputy, carving out a believable, lived-in role without a trace of artifice. Former Lost star Fox is exceptional as well, despite being an odd choice for a western of this ilk.


Admittedly, Bone Tomahawk is perhaps a bit long in the tooth, with a slow-going first act in particular, and viewers may grow restless waiting for the story proper to begin. At over two hours, the film is a full meal, but it might have been more effective with a tighter final edit. Nevertheless, this is a uniquely excellent oddity which has the potential to become a cult classic. Far grittier and more measured that Hollywood westerns, Zahler places his audience in the midst of the realistic old west, far removed from the romanticised old-world Hollywood depiction that is ingrained in our minds.

8.2/10


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A promising new beginning

Posted : 1 year, 1 month ago on 19 December 2015 11:36 (A review of Star Wars: Episode VII - The Force Awakens)

"The Force, it's calling to you. Just let it in."

From the moment that the iconic opening title crawl begins - accompanied by John Williams' exhilarating, iconic Star Wars theme - it's clear that 2015's Star Wars: Episode VII - The Force Awakens is in safe hands. With George Lucas stepping aside, Star Wars is finally being handled by filmmakers who actually care about the beloved franchise and know how to create genuine big-screen excitement. Ignoring all the prequel trilogy nonsense, The Force Awakens is more interested in recapturing the magic of the original trilogy, picking up thirty years after 1983's Return of the Jedi left off and bringing back familiar faces to kick-start a new slate of sequels and spinoffs. Under the watchful eye of director/co-writer J.J. Abrams, who also enlisted the help of The Empire Strikes Back scribe Lawrence Kasdan, it's a phenomenal nostalgia trip as well as an efficacious world-building exercise, and it genuinely feels like Star Wars in all the right ways.


Luke Skywalker (Mark Hamill) has vanished, and in his absence the tyrannical First Order have risen from the ashes of the Empire, led by the shadowy Supreme Leader Snoke (Andy Serkis). A critical piece of information pertaining to Luke's location is discovered, but Resistance pilot Poe (Oscar Isaac) is compelled to hide the map in his droid, BB-8, when stormtroopers destroy his ship and capture him. Finn (John Boyega) is a stormtrooper who feels disillusioned after his first taste of combat, breaking Poe out of his cell in the hope of escaping the clutches of the First Order. After crash landing on the desert planet of Jakku, Finn meets scavenger Rey (Daisy Ridley), who's in possession of BB-8 and feels determined to deliver the droid to the Resistance. Reluctantly teaming up, the pair soon encounter Han Solo (Harrison Ford) and Chewbacca (Peter Mayhew), who have tried to avoid getting involved in the fight against the First Order. Meanwhile, Kylo Ren (Adam Driver) leads a frantic search for BB-8, assisted by General Hux (Domhnall Gleeson).

Undertaking a project like The Force Awakens would be intimidating for any writer. On top of the obvious cultural significance surrounding the production, Abrams and Kasdan were tasked with bringing back old characters, introducing new characters, and establishing a fresh direction for this new trilogy. Hence, the script has ample baggage to deal with, so The Force Awakens does contain a fair amount of set-up that will likely pay off further down the track. Added to this, there is a certain degree of familiarity permeating the material; this is more or less A New Hope 2.0, borrowing elements of the 1977 hit which started it all, as well as aspects of the original trilogy in general. The film does threaten to come apart at the seams due to this, but The Force Awakens overcomes its noticeable shortcomings by concentrating on what matters most: compelling characters, focused storytelling, rousing action, and a sense of humour. There is more humanity here than ever before, with some worthwhile comedy to break up the drama that miraculously comes across as organic rather than cheap.


Abrams is renowned for his "Mystery Box" approach to moviemaking, determined to keep a lid on practically everything in an attempt to restore some of the sense of surprise that movies used to afford before internet spoilers and online gossip. What's particularly remarkable about The Force Awakens is that the returning characters have a bearing on the narrative at large, and they serve a purpose beyond the obvious passing of the torch. This is especially true of Han and his ever-dependable walking carpet, with Abrams ensuring the pair are vital participants in this story - and they also have a part to play in the overarching narrative leading into Episode VIII. Even more critically, Han feels like a three-dimensional character, as does General Leia (Carrie Fisher, who has aged surprisingly well), and their relationship does strike an emotional chord. Ford is an absolute joy to watch, with the aging thespian showing a surprising amount of enthusiasm throughout; he's effortlessly charismatic, and he's a believable man of action. The Force Awakens also finds time for effective fan service, with the characters here perceiving Han, Leia and Luke as legends due to the events of the original trilogy. (Heh, that's subtle.)

The new characters unquestionably work, which is a huge deal in the Star Wars universe, and I already look forward to spending more time with them in future instalments. And despite the strong sense of homage, there is far more nuance and depth to all of the fresh faces, who bely simple labels like "The New Luke" or "The New Han." What's interesting about Kylo Ren is that he's not Darth Vader; he's a disgruntled Jedi student who aspires to live up to the legacy of his personal deity, but lacks the skill and refinement to reach that level. Ren is more fallible than expected, and his character development is intriguing. Also remarkable is new droid BB-8 (an astonishing practical effect), who actually gives a better performance that most of the actors in the prequel trilogy. Through well-timed bleeps and bloops, and some expressive movements, the droid is able to convey humour, frustration, exasperation, excitement, and other emotions. In short, he's an absolute scene stealer.


Free of the acting vacuum that is George Lucas, the actors here are allowed to emote and express passion, carving out characters we can instantly latch onto. Choosing little-known thespians for Finn and Rey may seem like a calculated attempt to recapture the magic of the original trilogy, but both Ridley and Boyega convincingly knock it out of the park. Ridley is a thrilling screen presence, radiating welcome spirit and emotion, while Boyega can actually act. However, it's Isaac who ultimately steals the show as the pilot Poe Dameron, arguably the best new character. Almost effortlessly, Isaac makes one of those rarely-seen instantaneous turns from "good actor you've seen in a few movies" to "bona fide fucking movie star." Driver is just as promising, essaying a wonderfully nuanced villain, while British actor Domhnall Gleeson makes a great impression as General Nux. A handful of recognisable names do pop up who will presumably return in the future, but the film unfortunately wastes three cast members from The Raid, who aren't even given the opportunity to show off their insane fighting abilities. What was the point?

