This time around, I figured I would make my wife and two daughters happy, and begin a sub-section of these reviews where I will focus on animation, mainly from the fantastic magicians of Disney/Pixar. The story of Aladdin, from a collection of stories dating back more than a millennium, has been filmed dozens of times in dozens of variations. However, none was ever filmed as creatively, humorously and family friendly as Disney Studios did in 1992. The success of the movie owes much to the talents of Robin Williams, whose manic impersonations and characterizations propel this movie along at a frantic pace. Disney also kept the story of Aladdin and Princess Jasmine simple, helping the appeal of the movie. This story is relatively simple, cutting out much of the detail from the original story. Aladdin (voiced by Scott Weinger), is a teenager trying to find enough to eat in Baghdad. Though Aladdin steals food and is a bit of a rogue, he also has a sense of fairness, honor and innocence, a "diamond in the rough" that evil Grand Vizier Jafar (voiced by Jonathan Freeman) needs to enter the Cave of Wonders to steal the magic lamp. Aladdin enters the cave and finds the lamp, but uses the lamp to escape and become Prince Ali in an attempt to win the heart and hand of Princess Jasmine (voiced by Linda Larkin). As we learn early in the movie, Princess Jasmine wants nothing to do with phonies and princes; she is looking for someone to whom she can give her heart, someone who will understand and love her. Prince Ali is not that person. Jafar wants the power of being the Sultan of Baghdad. His plan is simple, get the lamp, gain absolute power, marry Jasmine, and take over the world; not necessarily in that order. I would be remiss if I failed to mention Jafar's trusty adviser Iago the Parrot, voiced by the always obnoxious and, certainly in the case of this movie, funny Gilbert Gottfried. Perhaps if Jafar had not had a parrot as an adviser, things might have turned out different for him.
The animation in this edition of the movie is marvelous. The colors are bright and images are quite clear. Another wonderful feature of this movie is the music. The standout song is "A Whole New World," but I also liked "Prince Ali" and "One Jump Ahead." Alan Menken's score and Tim Rice's music garnered an Oscar for Menken and an Oscar for Menken and Rice. In fact, this movie won 22 significant awards and was nominated for another 15. Aladdin is a good guy trying to survive in a tough world. Princess Jasmine is naïve and innocent. Aladdin's love for Jasmine is pure and teenage and children and teenagers everywhere will identify with Aladdin's angst. The song and dance routines of Robin Williams' Genie keep the overall tone of this movie light, which is necessary to help balance the evil of Grand Vizier Jafar (voiced by Jonathan Freeman). I recommend this movie for all members of the family except for the very youngest members, who may be frightened by the images of Jafar and the Genie is a couple of the scenes. Most children ages 4 and above should be able to watch this movie with little difficulty.
I'll leave you with some little-known trivia:
--This film became the first animated movie to gross more than (US) $200 million.
--Throughout the film, whenever Aladdin tells a lie, the plume on his turban falls and covers his face.
--This is (as of this post) the only traditionally animated feature to be nominated for the MTV Movie Award for Best Picture.
Tuesday, July 10, 2012
Saturday, July 7, 2012
Review of "The Amazing Spider Man" (2012)
Ten years might seem too soon to reboot a franchise, but after the bloated and lackluster third film from 2007, going back to basics isn't that bad an idea after all. That's exactly what The Amazing Spider Man does, booting out previous franchise stalwarts Sam Raimi, Tobey Maguire, Kirsten Dunst and James Franco for up-and-coming director Marc Webb (with only the indie feature 500 Days of Summer under his belt) and similarly on-the-up stars Andrew Garfield and Emma Stone. It's a bold move all right, but in this instance one that pays off handsomely in the form of an enormously entertaining blockbuster piece of entertainment that I dare say surpasses the original.
To be sure, this isn't quite 'the untold story' that the pre-publicity machine sold it as. Rather, screenwriters James Vanderbilt, Alvin Sargent and Steve Kloves (with story credit to Vanderbilt) re-assemble the key elements of Peter Parker's origin story for a fresh new take on the familiar. So once again, Peter is the nerdy and socially awkward teenager who lives with his Uncle Ben and Aunt May, who one day gets bitten by a genetically modified spider and develops superhuman powers, who uses his powers for play until his Uncle Ben gets killed, and then is thrust into a quest for justice to hunt down the killer that ultimately leads him to recognize the responsibility that comes with possessing such powers.
Like I said, this is no mere rehash, and both Webb (am I the only one who finds it fitting that his last name is Webb?) and his team of writers find opportunities at every turn to expand and adjust the little details that make a difference. Parker's father, for instance, plays a much more central role to the narrative, and the crucial wrestling episode between Parker and opponent Bonesaw McGraw in Sam Raimi's original is reduced with a wink to a brief moment that inspires his Spidey mask. More significantly, Webb tones down the comic-book feel of Raimi's original and goes the way of recent superhero movies by injecting a stronger dose of drama into the material.
Though Parker's abandonment issues have always featured in the Spider Man films, Webb's spin on it is by far the most emotionally poignant, drawing an intimate link with Parker's identity crisis that forms the backbone of the story. Indeed, that's also how the film's villain, Dr Curt Connors (Rhys Ifans), has been sketched. Both hero and adversary are characters isolated in their own way- two sides of the same coin if you may- not so different from the dynamic between Batman and the Joker in Nolan's The Dark Knight.
