Woody and Buzz are back for the third installment of animated greatness!
Toy Story (1995) was an immense achievement for cinema, not just animation. It was the first film made entirely from animation, and is one of the most successful movies of all time. The story of toys who come to life whenever humans are not around, struck a chord with almost everyone, and characters like Sheriff Woody, Buzz Lightyear, and Mr Potato Head have become synonymous with childhood innocence. The franchise appeals to viewers of all ages, and this newest addition is outstanding.
In the third film, the owner of the toys Andy is now grown up, and about to leave for college. Woody and the gang worry about their fate, hoping for a comfy stay in the attic together, and preying they do not end up being donated, or worse, thrown away! A mix up with the packing sees the group being sent to a day care centre, and now Woody must attempt to save his buddies, whilst convincing them of Andy's intentions.
A disillusioned bear, called Lotso, appears initially to be a welcoming new leader of the day care, who will make sure the new group of toys are happy in their new life. However, it becomes clear that this day care centre, is more like a prison, and Lotso is actually a heartless warden. Woody must come up with a plan to escape the day care, and also get back to Andy before he leaves.
The film surpasses its own reputation with graphics, with a cinematography that encompasses vibrant colours, lively suburbia, and a variety of interesting characters. The voices are crisp and clear, with such a great cast that viewers are not distracted by celebrity, and more entranced by performance. The coming of age of Andy makes for a poignant story, along with the entertaining peril and action sequences.
A heart-warming, rich film that embodies all that is great about family films, animation, and cinema.
In association with UK FILM REVIEW
Sunday 28 November 2010
Wednesday 24 November 2010
9 (2009)
Directed by Shane Acker, this animated dystopia follows the struggle of nine rag dolls, who have survived a war that destroyed the world, leaving only murderous machines to prey upon the wreckage.
Each rag doll has a number, rather than a name, and each has their own particular personality trait, such as 2, a wise, old handy-man, or 7, a rough rebel. The main character, predictably, is 9 (voiced by Elijah Wood), who is in search of answers, as well as being determined to save his fellow rag dolls. As the journey leads the rag dolls deeper into this apocalyptic landfill, larger questions regarding humanity, and its mistakes, emerge.
This animated film tries very hard to be different from other such films, like Pixar. It is dark, edgy, and painfully poignant, with Tim Burton attached as a producer...would you expect anything different? The film started as a college project for Acker, and was a 6 minute short film, and once it gained notoriety, a feature length was developed, the fear was that it would not work as a film that long. Ironically, my opinion is that it needed to be longer! Characters go undeveloped, the plot seems overshadowed by action scenes, and the ending seems contrived, which is such a shame, as the premise is awesome.
On the plus side, there is a sentiment to the film which appeals, and the danger which the rag dolls face is ever-present, making for a gripping view. It is absolutely stunning to look at, however Burton's opinion that a silent movie would have been more effective seems correct, the dialogue seems to render the film neutral, rather than a punch in the stomach.
Each rag doll has a number, rather than a name, and each has their own particular personality trait, such as 2, a wise, old handy-man, or 7, a rough rebel. The main character, predictably, is 9 (voiced by Elijah Wood), who is in search of answers, as well as being determined to save his fellow rag dolls. As the journey leads the rag dolls deeper into this apocalyptic landfill, larger questions regarding humanity, and its mistakes, emerge.
This animated film tries very hard to be different from other such films, like Pixar. It is dark, edgy, and painfully poignant, with Tim Burton attached as a producer...would you expect anything different? The film started as a college project for Acker, and was a 6 minute short film, and once it gained notoriety, a feature length was developed, the fear was that it would not work as a film that long. Ironically, my opinion is that it needed to be longer! Characters go undeveloped, the plot seems overshadowed by action scenes, and the ending seems contrived, which is such a shame, as the premise is awesome.
On the plus side, there is a sentiment to the film which appeals, and the danger which the rag dolls face is ever-present, making for a gripping view. It is absolutely stunning to look at, however Burton's opinion that a silent movie would have been more effective seems correct, the dialogue seems to render the film neutral, rather than a punch in the stomach.
Monday 22 November 2010
I Love You, Man (2009)
A truly Bro-Mantic tale, that is hilarious and poignant.
