Explore
 Lists  Reviews  Images  Update feed
Categories
MoviesTV ShowsMusicBooksGamesDVDs/Blu-RayPeopleArt & DesignPlacesWeb TV & PodcastsToys & CollectiblesComic Book SeriesBeautyAnimals   View more categories »
Listal logo
All reviews - Movies (1609) - TV Shows (38) - DVDs (2)

A sharp, darkly comic fable with exemplary acting

Posted : 4 months, 3 weeks ago on 14 September 2024 07:18 (A review of The Banshees of Inisherin)

The Banshees of Inisherin is the long-awaited reunion of In Bruges writer-director Martin McDonagh with actors Colin Farrell and Brendan Gleeson, but this is a vastly different movie than their earlier collaboration. Both films are morality tales with solemn philosophical themes, but whereas In Bruges was a fast-paced black comedy with a touch of action, The Banshees of Inisherin is downbeat and dialogue-driven, supplementing the pitch-black hilarity with strong melancholy and despondency. After the momentous critical and commercial success of 2017's Three Billboards Outside Ebbing, Missouri, which also earned Academy Award recognition, it is encouraging to see McDonagh avoid the temptation of pursuing big-budget blockbusters or superhero movies, instead sticking with a modest budget and his established filmmaking modus operandi. Arguably the playwright-turned-filmmaker's finest movie, The Banshees of Inisherin is a small-scale comedic fable about loneliness, loss and broken friendships, elevated by razor-sharp scripting and exceptional performances.


In 1923, as the Irish Civil War continues on the mainland, simple Irishman Pádraic Súilleabháin (Colin Farrell) resides on the isle of Inisherin with his sister, Siobhán (Kerry Condon). Without any grand ambitions, Pádraic happily spends his days at the pub with his lifelong friend, Colm Doherty (Brendan Gleeson). However, Colm abruptly begins ignoring Pádraic, telling the bewildered and devastated man that their friendship is over because Pádraic is too dull and he would rather spend the rest of his life pursuing fulfilling things like composing music instead of engaging in pointless chatter. Unsure what to do, Pádraic refuses to leave his former friend alone, continually pestering him and hoping that Colm will eventually see the error of his ways and reinstate their friendship. However, the effort only infuriates Colm, who threatens to cut off his fingers if Pádraic ever tries to speak to him again. Pádraic also connects with troubled local boy Dominic (Barry Keoghan), whose policeman father (Gary Lydon) frequently engages in physical abuse. Meanwhile, the more sensible Siobhán grows fed up with the male behaviour around her, trying to diffuse the feud between Colm and Pádraic to no avail.

McDonagh deservedly earned an Academy Award nomination for his screenplay, which is a masterclass of rich character work, meticulous storytelling, and sharp, shudderingly hysterical dialogue. It takes several viewings to absorb all the niceties of the dialogue, with McDonagh devising laughs through broader comedic exchanges (a conversation about a bread van) and sly asides (Dominic discussing his pub ban with the publican). McDonagh's writing also leans into the Irish vernacular, with conversations sounding astonishingly naturalistic yet distinctly poetic and incredibly engaging, and the humour never seems forced or contrived. For its first hour in particular, The Banshees of Inisherin is intensely funny, but the story's dramatic elements start to take shape once violence enters the equation, leading to despair and tragedy. It is a testament to McDonagh's writing and direction that the film remains compelling and palatable despite the tonal changes as the third act devolves into cruelty and sadness. McDonagh also uses the setting to enhance the picture's themes; the screenplay draws parallels between the circumstances on Inisherin and the tumult of the Irish Civil War, underscoring the conflicts as pointless and senseless.


The Banshees of Inisherin is visually distinct and aesthetically rich, with the old-fashioned execution ideally serving the material. McDonagh's third collaboration with cinematographer Ben Davis (Seven Psychopaths, Three Billboards Outside Ebbing, Missouri), the film looks magnificent, with the photography taking advantage of the gorgeous Irish vistas and intricate production design. Shot on location off the coast of Ireland, the sense of authenticity is astonishing, with buildings and clothing that look lived-in and genuine instead of artificial, and with no trace of distracting digital trickery. Additionally, with McDonagh specifically requesting no Irish music for the soundtrack, composer Carter Burwell delivers a beautifully melancholic original score reminiscent of his contributions to In Bruges. Burwell's music meaningfully contributes to the storytelling, with distinct motifs for Pádraic and Colm that reflect their different personalities and dispositions. Irish musicians also appear to play fiddle music on-screen, contributing further flavour to the production. Furthermore, McDonagh confidently guides the narrative with his superlative direction, unafraid to hang onto pauses or silences but consistently maintaining a steady pace.

Four of The Banshees of Inisherin's nine Oscar nominations were for acting, as the Academy acknowledged the quartet of leads for their note-perfect performances. McDonagh creates distinct, fully-realised characters with unique personalities, traits and speech patterns, while the superb actors sink their teeth into the meaty material. Farrell is terrific in practically everything, but his performance as Pádraic is one of his finest, bringing dramatic gravitas and emotional depth to a complex character. Farrell superbly portrays fluctuating emotions throughout the story, trying to maintain his cheerful, fun-loving disposition while confronting loss and loneliness. This is Farrell's third time working with McDonagh (he did not appear in Three Billboards Outside Ebbing, Missouri), and it is easy to see why Farrell continues collaborating with the director. Alongside him, his In Bruges co-star, Brendan Gleeson, is equally fantastic, bringing humanity and depth to a character who seems unnecessarily callous. With the script revealing more and more about Colm as the picture progresses, Gleeson handles the philosophical and dramatic dialogue with utmost confidence, and his portrayal of Colm is a far cry from his compassionate In Bruges character. McDonagh specifically wrote Pádraic and Colm for Farrell and Gleeson, and they positively light up the screen with their chemistry; they are a superb pair.


Kerry Condon's Siobhán provides a dramatic anchor for the absurdity throughout the story, serving as a scolding mother to the juvenile male characters. However, the screenplay gives her more dimension, as Siobhán has ambitions beyond Inisherin. Meanwhile, after his foray into superhero cinema with The Eternals and The Batman, Keoghan shows his incredible acting chops here with a subtly nuanced performance wholly deserving of an Oscar. His comedic timing is remarkable, and he expresses so much through facial expressions and understated changes in the delivery of his dialogue. See, for example, Dominic realising Pádraic is not as nice as he once thought, or the boy responding to Siobhán rejecting his romantic proposition; his responses to both situations are extraordinarily authentic. The Banshees of Inisherin also demonstrates that it is possible to make a tremendous impact with limited screen time, as even minor members of the talented ensemble deliver huge laughs. For example, David Pearse is gut-bustingly funny as a priest whose confessional scenes with Colm had this reviewer in tears of laughter, while Aaron Monaghan only has one notable scene as a fiddler from the mainland but is responsible for numerous belly laughs.

Like McDonagh's Irish plays, The Banshees of Inisherin is a tragedy; it is not a mainstream comedy with clichés, schmaltz or a happy ending. The ambiguous, open-ended conclusion ends the story on an intense note of melancholy, but once the sense of despair wears off and you can reflect on the story and the characters, it is difficult to imagine the movie playing out more perfectly. With his fourth feature film, McDonagh demonstrates yet again that his ability to mix comedy and pathos is unmatched. Hilarious and heartbreaking, The Banshees of Inisherin is one of the best and most memorable movies of 2022.

9.0/10


0 comments, Reply to this entry

An entertaining throwback sci-fi action flick

Posted : 4 months, 3 weeks ago on 14 September 2024 07:14 (A review of Lockout)

Like 2008's Taken and several other recent action films produced by French filmmaker Luc Besson, Lockout feels like a cinematic relic from the 1980s or 1990s, and in no way is that a bad thing. With modern blockbusters becoming too overcomplicated and too reliant on digital effects (see John Carter, Wrath of the Titans, and Battleship), Besson's EuropaCorp production company routinely churns out the type of simplistic, old-school action films that become rarer and rarer with each passing year. Although 2012's Lockout is unoriginal and silly, it is also incredibly fun - an endearing throwback science fiction actioner that might have starred Arnold Schwarzenegger or Sylvester Stallone if the movie entered production twenty years prior. Although imperfect, it is a joyous guilty pleasure guaranteed to satisfy action connoisseurs seeking an entertaining beer and pizza movie.