Nonetheless, fans can rest easy that Webb doesn't take his movie down a similarly dark and gloomy path- instead, there is much cheer and spark in the romance between Parker and classmate Gwen Stacy (Emma Stone), who proves to be a much more interesting character than Mary-Jane Watson ever was in three films. That's undoubtedly a result of the chemistry between reel-turned-real life sweethearts Garfield and Stone, but a key difference here is that Stacy is no longer just the sweet girl-next-door but a smart and sassy individual perfectly capable of being Parker's intellectual equal. Their romance has the zing of Webb's earlier Summer, and more than justifies why the commercials director was chosen over so many others to take the helm of this movie.
Webb also has much fun with Parker's discovery of his newfound superhuman capabilities before the film takes a more decidedly serious tone- and a subway scene where the lanky teenager easily overpowers five other burly men in the same carriage (while ripping the clothes off another lady passenger) is neatly choreographed and perfectly staged. Ditto another where he hijacks a car-jacking thief in action (briefly seen in the trailers), which also marks the start of a tongue-in-cheek move he makes whenever some villain refuses to shut up or confess.
In between the intricate webs of romance, comedy and drama, Webb weaves in another layer of action that perfectly complements the earlier elements. The first major setpiece on the Williamsburg Bridge sets the tone for the rest to follow- eschewing all-out spectacle for more emotionally-driven thrills- culminating in a harrowing rescue of a young boy from a burning car hanging off the side of the bridge that proves to be unexpectedly moving. Likewise the climactic sequence set atop a New York skyscraper (similarity to 'The Avengers' aside) has more emotional beats than you would expect- in particular relating to Spiderman's status as a masked vigilante- and ends on a surprisingly sombre note that brings the human dimensions of the tale to a fully satisfying finish.
A huge reason why Webb's drama-centric approach works is the excellent casting. There's no other way to describe it than to say that Garfield is brilliant as Parker/ Spider-Man. He nails the tongue-in-cheek one- liners, and navigates the character beats between tortured teenager and born-again superhero with admirable ease.I have said this before, but it bears mentioning again- his scenes with Stone sparkle with verve. Not unlike Raimi's original, his scenes with supporting leads Martin Sheen and Sally Field provide some of the most heartwarming moments in the movie. To compare Garfield's performance with that of Maguire's is inconsequential really, and it suffices to say that Garfield brings a different, but no less unique, personality to the iconic character.
Indeed, the same can be said of the film as a whole, reassembling the familiar elements of Spider-Man's origin story into a refreshing blend of action and emotion. Working off the template of Raimi's original and inspired by recent character-driven superhero movies, Webb delivers an emotionally thrilling and adrenaline-pumping blockbuster that counts amongst one of the best Marvel page-to-screen adaptations. And unlike post-conversion efforts, the decision to shoot in 3D ensures that the POV shots of Spiderman swinging down Fifth Avenue or battling the Lizard atop the Oscorp skyscraper are positively awe-inspiring, adding an additional dimension of excitement especially when viewed in IMAX. Prepare to be Amazed!
To be sure, this isn't quite 'the untold story' that the pre-publicity machine sold it as. Rather, screenwriters James Vanderbilt, Alvin Sargent and Steve Kloves (with story credit to Vanderbilt) re-assemble the key elements of Peter Parker's origin story for a fresh new take on the familiar. So once again, Peter is the nerdy and socially awkward teenager who lives with his Uncle Ben and Aunt May, who one day gets bitten by a genetically modified spider and develops superhuman powers, who uses his powers for play until his Uncle Ben gets killed, and then is thrust into a quest for justice to hunt down the killer that ultimately leads him to recognize the responsibility that comes with possessing such powers.
Like I said, this is no mere rehash, and both Webb (am I the only one who finds it fitting that his last name is Webb?) and his team of writers find opportunities at every turn to expand and adjust the little details that make a difference. Parker's father, for instance, plays a much more central role to the narrative, and the crucial wrestling episode between Parker and opponent Bonesaw McGraw in Sam Raimi's original is reduced with a wink to a brief moment that inspires his Spidey mask. More significantly, Webb tones down the comic-book feel of Raimi's original and goes the way of recent superhero movies by injecting a stronger dose of drama into the material.
Though Parker's abandonment issues have always featured in the Spider Man films, Webb's spin on it is by far the most emotionally poignant, drawing an intimate link with Parker's identity crisis that forms the backbone of the story. Indeed, that's also how the film's villain, Dr Curt Connors (Rhys Ifans), has been sketched. Both hero and adversary are characters isolated in their own way- two sides of the same coin if you may- not so different from the dynamic between Batman and the Joker in Nolan's The Dark Knight.
Nonetheless, fans can rest easy that Webb doesn't take his movie down a similarly dark and gloomy path- instead, there is much cheer and spark in the romance between Parker and classmate Gwen Stacy (Emma Stone), who proves to be a much more interesting character than Mary-Jane Watson ever was in three films. That's undoubtedly a result of the chemistry between reel-turned-real life sweethearts Garfield and Stone, but a key difference here is that Stacy is no longer just the sweet girl-next-door but a smart and sassy individual perfectly capable of being Parker's intellectual equal. Their romance has the zing of Webb's earlier Summer, and more than justifies why the commercials director was chosen over so many others to take the helm of this movie.