When Paul Rudd gets engaged to his beautiful fiancé, it occurs to him that he has no one to be his best man, so he goes in search of some male friends. When he meets painfully honest, and slightly crazy, Sydney (Jason Segel), Peter (Rudd) enters a dangerous relationship that will test boundaries of acceptable social behaviour.
Director John Hamburg has avoided the clichés and pitfalls that so many new comedies hit face on, and created a superb movie that is funny, original, and relevant. Rudd is brilliant as the awkward groom-to-be, whose try-hard attributes make him a likeable and entertaining character. Segel is excellent as the off-beat antagonist, whose zany perception on life makes for great viewing.
With some many films looking at the complexities of female lives, it is refreshing to see a film which looks at male relationships in the modern world. A great film that deserves appreciation.
When Paul Rudd gets engaged to his beautiful fiancé, it occurs to him that he has no one to be his best man, so he goes in search of some male friends. When he meets painfully honest, and slightly crazy, Sydney (Jason Segel), Peter (Rudd) enters a dangerous relationship that will test boundaries of acceptable social behaviour.
Director John Hamburg has avoided the clichés and pitfalls that so many new comedies hit face on, and created a superb movie that is funny, original, and relevant. Rudd is brilliant as the awkward groom-to-be, whose try-hard attributes make him a likeable and entertaining character. Segel is excellent as the off-beat antagonist, whose zany perception on life makes for great viewing.
With some many films looking at the complexities of female lives, it is refreshing to see a film which looks at male relationships in the modern world. A great film that deserves appreciation.
Coming To America (1988)
Eddie Murphy...an African prince?
This classic comedy from the eighties, sees Eddie Murphy as the heir to the throne in Zamunda, who goes to Queens in New York City in search of a wife who will offer him intelligence and integrity deserving of a Queen. Going undercover as a poor African student, his search sees him enter the world of working class life in Black America.
What is brilliant about this film, is the discourse that it opens about modern America, where issues of race and class are always open. Murphy encounters a wide variety of prejudice, and his comedic take on this is hugely entertaining.
A devilishly funny film, where the laughs are clever and outrageous at the same time.
This classic comedy from the eighties, sees Eddie Murphy as the heir to the throne in Zamunda, who goes to Queens in New York City in search of a wife who will offer him intelligence and integrity deserving of a Queen. Going undercover as a poor African student, his search sees him enter the world of working class life in Black America.
What is brilliant about this film, is the discourse that it opens about modern America, where issues of race and class are always open. Murphy encounters a wide variety of prejudice, and his comedic take on this is hugely entertaining.
A devilishly funny film, where the laughs are clever and outrageous at the same time.
Let The Right One In (2008)
Cult vampire film set in the chilling suburbia of Sweden.
Remade recently by Matt Reeves, and called Let Me In, the original film was directed by Thomas Alfredson and based on a novel. The film is about a young boy struggling at school with bullies, and an isolated home life, who befriends a very old vampire, who looks like a young girl. While the boy attempts to summon the courage to deal with his enemies, the girl has her guardian roam the streets looking for people to kill, and then drain the blood to survive. A slow, rich film that focuses on the isolation and loneliness of youth, rather than the sex appeal of blood lust.
The film is unfaltering in its dedication to authenticity, and uses the landscape and culture of Sweden to its benefit. Avoiding being gory and explicit, the movie does not fit the guidelines of the horror genre, and is more a dramatic tale of two children caught up in a dark world.
If you like vampire films, it is an original take on the genre, but do not expect the populism of Twilight, or the flashiness of TV programs like True Blood. Also, be prepared for some reading, subtitles galore, although this enhanced the film for me.
A very interesting film, which is original, authentic, and engaging....Let Me In is more impressive though!
Remade recently by Matt Reeves, and called Let Me In, the original film was directed by Thomas Alfredson and based on a novel. The film is about a young boy struggling at school with bullies, and an isolated home life, who befriends a very old vampire, who looks like a young girl. While the boy attempts to summon the courage to deal with his enemies, the girl has her guardian roam the streets looking for people to kill, and then drain the blood to survive. A slow, rich film that focuses on the isolation and loneliness of youth, rather than the sex appeal of blood lust.
The film is unfaltering in its dedication to authenticity, and uses the landscape and culture of Sweden to its benefit. Avoiding being gory and explicit, the movie does not fit the guidelines of the horror genre, and is more a dramatic tale of two children caught up in a dark world.