In 2079, sardonic CIA agent Snow (Guy Pearce) is framed for the murder of a U.S. Colonel and receives a thirty-year prison term on MS One, a maximum security prison floating above the Earth where prisoners are placed into stasis for the length of their sentences. Meanwhile, the President's daughter, Emilie (Maggie Grace), visits MS One to investigate reports that prolonged periods in stasis lead to dementia and mental instability. However, a riot breaks out when a deranged inmate, Hydell (Joe Gilgun), breaks free and releases all of the prisoners. With Emilie among the hostages, CIA officer Harry Shaw (Lennie James) believes a siege is too dangerous, recommending that they instead send in a single man on a rescue mission to retrieve Emilie. Although initially unwilling to help, Snow learns that boarding MS One could be the key to his freedom, which motivates him to accept the assignment. After sneaking aboard the MS One, Snow works to transport the stubborn Emilie to safety while seeking to locate information crucial for proving his innocence.

Although marketed as Die Hard in a futuristic Blade Runner setting, and even though the movie is billed as "based on an original idea by Luc Besson," Lockout amounts to an unauthorised remake of John Carpenter's Escape from New York. The story is strikingly similar, as both films involve an incarcerated criminal venturing into a dangerous setting to rescue a high-profile political hostage while bureaucrats oversee the operation and communicate with the hero. Carpenter himself noticed that Lockout essentially plagiarised Escape from New York and Escape from L.A., and he successfully brought legal action against the filmmakers. Fortunately, the flick is still a fun ride despite feeling narratively derivative, with spirited action scenes and brisk pacing, though it is not as thoughtful as Blade Runner or as brilliant as Die Hard - instead, it is pure B-grade cheese. And, heavens me, the cheese flows like running water. Snow is a wisecracker in the vintage action hero mould who is fluent in sarcasm and always has witticisms at the ready. Refrain from expecting depth or nuance from the characters, with Snow lacking meaty dimension while the bad guys merely exist to act menacingly and commit villainous acts. Nevertheless, the script's wit and humour keep things entertaining.


Produced for a modest $20 million, Lockout provides action and thrills on a limited budget, though the ropey digital effects are occasionally distracting. See, for example, a vehicular pursuit early in the flick featuring woeful computer-generated imagery that would not pass muster in a PlayStation 2 video game. Fortunately, the visual effects improve when the action shifts to MS One, with the ship exteriors looking more competent and passable, but none of the CGI is particularly photorealistic or commendable. Although the special effects in films like Escape from New York are imperfect, practical model work is more endearing and tangible than phoney computer renderings. Lockout's humdrum digital cinematography further detracts from the sense of visual realism, as there is little doubt that shooting on 35mm film is far more appropriate for throwback action movies. Furthermore, the feature has its fair share of idiocy, including a preposterous climactic evacuation from MS One that shows a primary school-level grasp of science and physics. Ultimately, Lockout is more involving and exciting during the grounded action beats, with directors James Mather and Stephen St. Leger staging effective shootouts and fights. Although not ultraviolent, there is enough of a visceral kick to the action scenes that genre buffs will appreciate.

It is easy to admire EuropaCorp's track record with actors, as they manage to attract recognisable, talented performers despite meagre funding. Australian actor Guy Pearce is not an obvious choice to play a sarcastic action hero in the tradition of John McClane and Snake Plissken, but he nails it and is one of the production's biggest assets. Pearce looks the part with a muscular physique, while his sarcastic bravado and masculine personality make him a likeable and engaging protagonist. Entertaining and colourful, Pearce looks more badass than the twentysomething actors Hollywood keeps attempting to position as action heroes (Taylor Lautner, for example). The reliable and charismatic Lennie James (Snatch, The Walking Dead) provides capable support, bringing a touch of class to the material. Additionally, Peter Stormare (The Lost World: Jurassic Park, Prison Break) sinks his teeth into his sleazy, semi-antagonistic role, and his banter with Pearce genuinely sparkles. Maggie Grace (who previously starred in Taken) is a fine if unspectacular addition to the cast, while the prisoners ham it up big time, with Joe Gilgun a notable standout as an unhinged psychopath with a strong accent.


Like most of EuropaCorp's action movies, there is both a PG-13 and an unrated cut of Lockout to maximise the movie's commercial performance. Unsurprisingly, the unrated version is far superior, as the slopping editing and camerawork in the PG-13 cut are unforgivable. The cinematography is marginally superior in the unrated cut, but a tripod would still be appreciated. Despite its flaws and shortcomings, Lockout delivers unpretentious B-movie fun with goofy charm and enthusiasm, and Pearce demonstrates he has what it takes to play more action heroes. The movie is cheesy and ridiculous at times, but the filmmakers commit to the material with sincerity, making it feel like a worthy modern successor to action films from the '80s and '90s. In fact, if it were produced in the '90s, Lockout would probably be considered a forgotten geek classic like Fortress or Soldier. For action fans seeking an undemanding fix, Lockout scratches that itch. However, you should look elsewhere if you desire something more intellectually stimulating.

6.8/10


0 comments, Reply to this entry

An entertaining but overstuffed sequel

Posted : 4 months, 3 weeks ago on 14 September 2024 07:10 (A review of Ghostbusters: Frozen Empire)

With Ghostbusters: Afterlife sparking the decades-old franchise back to life in 2021 under the direction of Jason Reitman, 2024's Ghostbusters: Frozen Empire continues the series, bringing back as many returning actors as possible for another round of supernatural comedy. Taking the directorial reins this time is Reitman's Afterlife co-writer Gil Kenan (A Boy Called Christmas), who again partnered with Reitman to devise the screenplay for this sequel. Whereas Afterlife was a heartfelt supernatural mystery, Frozen Empire feels more like a traditional Ghostbusters picture, recapturing the original New York City aesthetic while taking the franchise to its next logical place as the team again deals with both intrusive bureaucracy and a growing paranormal threat. Although it lacks Afterlife's poignant heart and emotional weight, this latest ghostbusting adventure is fun and funny, and it deserves far better than the harsh reception it received.


Three years after defeating Gozer the Gozerian in Oklahoma, Gary (Paul Rudd) and Callie (Carrie Coon) relocate to New York City with Phoebe (Mckenna Grace) and Trevor (Finn Wolfhard) to help Winston Zeddemore (Ernie Hudson) and Ray Stantz (Dan Aykroyd) restart the Ghostbusters. Moving into the firehouse headquarters with the restored Ecto-1, they work together to capture ghosts on the streets of NYC, but their exploits draw the wrath of the city's Mayor, Walter Peck (William Atherton), who threatens to put them out of business. Gary and Callie are forced to remove the underage Phoebe from the team, who struggles to accept the decision but soon finds an unexpected friend in a kindly ghost named Melody (Emily Alyn Lind). Meanwhile, Ray still owns and operates an occult bookshop, working with Podcast (Logan Kim) to examine cursed objects for a web series. Hoping to earn some quick money, Nadeem Razmaadi (Kumail Nanjiani) approaches Ray with a mysterious brass orb that radiates a high level of psionic energy, piquing his curiosity. Taking the orb to Winston's paranormal research centre, Dr. Lars Pinfield (James Acaster) and Lucky (Celeste O'Connor) try to extract the dark energy, but this threatens to release a phantom god known as Garraka, who seeks to conquer the world with an undead army.

With Afterlife receiving criticism for rehashing narrative elements of the first Ghostbusters, there is no shortage of fresh ideas in Frozen Empire, with the script even exploring the concept of the ghost containment unit being at full capacity after forty years of imprisoning spirits. Winston's research facility also presents numerous possibilities for ghostbusting in the 21st Century as his team consistently develops and experiments with new technology, adding a James Bond-esque vibe to this part of the story. However, the feature is not always light on its feet, with ample plot threads and characters vying for screen time throughout the beefy 115-minute duration. The most redundant character is Melody. Although a human/ghost relationship is fascinating, and the character's presence is tied to Garraka's plan, it nevertheless takes up too much time in an already busy movie. Frozen Empire tries to do too much, wanting to keep the new characters relevant while giving the older characters a meaningful part to play, but nothing ever gains as much dramatic traction as it should. Whereas Afterlife was incredibly poignant, Frozen Empire is a lightweight action adventure with oodles of fan service. It still works well enough on its own terms, but it is not a convincing home run.


The return to New York City is welcome, making it feel closer to its 1980s predecessors. NYC was a character unto itself in the original Ghostbusters pictures, and Frozen Empire thankfully retains this, with action set pieces occurring in the city streets and outside the New York Library, a pleasing throwback to the 1984 film (complete with sly cameos). The climactic battle against Garraka retains the intimate scope of Afterlife's finale, with Kenan confining the action to the firehouse headquarters as the ancient demon unleashes his potent ice powers. Although an exciting and nail-biting climax, the lack of scope is disappointing, especially since the movie kicks off with the team catching a ghost while driving through the city streets in Ecto-1. Compared to the finales of the first two pictures, with Ghostbusters II even involving the Statue of Liberty walking the streets of NYC, Frozen Empire's climax is a wasted opportunity in need of a true show-stopping moment. Additionally, although the CGI is largely impressive and Garraka looks borderline photoreal, an entirely digital villain is not as memorable as Gozer or Vigo the Carpathian, both of whom had human avatars.