Webb also has much fun with Parker's discovery of his newfound superhuman capabilities before the film takes a more decidedly serious tone- and a subway scene where the lanky teenager easily overpowers five other burly men in the same carriage (while ripping the clothes off another lady passenger) is neatly choreographed and perfectly staged. Ditto another where he hijacks a car-jacking thief in action (briefly seen in the trailers), which also marks the start of a tongue-in-cheek move he makes whenever some villain refuses to shut up or confess.
In between the intricate webs of romance, comedy and drama, Webb weaves in another layer of action that perfectly complements the earlier elements. The first major setpiece on the Williamsburg Bridge sets the tone for the rest to follow- eschewing all-out spectacle for more emotionally-driven thrills- culminating in a harrowing rescue of a young boy from a burning car hanging off the side of the bridge that proves to be unexpectedly moving. Likewise the climactic sequence set atop a New York skyscraper (similarity to 'The Avengers' aside) has more emotional beats than you would expect- in particular relating to Spiderman's status as a masked vigilante- and ends on a surprisingly sombre note that brings the human dimensions of the tale to a fully satisfying finish.
A huge reason why Webb's drama-centric approach works is the excellent casting. There's no other way to describe it than to say that Garfield is brilliant as Parker/ Spider-Man. He nails the tongue-in-cheek one- liners, and navigates the character beats between tortured teenager and born-again superhero with admirable ease.I have said this before, but it bears mentioning again- his scenes with Stone sparkle with verve. Not unlike Raimi's original, his scenes with supporting leads Martin Sheen and Sally Field provide some of the most heartwarming moments in the movie. To compare Garfield's performance with that of Maguire's is inconsequential really, and it suffices to say that Garfield brings a different, but no less unique, personality to the iconic character.
Indeed, the same can be said of the film as a whole, reassembling the familiar elements of Spider-Man's origin story into a refreshing blend of action and emotion. Working off the template of Raimi's original and inspired by recent character-driven superhero movies, Webb delivers an emotionally thrilling and adrenaline-pumping blockbuster that counts amongst one of the best Marvel page-to-screen adaptations. And unlike post-conversion efforts, the decision to shoot in 3D ensures that the POV shots of Spiderman swinging down Fifth Avenue or battling the Lizard atop the Oscorp skyscraper are positively awe-inspiring, adding an additional dimension of excitement especially when viewed in IMAX. Prepare to be Amazed!
Review of "Punch-Drunk Love" (2002)
Adam Sandler is known for his wacky, flaky, and sometimes over the top style of comedy. With films like Billy Madison, Happy Gilmore, and Big Daddy under his belt, one would think that he would stick with what he's got. Sandler has shown us a new side of him with his performance in Paul Thomas Anderson's Punch Drunk Love.
Sandler plays Barry Egan, an ambitious man who owns and operates his own business. He sells his own plungers. One day after finishing a phone call with a food company, he walks outside to find a tiny piano someone dropped on the side of the road. He runs after it and puts it in his office. Then shortly after he meets Lena Leonard (Emily Watson) who needs help with her car. Being the nice guy he is, he complies.
Barry Egan is a great guy. He is nice and is trying his best to do well. With seven sisters, he faces the brunt of their vicious wrath that they unintentionally place upon him. With embarrassing stories of growing up and how they teased him, Barry has a little built up anger that he uses here and there, like his sister's sliding glass door. Barry means well, but man can he do damage.
When lonely one night, Barry calls a sex line for just someone to talk to. What he ends up getting himself into is a huge scandal with the operator of the sex line due to the fact that he gave his credit card number to them and everything they need to know to get money from him. On top of this, Barry has found a way to cheat the food company he talks to in the beginning. The deal is getting free frequent-flyer miles due to a deal the company has on all of their items...including individual pudding cups. Barry pounces on the opportunity by buying as many 25 cent cups as he can so he can fly anywhere for free.
With an interesting plot and a great performance by both Sandler and Watson, this film is bound to make an impact. Sandler's more dramatic side shows, giving us a glimpse at the real actor behind all of the goofy nonsense we have come to love over the years. It was really refreshing to see a comedian do a really good job acting in a serious role. It reminded me of Jim Carrey in The Truman Show. Serious, yet still able to crack a joke, much like Sandler in this film.
Anderson is no newcomer when it comes to movies. He has written and directed a couple of gems. Boogie Nights and Magnolia are two he both wrote and directed and they each came out great. This movie is no different. It's unique style with interesting choices for music give the picture an edge.
If Sandler keeps landing roles like this, he could potentially put himself in position for an Oscar nomination, much like Bill Murray did with Lost in Translation. That's not to say he shouldn't make his regular comedies, but a nice blend would be great. Punch Drunk Love is a knockout, both emotionally and intellectually. Do yourself a huge favor and check it out today!