If you like vampire films, it is an original take on the genre, but do not expect the populism of Twilight, or the flashiness of TV programs like True Blood. Also, be prepared for some reading, subtitles galore, although this enhanced the film for me.
A very interesting film, which is original, authentic, and engaging....Let Me In is more impressive though!
Juno (2007)
A brilliant, quirky comedy.
Set in small town America, Juno is the story of a quirky teenager (Juno - played by Ellen Page), who becomes pregnant after sleeping with her awkward friend Paulie Bleeker (Michael Cera). Juno decides to explore the option of donating her child to a couple looking to adopt, and finds a promising pair in the local paper. As the nine months elapse, the story becomes even more complicated and emotional.
Made with a superb Indie influence, director Jason Reitman has created an understated masterpiece. The cast are truly impressive, especially Ellen Page, who has continued to stand out in her career. The witty script is brought to life with Page's outstanding penchant for delivery and timing, as well as the supporting cast. Music is an important aspect of this film, and the acoustic tracks create an atmosphere which reflect the story brilliantly, with off-beat tunes and zany lyrics. Most importantly, this film discusses one of the most important issues facing modern American society, teenage pregnancy, but does it in a way that is compassionate and entertaining and funny.
I struggle to find anything bad about this film, and I refuse to pick things for the sake of it. It is a wonderful movie about the boredom of youth, the emotion of childbirth, and the pain of relationships. Excellent viewing.
Set in small town America, Juno is the story of a quirky teenager (Juno - played by Ellen Page), who becomes pregnant after sleeping with her awkward friend Paulie Bleeker (Michael Cera). Juno decides to explore the option of donating her child to a couple looking to adopt, and finds a promising pair in the local paper. As the nine months elapse, the story becomes even more complicated and emotional.
Made with a superb Indie influence, director Jason Reitman has created an understated masterpiece. The cast are truly impressive, especially Ellen Page, who has continued to stand out in her career. The witty script is brought to life with Page's outstanding penchant for delivery and timing, as well as the supporting cast. Music is an important aspect of this film, and the acoustic tracks create an atmosphere which reflect the story brilliantly, with off-beat tunes and zany lyrics. Most importantly, this film discusses one of the most important issues facing modern American society, teenage pregnancy, but does it in a way that is compassionate and entertaining and funny.
I struggle to find anything bad about this film, and I refuse to pick things for the sake of it. It is a wonderful movie about the boredom of youth, the emotion of childbirth, and the pain of relationships. Excellent viewing.
Monday 15 November 2010
Harry Potter and the Half-Blood Prince (2009)
With the upcoming cinematic release of Harry Potter and the Deathly Hallows Part One, I take a look at the 6th installment of the magical franchise.
I am a fan of the books, and a fan of the films. I realise many Rowling-lovers are outraged by the films, due to the changing and deletion of events, but I think it is important to see the two mediums separately.
Harry Potter and the Half-Blood Prince is the best film of the series, it has a sinister style which gives the film credibility, and the infamous trio (Daniel Radcliff, Emma Watson, and Rupert Grint) pull of their most impressive performances. Harry (Radcliff), in his sixth year at Hogwarts (the magical school), continues his battle against the dark force of the Death Eaters, led by Voldemort, in which he attempts to learn more about his nemesis as well as cope with the trials of his famous life.
The film is excellent in terms of looks, style, cast, and music. Everything has an original appearance which make the Potter films instantly recognisable, and have given them an enduring existence. I still have problems with the script, but that seems to be a problem relating to the translation between page to screen.
Overall, a film that surpasses expectations, and makes it the most darkly exciting installment so far...
I am a fan of the books, and a fan of the films. I realise many Rowling-lovers are outraged by the films, due to the changing and deletion of events, but I think it is important to see the two mediums separately.
Harry Potter and the Half-Blood Prince is the best film of the series, it has a sinister style which gives the film credibility, and the infamous trio (Daniel Radcliff, Emma Watson, and Rupert Grint) pull of their most impressive performances. Harry (Radcliff), in his sixth year at Hogwarts (the magical school), continues his battle against the dark force of the Death Eaters, led by Voldemort, in which he attempts to learn more about his nemesis as well as cope with the trials of his famous life.
The film is excellent in terms of looks, style, cast, and music. Everything has an original appearance which make the Potter films instantly recognisable, and have given them an enduring existence. I still have problems with the script, but that seems to be a problem relating to the translation between page to screen.