With a comparatively modest $100 million budget (still smaller than most major blockbusters), Ghostbusters: Frozen Empire looks fantastic for the most part, with Kenan following in Jason Reitman's footsteps by creating a more old-fashioned-looking movie instead of the modernised digital look of 2016's Ghostbusters. Furthermore, Kenan retains the horror elements of the film's predecessors, adding danger and tension to supplement the spectacle. Ghost designs are once again creative, and the film brings back Slimer and the mini Stay Puft Marshmellow Men for the sake of nostalgia. Additionally, instead of updating the soundtrack, Dario Marianelli's compositions mostly follow the template set by Afterlife, with an original score reminiscent of Elmer Bernstein's music from the first Ghostbusters picture, bringing back recognisable motifs and cues. Frozen Empire represents another robust mix of the old and new, with a cinematic approach that is respectful to the 1980s pictures without looking cheap or B-grade.


The chemistry between the original Ghostbusters and the new cast members is magical, and it is a treat to see Ray and Winston playing a more prominent part in the proceedings while Peter also pops in occasionally. Dan Aykroyd and Ernie Hudson play alongside each other in several scenes, and the actors confidently lean into the more dramatic material, portraying melancholy and pathos with relative ease. Bill Murray's screen time is limited, but he does deliver some of the film's funniest moments. It's great to see the three men back together, though the script does come up short in terms of the amusing interplay that characterised the original movies. Although Rick Moranis refused to return as Louis Tully here, Annie Potts thankfully plays a slightly bigger role as Janine Melnitz and even dons a Ghostbusters uniform for the first time.

Frozen Empire also sees William Atherton return to the franchise as the officious Walter Peck for the first time since the original film (though the actor did reprise the role for the 2009 video game), which is another pleasing touch. Of the new cast, Mckenna Grace remains the standout, and Paul Rudd still shows terrific comedic timing. Patton Oswalt also makes a positive impression as a research librarian, while James Acaster is a charming addition as one of Winston's researchers. The only weak spot is Kumail Nanjiani, who grossly misinterprets the flick's tone. Whereas the other actors take the material seriously, Nanjiani is too broad, constantly mugging the camera and never scoring a meaty laugh.


Similar to the maligned Ghostbusters II, Ghostbusters: Frozen Empire gets more right than wrong, compensating for its shortcomings with an appealing ensemble cast, competent filmmaking and a high entertainment value. Future instalments remain a tantalising prospect, especially with the original Ghostbusters continuing to play an active part in the paranormal investigations instead of merely passing the torch or allowing the younger cast to overshadow them.

7.1/10


0 comments, Reply to this entry

An underrates sequel that deserves reappraisal

Posted : 4 months, 3 weeks ago on 14 September 2024 07:04 (A review of Ghostbusters II (1989))

With its incomparable combination of uproarious comedy and state-of-the-art special effects, 1984's Ghostbusters was a lightning-in-a-bottle project, and a sequel was inevitable considering its immense commercial success. Eventually released five years after its predecessor and three years after the debut of the animated TV series The Real Ghostbusters, 1989's Ghostbusters II came to fruition following an arduous development and production rife with behind-the-scenes conflicts. The negative critical reception to Ghostbusters II and comparatively underwhelming box office performance turned this follow-up into something of a cinematic black sheep, but the film deserves more love and recognition than it appears to receive. Although it lacks the magic and freshness of the original Ghostbusters, this second instalment is nevertheless entertaining and amusing big-screen escapism boosted by the charismatic cast, while returning director Ivan Reitman guides the picture with a sure hand.


Despite saving New York City from the shapeshifting god Gozer, the Ghostbusters swiftly went out of business following lawsuits and injunctions, leading the four members to pursue other careers. Ray Stanz (Dan Aykroyd) and Winston Zeddemore (Ernie Hudson) work as children's entertainers while Egon Spengler (Harold Ramis) experiments with human emotions and Peter Venkman (Bill Murray) hosts a TV talk show about psychics. After Peter's ex-girlfriend, Dana Barrett (Sigourney Weaver), experiences a supernatural occurrence involving her baby son, she reaches out to Egon and Ray for assistance, leading the Ghostbusters to reunite. While carrying out their investigation, they discover a river of sinister slime running underneath the streets of Manhattan that feeds on negativity and threatens to destroy the city. Meanwhile, Dana works as an art restoration specialist for the sleazy Dr. Janosz Poha (Peter MacNicol), and their newest acquisition is a large portrait of a 16th-century tyrant and sorcerer, Vigo the Carpathian (Wilhelm von Homburg). Vigo's spirit lives within the painting, and he needs to possess a child to allow him to escape the painting, re-enter the realm of the living, and conquer the world. In exchange for a date with Dana, Janosz agrees to bring Dana's infant son to Vigo.

Instead of continuing on from the ending of the first movie, Ghostbusters II finds the team out of business and exploring other career avenues, making this feel like a legacy sequel. Although a direct sequel chronicling another adventure from the team's golden years would undoubtedly be fun, The Real Ghostbusters was already exploring such exploits, necessitating a more narratively complex approach to justify a theatrical follow-up. Ramis and Aykroyd's screenplay is conceptually interesting, with the public no longer perceiving the Ghostbusters as heroes and the river of slime representing a metaphor for urban decay, and the film gets ample comedic mileage from the idea of New Yorkers needing to be friendly and feel positive emotions to defeat the supernatural evil. Despite this sequel's below-par reputation, Ghostbusters II does not feel like a lazy, careless cash grab - on the contrary, it tells a worthwhile story. Unfortunately, the narrative flow is hit-and-miss, with the script introducing too many setbacks and obstacles preventing the story from progressing comfortably. The most egregious example of this is an ill-advised plot detour involving the city's douchebag mayoral aide committing the Ghostbusters to an insane asylum. Additionally, the story follows a similar structure to its predecessor, with the Ghostbusters getting their operation off the ground again, Peter pursuing a relationship with Dana, and a big finale involving a giant figure stomping through the city.


Reitman was not a technical director, and his approach to a blockbuster like this did not involve careful planning or meticulously overseeing every aspect of the special effects; instead, he gave carte blanche to the wizards at ILM. With a rushed schedule and post-production reshuffling, ILM was required to create 180 special effects shots with limited time, a modest number in the 21st Century but a sizeable amount in the realm of old-school optical printing. Fortunately, the visual effects remain enormously impressive for the most part, vividly giving life to the various spirits and apparitions, with the Scoleri Brother ghosts in the courtroom looking especially terrific. Slimer's popularity (especially among children) ensured his return here, but his screen time was reduced after test screenings, resulting in a mere cameo. A few special effects shots look on the ropey side, but not to a distracting degree, and Reitman heavily relies on practical effects and location shooting that makes the film's visual design more agreeable than artificial-looking modern blockbusters beset with computer-generated imagery. Additionally, composer Randy Edelman replaces Elmer Bernstein here, and the resulting original score does not retain the original movie's recognisable motifs or cues because Edelman wanted to create a new sound for this sequel. Ghostbusters II even features a new rendition of the iconic Ghostbusters song, with hip-hop group Run-DMC performing the track instead of Ray Parker Jr. The soundtrack also features songs from artists like Glenn Frey, Bobby Brown, and Elton John, adding further flavour to the production.

With the Ghostbusters franchise subsequently lying dormant until after Harold Ramis's tragic passing (except for the 2009 video game), Ghostbusters II features the original four Ghostbusters on-screen for the second but final time. Despite its flaws, Ghostbusters II remains eminently watchable due to the funny, charismatic cast - Murray, Ramis, Hudson and Aykroyd are an incredible cinematic quartet, and their sharp, funny interplay is a huge asset, but there is not enough of it compared to the first film, and the content feels more kid-friendly. Sigourney Weaver, Annie Potts and Rick Moranis also return, with Weaver adding appreciable dramatic weight while Moranis is a superb comedic force, earning abundant laughs as Louis Tully. Out of the newcomers, the comic highlight is the uproarious Peter MacNicol, who espouses an over-the-top accent and steals every scene in which he appears. Meanwhile, it took two actors to play the film's villain, Vigo the Carpathian - Wilhelm von Homburg provides the intimidating appearance while the magnificent Max von Sydow gives the character a strong, authoritative voice.