A large chunk of Disney's marketing campaign has revolved around addressing fan complaints towards the prequels, most notably in regards to the visuals. Indeed, Lucas lathered the prequels in an unholy amount of CGI, but Episode VII harkens back to the old-school approach, with a heavy reliance on practical effects and vast sets. Computer-generated imagery has undeniably reached breaking point due to overuse; blockbusters look too digital, with visual effects shots frequently coming across as workmanlike and phoney. But with a heavy element of practicality and tangibility to the action scenes, there's a level of excitement here that's seldom glimpsed in contemporary blockbusters. We have never seen spaceships look so vivid and utterly real, and it's often impossible to discern what's digital and what's practical. Above all, The Force Awakens is comparatively modest, with realistic physics, and at no point looks like a cartoon. Admittedly, there are a few motion-capture characters who do not look as impressive, including Snoke and Maz (Lupita Nyong'o), but this isn't not a deal-breaker - it's just that the puppetry and make-up is far more appealing. Furthermore, Abrams and cinematographer Dan Mindel elected to shoot on 35mm film stock to emulate the look of the original trilogy, affording a fine grain structure. Better, the picture has not been colour-corrected to death. And by mixing old-fashioned special effects techniques with the new, Abrams and his crew have not only created a film that's aesthetically similar to the original Star Wars trilogy - they have also constructed the most convincing, visually distinctive sci-fi blockbuster in recent memory. 


Compared to the other entries in the Star Wars franchise, The Force Awakens does not have a great deal of lightsaber action, and any fans expecting plenty of heavily-choreographed fights will be disappointed. Ren only crosses blades at the climax, and with the budding Sith and his opponents lacking in training, the resulting battles are rawer than ever, on top of being full of humanity, and it's an utter joy to behold. Furthermore, there is no irritating shaky-cam to speak of. The Force Awakens also sees the return of composer John Williams, which is an exceptional touch. Williams' music is reliably grandiose, though it's perhaps not as impactful as it was in the original trilogy.

The Force Awakens was never going to please everybody. Star Wars fans across the world have already mapped out their dream Episode VII in their heads, and it is simply not feasible for one two-hour motion picture to fulfil millions of different mental checklists. No matter what, there was always going to be a contingency of disgruntled cry-babies. At the end of the day, The Force Awakens is not perfect, and falls short of delivering the same gooseflesh-provoking high that Star Wars provided in 1977, but it is a promising new beginning, an almost "safe" way to launch this new franchise on the right note to win back erstwhile fans and bring in a whole new generation of young viewers. It's accessible without being pandering, deep without being pretentious, and reverent to the original trilogy whilst still feeling fresh. Ultimately, we are now left hoping that Episode VIII will be the Empire Strikes Back of this new trilogy.

7.9/10


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A spectacular, though flawed conclusion

Posted : 1 year, 1 month ago on 16 December 2015 11:33 (A review of Star Wars: Episode VI - Return of the Jedi)

"You underestimate the power of the Dark Side. If you will not fight, then you will meet your destiny."

Disclaimer: Although I will discuss the changes made to Star Wars: Episode VI - Return of the Jedi over the years, this is a review of the original theatrical cut of the movie.

The release of Star Wars: Episode V - The Empire Strikes Back in 1980 solidified Star Wars as one of the greatest franchises in motion picture history, as well as one of the most profitable. And with The Empire Strikes Back managing to surpass the quality of its excellent predecessor, expectations were understandably even higher for 1983's Star Wars: Episode VI - Return of the Jedi, which was directed by Richard Marquand while George Lucas co-wrote the screenplay with Empire scribe Lawrence Kasdan. Alas, Return of the Jedi is easily the weakest entry in the original Star Wars trilogy, and anybody who genuinely believes that it's a masterpiece on the same level as its forerunners must be blinded by nostalgia. However, while it's not the knockout conclusion that it should have been, Return of the Jedi is nevertheless a thrilling final chapter which closes the original trilogy on a sufficiently satisfying note.


A few years have elapsed since the events of The Empire Strikes Back, and the Galactic Empire are in the process of constructing a new Death Star under the supervision of Emperor Palpatine (Ian McDiarmid). Han Solo (Harrison Ford) is still frozen in carbonite and being held at Jabba the Hutt's seedy palace on Tatooine, while Chewbacca (Peter Mayhew) is also captive. Luke Skywalker (Mark Hamill) has grown in his Jedi training thanks to the teachings of Yoda (Frank Oz), and spearheads a rescue attempt, enlisting the help of Princess Leia (Carrie Fisher) and protocol droids C-3PO (Anthony Daniels) and R2-D2 (Kenny Baker). With the new Death Star nearing completion, the Rebel Alliance seek to destroy the space station before it becomes fully functional, with Han leading a strike team on the forest moon of Endor to take out the Death Star's shield generator. Meanwhile, Luke also has unfinished business with Lord Darth Vader (David Prowse).

Star Wars producer Gary Kurtz ended his collaboration with George Lucas after The Empire Strikes Back, as he was concerned that Lucas was too blinded by marketing prospects and toys, with his priorities shifting away from story and character. Screenwriter Lawrence Kasdan also clashed with Lucas, as Kasdan wanted to further explore the themes of Empire, but such a dark tone did not suit Lucas' vision. The original script draft for Return of the Jedi was much darker: it was free of Ewoks, it fulfilled Ford's longstanding wish to kill off Han Solo, and Luke would have walked off alone at the end, "like Clint Eastwood in spaghetti westerns" as Kurtz himself puts it. But none of this appealed to Lucas, who was afraid that this chain of events would harm toy sales.