Sandler plays Barry Egan, an ambitious man who owns and operates his own business. He sells his own plungers. One day after finishing a phone call with a food company, he walks outside to find a tiny piano someone dropped on the side of the road. He runs after it and puts it in his office. Then shortly after he meets Lena Leonard (Emily Watson) who needs help with her car. Being the nice guy he is, he complies.
Barry Egan is a great guy. He is nice and is trying his best to do well. With seven sisters, he faces the brunt of their vicious wrath that they unintentionally place upon him. With embarrassing stories of growing up and how they teased him, Barry has a little built up anger that he uses here and there, like his sister's sliding glass door. Barry means well, but man can he do damage.
When lonely one night, Barry calls a sex line for just someone to talk to. What he ends up getting himself into is a huge scandal with the operator of the sex line due to the fact that he gave his credit card number to them and everything they need to know to get money from him. On top of this, Barry has found a way to cheat the food company he talks to in the beginning. The deal is getting free frequent-flyer miles due to a deal the company has on all of their items...including individual pudding cups. Barry pounces on the opportunity by buying as many 25 cent cups as he can so he can fly anywhere for free.
With an interesting plot and a great performance by both Sandler and Watson, this film is bound to make an impact. Sandler's more dramatic side shows, giving us a glimpse at the real actor behind all of the goofy nonsense we have come to love over the years. It was really refreshing to see a comedian do a really good job acting in a serious role. It reminded me of Jim Carrey in The Truman Show. Serious, yet still able to crack a joke, much like Sandler in this film.
Anderson is no newcomer when it comes to movies. He has written and directed a couple of gems. Boogie Nights and Magnolia are two he both wrote and directed and they each came out great. This movie is no different. It's unique style with interesting choices for music give the picture an edge.
If Sandler keeps landing roles like this, he could potentially put himself in position for an Oscar nomination, much like Bill Murray did with Lost in Translation. That's not to say he shouldn't make his regular comedies, but a nice blend would be great. Punch Drunk Love is a knockout, both emotionally and intellectually. Do yourself a huge favor and check it out today!
Review of "The Mummy's Ghost" (1944)
This is a definitely better movie than the previous Unviversal movie entry The Mummy's Tomb from 2 years earlier (see my earlier review).
Both the story and characters are better developed this time. Although this doesn't mean that the actual story is really that special but at least they put some effort in it.
This entry has the High Priest Yousef Bey (John Carradine) being assigned the task of going to America to retrieve the mummies of Kharis and his queen Ananka. Hero Tom Hervey (Robert Lowery) is courting a beautiful Egyptian by the name of Amina Mansouri (Ramsay Ames). Meanwhile Yousef Bey sets about arranging to take the two mummies back to Egypt. To this end, he unleashes Kharis upon the community to murder anyone who stands in their way.
At the same time Amina starts to experience blackouts as she is being gradually taken over by the spirit of Ananka (the "ghost" of the title) to become the re-incarnation of Queen Ananka. This suddenly becomes a point of issue between Kharis and Yousef Bey until......
Becoming a "B" movie second feature series, the films did nonetheless benefit from Universal's expertise in making this kind of film. Although it features a "B" list cast and runs a scant 61 minutes, it is still an entertaining way to spend an hour.
Lon Chaney would continue in the role of the Mummy in "The Mummy's Curse" (1944) the final film in the series.
A perfectly watchable mummy-entry, and a great way to spend a rainy Saturday night.
Both the story and characters are better developed this time. Although this doesn't mean that the actual story is really that special but at least they put some effort in it.
This entry has the High Priest Yousef Bey (John Carradine) being assigned the task of going to America to retrieve the mummies of Kharis and his queen Ananka. Hero Tom Hervey (Robert Lowery) is courting a beautiful Egyptian by the name of Amina Mansouri (Ramsay Ames). Meanwhile Yousef Bey sets about arranging to take the two mummies back to Egypt. To this end, he unleashes Kharis upon the community to murder anyone who stands in their way.
At the same time Amina starts to experience blackouts as she is being gradually taken over by the spirit of Ananka (the "ghost" of the title) to become the re-incarnation of Queen Ananka. This suddenly becomes a point of issue between Kharis and Yousef Bey until......
Becoming a "B" movie second feature series, the films did nonetheless benefit from Universal's expertise in making this kind of film. Although it features a "B" list cast and runs a scant 61 minutes, it is still an entertaining way to spend an hour.
Lon Chaney would continue in the role of the Mummy in "The Mummy's Curse" (1944) the final film in the series.
A perfectly watchable mummy-entry, and a great way to spend a rainy Saturday night.
Friday, July 6, 2012
Review of "Indiana Jones and the Kingdom of the Crystal Skull" (2008)
As with many films it seems impossible to have measured, balanced opinion presented and then moved along from. Instead what we get is a lot of hype, a lot of people who think it is the worst film ever and yet other people who think it is one of the best films they have ever seen. What I find is that, if you listen to the reasons behind these opinions, both camps have points to make and the most likely reason for this is that both arguments hold a certain amount of water but not 100% - because Indy IV is neither the best or worst film ever. So what is it?