Following disastrous test screenings, Ghostbusters II underwent extensive reshoots and re-editing to add more exposition and memorable set pieces, including an underground ghost train sequence complete with a vision of severed heads. Despite the last-minute tinkering, the story feels surprisingly cohesive, though the hasty changes perhaps explain the movie's choppy narrative flow and uneven pacing. Flaws and shortcomings hold back Ghostbusters II, but there is still plenty to recommend about this entertaining and underrated sequel that deserves a fair reappraisal.

7.3/10


0 comments, Reply to this entry

It delivers bombastic action and hilarious comedy

Posted : 4 months, 3 weeks ago on 14 September 2024 06:59 (A review of Bad Boys: Ride or Die)

After successfully resurrecting the Bad Boys franchise on an unexpected high in 2020, directors Adil El Arbi and Bilall Fallah return for another round of comedic, action-packed mayhem in 2024's Bad Boys: Ride or Die. Most franchises grow stale and dull by the fourth instalment (see Die Hard, Terminator, or Predator), but this fourth Bad Boys flick shows no signs of fatigue, surpassing its immediate predecessor while also emerging as one of the year's best and most enjoyable action offerings. With a screenplay by Will Beall (Beverly Hills Cop: Axel F) and returning writer Chris Bremner, Bad Boys: Ride or Die directly follows on from Bad Boys for Life, tying into the previous movie's events and bringing back returning characters, meaning that familiarity with the first three films is essential to get the most out of this instalment. While Bad Boys for Life was more heartfelt and story-driven, Bad Boys: Ride or Die wisely cuts loose, cranking up the comedy while delivering bombastic action scenes and never forgetting the core appeal of these movies. Although not as instantly iconic as the untouchable Bad Boys II, Bad Boys: Ride or Die is a blast.


Finally ready to settle down in his middle age, Mike Lowrey (Will Smith) marries his physical therapist, Christine (Melanie Liburd), but their wedding day is spoiled when Mike's best friend and long-time partner, Marcus Burnett (Martin Lawrence), suffers a near-fatal heart attack during the reception. After seeing visions of the late Captain Howard (Joe Pantoliano) while in a coma, Marcus wakes up believing he cannot die and approaches life with a new enthusiasm. However, news soon breaks that authorities believe Captain Howard was dirty and worked with the drug cartels, an allegation that the Bad Boys refuse to accept. Desperate to prove Howard's innocence, the pair turn to Mike's incarcerated son, Armando (Jacob Scipio), who can identify the man responsible for orchestrating the Captain's assassination, James McGrath (Eric Dane). With help from Rita (Paola Núñez) and her new boyfriend, district attorney Adam Lockwood (Ioan Gruffudd), Mike and Marcus take custody of Armando to transfer him to safety in Miami, but they wind up stranded and on the run, with the authorities branding them as fugitives. Unsure who to trust, the Bad Boys turn to AMMO members Rita, Dorn (Alexander Ludwig), and Kelly (Vanessa Hudgens).

Whereas Bad Boys for Life increased the stakes by breaking up Mike and Marcus for a portion of the proceedings, Bad Boys: Ride or Die keeps the pair together from start to finish, with the iconic Bad Boys working to solve the conspiracy and prove their late Captain's innocence while eluding the authorities. It is an undeniably clichéd premise, but the story is a secondary concern for the Bad Boys films, which are more about the action, comedy and interplay between Mike and Marcus. Although it doesn't offer any truly innovative or original, the story is perfectly serviceable and the directors treat it with sufficient sincerity, while the pacing is assured and the picture does not outstay its welcome despite a beefy 115-minute running time. Additionally, the script reminds us that the two leads are human and are getting older, with Marcus suffering a heart attack early in the proceedings while Mike begins experiencing panic attacks, including during a high-stakes pursuit. Acknowledging their ages and giving them flaws adds some extra dimension and makes them more interesting.


With a generous budget (a reported $100 million), Bad Boys: Ride or Die is polished and slick, looking like a big-budget blockbuster instead of a forgettable distraction for the streaming crowd. Showing ample visual invention during the action set pieces, Adil and Bilall enliven the shootouts with creative cinematography, including first-person-shooter-style shots and aerial photography, making the flick more aesthetically engaging than most B-grade action titles. The directorial duo take visible inspiration from Michael Bay's brand of visual overkill, though the resulting cinematic style is their own since they do not fall victim to headache-inducing shaky cam or rapid-fire editing. The action is destructive and violent, luckily retaining the franchise's coveted R rating that allows for satisfying bloodshed, and the directors further channel Michael Bay (who even makes a cameo driving a Porsche) by paying homage to Bad Boys II in several moments, including use of slow motion and tracking shots of bullets.

Although not all of the green-screen effects are entirely convincing (the driving scenes look a touch ropey), the digital effects throughout Bad Boys: Ride or Die are mostly solid, with Adil and Bilall even incorporating alligators into the deliriously enjoyable climactic shootout at an abandoned amusement park. Although Smith and Lawrence continue to play an active part in the action sequences, one of the film's most notable highlights does not involve the pair - Dennis Green's Reggie comes full circle in a crowd-pleasing throwdown with several assailants during a home invasion, proving himself as a capable man of action. Furthermore, returning composer Lorne Balfe amplifies the excitement during the action sequences, sampling and paying homage to Mark Mancina's music from the original film. Hearing the Bad Boys theme again is an undeniable thrill, and the soundtrack also features the iconic titular song.


Smith and Lawrence's chemistry and interplay remain the franchise's biggest asset, as the two comedic performers continue to score laughs with seemingly little effort. It is an ideal comeback role for Smith after the infamous Oscar slap, with the performer continuing to show his trademark charm and humorous spark, and the film even slyly references the slap. However, although frequently hilarious, the film still lacks the type of defining and memorable comedic moments that made Bad Boys II such a standout (nothing rivals Reggie's introduction). It is nice to see the AMMO squad return here (with the curious absence of Charles Melton), and the actors make a good impression, with Ludwig once again the standout. Despite Captain Howard's demise in Bad Boys for Life, Joe Pantoliano still appears in a minor capacity via video messages and Marcus's visions, and he scores a few laughs. Meanwhile, the lovely Rhea Seehorn (Better Call Saul) appears as Captain Howard's daughter, Judy, but she feels miscast in this mostly thankless role despite her immense dramatic talents. Also joining the cast is Ioan Gruffudd, who plays one of the most obvious bad guys imaginable. Even though Gruffudd's villainy is supposed to be a twist, it would have been a far more unexpected twist if he was not corrupt. Bad Boys: Ride or Die is also the first Bad Boys movie without Theresa Randle as Marcus's wife because she retired from acting in 2020. In her place is Tasha Smith, though the change is thankfully not distracting.

It is comforting that there is still a place for the old-fashioned Bad Boys movies in a modern cinematic climate dominated by superhero movies and expensive PG-13 blockbusters, and it is all the more encouraging that Bad Boys: Ride or Die is an entertaining and lively distraction instead of a soulless, boring cash grab. With outstanding action scenes and uproarious comedy plus a sufficiently engaging story that links to the previous movies, it is difficult to imagine any franchise fans walking away unsatisfied. The movie leaves room for another sequel, and the prospect of a fifth Bad Boys picture is legitimately exciting for this reviewer as the series remains reliably enjoyable nearly thirty years after the first film entered cinemas. Stick around for a brief post-credits scene that does not deliver anything narratively significant but does contain an additional gag.

7.9/10


0 comments, Reply to this entry

An action-packed blast with Statham in fine form

Posted : 4 months, 3 weeks ago on 14 September 2024 06:52 (A review of The Beekeeper)

The purest and most satisfying Jason Statham action vehicle in years, 2024's The Beekeeper is a delirious blast of competent, action-packed, unpretentious fun, with director David Ayer (Fury, End of Watch) and screenwriter Kurt Wimmer (Equilibrium) using intriguing John Wick-esque lore to spice up an old-fashioned One Man Army premise. Playing out with the zest and spirit of action films from the '80s and '90s, it tells a simplistic story, and the screenplay is not airtight, but the execution is first-rate, with Ayer again proving himself a competent action craftsman. Although not deep or meaningful cinema, The Beekeeper offers good, clean storytelling, a strong sense of pacing and badass action scenes with Statham at the top of his game. As long as you approach The Beekeeper in the right mindset (as a Jason Statham action flick), the movie is a total blast with plenty of highlights to recommend.