Ultimately, a lot of Return of the Jedi's flaws do stem from its screenplay, which plays things overly safe and panders to merchandising. The fucking Ewoks are still as irritating as ever and the film has its idiotic moments (Boba Fett's demise is embarrassing, Chewie swings on a vine yelling like Tarzan, and so on), while the ending is far too sappy, saccharine and upbeat. The problems with the Ewoks stretch beyond being simply annoying; it's also not believable that these furry Care Bear lookalikes could fight against armed Imperial stormtroopers and come out on top. And who else finds it a little bit disturbing that the Rebel victory is literally all attributable to Han accidentally stepping on a twig? Furthermore, another assault on the Death Star does carry a bit of a "been there, done that" feeling, an issue that Kurtz even brought up with Lucas in pre-production. But while these issues are bothersome, they are thankfully not enough to sink the entire enterprise.

With The Empire Strikes Back having grossed more than A New Hope at the global box office, another budget increase was permitted for Return of the Jedi, and it's easily the most visually impressive of the original trilogy. The film may be marred by its mediocre script, but this Star Wars instalment really delivers in terms of big-screen entertainment, and it's still downright tremendous in 2015. Marquand reportedly received help from Lucas throughout shooting due to his inexperience with special effects, and the two men reportedly clashed numerous times on set, yet the finished product looks astonishingly assured. As with its predecessor, the practical effects are simply sublime, and the 35mm photography affords a tangible aesthetic that's easily superior to the glossy, digital-looking movies that are produced so often in the 21st Century. Puppets are also used to great effect, with Yoda coming across as a believable, flesh-and-blood character, while Jabba's palace is populated with colourful specimens brought to life through excellent make-up and puppetry. And as per usual, John Williams' enrapturing soundtrack is the cherry on top.


Return of the Jedi received a whole heap of egregious changes courtesy of Lucas, culminating with the borderline unwatchable Blu-ray edition. One of the worst offenders is the addition of a hugely irritating song at Jabba's palace which replaces a far grimier musical number in the theatrical cut. The new song is grating, while the digitally-created singers are hard to look at, especially with the shonky '90s CGI that has dated tremendously. It's also far too upbeat, standing in stark contrast to the unnerving disposition of Jabba's dangerous palace. Worse, Lucas fucks up Vader's epiphany by repeating the "Nooo!" sound-byte from Star Wars: Episode III - Revenge of the Sith (seriously, he must be trolling), on top of changing the celebratory music at the end, adding a shot of Naboo (from The Phantom Menace), and even inserting the ghost of Hayden Christensen, which is one of the biggest betrayals in Star Wars history. Other superfluous CGI shit is added, too, including a bewildering digital extension of the door to Jabba's palace. Ultimately, the original unaltered version is the one and only way to watch Return of the Jedi, for my money.

As with the previous Star Wars pictures, some of the proceedings do border on melodramatic soap opera, especially with Han and Leia's romance, lots of talk about Luke's destiny, and some cheesy dialogue. However, it all comes together nicely thanks to the sincerity of the material and the easily sympathetic characters. And speaking of the characters, it's amazing to witness Luke's character growth across the trilogy, and Hamill sells the transformation magnificently. The Luke Skywalker who battles Lord Vader here is not the same gee-whiz farm boy we first saw in A New Hope, and he has also grown more mature since his reckless actions in The Empire Strikes Back. Equally assured is the perpetually-reliable Harrison Ford, once again an ideal, badass hero as Han Solo, while the rest of the actors hit their respective marks with confidence.


Return of the Jedi undeniably roars to life during its final act, when Luke confronts Vader and Palpatine. The drama throughout the conflict is riveting, and the excitement is amplified by the concurrent battles, as Luke fears for the safety of his friends. And ultimately, the resolution is both satisfying and touching. Return of the Jedi is not a bad movie by any stretch, but it is a tad disappointing when placed alongside the other two entries in the original Star Wars trilogy. Despite the occasionally distracting sense of commercialism, this is still a slick, exciting way to close to the sacred trilogy, and the flaws are overcome by the sheer charm and sense of escapism it manages to generate. And compared to the Star Wars prequel trilogy, Return of the Jedi is perfectly fine.

6.7/10


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Darkest, deepest, most mature Star Wars film

Posted : 1 year, 1 month ago on 15 December 2015 04:18 (A review of Star Wars: Episode V - The Empire Strikes Back)

"Control, control, you must learn control!"

Disclaimer: As with my critique of Star Wars: Episode IV - A New Hope, this review will be in reference to the theatrical cut of The Empire Strikes Back, unless otherwise specified.

Surpassing even the most optimistic of expectations in 1977, Star Wars became a phenomenon, earning a mint at the box office and bringing in millions of additional dollars in merchandising. Producing a sequel to such a much-loved motion picture would be daunting for any filmmaker, yet, like its predecessor, Star Wars: Episode V - The Empire Strikes Back managed to transcend all expectations with ostensibly effortless aplomb. Released in 1980, The Empire Strikes Back succeeds because it's not just a simple, light-hearted victory lap for George Lucas and his crew - it's a bold, dark sequel which closes on an uncertain note and leaves more questions than answers. It isn't just a terrific sequel on its own terms, but also one of the best follow-ups in feature film history, and it's arguably superior to the motion picture which spawned it. Boasting terrific special effects and the confident directorial hand of the late great Irvin Kershner (RoboCop 2), The Empire Strikes Back is a masterpiece that still endures in the 21st Century.