Overall, a film that surpasses expectations, and makes it the most darkly exciting installment so far...
Saturday 13 November 2010
Mercury Rising (1998)
Action thriller about a young autistic boy who cracks a secret government code, and then becomes hunted by dangerous agents. His only hope is a disillusioned, reckless FBI agent, with more than his share of issues.
The film opens with an intense stand off between police and a group of bank robbers who are holed up inside a bank with a selection of hostages. Amongst the thieves, is undercover FBI agent Art Jeffries (Bruce Willis), who attempts to convince the robbers to end their siege peacefully and avoid bloodshed, to no avail. After a bloody shootout mainly from the police force, Jeffries is left with anger and guilt following the killing of two of the younger bank robbers, who he hoped to save. Meanwhile, an autistic student child Simon Lynch (Miko Hughes) stumbles upon a puzzle, which he solves, bringing him to the attention of the secret government agency, the NSA, headed by Nick Kudrow (Alec Baldwin). The puzzle turned out to be a secret code used to relay messages between undercover agents across the globe, whose identities must be kept secret. The film then develops in to a cat-and-mouse chase between the government and the boy, with Jeffries acting as guardian for Simon, after his parents are eliminated.
A slightly lukewarm action thriller, that seemed to have too many warm, fuzzy moments. Willis plays his typical action hero, which I am a big fan of, but does not offer anything original in this film. There are some good chase scenes and stunts, but nothing in the league of better action thrillers of the time, like Enemy of the State.
The most impressive element of this film, is the depiction of the autistic boy Simon. Director Harold Becker has managed to convey the sensitivity and emotion that the character deserves very well, and it is the most engaging aspect of the film.
Not one to remember, but worth a watch for the issues about autism in modern America.
The film opens with an intense stand off between police and a group of bank robbers who are holed up inside a bank with a selection of hostages. Amongst the thieves, is undercover FBI agent Art Jeffries (Bruce Willis), who attempts to convince the robbers to end their siege peacefully and avoid bloodshed, to no avail. After a bloody shootout mainly from the police force, Jeffries is left with anger and guilt following the killing of two of the younger bank robbers, who he hoped to save. Meanwhile, an autistic student child Simon Lynch (Miko Hughes) stumbles upon a puzzle, which he solves, bringing him to the attention of the secret government agency, the NSA, headed by Nick Kudrow (Alec Baldwin). The puzzle turned out to be a secret code used to relay messages between undercover agents across the globe, whose identities must be kept secret. The film then develops in to a cat-and-mouse chase between the government and the boy, with Jeffries acting as guardian for Simon, after his parents are eliminated.
A slightly lukewarm action thriller, that seemed to have too many warm, fuzzy moments. Willis plays his typical action hero, which I am a big fan of, but does not offer anything original in this film. There are some good chase scenes and stunts, but nothing in the league of better action thrillers of the time, like Enemy of the State.
The most impressive element of this film, is the depiction of the autistic boy Simon. Director Harold Becker has managed to convey the sensitivity and emotion that the character deserves very well, and it is the most engaging aspect of the film.
Not one to remember, but worth a watch for the issues about autism in modern America.
Friday 12 November 2010
12 Angry Men (1957)
Based on the teleplay by Reginald Rose from 1954, this epic courtroom drama from director Sidney Lumet is an insightful exploration of the American people and their justice system.
Set entirely within a courthouse, the story is of twelve jurors deliberating a capital murder case. Henry Fonda plays the only juror who is unconvinced of the accused's guilt, and as he attempts to open discussion on the case, emotions run high and true characters are unearthed. Issues of class, race, culture and American heritage reveal themselves, and the twelve jurors enter into a series of heated debates, some related to the case, and some not. Aspects of the case which seemed unbreakable are shown in a new light by Fonda, and the jurors must face the possibility of a different perspective, which has serious implications.
A demon of a script pushes this film into the iconic list of great movies. The intelligence of the words, and the pace given to them by an awesome cast, gives the impression of a great play, but with the added benefits of movie production. Fonda is unforgettable as juror number eight, a truly remarkable performance. All of the cast deserve applause and praise for their devotion to a great script, giving the characters a stark realism which makes the film so intense.
Some elements of the film date it, such as the old fashioned music score, and the use of fades between scenes, but this seems to give it an historic value, rather than diminishing its quality. The camera work is superb, flitting between several different conversations with smooth ease, and the stifling atmosphere in the room is conveyed expertly with great set pieces by the director, who has created a masterpiece.