In Massachusetts, Adam Clay (Jason Statham) carries on a quiet life as a beekeeper living in a barn and shares a warm friendship with the farm's landowner, Eloise Parker (Phylicia Rashad). While Clay is busy tending to the bees one afternoon, Eloise falls for a phishing scam, with the fast-talking, slimy Mickey (David Witts) tricking her over the phone before draining all the money from her accounts, including a charity fund that she manages. Horrified and devastated, Eloise promptly commits suicide, and Clay discovers the body before encountering Eloise's FBI agent daughter, Verona (Emmy Raver-Lampman), who struggles to make sense of the situation. With law enforcement unable to stop the scammers who habitually defraud senior citizens, Clay uses his connections to track them down, swiftly finding the location of Mickey's call centre. Clay is a retired member of a black ops unit known as the Beekeepers, and his career turned him into a highly competent, resourceful, and dangerous assassin capable of orchestrating a relentless killing spree to avenge Eloise's death. Clay also intends to target Mickey's boss, a technology executive named Derek (Josh Hutcherson), who frantically turns to a security expert and former CIA director Wallace Westwyld (Jeremy Irons) for assistance.

The Beekeeper's premise is timely in 2024 since cyber criminals work to scam innocent people every day, and watching Clay furiously unleash upon these unscrupulous tech bro scumbags is the best type of satisfying wish-fulfillment action cinema. Ayer leans into the corniness of action flicks of yesteryear, portraying Clay as an impossibly ingenious and unstoppable force of nature who remains a few steps ahead of his enemies, and there is some over-the-top, badass dialogue to boot. Indeed, The Beekeeper is cheesy to its core, with one-dimensional characters and dialogue that makes the expositional scenes sound like a parody of action flicks. However, it is all sold in the correct spirit. The movie's only genuine downfall is a subplot involving the FBI and Verona, which is the least interesting part of the plot. The complication involving the government trying to capture Clay threatens the sense of fun, especially considering the lapses in logic as the titular Beekeeper evades and fights federal agents without major repercussions. One would also suppose that if Verona could not officially support Clay in his revenge mission, she would sneakily assist him or enable him since her mother was a victim, but it takes the character too long to come to her senses.


Ayer understands precisely what action fans crave, and he delivers the goods in spades. With an R rating, The Beekeeper is remarkably violent, with Ayer adding a hard-hitting, visceral edge to Clay's murder spree, allowing for satisfying and creative kills. Ayer favours a grittier aesthetic compared to the John Wick movies, and cinematographer Gabriel Beristain (Ayer's Street Kings) captures the action scenes with smooth handheld photography, amplifying the intensity without turning the superb choreography into a confusing blur. After watching Statham do battle with enormous digital sharks and maintaining a presence in the ongoing Fast and Furious franchise, it is all the more satisfying to watch a film like The Beekeeper, which is light on phoney CGI (a couple of explosions notwithstanding), with Ayer instead favouring practical effects and grounded action scenes, including old-fashioned shootouts and brawls. Ayer makes the most of the modest $40 million budget, and the picture feels vehemently theatrical instead of a cheap, straight-to-streaming, B-grade distraction. Admittedly, the production design is exaggerated, with the call centres looking colourful and fancy, like high-class nightclubs, and the story requires a certain suspension of disbelief (scammers typically work in other countries, not a short drive from their victims in the United States), but this hardly matters in the grand scheme of things, especially when the movie is so entertaining.

Although Statham essentially plays another variation of the same action-hero character, he is a lot of fun in roles like these and he does it exceptionally well. Now in his fifties, Statham still has the physicality to credibly portray an accomplished man of action, and his grizzled, emotionless line delivery is ideal for the character of Clay. Meanwhile, Josh Hutcherson vehemently plays against type as the villain here, relishing the chance to take on the role of a slimy, dishonest nepo baby who tries to talk tough but only comes off as pathetic. Hutcherson is not a formidable or memorable villain, but that is where Jeremy Irons steps in. The perpetually reliable Irons adds a touch of gravitas to the proceedings, submitting an incredibly engaging performance as one of the only people who can recognise the dangers that Beekeepers pose. Also of note is Phylicia Rashad (from the Creed movies), who adds an appreciable warmth to the story and shares wonderful chemistry with Statham, ensuring a believable motive for Clay's rampage.


For Statham fans, The Beekeeper is a must-see, standing alongside films like Wrath of Man and Safe as one of his best solo action movie offerings. Running at an agreeable 105 minutes, the picture does not outstay its welcome, and Ayer ably maintains a fast pace without sacrificing narrative or editing coherency. Additionally, the lore at the centre of The Beekeeper screams franchise potential, as one can certainly imagine enjoying further action-packed adventures with Clay (the ending leaves room wide open for this) and spinoffs set in the same universe.

7.2/10


0 comments, Reply to this entry

Bland, forgettable streaming content

Posted : 4 months, 3 weeks ago on 14 September 2024 06:49 (A review of Road House)

Another remake of a beloved '80s classic, 2024's Road House is an overlong misfire that lacks the charm, personality and appeal of Rowdy Herrington's wildly enjoyable 1989 cult classic. Although director Doug Liman, who works from a script by Anthony Bagarozzi and Chuck Mondry, tries to create a fresh take by tapping into the world of MMA fighting, the execution is disappointingly wrong-headed. Without a compelling reason to exist, this nihilistic reimagining of Road House feels like a passionless endeavour that prioritises commerce over art and only exists to fill a release schedule. Despite Liman's disgruntled comments over the movie not receiving a cinema release, it plays out bland, forgettable streaming content instead of a grand theatrical event.


Frankie (Jessica Williams) owns an unruly roadhouse in the Florida Keys and desperately needs outside help to restore order by ousting the bar's unsavoury new clientele. After witnessing former UFC fighter Elwood Dalton (Jake Gyllenhaal) on the underground fighting circuit, she offers him the job of head bouncer at her establishment, sweetening the deal with an attractive paycheque. Hesitantly accepting the offer, Dalton makes a home for himself in the Florida Keys, living on a rundown houseboat as he begins cleaning up Frankie's bar, simply known as The Road House. He quickly becomes a target for men working for a local crime boss, Ben Brandt (Billy Magnussen), who hopes to disrupt Frankie's business to compel her to give up the bar and allow him to take over the land. Dalton's efforts also attract the attention of a local doctor named Ellie (Daniela Melchior), while Brandt's incarcerated father sends in a psychotic enforcer, Knox (Conor McGregor), to take on Dalton and destroy The Road House.

With the story only slightly resembling the original movie, the flick would have been better off as an original movie with a different title and a few storytelling tweaks. Indeed, most potential viewers will have no idea that this is a remake, and calling it Road House only invites unflattering comparisons since the 1989 picture did everything better - it has a better soundtrack, better actors, more memorable fights, and more '80s excess. Instead of a catchy soundtrack comprising blues, jazz and rock songs, the band in this remake only plays generic, bland pap, though this is at least thematically suitable since this iteration of Road House as a whole also amounts to generic, bland pap. Instead of memorable one-liners or engaging dialogue, this remake only contains bland, witless action movie speak, and all attempts at humour will only trigger exasperated sighs. The script overcomplicates the narrative by introducing a corrupt cop with no reason to exist, Brandt's real estate scheme is patently uninteresting, and Liman wastes potentially interesting storytelling ideas. For example, Dalton takes one young bouncer under his wing as a protégé, but their relationship is tragically underdone when it could have provided some honest-to-goodness heart similar to the dynamic between Patrick Swayze and Sam Elliott in the original flick. This narrative angle feels like a wasted opportunity, especially since Dalton's relationship with Ellie feels perfunctory and superficial, lacking in heat and chemistry.


Admittedly, changing the setting from the Midwest to the Florida Keys is a robust creative decision, as it gives the picture its own aesthetic identity and results in some eye-catching, colourful cinematography courtesy of Henry Braham (The Suicide Squad, Guardians of the Galaxy Vol. 3). Unfortunately, the cinematography during the fights is hit-and-miss, with gimmicky shots that detract from the visceral impact of the brawls, making these sequences less engaging. Furthermore, dreadful digital effects plague Road House, with CGI vehicles and explosions looking janky as hell, while Liman unwisely tries to enhance the fights themselves with obvious digital trickery. Although Liman tries to do something fresh, the attempt does not pay off - the movie would look infinitely better with well-choreographed, well-filmed, practical fights and stunt sequences. It's difficult to believe that Road House was directed by the same filmmaker who was responsible for memorable action films like The Bourne Identity, Mr. and Mrs. Smith, and Edge of Tomorrow. How embarrassing that an $85 million production from a major studio pales in comparison to the low-budget, independent Australian gem Life After Fighting.