Three years after the successful assault on the Death Star, the Rebel Alliance have constructed a new base in secret on the ice planet of Hoth, hidden from the Galactic Empire. But when probe droids alert Imperial forces about the location of the rebels, Lord Darth Vader (David Prowse) spearheads an invasion, forcing an evacuation of Hoth. While Luke Skywalker (Mark Hamill) is instructed by the spirit of Obi-Wan Kenobi (Alec Guinness) to travel to the Dagobah system to seek out Jedi instructor Yoda (Frank Oz) for training, Han Solo (Harrison Ford) seeks safety elsewhere, travelling with Princess Leia (Carrie Fisher), Chewbacca (Peter Mayhew) and trusty protocol droids C-3PO (Anthony Daniels) and R2-D2 (Kenny Baker). But Vader summons multiple bounty hunters, including the notorious Boba Fett (Jeremy Bulloch), to hunt down Solo's ship.

Although George Lucas wrote and directed 1977's A New Hope, he wisely enlisted outside help for this instalment, with screenwriters Leigh Brackett and Lawrence Kasdan working from Lucas' story outline. Due to this, The Empire Strikes Back irons out the little imperfections of the original film, particularly in regards to dialogue. Furthermore, whereas A New Hope was on the simplistic side, this sequel ups the ante and expands the franchise's scope, ditching the light popcorn serial mentality in favour of a darker tone, with its daring ending demonstrating that the good guys do not always win. This is also a far denser tale, even adding a layer of romance by exploring the sexual tension between Han and Leia that was palpable in A New Hope. Furthermore, The Empire Strikes Back expands upon the Jedi religion by introducing Yoda, a wise old Jedi Master who once instructed Obi-Wan. Yoda was brought to life by Jim Henson's legendary creature shop, who created an astonishingly expressive puppet, while Muppets veteran Frank Oz voiced and performed the role to perfection.


A New Hope was produced for a meagre sum, and barely any executives at 20th Century Fox had any faith in the production. But the extraordinary box office performance led to a generous budget boost for The Empire Strikes Back, and as a result this is a more polished, visually striking endeavour. The crew did not have to take as many shortcuts this time, with production design and special effects looking as slick and impressive as ever. Even by 2015 standards, The Empire Strikes Back looks extraordinary, with its reliance on practical effects and location shooting affording the film a tangible, realistic visual aesthetic, while the proficient sound design gives vivid life to this sci-fi fantasy world. Moreover, the spectacular action sequences are also hugely exciting, from the riveting Hoth battle to an exhilarating asteroid field chase, as well as the climactic lightsaber duel between Vader and Luke that doesn't disappoint in the slightest. What's especially notable about the Luke/Vader conflict is that it’s not all about fancy fight choreography, as the duel actually means something and is brimming with emotion and drama. Consequently, it's one of the greatest sequences in the Star Wars saga. Furthermore, The Empire Strikes Back is given an additional boost in the form of John Williams' enrapturing original score. Williams creates an array of effective themes beyond the insanely memorable Star Wars title music, perfectly accompanying the spectacular visuals. It's hard to imagine Star Wars being as exhilarating as it is without the iconic soundtrack.

The acting here is a bit more refined, with Hamill in particular seeming more comfortable in the role of Luke Skywalker. Since The Empire Strikes Back is a darker movie, the characters are given more depth than before, and Hamill's performance during the emotionally devastating climax is really remarkable. Meanwhile, Ford remains effortlessly cool, embodying the kind of edgy, badass hero that all kids aspire to be. The movie also introduces Billy Dee Williams, who's another bright spot playing Han's old friend Lando. But the best newcomer here is fan favourite Boba Fett. The design of Fett's trademark armour is iconic, while his badass demeanour and imposing voice solidifies his status as a memorable character. Fett is perfectly voiced by Jason Wingreen; we will ignore that his voice was replaced with Temuera Morrison for the DVD release in 2004, with the change being carried over to the movie's Blu-ray debut. Admittedly, though, this is the only overly vexing alteration that Lucas has applied to the movie, with the minor digital touch-ups actually serving to bolster the already impressive visuals.


Everything in The Empire Strikes Back simply works, from the flawless action sequences to the incredible visuals and memorable characters, while its thematic undercurrents elevate it above more run-of-the-mill blockbusters. As with A New Hope, some content does border on the cheesy side, yet it's sold with so much sincerity that it's not bothersome at all. This is a superlative movie; the darkest, deepest, most mature and most thoughtful instalment in the Star Wars franchise to date. It's a rare type of classic blockbuster that can be adored by film fans and critics alike without needing to rely on nostalgia, as it confidently holds up years later. If anything, the movie is more breathtaking in 2015 simply because of how convincing the visual effects still look, despite being executed in 1980.

10/10


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Still hugely satisfying and enjoyable

Posted : 1 year, 1 month ago on 15 December 2015 07:25 (A review of Star Wars: Episode IV - A New Hope)

"The Force is strong with this one."

Star Wars is so much more than just a movie - it's a cinematic experience; an event picture with the ability to appeal to adults, teenagers and children in equal measure. It's an influential pop culture phenomenon which has become omnipresent over the last four decades, leading to video games, comic books, toy lines, animated television shows, and every type of merchandise you can possibly imagine. When it was released in May 1977, there had never been a motion picture quite like Star Wars before. Sure, there had been goofy science fiction flicks, but George Lucas and his team created a believable, successfully straight-faced spectacle, executing an involving character-driven story with state-of-the-art special effects. And in 2015, this first Star Wars movie - which was later re-titled Star Wars: Episode IV - A New Hope - has lost none of its potency; it's still an insanely enjoyable space opera fantasy epic, imbued with breathtaking action scenes and top-flight technical specs. Adults will appreciate the compelling storytelling, while kids will be enraptured by the film's colourful special effects.