Without question, one of the best films of the 20th century.
Set entirely within a courthouse, the story is of twelve jurors deliberating a capital murder case. Henry Fonda plays the only juror who is unconvinced of the accused's guilt, and as he attempts to open discussion on the case, emotions run high and true characters are unearthed. Issues of class, race, culture and American heritage reveal themselves, and the twelve jurors enter into a series of heated debates, some related to the case, and some not. Aspects of the case which seemed unbreakable are shown in a new light by Fonda, and the jurors must face the possibility of a different perspective, which has serious implications.
A demon of a script pushes this film into the iconic list of great movies. The intelligence of the words, and the pace given to them by an awesome cast, gives the impression of a great play, but with the added benefits of movie production. Fonda is unforgettable as juror number eight, a truly remarkable performance. All of the cast deserve applause and praise for their devotion to a great script, giving the characters a stark realism which makes the film so intense.
Some elements of the film date it, such as the old fashioned music score, and the use of fades between scenes, but this seems to give it an historic value, rather than diminishing its quality. The camera work is superb, flitting between several different conversations with smooth ease, and the stifling atmosphere in the room is conveyed expertly with great set pieces by the director, who has created a masterpiece.
Without question, one of the best films of the 20th century.
Thursday 11 November 2010
Kick Ass (2010)
As the comic-book film genre continues to dominate cinemas, can another hero enter the arena and kick some ass?
An emphatic yes! This film is superb.
Directed by Matthew Vaugn, and based on the original comics by Mark Millar, the movie asks the question: can any regular person become a superhero? And, if so, why has no one done it? Average teenager Dave decides to take on this challenge, buying himself a costume over the Internet, and roaming the streets looking to save those in trouble, giving himself the title Kick Ass. After being stabbed, ran over, and left for dead, Dave's antics reveal the absurdity of his mission, however, these injuries only make his determination stronger, as well as his body, which has to be reinforced with metal plates giving him a higher threshold for pain.
Kick Ass finds himself in a battle against an organised drug cartel. During Kick Ass' first encounter with the cartel, father-daughter superhero team, Big Daddy and Hit Girl, reveal themselves. A once legendary cop, Big Daddy now avenges the cartel who were responsible for sending him to prison and the death of his wife.
An action packed storyline with great characters makes this film exciting and credible. It is the stylistic elements to the film which elevate it above the average comic flick. The film seems to mix a Tarantino-style gore, with Frank Miller comic-realism, and a kind of Andy Warhol vibrance of colour, which creates an aesthetic that is hugely impressive. Several scenes stand out as being genuine works of art, and the graphic drawings mixed with the real life shots works well.
Great performances from a great cast, Nicholas Cage is surprisingly funny as Big Daddy, and rising star Chloe Moretz is fantastic as the dirty-mouthed Hit Girl.
Some may find the film goes too deep into the world of comics, but rest assured this is not a geeky film. It is a genuinely brilliant movie that caters for a wide variety of tastes. The film is artistic, enjoyable, and extremely current.
An emphatic yes! This film is superb.
Directed by Matthew Vaugn, and based on the original comics by Mark Millar, the movie asks the question: can any regular person become a superhero? And, if so, why has no one done it? Average teenager Dave decides to take on this challenge, buying himself a costume over the Internet, and roaming the streets looking to save those in trouble, giving himself the title Kick Ass. After being stabbed, ran over, and left for dead, Dave's antics reveal the absurdity of his mission, however, these injuries only make his determination stronger, as well as his body, which has to be reinforced with metal plates giving him a higher threshold for pain.
Kick Ass finds himself in a battle against an organised drug cartel. During Kick Ass' first encounter with the cartel, father-daughter superhero team, Big Daddy and Hit Girl, reveal themselves. A once legendary cop, Big Daddy now avenges the cartel who were responsible for sending him to prison and the death of his wife.
An action packed storyline with great characters makes this film exciting and credible. It is the stylistic elements to the film which elevate it above the average comic flick. The film seems to mix a Tarantino-style gore, with Frank Miller comic-realism, and a kind of Andy Warhol vibrance of colour, which creates an aesthetic that is hugely impressive. Several scenes stand out as being genuine works of art, and the graphic drawings mixed with the real life shots works well.