Road House is not entirely without its charms, as Conor McGregor's laughably over-the-top performance is a source of constant amusement. Other highlights include Arturo Castro as Moe, a polite henchman who has fallen in with the wrong crowd and is forever trying to avoid getting on Dalton's bad side. Unfortunately, Magnussen's Ben Brandt is another bad guy who adheres to the contemporary villain archetype: a snobby, snivelly rich kid with no social skills. Magnussen exudes no genuine menace and poses no threat, feeling better suited for a low-grade TV show than a theatrical action film. There's no denying that Gyllenhaal is a fine actor, but his version of Dalton is a miss. It's not entirely his fault, as the script gives him a troubled past in an attempt to humanise him, but this material slows the storytelling to a halt and makes Dalton an infinitely less interesting character. Additionally, the lousy storytelling introduces things like a bizarre almost-suicide for Dalton in the first act that the film quickly forgets about instead of further developing, while a knife wound Dalton suffers early in the movie bleeds at a convenient time for Ellie to notice but is never an issue again. The inconsistencies, lack of consequences, and absence of proper storytelling cohesion significantly harm Road House, making the narrative feel like a tedious string of inconsequential scenes and moments. It's difficult to care or feel genuine investment in anything that happens.


Let's not mince words here: Road House did not need a remake. An endlessly enjoyable product of its time, the charm of 1989's Road House cannot be replicated in the 21st Century, but one could still imagine a prospective remake being better than this. Remake ideas floated around Hollywood for years, with directors like Rob Cohen and Nick Cassavetes taking a stab at developing the film, while Ronda Rousey was also attached to star at one point. With this in mind, I guess it could have been worse. At the very least, it is fortunate that this Road House is R-rated and packs a visceral punch during the action scenes, but the filmmakers ruin many of the fight sequences with egregious digital enhancements. There are entertaining moments here and there, and Conor McGregor's goofy, unsubtle performance is hilarious, but there is not enough of value to recommend sitting through all two hours of this tripe. Talks of a sequel are ongoing, a notion that sparks about as much excitement as a prostate exam.

4.1/10


0 comments, Reply to this entry

A stunning technical exercise with bad characters

Posted : 4 months, 3 weeks ago on 14 September 2024 06:44 (A review of Alien: Romulus)

After Ridley Scott's polarising Alien prequels that strayed from the franchise's formula with its philosophical and religious undertones, 2024's Alien: Romulus is a safe, generic return to the Alien universe, with director Fede Alvarez (Don't Breathe, 2013's Evil Dead remake) fundamentally creating a glorified, big-budget fan film. Instead of another instalment with tenuous links to the existing movies, Alien: Romulus takes place between the events of Alien and Aliens, and it contains direct ties to 2012's Prometheus and the 1979 classic that first introduced movie-goers to the iconic Xenomorphs. With a screenplay by Alvarez and frequent collaborator Rodo Sayagues, the picture meaningfully and respectfully contributes to the franchise without any bone-headed subversions or character assassinations, and the superb visual presentation favours tangibility and realism over excessive digital effects. What the movie lacks is empathetic and relatable characters to make viewers care about the proceedings, while the story recycles too many elements from previous Alien pictures. Consequently, Romulus comes alive in places, but Alvarez cannot stick the landing.


An orphan who works at the mining colony of Jackson's Star, Rain (Cailee Spaeny) maintains a close relationship with her adoptive brother, a reprogrammed android named Andy (David Jonsson). After hitting a setback when the company extends her contract by several years, she seeks to escape the colony, agreeing to accompany her ex-boyfriend, Tyler (Archie Renaux), on an expedition to retrieve cryonic stasis equipment from a derelict Weyland-Yutani craft in deep space. Retrieving the chambers will allow them to make the prolonged voyage to a safer world. Also among the crew are Kay (Isabela Merced), Bjorn (Spike Fearn), and Navarro (Aileen Wu), while Andy's interface with computer systems is crucial to ensure the mission's success. After docking with the space station, the crew swiftly get to work, but they inadvertently awaken dozens of frozen facehuggers, triggering an automatic lockdown. With the station set to collide with Jackson's planetary rings and the Xenomorph threat continuing to evolve, the crew begin a fight for survival.

With a beefy two-hour runtime, Romulus takes too long to get started and too long to end, as the picture lacks compelling storytelling and a pronounced three-act structure. The most significant subplot involves the character of Andy, whose prime directive is updated to ensure the completion of the company's mission, taking commands from the station's damaged android officer. It's a conceptually interesting angle, but it is not always engaging. Unfortunately, Romulus needs more originality, as it plays out like a "greatest hits" compilation of the original Alien movies. Alvarez incorporates the franchise's most iconic and recognisable elements like the pulse rifle (now with aiming assistance), the Weyland-Yutani corporation, facehuggers, chestbursters, an alien hive with human hosts in the walls, another android, and more. The opening credits use the same font as the original Alien, and the script recycles the ticking clock from Aliens, right down to a robotic voice to remind the characters that time is running out. Furthermore, Romulus recreates iconic shots and set pieces, including a climactic showdown on a ship after the danger is ostensibly over (reminiscent of Aliens). But the most egregious and cringe-worthy moment involves a character repeating the line "Get away from her, you bitch" without sufficient motivation or logic. Nevertheless, Romulus does feature some fresh ideas - it builds upon the conclusion of Alien, and it helps to expand the lore in intriguing ways without upsetting the franchise canon. But considering that Alvarez is a proclaimed fan of the Dark Horse Comics line of Aliens books, which are full of inventive story ideas, it is a shame that the narrative of Romulus is so derivative.


The worst sin of Alien: Romulus is the characters. Although the actors put in a lot of effort and submit confident performances, it is hard to care about and root for these people as they range from mildly annoying to highly irritating, and interpersonal conflicts make them all the more insufferable. Whereas the cast of the original Alien were intelligent characters who made well-informed decisions that did not always work out, Romulus features mostly idiotic characters making dumb decisions, reminiscent of a low-grade '80s slasher flick. The script tries to use Kay's pregnancy to make her more sympathetic, but without any further personality or distinctive character traits, it is still difficult to care, and names barely stick beyond Rain and Andy. In fact, I honestly forgot how many characters were on the mission despite the relatively small cast due to the lack of beefy characterisation and the forgettable dialogue. Especially in comparison to the colourful cast of Aliens (with Michael Biehn, Bill Paxton, Lance Henriksen and Paul Reiser, to name a few), the characters in Romulus look even worse. Alvarez wanted to use youthful characters in this story from the outset, but this decision is to the film's detriment since the ensemble lacks the gravitas of an experienced actor to anchor the story. Rising star Cailee Spaeny makes the biggest impression here, bringing credible intensity and emotion to the role, but the writing unfortunately lets her down.

Its story and character issues aside, Romulus undeniably excels as a technical exercise. Taking its cues from the original Alien movies, Alvarez takes great care to recreate its predecessors' grimy, low-tech aesthetic, making the picture look like a lavish sci-fi production from the '70s or '80s. The results are gorgeous, with everything from the cinematography, colour grading, lighting, costume and art design looking spot-on, while the use of practical creature effects and miniatures further solidifies the illusion. Although shot digitally by cinematographer Galo Olivares (2020's Gretel & Hansel), the picture carries the aesthetic appearance of a celluloid production instead of a slick contemporary blockbuster. Even Benjamin Wallfisch's score reuses cues and motifs created by Jerry Goldsmith and James Horner, but it still feels sufficiently original instead of outright derivative. Luckily, Alvarez is an exceptional cinematic craftsman, staging intense set pieces and unnerving, terrifying sequences of visceral horror, with the director taking most of his inspiration from the original Alien and the Alien: Isolation video game. Admittedly, however, many notable moments simply recreate scenes from earlier Alien pictures, and Romulus is surprisingly light on alien-centric set pieces for a two-hour movie. Worse, Alvarez becomes too reliant on digital effects during the third act, and the climactic showdown with a hybrid creature is incredibly silly, closing the picture on a disappointing note.


Despite its exceptional technical presentation and pleasing reverence for its predecessors, Alien: Romulus falls short of reaching its full potential. However, there are highlights when Alvarez displays impressive innovation, including a zero-gravity action scene that showcases the characters being surprisingly resourceful for once. Alvarez also makes the most of the R rating, staging gory and icky moments of horror that hit hard, including one gruesome moment involving Kay towards the film's climax that reportedly even made the actors wince. The creature horror is top-notch, making it all the more disappointing that Romulus comes up short in other areas. Nevertheless, it is a thrill to experience the memorable sights and sounds of the Alien franchise once again, and this instalment is undoubtedly superior to Alien: Resurrection and the theatrical cut of Alien 3.