Civil war has broken out across the galaxy, and the Galactic Empire have finished constructing a heavily-armoured space station known as the Death Star, which is powerful enough to destroy entire planets. The Rebel Alliance manage to steal the plans for the Death Star, but Imperial forces led by Lord Darth Vader (David Prowse) board a rebel spaceship, capturing Princess Leia (Carrie Fisher) who manages hides the Death Star plans in small droid R2-D2 (Kenny Baker), along with a desperate message for a certain Obi-Wan Kenobi (Alec Guinness). R2-D2 and fellow protocol droid C-3PO (Anthony Daniels) escape the captured ship, landing on the desert planet Tatooine. The droids wind up in the possession of young farmer Luke Skywalker (Mark Hamill), who dreams of a more exciting life. Finding Leia's message, Luke sets out to find Obi-Wan, but the Empire is also on the planet searching for the droids. Luke and Obi-Wan enlist the help of space pirate Han Solo (Harrison Ford) and his Wookie associate Chewbacca (Peter Mayhew) to help rescue the princess.

Many different iterations of Star Wars: Episode IV - A New Hope exist, with Lucas having altered the film for its 1997 Special Edition re-release, its 2004 DVD debut, and its 2011 Blu-ray release. To avoid confusion, I will concentrate on the original 1977 theatrical cut for this review, which is the preferred edition of myself and the majority of the world's Star Wars fans. Furthermore, even though the film was not initially called A New Hope, I will utilise its newer title in reference to the movie during this review. Got it? Good. We can proceed. 


The central storyline of A New Hope is simple, to be sure, but this is perhaps one of the movie's primary charms. Whereas comparable sci-fi films like 1979's Star Trek: The Motion Picture get bogged down in chatter and big ideas, A New Hope is, at its core, an engaging Hero's Journey-esque narrative, with background details to enhance the story without harming pace or taking too much focus away from Luke. This first Star Wars movie continues to hold up because it doesn't forsake emotion for action. Whereas the Star Wars prequels amount to self-indulgent special effects demo reels with little in the way of heart or emotion, A New Hope takes its time to develop the roster of heroes, which amplifies the excitement of the action scenes since it's easy to care when the characters are put in danger. A sequel was never a sure thing during filming (what an amusing notion, looking back), thus A New Hope is a self-contained story, and does a superlative job of introducing the world and characters of Star Wars better than any of its sequels or prequels.

A New Hope demonstrates the old adage of "art through adversity." Lucas did not have a blank cheque to fulfil his vision, consulting his talented collaborators to create an achievable vision with the limited funds at their disposal and within the inherent restrictions of the era. It's the resourcefulness of the crew behind Star Wars which gives the picture its magic, as it's amazing what they were able to achieve considering the less-than-ideal conditions. Perhaps the greatest unsung hero of Star Wars is producer Gary Kurtz, who had previously worked with Lucas on American Graffiti and who was hugely influential as Star Wars took shape. Basically, Kurtz overturned many of Lucas' bad ideas and even coached the actors, but he gets barely any credit; people still mistakenly believe that the success of Star Wars is all attributable to Lucas.


The difference between A New Hope and more recent sci-fi movies is substantial. Produced before the advent of digital effects and computer-generated imagery, this first Star Wars is reliant on vast sets, location photography, skilful matte paintings, models, and other methods of special effects that were an absolute breakthrough at the time. And with the movie having been lensed on 35mm film stock, it carries a natural grain structure which makes the enterprise look tangible and real. Moreover, the fact that the props and sets aren't glossy or perfectly polished adds to the movie, as it gives the environment a properly lived-in feel. A New Hope is a movie that you can still watch and enjoy in 2015 without needing to cut the special effects any slack, because the grand illusion still stands. Convincing make-up and prosthetics were used to create the aliens, while the space battles were the result of a lot of hard work using miniatures and model ships. Even though the set-piece are not as dynamic as more recent action-adventures, it hardly matters; if anything, its modesty is precisely why the movie still works.

As stated previously, A New Hope's theatrical cut is the best way to watch the movie. Though some of the tactful digital touch-ups do work, the additional CGI creatures are unnecessary (the Jabba the Hutt scene is dreadful, with dated '90s CGI taking you out of the movie), and there are numerous other alterations which only serve to undermine the visuals and the story. Hell, even the colour grading has changed, making laser bolts look pink at times.


Star Wars is not exactly an actor's movie, but performances across the board are nevertheless effective, particularly Harrison Ford who's an impeccable Han Solo. The cast also boasts some veteran performers, with Alec Guinness and Peter Cushing playing vital roles in the proceedings, affording the production a degree of welcome gravitas. And then there's Lord Darth Vader, who was performed by David Prowse while James Earl Jones provided the unforgettably authoritative voice. Everything about Vader is memorable, from the design of his badass outfit to Earl Jones' ideal vocal performance, making him one of the great all-time villains of cinema. Furthermore, A New Hope benefits from John Williams' iconic score. There are not many themes as instantly recognisable as the Star Wars title music, as it's perfectly majestic and instantly evokes exhilaration. Williams' compositions across the board are note-perfect, amplifying the drama and excitement.

Admittedly, Star Wars: Episode IV - A New Hope is not a perfect film - it can be nit-picked in a few areas, and the dialogue can be clunky and stilted. Nevertheless, it remains hugely satisfying and well-made, especially in the wake of the abominable prequel trilogy which lost sight of the factors which made A New Hope such a great movie.

9.3/10


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It's best to continue ignoring it

Posted : 1 year, 1 month ago on 13 December 2015 01:57 (A review of Bates Motel)

"Oh, by the way, if you ever need a room, come on by. Can't say for sure what you'll find, but that is what makes the world go round."

Long before A&E's Bates Motel premiered in 2013, there was the 1987 telemovie Bates Motel, which was designed to be a pilot for a potential television show. Suffice it to say, the show was never picked up by any network, and it's not hard to see why. Written and directed by Richard Rothstein, the movie disposes of everything that made Psycho so fascinating in the first place, and it doesn't even focus on franchise lead Norman Bates. Rather than a disturbing horror like Alfred Hitchcock's timeless classic, Bates Motel is a bewildering thriller/fantasy concoction with very little merit in its premise or execution. For Hitchcock fans, it's a frustrating insult.