Great performances from a great cast, Nicholas Cage is surprisingly funny as Big Daddy, and rising star Chloe Moretz is fantastic as the dirty-mouthed Hit Girl.
Some may find the film goes too deep into the world of comics, but rest assured this is not a geeky film. It is a genuinely brilliant movie that caters for a wide variety of tastes. The film is artistic, enjoyable, and extremely current.
27 Dresses (2008)
Romance, weddings, fashion, and good looking movie stars are plentiful in this Rom-Com from director Anne Fletcher. Set in Manhattan, viewers glimpse in to the world of Jane (Katherine Heigl), a pro-active wedding planner whose selfless hard work sees her bridesmaid at 27 different weddings (hence the 27 dresses). Trouble hits though, when her baby sister comes to town and wins the affections of Jane's boss, who is also the unrequited love of Jane's life. As the love triangle is turned into a love parallelogram with the introduction of wedding columnist Kevin, you can imagine the drama and confusion which follow.
As a film with a specific target audience, it hits the mark. Connoisseurs of the genre may feel a little let down with the predictable structure, and lack of twists and turns, but for the most part it offers an eclectic mix of humour, romance, and big-city living. What makes the film, is an impressive performance by Heigl, as the awkward loner looking for the love of her life whilst dealing with everyone else's special day. The script is witty in places, and there are some slapstick moments which amuse.
One point worth mentioning is the discussion which the film creates about opinions on weddings and marriage. Jane absolutely loves them and pours her heart and soul into every detail that she plans, whilst Kevin is far more cynical about them, being a divorcee. Questions of materialism and pointlessness will keep couples arguing for hours.
A little more than your average Rom-Com, but mostly due to the casting of Heigl. Otherwise a forgettable film about forgettable people.
As a film with a specific target audience, it hits the mark. Connoisseurs of the genre may feel a little let down with the predictable structure, and lack of twists and turns, but for the most part it offers an eclectic mix of humour, romance, and big-city living. What makes the film, is an impressive performance by Heigl, as the awkward loner looking for the love of her life whilst dealing with everyone else's special day. The script is witty in places, and there are some slapstick moments which amuse.
One point worth mentioning is the discussion which the film creates about opinions on weddings and marriage. Jane absolutely loves them and pours her heart and soul into every detail that she plans, whilst Kevin is far more cynical about them, being a divorcee. Questions of materialism and pointlessness will keep couples arguing for hours.
A little more than your average Rom-Com, but mostly due to the casting of Heigl. Otherwise a forgettable film about forgettable people.
Monday 8 November 2010
The Road (2009)
A tale of humanity at its best and worst.
Viggo Mortensen and Kodi Smit-McPhee play the man and son in Cormac McCarthy's devastating The Road, directed by John Hillcoat. A post-apocalyptic story of father and son battling with a world that is dying all around them, whilst trying to maintain some semblance of humanity. The nameless duo must overcome danger and enemies throughout their journey south to the coast, from treacherous landscapes and severe weather conditions, to crippling hunger and roving gangs of cannibals. During the course of their struggle, The Road will test their morality, punish their weaknesses, and attempt to destroy them.
The very nature of McCarthy's genius story may seem depressing, (the death of the world often is), however, Hillcoat has managed to find the heart of the story, and keep it pumping throughout even though it is encased with misery and agony. A loving warmth is generated between Mortensen and Smit-McPhee which transcends the horrific setting of the film, and "carries a fire" for the viewer in their dark days. Thus, the film becomes less about the awful conditions generated by the destruction of the earth, and more about the struggle between good and evil, about holding on to compassion and love whilst everyone around you loses theirs.
A masterful production, with breathtaking cinematography. The barren landscapes covered in ash are somehow beautiful, and the locations are outstanding. Hillcoat juxtaposes colours with brilliance, using sepia, greys and darkness for the dying new world, whilst applying vivid and vibrant colours to happy memories of the man. The film also employs a piano riff which Mortensen and his wife (Charlize Theron) play during cheerier times, which comes to symbolize the last thread of happiness which the man clings to with ferocity.
As the father must "pass the torch" on to his son, viewers are left with a profound dilemma: should they be hopeful for the son's future? Or succumb to the despair of the boy's inevitable struggle? This, in essence, is the foundation of the story, how would you react in this situation? Would you have the strength and morality to remain humane in an inhuman world?
A truly remarkable film, worthy of praise and acclaim of the highest notion.