Well, disappointingly, "Indiana Jones and The Kingdom of the Crystal Skull" is not much better than The Mummy or National Treasure or several other films that would like to be as good and as fun as Raiders or Last Crusade but are simply acceptable products in the shadow of those better films. With these films that is almost understandable, but because this is not an Indy-clone but rather a part of the series one can understand why the strength of disappointment. Some people have a problem with the "alien" plot and have used it as a chance to revive the anger over the new Star Wars films and get at Lucas. For me it was a bit strange and modern but to be honest I didn't find it too different in concept from accepting immortality and religious mythology as the basis. Problem is not with the concept of the story but with the delivery. In this regard we get a rather plodding "action/explain/action/explain" structure that stutters rather than flows. It also asks the audience to ignore the fact that every single one of us knows what a head shaped like that means and it is silly to have the influence of aliens "revealed" to us as if it hadn't been clear from the very opening scene.
Storyline aside though, what irritated me was the lack of fun. The opening scene has it in the simple pleasures of a warehouse chase but then blows it away with a moment of silliness with an atomic bomb and a fridge. This pattern continues through the film but sadly rather than having a good bit followed by silliness, silliness tends to infect and diminish a lot of the action. This is a killer because the set-pieces are there in spirit but somehow too much of the delivery has been fudged. The motorcycle chase is fun but after that not a lot works. In the run-up to the film, everyone was talking up how this is an old-fashioned action with real action and not a load of CGI; I can only assume then that Spielberg did not see the final cut and that someone has slipped in some other scenes because I was surprised by how computerised a lot of it was - and also how damaging it is. Of course the "king of the monkeys" bit is absurd and can be highlighted for easy points but to be honest the entire chase through the jungle suffers as well, Here we have a hark back to that brilliant lorry chase in Raiders but it is a poor copy. The CGI makes it daft and robs it totally of realism - well, not "realism" but it makes it less engaging and urgent for the viewer because, as it never looks real, it never really feels real either - an impression not helped, incidentally, by the extent of stunts such as falling over waterfalls etc which are just too overblown to be exciting. The CGI use understandably gets greater as the film approaches the conclusion but, as impressive as it looks, you never once think it is "real" and I cannot help but feel that just because one "can" do something with computers, doesn't always mean one should.
I'm being negative about it but I do want to stress that the film is "OK" - just that "OK" will not be what the majority of viewers are hoping for. It does have its moments of fun but they are few and far between. Crucially what I was surprised by was the lack of true suspense. Often with famous music there are moments where it all comes together and sends thrills through the viewer - that never happened here. Not once. The cast try hard but there is an inescapable feeling of "reunion" to their performances that detract from their characters. Ford does look good for his age and does sort of carry that weary cynicism of the character but nostalgia and reunions rob him of that important trait. LaBeouf is OK but he suffers from being pushed on the audience as some sort of heir-apparent without seeing if he works first - that said he is pretty good considering the weight on him. Blanchett plays it all too straight and is a dull villain without the weight to carry it. Winstone mugs around unconvincingly while Hurt is tied to a "mad" character for the majority. Allen is a nice return in terms of character but her performance is far too "happy to be here/isn't this just like old days" and she never once feels like a real character within the film. Spielberg's direction is a disappointment as the film never "looks" great; mostly due to "big" moments mostly existing within a PC but I was also surprised by how few impressive shots and moments there were.
Indy IV is not a terrible film but nor is it a really good one. It is disappointing but looking at it coldly it is just another CGI-heavy summer blockbuster sequel that can't deliver what it promises; that it is Indiana Jones makes it all the more disappointing but, like most so-so blockbusters, it has just about enough about it to be "OK" but also be a disappointment at the same time.
Well, disappointingly, "Indiana Jones and The Kingdom of the Crystal Skull" is not much better than The Mummy or National Treasure or several other films that would like to be as good and as fun as Raiders or Last Crusade but are simply acceptable products in the shadow of those better films. With these films that is almost understandable, but because this is not an Indy-clone but rather a part of the series one can understand why the strength of disappointment. Some people have a problem with the "alien" plot and have used it as a chance to revive the anger over the new Star Wars films and get at Lucas. For me it was a bit strange and modern but to be honest I didn't find it too different in concept from accepting immortality and religious mythology as the basis. Problem is not with the concept of the story but with the delivery. In this regard we get a rather plodding "action/explain/action/explain" structure that stutters rather than flows. It also asks the audience to ignore the fact that every single one of us knows what a head shaped like that means and it is silly to have the influence of aliens "revealed" to us as if it hadn't been clear from the very opening scene.
Storyline aside though, what irritated me was the lack of fun. The opening scene has it in the simple pleasures of a warehouse chase but then blows it away with a moment of silliness with an atomic bomb and a fridge. This pattern continues through the film but sadly rather than having a good bit followed by silliness, silliness tends to infect and diminish a lot of the action. This is a killer because the set-pieces are there in spirit but somehow too much of the delivery has been fudged. The motorcycle chase is fun but after that not a lot works. In the run-up to the film, everyone was talking up how this is an old-fashioned action with real action and not a load of CGI; I can only assume then that Spielberg did not see the final cut and that someone has slipped in some other scenes because I was surprised by how computerised a lot of it was - and also how damaging it is. Of course the "king of the monkeys" bit is absurd and can be highlighted for easy points but to be honest the entire chase through the jungle suffers as well, Here we have a hark back to that brilliant lorry chase in Raiders but it is a poor copy. The CGI makes it daft and robs it totally of realism - well, not "realism" but it makes it less engaging and urgent for the viewer because, as it never looks real, it never really feels real either - an impression not helped, incidentally, by the extent of stunts such as falling over waterfalls etc which are just too overblown to be exciting. The CGI use understandably gets greater as the film approaches the conclusion but, as impressive as it looks, you never once think it is "real" and I cannot help but feel that just because one "can" do something with computers, doesn't always mean one should.