After the events of the first movie, Norman Bates (briefly played here by Kurt Paul) is sent to a mental asylum, where he meets troubled young boy Alex West (Bud Cort) who murdered his abusive stepfather. Norman takes Alex under his wing, essentially acting as his surrogate father. Coincidentally, Norman dies in the same year that Alex is set to be released, and Norman's will specifies that Alex is to inherit the Bates Motel as well as the nearby family home. Travelling to the rundown motel, Alex meets a plucky squatter named Willie (Lori Petty), who convinces Alex to let her hang around. Wanting to honour Norman, Alex becomes determined to renovate the old Bates Motel and re-open the establishment to the public. However, Alex begins to see a dark figure lurking around the residence who looks like Mrs. Bates, and things begin to happen which threaten Alex's dream.

Bates Motel ill-advisedly and inexplicably retcons the Psycho sequels, playing out as a direct follow-up to Hitchcock's Psycho. However, there are fundamental flaws and inconsistencies that cannot be ignored by anybody who has actually watched Psycho, let alone those who know it intimately. For instance, in Hitchcock's movie, the motel resides about fifteen miles outside of Fairvale, but in Bates Motel, the establishment is a half-mile away from "Fairville." Worse, in the movies and in Robert Bloch's Psycho novel, Norman's mother is named Norma, but all the characters here seem to think that Mrs. Bates' first name is Gloria. And while the construction crews are working on the motel here, they stumble upon the body of Mrs. Bates, which makes no sense since her body would have been properly laid to rest after being found in Hitchcock's movie. Unless Norman broke out of the asylum to specifically steal his mother's body again, just to bury it at the motel... See how none of this makes any sense? One has to seriously wonder if Rothstein has even seen the Hitchcock film - in all likelihood, he just read a brief plot outline of Psycho before working on his screenplay.


Bizarrely, Rothstein turns Bates Motel into a saccharine supernatural sitcom, with kind-hearted ghosts and no murders. It's a peculiar knockoff of the likes of Twilight Zone and Fantasy Island, involving guests checking in where they confront their fears and emerge as a whole new person. Out of nowhere in the final act, a woman (played by Kerrie Keane) checks into the motel looking to commit suicide, but a group of deceased teens rise from the grave to have a '50s-style party and persuade her to change her mind. Jason Bateman even stars as one of the teens, and all the ghosts pay Alex to rent rooms in the motel. Despite the fact that this subplot is utterly ridiculous, the supernatural has never been part of the Psycho mythology; it's a tale about monsters within. By leaning on this crap, Bates Motel negates the very thing that made the original movie such a unique entity.

The only noticeable tie-in to Psycho is the Bates Motel setting (though it's renovated beyond all recognition), and the brief appearance of Norman, who isn't even played by Anthony Perkins. Worse, the majority of the movie is concerned with the hopelessly humdrum machinations involved in getting the motel up and running again, lacking the type of Hitchcockian suspense that should be omnipresent in a production like this. Even though ostensibly spooky things do happen, such sequences are not scary or unnerving, and climactic reveals fundamentally transform the entire enterprise into an episode of Scooby Doo. On this note, the movie's tone is all over the place, with irritating attempts at comedy - Willie is even introduced wearing a fucking chicken costume. It's an outrage to see such content in a Psycho spinoff, and the film even ends with Alex breaking the fourth wall, because TV.


Things were eventually set right in the Psycho universe with the release of Psycho IV: The Beginning in 1990, which ignores Bates Motel and exists in the same continuity as the other Psycho sequels. Thus, it's easy for fans of the Psycho film series to continue happily ignoring Bates Motel, which is in the same league as the Star Wars Holiday Special - a historical curiosity that's probably better left unseen. Hell, even Anthony Perkins himself detested the film.

2.8/10


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Respectable way to close the franchise

Posted : 1 year, 1 month ago on 3 December 2015 05:15 (A review of Psycho IV: The Beginning)

"Oh, I've killed before, and now I'm gonna have to do it again."

It has been stated before and it deserves to be repeated: Alfred Hitchcock's Psycho did not need to be sequelised. But that didn't stop sequels from materialising, leading to the unexpectedly strong Psycho II and the underwhelming Psycho III. Released in 1990, Psycho IV: The Beginning is the final instalment in the Psycho franchise (save for the remake and the recent TV show), and the last motion picture to feature Anthony Perkins in his most iconic role. Although the last two sequels were released theatrically, Psycho IV debuted on cable television, hence it's a fairly low-key affair, for better or for worse. The good news is that this fourth movie is better than Psycho III, and is actually a fairly decent movie in its own right, but of course it falls far short of the timeless classic that spawned it.


Rather than another murder spree for Norman Bates (Perkins), Psycho IV functions as a prequel of sorts, which is tradition for horror franchises. Norman now lives peacefully with his wife Connie (Donna Mitchell), who informs him that they are having a baby even though Norman is vehemently against continuing the Bates lineage. Late one night, Norman calls into a late-night radio show hosted by Fran Ambrose (CCH Pounder) who’s covering the topic of why sons kill their mothers. Calling in under the pseudonym of 'Ed' (presumably a nod to Ed Gein, the serial killer whom Bates is based on), Norman relays the tale of his younger years when he lived with his mother Norma (Olivia Hussey). A controlling, demanding woman with severe mood swings, Norma psychologically abused Norman (played as a teenager by Henry Thomas) and repressed his sexuality, driving him to commit murder. And as he tells his story on the radio, Norman also explains that he has the urge to kill just once more...