Viggo Mortensen and Kodi Smit-McPhee play the man and son in Cormac McCarthy's devastating The Road, directed by John Hillcoat. A post-apocalyptic story of father and son battling with a world that is dying all around them, whilst trying to maintain some semblance of humanity. The nameless duo must overcome danger and enemies throughout their journey south to the coast, from treacherous landscapes and severe weather conditions, to crippling hunger and roving gangs of cannibals. During the course of their struggle, The Road will test their morality, punish their weaknesses, and attempt to destroy them.
The very nature of McCarthy's genius story may seem depressing, (the death of the world often is), however, Hillcoat has managed to find the heart of the story, and keep it pumping throughout even though it is encased with misery and agony. A loving warmth is generated between Mortensen and Smit-McPhee which transcends the horrific setting of the film, and "carries a fire" for the viewer in their dark days. Thus, the film becomes less about the awful conditions generated by the destruction of the earth, and more about the struggle between good and evil, about holding on to compassion and love whilst everyone around you loses theirs.
A masterful production, with breathtaking cinematography. The barren landscapes covered in ash are somehow beautiful, and the locations are outstanding. Hillcoat juxtaposes colours with brilliance, using sepia, greys and darkness for the dying new world, whilst applying vivid and vibrant colours to happy memories of the man. The film also employs a piano riff which Mortensen and his wife (Charlize Theron) play during cheerier times, which comes to symbolize the last thread of happiness which the man clings to with ferocity.
As the father must "pass the torch" on to his son, viewers are left with a profound dilemma: should they be hopeful for the son's future? Or succumb to the despair of the boy's inevitable struggle? This, in essence, is the foundation of the story, how would you react in this situation? Would you have the strength and morality to remain humane in an inhuman world?
A truly remarkable film, worthy of praise and acclaim of the highest notion.
Sunday 7 November 2010
Jeepers Creepers (2001)
During a long road trip home from college, siblings Patricia and Darry stumble upon a horrifying creature who hunts for body parts, and stores the remaining corpses stacked inside a church basement. As the creature turns his attention to the brother and sister, the long journey home becomes a terrifying adventure of flesh-eating chaos.
Centred around an urban myth of a demon who rises ever 23 years for 23 days, during which time "it gets to eat", the film is set in the lonely countryside of America, where houses are sparse, and help is distant. Director Victor Salva has managed to cast two excellent actors to play the two lead roles. Justin Long (Dodgeball and Die Hard 4.0) is superb as Darry, the reckless youth who is thrown literally face first into the creature's world. Gina Philips (Jennifer's Shadow) adds a great dimension to the pairing, as the sensitive worrier, whose character develops considerably over the course of the film.
There are moments during the film which pander to the typical conventions of horror blockbusters, such as questionable motives behind the siblings' behaviour...why do these people feel the need to turn back and find out what lurks beneath?! But for the most part, Salva has created a decent horror film, which maintains a high level of scariness and mystery to keep the viewer entertained without bordering the ridiculous.
Centred around an urban myth of a demon who rises ever 23 years for 23 days, during which time "it gets to eat", the film is set in the lonely countryside of America, where houses are sparse, and help is distant. Director Victor Salva has managed to cast two excellent actors to play the two lead roles. Justin Long (Dodgeball and Die Hard 4.0) is superb as Darry, the reckless youth who is thrown literally face first into the creature's world. Gina Philips (Jennifer's Shadow) adds a great dimension to the pairing, as the sensitive worrier, whose character develops considerably over the course of the film.
There are moments during the film which pander to the typical conventions of horror blockbusters, such as questionable motives behind the siblings' behaviour...why do these people feel the need to turn back and find out what lurks beneath?! But for the most part, Salva has created a decent horror film, which maintains a high level of scariness and mystery to keep the viewer entertained without bordering the ridiculous.
Jeepers Creepers II (2003)
Horror sequels have a reputation for failure. They are often half-hearted and lack any of the spark that the original contained, and this is definitely the case for Victor Salva's Jeepers Creepers II.
The film is about a winged-creature who eats the body parts of those he likes during his 23 day reign of terror, which comes every 23 years. Set just days after the original film, the second installment follows a bus-load of high school basketball players, as well as their cheerleaders and team staff, who are pursued by the creature, and try to survive until morning when the creature's time is up. With a frenetic pace and stylish horror, the film does appeal to the average slasher fan, but the film offers nothing in the way of originality or substance. There are script problems from the outset, and the director offers very little in the way of character backgrounds, which leaves the viewer unconcerned about their fates.