I'm being negative about it but I do want to stress that the film is "OK" - just that "OK" will not be what the majority of viewers are hoping for. It does have its moments of fun but they are few and far between. Crucially what I was surprised by was the lack of true suspense. Often with famous music there are moments where it all comes together and sends thrills through the viewer - that never happened here. Not once. The cast try hard but there is an inescapable feeling of "reunion" to their performances that detract from their characters. Ford does look good for his age and does sort of carry that weary cynicism of the character but nostalgia and reunions rob him of that important trait. LaBeouf is OK but he suffers from being pushed on the audience as some sort of heir-apparent without seeing if he works first - that said he is pretty good considering the weight on him. Blanchett plays it all too straight and is a dull villain without the weight to carry it. Winstone mugs around unconvincingly while Hurt is tied to a "mad" character for the majority. Allen is a nice return in terms of character but her performance is far too "happy to be here/isn't this just like old days" and she never once feels like a real character within the film. Spielberg's direction is a disappointment as the film never "looks" great; mostly due to "big" moments mostly existing within a PC but I was also surprised by how few impressive shots and moments there were.
Indy IV is not a terrible film but nor is it a really good one. It is disappointing but looking at it coldly it is just another CGI-heavy summer blockbuster sequel that can't deliver what it promises; that it is Indiana Jones makes it all the more disappointing but, like most so-so blockbusters, it has just about enough about it to be "OK" but also be a disappointment at the same time.
Tuesday, July 3, 2012
Review of "Blade" (1998)
It seems to me that a lot of people don't know that Blade is actually a superhero movie on par with X-Men, Daredevil, Punisher and the likes. What all these heroes (and in the case of X-Men, hero group) have in common is that they were all conceived in the magical world of Marvel. Blade was originally a normal person (in a blue outfit) who chased vampires because of a personal grudge and eventually faced off with Dracula himself. He was, for lack of a better term, boring. So boring, in fact, that the character was shelved and never used in the Marvel cine-verse. Then the latter half of 1998 came along...
David S. Goyer performed a stroke of genius when he took the character of Blade and turned him into a leather-clad dark knight. He can't take all the credit though and much of this must go to Stephen Norrington as well, who with his distinct visual style brings out the best of the character. The Blade character (Wesley Snipes) is pretty amazing in this film and mixes martial arts with Batman-like brooding. Snipes is pretty good as the titular character and is successful in bringing out the duality and inner demons of the Day Walker. He is, however, a pretty rigid actor both in voice and in posture and is only interesting enough for the length of one film (which can be attested by the two sequels). Kris Kristofferson is good as well and really brings the tormented character of Whistler to life with energy and a surprising sense of timing. N'Bushe Wright, however, is fairly weak as a leading lady, making her character relatively flat and lifeless. Donal Logue is pretty funny and manages to do a lot with a minor character. German-born Udo Kier should also be mentioned as he brings a lot of finesse and style to the vampire race, probably born of his experiences from playing Dracula. Stephen Dorf provides the best acting in the film and his chilling performance as Deacon Frost stands as one of the best graphic novel villans, ranking right up there with Heath Ledger's Joker.
The story is good and, I feel, renews the vampire genre (something that hasn't been done since...well, who am I kidding? Up until these films, it hasn't been done) by adding a lot of contemporary elements and maintaining the comic book feel. By saying that the film has a "comic book" feel does not mean that the film is unrealistic. Far from it! A lot of effort has been put in trying to make the film seem as real as possible. This does include the effects which are pretty good for their time. Indeed, it was this film that introduced the world to the concept of "Bullet Time," which The Matrix then capitalized on a year later. I found the vampire "dustings" to be a very nice touch. Rather than adding a lot of blood when a vampire expires, Norrington chose to let the vampires spontaneously combust which looks fantastic. The fact that the overall effects were well done adds to the credibility of the film, which would otherwise have fallen flat on its face.
As previously stated Norrington has a very distinct visual style that sets him apart from the directors of the two Blade sequels. Del Toro is nearly as skilled but I prefer Norrington's style. His style gives the film a very special look and feel but most importantly it gives the film atmosphere. A very tense, dark atmosphere which works great--keeping in step both with the brooding of Blade, as well as the heart of the story.
All in all Blade is a very entertaining movie that should have garnered much more recognition than it gained in its original theatrical run. However, a few annoying flaws (which cannot be revealed without spoiling the movie. Suffice to say, many of them are located near the end of the film) do weaken the pace of the film near its ending. To all my fellow comic-book followers, this remains a bloody good time.