For a television film, Psycho IV was a fairly ambitious project. After all, it follows in the footsteps of Hitchcock's immortal classic and was even penned by Joseph Stefano, who wrote the screenplay for the 1960 film (adapting Robert Bloch's novel). Even though there's a IV in the title, one doesn't need to have seen the other sequels in order to watch this one - Psycho IV plays out as more of a direct sequel to Hitchcock's movie, though II and III aren't exactly contradicted either. Whereas Norma has been heavily discussed in previous films, this is the first instalment to feature scenes of her when she was alive, providing a firsthand glimpse of Norman's upbringing. However, the relationship is not as layered and nuanced as perhaps it should, with Norma written as an outright evil character. Psycho IV also misses the chance to do something more novel with Bates' backstory, not to mention Stefano neglects the dark comedy aspect that was most notably present in the prior sequels, making this a very serious affair.


Despite the problematic writing, Psycho IV nevertheless does its job well enough. At the helm was Mick Garris, who also directed the likes of Critters 2 and Sleepwalkers. Working from a modest budget, the movie is fairly basic in its cinematography and direction, lacking the spark of visual elegance previously provided by Hitchcock and Richard Franklin (Psycho II). A defter cinematographer might have made the picture more exciting, yet it’s still competent enough, especially for a TV movie produced in 1990. Murder scenes are often thrilling, particularly the intense scene of Norman poisoning his mother and her lover, and Garris keeps the movie chugging along at an agreeable pace for its modest 96-minute duration. The score, composed by Graeme Revell (The Crow, Sin City), often slavishly recreates Bernard Herrmann's iconic sound, yet it's mostly effective.

Perkins, who had directed Psycho III and was perpetually associated with Bates, is note-perfect as to be expected, effortlessly slipping back into his notorious role as if no time had passed. It's hard not to like Perkins, with his boyish good looks and limitless charisma, which gives the film an edge. Meanwhile, Henry Thomas, who was so adorable in Steven Spielberg's E.T., is a superb young Norman Bates, managing to mimic Perkins' traits without coming off as forced - it's easy to accept that this is the same character. He's one of the film's main assets, and he's sympathetic despite the awful acts he commits. And as Norman's mother, Hussey does her best with the overly one-dimensional role, believable as both a loving mother and a cruel sadist. She's also incredibly beautiful. Worth noting that Hussey actually appeared in 1974's Black Christmas, one of the many slasher films that was inspired by Hitchcock's Psycho. The rest of the ensemble are serviceable, with Pounder making a particularly good impression as the radio host.


Psycho IV is frequently criticised, often unfairly so. Of course it pales in comparison to the first movie, but basically every horror movie does. What matters is that it's not an awful sequel, and it doesn't tarnish the franchise. Added to this, it's an improvement over Psycho III, and it's at least admirable that the movie doesn't turn Bates into a mindless slasher like Jason Voorhees or Michael Myers. Though not scintillating, Psycho IV is a perfectly respectable way to close the series, and a fine way to conclude the story of Norman Bates, who still retains sympathy and humanity thanks to Perkins' fine, nuanced portrayal.

6.2/10


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An entertaining Finnish oddity

Posted : 1 year, 1 month ago on 30 November 2015 04:15 (A review of Big Game)

"Not political, not religious. He is just a certified grade-A psychopath."

By all accounts, Big Game is a relatively inexpensive, direct-to-video action flick, yet it's more skilful than such a description implies, delivered with unique zeal and flavour. Overseen by the same director responsible for the peculiar Finnish export Rare Exports: A Christmas Tale, this is a short but entertaining throwback to a simpler era of action films, playing out like a movie from the '80s or '90s, reminiscent of Toy Soldiers and Air Force One. It's not original in any way, it relishes in genre clichés, and it's pretty silly on the whole, but it's a mostly effective endeavour thanks to the worthwhile cast, snappy pacing and creative premise, not to mention the plot is enriched by the sense of culture. Be aware, however, that this is definitely an oddity.


The President of the United States, Alan Moore (Samuel L. Jackson), is headed to Finland on official business, travelling on Air Force One under the protection of Secret Service Agent Morris (Ray Stevenson). But the plane is threatened, targeted with missiles by big game hunter Hazar (Mehmet Kurtulus) who has sinister plans for the President. With Moore ejected from the plane in an escape pod, he's left alone in the Finnish wilderness, while Morris reveals himself to be aligned with Hazar. However, the President's saving grace arrives in the form of 13-year-old boy Oskari (Onni Tommila), who's in the mountains by himself to complete an animal hunt to prove himself worthy as he enters manhood. With Hazar closing in, Oskari and the President stick together, with the young boy determined to guide Moore back to civilisation.

Whereas Rare Exports was bolstered by its complexity and sense of imagination, Big Game is a far simpler endeavour, and a number of complaints can be levelled against the movie on a script and storytelling level. Often times, the picture cuts to the situation room with the Vice President (Victor Garber) and his usual entourage, but this aspect of the narrative is so undercooked and at times jarringly on-the-nose that it comes off like a perfunctory footnote. There's a conspiracy angle at play here, but it remains unresolved, and the players involved are at times frustratingly careless. Ultimately, however, it's unclear whether this is the fault of the writing or the editing, as there are reports of a 110-minute cut in existence that might have been severely truncated for pacing reasons. Whatever the case, the film in its finished form is far from perfect.


Fortunately, Big Game succeeds in other areas, showing more care with the main thrust of the story involving the President and Oskari. There is a degree of heart at play here, with Oskari's journey into manhood a conventional but nevertheless effective story angle. It is worth noting, though, that the movie doesn't play out entirely as expected - writer-director Jalmari Helander eschews obvious mismatched buddy comedy antics, and Jackson's President is not a man of action. To Helander's credit, he does well by briskly burning through requisite set-up and character development to get into the nitty gritty action stuff. Viewers who enjoy absurd-but-entertaining action flicks of yesteryear should find Big Game fairly satisfying, with Helander showing a deft hand when it comes to the set-pieces. This is a PG-13 movie, and though a full-blooded R-rated movie closer to Air Force One might have worked better, it doesn't knee-cap the picture as much as expected. The budget, though modest by Hollywood standards, is pretty lavish for a Finnish production, thus Big Game is a visually interesting movie, making fantastic use of the eye-catching scenery, even if some of the digital effects shot do look phoney.