By setting the film in the course of one night, it does add a sense of urgency which improves the film's effect. However, the creature is often displayed in full focus which removes the mystery surrounding his presence, and, in places, seems comical. The entourage of teenagers fail to distinguish themselves as individuals, and the more interesting characters seem to get picked off too early.
A poor follow-up to what could have been a fantastic movie franchise.
The film is about a winged-creature who eats the body parts of those he likes during his 23 day reign of terror, which comes every 23 years. Set just days after the original film, the second installment follows a bus-load of high school basketball players, as well as their cheerleaders and team staff, who are pursued by the creature, and try to survive until morning when the creature's time is up. With a frenetic pace and stylish horror, the film does appeal to the average slasher fan, but the film offers nothing in the way of originality or substance. There are script problems from the outset, and the director offers very little in the way of character backgrounds, which leaves the viewer unconcerned about their fates.
By setting the film in the course of one night, it does add a sense of urgency which improves the film's effect. However, the creature is often displayed in full focus which removes the mystery surrounding his presence, and, in places, seems comical. The entourage of teenagers fail to distinguish themselves as individuals, and the more interesting characters seem to get picked off too early.
A poor follow-up to what could have been a fantastic movie franchise.
Tuesday 2 November 2010
Dracula: Dead and Loving It (1995)
Mel Brooks is a comedy hero of mine, his work has been influential on the movie industry for decades, and his penchant for spoof is unmatched. His take on the Dracula story, however, is less than impressive.
As part of my spooky season viewing, I decided to lighten the mood with Brooks' Dracula: Dead and Loving It starring Leslie Nielsen as the infamous Count Dracula. Far from the comic genius of Spaceballs and Blazing Saddles, Brooks has opted for cheaper laughs and poor quality production. The story is barely held together, with elements of slapstick thrown in wherever possible, and the characters seem like simply impressions rather than realistic inventions. There are a couple of very funny moments, and I did enjoy Peter MacNicol as R. M. Renfield who was hilarious for a lot of the film. However, I was severely let down by lack of effort to make a thoughtful spoof of a legendary story.
As part of my spooky season viewing, I decided to lighten the mood with Brooks' Dracula: Dead and Loving It starring Leslie Nielsen as the infamous Count Dracula. Far from the comic genius of Spaceballs and Blazing Saddles, Brooks has opted for cheaper laughs and poor quality production. The story is barely held together, with elements of slapstick thrown in wherever possible, and the characters seem like simply impressions rather than realistic inventions. There are a couple of very funny moments, and I did enjoy Peter MacNicol as R. M. Renfield who was hilarious for a lot of the film. However, I was severely let down by lack of effort to make a thoughtful spoof of a legendary story.
The Others (2001)
As part of the spooky season, a spooky film seemed in order.
The Others is a virile haunted-house movie, offering an array of tension, mystery, and drama. Nicole Kidman plays devoted Christian and mother Grace Stewart, whose life has landed her in a cold, lonely mansion in Jersey with her two children and a few servants. As Grace awaits the return of her husband from the Second World War, life in her isolation becomes terrifyingly interesting when the children begin seeing ghosts, and strange occurrences begin appearing around the house. As the film develops, Grace must confront the unknown whilst protecting her children and keeping her faith.
A film of two halves, viewers may find the first hour a little tedious, with little more than odd noises around the mansion to arouse interest. However, the second half more than makes up for this, the twists and turns will haunt you and get you checking all the rooms in your house before bed!
The Others is a virile haunted-house movie, offering an array of tension, mystery, and drama. Nicole Kidman plays devoted Christian and mother Grace Stewart, whose life has landed her in a cold, lonely mansion in Jersey with her two children and a few servants. As Grace awaits the return of her husband from the Second World War, life in her isolation becomes terrifyingly interesting when the children begin seeing ghosts, and strange occurrences begin appearing around the house. As the film develops, Grace must confront the unknown whilst protecting her children and keeping her faith.
A film of two halves, viewers may find the first hour a little tedious, with little more than odd noises around the mansion to arouse interest. However, the second half more than makes up for this, the twists and turns will haunt you and get you checking all the rooms in your house before bed!
Subscribe to:
Posts (Atom)