5.8/10


1 comments, Reply to this entry

Ambitious, thematically rich and visually eloquent

Posted : 6 months ago on 5 August 2024 12:13 (A review of The Royal Tenenbaums)

2001's The Royal Tenenbaums is Wes Anderson's third feature film, and it remains one of the director's finest achievements - it's a quirky, witty comedy-drama with an outstanding ensemble cast and a breathtaking sense of style, reinforcing the filmmaker's idiosyncratic and distinctive cinematic voice. An ambitious and thematically rich masterpiece about family dysfunction and gifted but troubled people, The Royal Tenenbaums derives inspiration from numerous sources, including French cinema (notably Louis Malle's pictures), Orson Welles's The Magnificent Ambersons, and assorted works of literature, with J. D. Salinger's books inspiring the characters and narrative structure. A commendable sense of editorial and visual precision permeates every frame of The Royal Tenenbaums, but Anderson does not keep viewers at arm's length despite the deadpan, almost arthouse filmmaking approach, as the director fills the picture with warmth and understated mirth. Furthermore, The Royal Tenenbaums grows richer and more eloquent with each viewing, as revisits allow the opportunity to savour more of the movie's boundless charms and gain a greater appreciation for the production's intricate niceties.


At a young age, the children of Royal (Gene Hackman) and Etheline Tenenbaum (Anjelica Huston) achieved great success, with Chas (Ben Stiller) finding success in finance while Richie (Luke Wilson) is a tennis prodigy and the adopted Margot (Gwyneth Paltrow) received acclaim as a playwright. But the Tenenbaum children's lives are thrown into disarray when Royal and Etheline announce their separation, and none of the child prodigies manage to capitalise on their vast potential once they reach adulthood. Years later, Royal is estranged from his family, and each Tenenbaum family member is enduring various struggles, declines and tragedies. Chas is raising his sons alone after the death of his wife, while Margot is stuck in a loveless marriage to a peculiar writer and neurologist named Raleigh St. Clair (Bill Murray), and Richie aimlessly globe-trots following a breakdown. After learning that Etheline's accountant, Henry Sherman (Danny Glover), has proposed to her, Royal decides he wants to win back his embittered family, especially since his divorce was never finalised and he has been evicted from the hotel where he was living. In desperation, Royal lies to Etheline, telling her that he has stomach cancer and will die in six weeks, resulting in a family reunion at their old home in New York City.

Anderson once again collaborated with Owen Wilson on the script for The Royal Tenenbaums following Bottle Rocket and Rushmore, though this is their final script collaboration to date, and it is also Wilson's last writing credit as of 2024. The pair spent two years composing the Oscar-nominated screenplay, allowing ample time to sufficiently develop and do justice to the complex narrative. The Royal Tenenbaums explores similar themes to Rushmore, as Anderson's previous movie was about an overachieving student who is incredibly intelligent but struggles to adjust to the expectations of the world around him. Meanwhile, The Royal Tenenbaums is more ambitious, concentrating on a whole family of unhappy prodigies with their individual quirks and anxieties. Miraculously, despite the extensive roster of characters, the film manages to explore each member of the Tenenbaum family with adequate dramatic depth, and no plot point feels undernourished. Indeed, the characters change throughout the narrative, but the transitions do not feel contrived or clichéd - instead, the people organically evolve in response to the sometimes calamitous occurrences and incidents. Furthermore, the dialogue is engaging and almost poetic in rhythm and vernacular, and the deadpan wit provides multiple belly laughs.


With a generous but not overwhelming $21 million budget supporting the production (which is more than the combined cost of Bottle Rocket and Rushmore), the visual artistry throughout The Royal Tenenbaums is staggering, from the intricately composed cinematography (courtesy of Anderson's frequent director of photography, Robert Yeoman) to the ornate production design and luscious art direction. Yeoman and Anderson ensure they do not waste a single frame, alternating between static photography and sturdy tracking shots, relying more on complex cinematography and lengthy shots than fast editing. Furthermore, Yeoman uses the whole negative, precisely arranging actors and props within the widescreen frame, and the colour palette looks distinctive and eye-catching yet gorgeously cinematic. Nobody could ever mistake The Royal Tenenbaums as the work of anyone other than Anderson, as no other filmmaker composes movies that look or sound like this. Furthermore, Mark Mothersbaugh's flavoursome accompanying score perfectly supports the visuals, helping to set the movie's offbeat tone, while Anderson also uses classical music and pop songs, including tracks from the Ramones and The Rolling Stones, and a fresh rendition of the Beatles song Hey Jude. None of the music feels out of place, with the soundtrack perfectly adding energy and soul to the story.

A film like The Royal Tenenbaums requires strong performances to bring the brilliant material to life, and Anderson fortunately assembled a superb ensemble cast teeming with talent. As the family patriarch, Hackman is exceptional, confidently creating a multi-layered character who wants to win back his family's affection but is unsure how to accomplish forgiveness or redemption. Despite lying about stomach cancer, Hackman remains a sympathetic character, which is a testament to the veteran actor's efforts, and it is impossible to imagine another performer playing the role as effectively. Alongside him, Danny Glover and Anjelica Huston bring further gravitas to the movie, while Gwyneth Paltrow delivers arguably her finest performance as the emotionally complex Margot. Co-writer Owen Wilson also appears as Eli Cash, Richie's best friend, adding another eccentric personality to the mix. Additionally, Ben Stiller and Luke Wilson turn in strong and measured performances, with Luke deliberately subdued as Richie while Stiller earns several laughs without resorting to over-the-top comedic antics. Despite limited screen time, Murray (who previously appeared in Rushmore) makes a terrific impression as Raleigh St. Clair, bringing his brand of deadpan humour to the production that is a perfect match for Anderson's comedic sensibilities. Alec Baldwin even provides a pitch-perfect voiceover that is as ideally deadpan as the other members of the ensemble cast, delivering the information in a matter-of-fact style befitting of the screenplay.


An unpredictable, offbeat film that defies convention and classification, The Royal Tenenbaums demonstrates Anderson's aesthetic precision and razor-sharp wit at its best, and it's hard to imagine the director ever topping it. Admittedly, with a beefy 110-minute running time, it could have used some tightening during the second act, in particular, but this is a minor quibble. The understated style and laid-back pacing do require some adjustment for viewers unfamiliar with Anderson's works, but The Royal Tenenbaums is worth the concentration. Perhaps the director's most mature film to date, it delivers clever dark humour with underlying melancholy and ample substance, while the on-screen displays of chapter titles throughout the film (formatted like a book, complete with prose) affords a fairy-tale quality to the narrative. Despite the myriad of influences, The Royal Tenenbaums still feels cohesive, and the stylistic approach suits the distinct disposition of his characters.

8.7/10


0 comments, Reply to this entry

An immensely fun romp for the fans

Posted : 6 months ago on 5 August 2024 05:41 (A review of Deadpool & Wolverine)

Deadpool & Wolverine is the definitive, long-awaited cinematic catharsis to make amends for 2009's atrociously miscalculated X-Men Origins: Wolverine. With Ryan Reynolds and Hugh Jackman finally reuniting after years of uncertainty and trepidation, Deadpool & Wolverine is a comic book fan's wet dream, with an R rating, comics-accurate costume design, nourishing fan service, and a shitload of delightful cameos, making this the most legitimately exciting entry to the ever-weakening Marvel Cinematic Universe since Spider-Man: No Way Home. Although it does not exactly respect 2017's Logan, it does not undo that movie's emotional conclusion, with this story featuring a new Wolverine variant. Veteran Deadpool screenwriters Rhett Reese and Paul Wernick (Zombieland) make their return here, collaborating with Reynolds, comic writer Zeb Wells, and new director Shawn Levy (Free Guy, The Adam Project) to create an immensely fun, sprawling multiverse adventure that teams up two iconic characters while also serving as Deadpool 3. Deadpool & Wolverine is a near-perfect mixture of spectacle, laughs and heart, and a surprisingly organic plot provides the opportunity for unending surprises and raucous joy.