David S. Goyer performed a stroke of genius when he took the character of Blade and turned him into a leather-clad dark knight. He can't take all the credit though and much of this must go to Stephen Norrington as well, who with his distinct visual style brings out the best of the character. The Blade character (Wesley Snipes) is pretty amazing in this film and mixes martial arts with Batman-like brooding. Snipes is pretty good as the titular character and is successful in bringing out the duality and inner demons of the Day Walker. He is, however, a pretty rigid actor both in voice and in posture and is only interesting enough for the length of one film (which can be attested by the two sequels). Kris Kristofferson is good as well and really brings the tormented character of Whistler to life with energy and a surprising sense of timing. N'Bushe Wright, however, is fairly weak as a leading lady, making her character relatively flat and lifeless. Donal Logue is pretty funny and manages to do a lot with a minor character. German-born Udo Kier should also be mentioned as he brings a lot of finesse and style to the vampire race, probably born of his experiences from playing Dracula. Stephen Dorf provides the best acting in the film and his chilling performance as Deacon Frost stands as one of the best graphic novel villans, ranking right up there with Heath Ledger's Joker.
The story is good and, I feel, renews the vampire genre (something that hasn't been done since...well, who am I kidding? Up until these films, it hasn't been done) by adding a lot of contemporary elements and maintaining the comic book feel. By saying that the film has a "comic book" feel does not mean that the film is unrealistic. Far from it! A lot of effort has been put in trying to make the film seem as real as possible. This does include the effects which are pretty good for their time. Indeed, it was this film that introduced the world to the concept of "Bullet Time," which The Matrix then capitalized on a year later. I found the vampire "dustings" to be a very nice touch. Rather than adding a lot of blood when a vampire expires, Norrington chose to let the vampires spontaneously combust which looks fantastic. The fact that the overall effects were well done adds to the credibility of the film, which would otherwise have fallen flat on its face.
As previously stated Norrington has a very distinct visual style that sets him apart from the directors of the two Blade sequels. Del Toro is nearly as skilled but I prefer Norrington's style. His style gives the film a very special look and feel but most importantly it gives the film atmosphere. A very tense, dark atmosphere which works great--keeping in step both with the brooding of Blade, as well as the heart of the story.
All in all Blade is a very entertaining movie that should have garnered much more recognition than it gained in its original theatrical run. However, a few annoying flaws (which cannot be revealed without spoiling the movie. Suffice to say, many of them are located near the end of the film) do weaken the pace of the film near its ending. To all my fellow comic-book followers, this remains a bloody good time.
Monday, July 2, 2012
Review of "The Avengers" (2012)
This, friends, is the comic book movie that all other comic book movies wish they could be. It's the pinnacle, the ultimate, the surely unsurpassable achievement in its particular oeuvre, a grand adventure full of humor, action, tension, fan service and an undeniable pathos. For anyone fearing that all the hype – years and years worth of hype – might cheapen or otherwise overshadow the final outcome, you may at last be at ease. Because the JOSS WHEDON! AVENGERS MOVIE! is exactly as good as we all hoped it could be.
Maybe even better.
The Avengers, of course, are a superhero team made up of Iron Man (Robert Downey Jr.), Captain America (Chris Evans), the Hulk (Mark Ruffalo), Thor (Chris Hemsworth), Hawkeye (Jeremy Renner) and the Black Widow (Scarlett Johansson). Other heroes have come and gone amongst this happy few, in comic form, but here all you need to know is that this film serves as kind of a sequel to previous Marvel movies IRON MAN(both 1 and 2), THE INCREDIBLE HULK, THOR and CAPTAIN America, bringing the billionaire Tony Stark, the scientist Bruce Banner, the demigod Thor and the recently defrosted World War II veteran Steve Rogers together to fight against an invading alien threat, alongside spies Clint Barton (Jeremy Denner) and Natasha Romanov (Scarlett Johansson) and under the auspices of Nick Fury (Samuel L. Jackson), Agent of S.H.I.E.L.D.
Man, it's awesome. AWE. SOME.
Oh, it's by no means a perfect film. Whedon is perhaps just a shade too in love with S.H.I.E.L.D technology, and the weight of portent which is given to some truly innocuous lines – especially the final line – feels a little off-kilter. Flashing up a computer image of Natalie Portman's Jane (Thor's love interest from his movie) felt a little like an apology, and the shadowy government hacks who attempt to control Nick Fury are by-the-numbers backroom power players of the Cigarette Smoking Man-school, ruthless and annoyingly cliché.
Everything else, though? Simply, outstandingly, without a shadow of a doubt incredible.
Just for fun, let's talk acting. All our returning superheroes reprise their roles with ease, Downey Jr. once again a delight as the arrogant billionaire Stark and Evans stoic and earnest as the displaced Cap. The award for Most Improved has to go to Chris Hemsworth, whose Thor is given a chance to rock some deadpan wit here, and rock it he surprisingly does. Johansson, of course, is gorgeous and ass-kicking as ever in her Black Widow leather, but is happily also given new levels of intriguing backstory at which to hint and play out, and her friend Hawkeye is given somewhat more to do here than he was allowed in Thor, Jeremy Renner's relaxed performance once again worthy of my beloved marksman's bow and arrow. Clark Gregg's mild-mannered Agent Coulson is adorable in his hero worship; meanwhile our main antagonist in this film is Loki, Thor's resentful trickster brother once again played with consummate creepy cool by Tom Hiddleston.