Helander has rounded up an impressive ensemble cast of established actors, led by Jackson who is reliably charismatic and watchable. The veteran actor is more grounded than usual, playing it mostly straight, which is appreciated. Alongside him is the young Tommila, a Finnish actor who also appeared in Helander's Rare Exports. Tommila is not hindered by the usual pitfalls associated with child actors, and at no point does he get on the nerves, which is a miracle. He plays well alongside Jackson and he's believable as Oskari, which works in the actor's favour. As Morris, Stevenson sinks his teeth into a bog-standard villain role, which falls right into the actor's wheelhouse, while Garber is his usual disarming self as the Vice President. Also of note is British actor Jim Broadbent, who's something of a highlight as usual.


Big Game is short and sweet, clocking in at under 90 minutes. The movie could have done with more narrative meat on its bones, and perhaps a few additional action beats, particularly for the climax which seems to be lacking something to make it a total knockout. The script is not airtight either, and armchair critics will probably find a fair bit to nit-pick. But even if Big Game lacks edge, Helander knows what kind of movie this is, and has created a breezy, easily-watchable action film with humour and excitement. While it won't work for every taste, I had a good time watching it.

6.2/10


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Has issues, but still worthwhile

Posted : 1 year, 1 month ago on 29 November 2015 02:39 (A review of Insidious: Chapter 3)

"No matter what happens. No matter what you see. Stay strong."

Let's get the obvious out of the way first: Insidious: Chapter 3 is not as good as the first two Insidious movies, which is disappointing to a certain extent. However, it still confidently rises above the usual low standard for horror movies in this day and age (it's better than Ouija and Annabelle), and in this case, that's just good enough. This second sequel to 2010's Insidious sees usual franchise director James Wan reverting to a producer role, leaving long-time collaborator Leigh Whannell to fill the director's chair (Wan was preoccupied with Furious 7). Whannell, who co-wrote the previous Insidious movies, is not as competent as his predecessor, but Insidious: Chapter 3 is by no means a bust, serving up an interesting prequel angle and still containing a handful of worthwhile horror sequences.


Still devastated over the loss of her mother, 17-year-old Quinn (Stefanie Scott) is attempting to get into acting school, while her overworked father Sean (Dermot Mulroney) struggles to keep the family together. Wanting to make contact with her late parent, Quinn turns to noted psychic medium Elise (Lin Shaye), who has renounced her practise due to previous experiences that utterly drained her. Nevertheless, Elise agrees to help, but whilst communicating with the other side, a sinister entity latches itself onto Quinn. The demon begins to wreak havoc on Quinn's life, leaving her bedridden after a car accident. Powerless to fight the evil, Quinn and Sean turn to Elise, desperate for help, while unproven internet ghost hunters Specs (Leigh Whannell) and Tucker (Angus Sampson) also help out as best they can.

Chapter 3 is not as scary as the first two movies, and it's certainly nowhere near as terrifying as Wan's surprise hit The Conjuring. Whannell was visibly finding his feet as a director here, with a heap of jump scares as opposed to the more carefully-crafted scenes of terror that Wan can now pull off in his sleep. Indeed, the issue here is the lack of anticipation; Wan's movies have the ability to keep us on the edge of out seat for minutes at a time, waiting for something to happen, but Chapter 3 comes up short in this respect. With that said, however, there are some spooky moments that do work, and some of the jump scares do their job reasonably well. The film also introduces some unsettling new demons, with the primary antagonist looking sickly and gross, a nice change of pace from the "Lipstick Demon" or the old lady from the previous pictures. Insidious: Chapter 3 looks slick and refined, with the expectedly modest budget ($10 million in this case) being put to great use. The visuals are bolstered by the typically creepy score courtesy of franchise veteran Joseph Bishara, though the trademark Insidious theme is not used as much as expected.


Being a prequel, Chapter 3 does strive to serve as an origin story of sorts, finding Elise already haunted by the presence of the old lady who eventually kills her. It also traces Elise's working relationship with Specs and Tucker (even though the webisodes for the second movie already revealed how they met). The prequel angle is in no way novel, and now seems customary for any prominent horror franchise, yet it’s still interesting to see, in spite of some overly cutesy prequel touches. What's interesting about Insidious: Chapter 3 is the surprising emotional heft and thematic depth to the narrative, with Sean struggling to move on after the tragedy of losing his wife, straining his relationship with his children. The plot is put in motion by Quinn, who only wants psychic intervention to get closure with her late mother, and the climax is unexpectedly powerful due to this. It's certainly a different dynamic compared to the first two Insidious pictures.

Shaye has always been a pleasure to watch, and Insidious: Chapter 3 gives her a welcomely larger role in the proceedings. As ever, Shaye is note-perfect here as Elise, oozing gravitas and charm, and she's also totally believable as a psychic medium. Equally impressive is newcomer Stefanie Scott, who's easy to connect and sympathise with. Whannell deliberately chose a real teenager as opposed to a twenty-something like most Hollywood movies, and it's a nice touch that enhances the production. The rest of the ensemble submit solid work as well, with the likes of Mulroney, Sampson and director Whannell all hitting their marks. James Wan even has a cameo, which is a nice touch.


Insidious: Chapter 3 has its problems, with a screenplay that occasionally lacks focus, and with a shortage of memorably scary sequences, but it's a decent effort on the whole, and it will be interesting to see if Whannell continues his path of spooky filmmaking after carving out a career as a writer and actor. Too many horror franchises feel compelled to move beyond a trilogy, with the likes of Saw (another Wan/Whannell series) and Paranormal Activity sullied by endless sequels. Although more Insidious films may be enticing simply because this is better-than-average horror franchise, this is the ideal time to close the book on the series and call it quits, especially with the law of diminishing returns already in effect.

6.3/10


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