A Deadpool-tinged MCU introduction, complete with Reynolds providing an acapella rendition of the recognisable theme, sets the tone immediately. After the opening narration and credits, the story picks up where Deadpool 2 concluded, with Wade Wilson/Deadpool (Ryan Reynolds) using Cable's time-travel device in an unsuccessful attempt to join The Avengers in the Sacred Timeline, hoping that his life will finally mean something by joining Earth's Mightiest Heroes. Despondent about the rejection, he returns to his own universe and retires the Deadpool mantle, taking a job as a used-car salesman alongside his beloved friend, Peter (Rob Delaney). Wade's relationship with Vanessa (Morena Baccarin) also comes to an end. Six years later, the TVA (or Time Variance Authority) abducts Wade, with Mr. Paradox (Matthew Macfadyen) explaining that Wade's universe is deteriorating due to the death of its "anchor being," Logan/Wolverine (Hugh Jackman). Paradox is constructing a Time Ripper device with the power to wipe out weakening timelines, and he plans to eliminate Wade's world but send the Merc with a Mouth to the Sacred Timeline. Instead of accepting this, Wade - with a new costume - steals Paradox's TemPad and searches for replacement anchor beings to save his timeline, eventually selecting a drunken Wolverine with a tragic past. However, Paradox promptly sends both men to a desolate world known as the Void, where Charles Xavier's sadistic twin sister, Cassandra Nova (Emma Corrin), reigns supreme. With Wolverine reluctantly putting aside his hatred for Wade, the pair work together to escape the Void and return home, hoping to undo past mistakes in the process.

With a six-year gap separating Deadpool 2 and this third instalment, much doubt surrounded a potential Deadpool 3, particularly after Disney's 2019 acquisition of 20th Century Fox and the cancellation of the planned X-Force spinoff. After struggling to develop a worthwhile story for Deadpool 3, Reynolds was prepared to abandon the project until Jackman reached out and expressed his desire to play Wolverine again. Thankfully, Deadpool & Wolverine tells the right story at the right time, bringing Deadpool into the Marvel Cinematic Universe by tying into the multiverse and providing a logical closure point for the ongoing Multiverse Saga, a wise move after the increasingly hit-and-miss films of late. (Deadpool himself is not shy about pointing out that The Multiverse Saga has been "miss after miss after miss.") Additionally, the story seemingly provides a meta commentary on Marvel films by discussing anchor beings and their importance to a respective timeline. After all, the Fox X-Men Universe fell apart after Logan's death (see X-Men: Dark Phoenix and The New Mutants), while the MCU began dwindling after Tony Stark died in Avengers: Endgame.


By necessity, Deadpool & Wolverine strongly connects to the Loki Disney+ series by including the TVA and adhering to the multiverse lore established in the show, allowing Deadpool to navigate various timelines. Fortunately, the film has fun with the possibilities of the multiverse, using the premise to create iconic comic book images in live-action for the first time. Wade shopping around different universes for a new Logan leads to a terrific montage of comic-accurate Wolverine costumes and settings while also incorporating some very funny moments. Indeed, one cameo even leads Wade to diss Warner Brothers and their rampant mishandling of the DC Extended Universe. However, the narrative does meander from time to time, particularly when dealing with the TVA and Paradox's Time Ripper device. Unfortunately, too, the story becomes a touch convoluted as the climax approaches, with ever-changing allegiances (Cassandra basically acts however the narrative requires her to act) and convenient contrivances, with all of the story's complications being handily resolved by simply destroying the Time Ripper. Then again, the characters openly acknowledge the device as a MacGuffin, so there is a self-aware element.

Deadpool's fourth wall breaking is out of control throughout Deadpool & Wolverine, with the script allowing him to comment on the dire state of the MCU, the Disney-Fox merger, bringing the Deadpool characters across to Disney, and other real-world events, including Jackman's recent divorce. There's even a sneaky reference to Will Smith's infamous Oscar slap. Although not every joke lands (and it's a shame that Wade does not skewer the recent obsession with diversity), there are far more hits than misses, with Reynolds once again harnessing immaculate comedic energy and zest to the role he was born to play. Reynolds is hilarious and charming, once again bringing his A-game to the material as he delivers profane dialogue and dick jokes, and his chemistry with Jackman positively sizzles. However, it's Jackman who steals the show, conveying fantastic dramatic dimension while still having immense fun playing the character again. His magnetic performance is superb, with the actor handling more than just berserker rage and hilarious quips - he also delivers poignant dialogue with gravitas while palpable emotion bubbles underneath. The screenplay adds depth to the titular antiheroes, incorporating psychological exploration as both men confront the mistakes of their past, with a specific focus on developing and humanising this Logan variant. These dramatic moments are crucial to ensure audiences care about the pair and want to see them succeed, adding weight and emotion to the romp.


Deadpool & Wolverine's ensemble is vast, from Emma Corrin (The Crown), who makes for a sinister Cassandra Nova, to British actor Matthew Macfadyen (2005's Pride and Prejudice) as the sleazy, not-to-be-trusted Mr. Paradox. To speak about many of the individual performances would spoil the wonderful surprises therein - suffice it to say, there is no weak spot in the cast, with numerous actors confidently reprising their roles from previous Marvel movies, adding ample colour. (Juggernaut is here, but Vinnie Jones could not reach a deal, so newcomer Aaron W Reed takes the role after working as a glorified body double in Free Guy.) Although there are no redemption arcs comparable to Andrew Garfield's role in Spider-Man: No Way Home, the special guests in the Void receive a fitting send-off in a joyous climactic set piece, giving them one last chance to shine. Notable characters from previous Deadpool pictures also make an appearance, including Karan Soni as Dopinder and Leslie Uggams as Blind Al, but there are notable absences, including Josh Brolin as Cable, Zazie Beetz as Domino, and Julian Dennison as Firefist. However, Wade acknowledges their absence, pointing out that the members of the X-Force did not test well with focus groups. (It almost goes without saying that T.J. Miller's Weasel is absent and not even mentioned after his legal issues and public feud with Reynolds.)

Strikes disrupted the production of Deadpool & Wolverine, with a writer's strike ongoing at the start of production before the actor's strike completely stopped the shoot halfway through filming. Despite the accelerated post-production schedule (filming only wrapped in January), the visuals are outstanding throughout the movie, and it is without the type of shonky digital effects work that has plagued recent MCU pictures (Ant-Man and the Wasp: Quantumania being the most egregious example). With a more grounded story and ample location filming, the visual style of Deadpool & Wolverine is more tangible instead of artificial, with the vast wasteland of the Void providing a welcome reprieve from the unbelievably phoney digitally-created worlds witnessed in films like The Marvels and Thor: Love and Thunder. The production knowingly takes inspiration from the Mad Max films in its entertaining visualisation of the Void, with characters repurposing whatever vehicles and items wind up in the wasteland, including the corpse of a gigantic Ant-Man.


With a coveted R rating, the action throughout Deadpool & Wolverine packs a visceral punch, delivering the type of over-the-top, tongue-in-cheek violence that viewers expect from the Deadpool movies. Despite the excessive bloodshed, nothing feels tasteless or nihilistic, as Levy maintains a light-hearted tone that suits the material. Although the action is not exactly groundbreaking from a stylistic perspective, the set pieces are enormously fun, and Levy establishes the tone during the opening title sequence featuring an infectiously enjoyable dance number (set to *NSYNC's Bye Bye Bye) and Deadpool dispatching multiple TVA agents in funny and creative ways. Deadpool movies have always featured superb soundtrack choices, and this threequel satisfyingly continues the tradition. Madonna's Like a Prayer prominently features in the film, while other bangers from Avril Lavigne, Goo Goo Dolls, Huey Lewis & The News, Fergie and AC/DC also appear, in addition to many more tracks to enhance the sense of fun. The song You're The One That I Want from Grease even accompanies a memorably hilarious fight between Deadpool and Wolverine.

Deadpool & Wolverine is full of highlights, from the outstanding fight sequences to the Easter Eggs and the razor-sharp comedy, while the contagious enthusiasm of Reynolds and Jackman is a huge asset. Closing the flick on a pitch-perfect note is a touching end-credits reel set to Green Day's Good Riddance that comprises behind-the-scenes footage, interviews and film clips, and it represents a satisfying ode to the bygone days of Fox Marvel movies, including the good (X-Men, X2), the bad (Fantastic Four, X-Men Origins: Wolverine) and the ugly (2015's Fant4stic, Elektra). With this masterful touch and the exciting cameos, Deadpool & Wolverine is a delightful celebration of pre-MCU Marvel films, much like how Spider-Man: No Way Home celebrated three generations of live-action Spider-Man movies. In this way, Deadpool & Wolverine is not only an enjoyably outrageous superhero blockbuster with endless replay value but also a significant cultural moment that will mean a lot to long-time fans. Like 2023's Guardians of the Galaxy: Vol. 3, Deadpool & Wolverine is a massive, much-needed win for Marvel Studios, but it feels like the perfect end of an era instead of the dawn of a new era.

8.2/10


0 comments, Reply to this entry