Oh, and hello again Gwyneth Paltrow as Pepper Potts! Aren't you funny and great?
Of the newcomers, I will admit to having had some reservations about Mark Ruffalo's Bruce Banner, as I had been a true devotee of Edward Norton's turn in the role, but I am big enough to admit when I am wrong: he was terrific here as the mousey, mild-mannered science guy with a chip on his shoulder, and the uses to which his Hulk was put throughout the course of this movie have almost entirely changed my mind about his place in the Marvel Universe. It was that good. Elsewhere, How I Met Your Mother's Cobie Smulders, as an agent of S. H. I. E. L. D., did a lot with a little – enough to hope we see more of her lithe and loyal lieutenant character in AVENGERS 2.
Indeed, after a rollicking, outrageous, hilarious outing like this one, who wouldn't already be eagerly awaiting a sequel? It is, unequivocally, the best comic book movie I have ever seen (and I've seen, well, all of them). More than that, it is my favorite movie so far this year – whew! I was so hoping BATTLESHIP wouldn't continue to hold that title for too much longer – and one I cannot wait to see again.
Avengers assemble, they say? Audience assemble, I say! And assemble, and assemble, and assemble again…
(And make sure you stay through the credits for the now-expected next-movie teaser… Buffy and Angel fans will be particularly happy, even if they don't quite get the somewhat obscure comic-y reference…)
Maybe even better.
The Avengers, of course, are a superhero team made up of Iron Man (Robert Downey Jr.), Captain America (Chris Evans), the Hulk (Mark Ruffalo), Thor (Chris Hemsworth), Hawkeye (Jeremy Renner) and the Black Widow (Scarlett Johansson). Other heroes have come and gone amongst this happy few, in comic form, but here all you need to know is that this film serves as kind of a sequel to previous Marvel movies IRON MAN(both 1 and 2), THE INCREDIBLE HULK, THOR and CAPTAIN America, bringing the billionaire Tony Stark, the scientist Bruce Banner, the demigod Thor and the recently defrosted World War II veteran Steve Rogers together to fight against an invading alien threat, alongside spies Clint Barton (Jeremy Denner) and Natasha Romanov (Scarlett Johansson) and under the auspices of Nick Fury (Samuel L. Jackson), Agent of S.H.I.E.L.D.
Man, it's awesome. AWE. SOME.
Oh, it's by no means a perfect film. Whedon is perhaps just a shade too in love with S.H.I.E.L.D technology, and the weight of portent which is given to some truly innocuous lines – especially the final line – feels a little off-kilter. Flashing up a computer image of Natalie Portman's Jane (Thor's love interest from his movie) felt a little like an apology, and the shadowy government hacks who attempt to control Nick Fury are by-the-numbers backroom power players of the Cigarette Smoking Man-school, ruthless and annoyingly cliché.
Everything else, though? Simply, outstandingly, without a shadow of a doubt incredible.
Just for fun, let's talk acting. All our returning superheroes reprise their roles with ease, Downey Jr. once again a delight as the arrogant billionaire Stark and Evans stoic and earnest as the displaced Cap. The award for Most Improved has to go to Chris Hemsworth, whose Thor is given a chance to rock some deadpan wit here, and rock it he surprisingly does. Johansson, of course, is gorgeous and ass-kicking as ever in her Black Widow leather, but is happily also given new levels of intriguing backstory at which to hint and play out, and her friend Hawkeye is given somewhat more to do here than he was allowed in Thor, Jeremy Renner's relaxed performance once again worthy of my beloved marksman's bow and arrow. Clark Gregg's mild-mannered Agent Coulson is adorable in his hero worship; meanwhile our main antagonist in this film is Loki, Thor's resentful trickster brother once again played with consummate creepy cool by Tom Hiddleston.
Oh, and hello again Gwyneth Paltrow as Pepper Potts! Aren't you funny and great?
Of the newcomers, I will admit to having had some reservations about Mark Ruffalo's Bruce Banner, as I had been a true devotee of Edward Norton's turn in the role, but I am big enough to admit when I am wrong: he was terrific here as the mousey, mild-mannered science guy with a chip on his shoulder, and the uses to which his Hulk was put throughout the course of this movie have almost entirely changed my mind about his place in the Marvel Universe. It was that good. Elsewhere, How I Met Your Mother's Cobie Smulders, as an agent of S. H. I. E. L. D., did a lot with a little – enough to hope we see more of her lithe and loyal lieutenant character in AVENGERS 2.
Indeed, after a rollicking, outrageous, hilarious outing like this one, who wouldn't already be eagerly awaiting a sequel? It is, unequivocally, the best comic book movie I have ever seen (and I've seen, well, all of them). More than that, it is my favorite movie so far this year – whew! I was so hoping BATTLESHIP wouldn't continue to hold that title for too much longer – and one I cannot wait to see again.
Avengers assemble, they say? Audience assemble, I say! And assemble, and assemble, and assemble again…
(And make sure you stay through the credits for the now-expected next-movie teaser… Buffy and Angel fans will be particularly happy, even if they don't quite get the somewhat obscure comic-y reference…)
Subscribe to:
Posts (Atom)