This remake of the classic horror fails to deliver the bite needed to compete with the original.
After Lawrence Talbot learns that his brother Ben has been killed in a vicious manner, he leaves his tour as an actor and returns home to Blackmoor to investigate. Upon arrival he is greeted with scared townsfolk, rumours of beasts and devils, and mysterious gypsies, as well as a father who is evasive and dark. Lawrence finds comfort in the form of his brother's widow, Gwen. The hunt is then on for Ben's killer, who has also brutally murdered several other citizens. It soon becomes apparent that this is no man committing these unspeakably gruesome atrocities, it is some kind of animal. After an action-packed encounter with the beast at the gypsy campsite, Lawrence is attacked and nearly dies. He heals rather quickly, and the people begin to believe he has been infected by the injuries he sustained at the hands of the beast, and will become one...He does.
A great story ruined by a terrible interpretation. The original film had a dark charm about it that glued viewers, and made it an enduring classic horror, however, director Joe Johnston does not manage to produce the same result. This version is bulky, dull, and, in places, ridiculous. Benicio Del Toro as Lawrence was a poor choice, as the actor brings absolutely no charisma to the role (which is ironic as his character is meant to be a famous actor) and seems uninterested when giving some of the lines. It seems he was given this role simply for his likeness to a beast. Emily Blunt is adequate as Gwen, and she manages to bring life to some scenes, however, her co-star lets her down. Anthony Hopkins is good as Sir John Talbot, however, his ravings and rants seem to fall on deaf ears, creating barely any sense of conflict, and the man simply stands out as being mental. The scenery is Gothic and picturesque, with a gloom around it that suits the story.
I would recommend the original Wolfman film, as it a wonderfully made horror film that has stood the test of time. Avoid this version of it though, it stinks.
In association with UK FILM REVIEW
Wednesday 23 February 2011
Monday 21 February 2011
The King's Speech (2010)
A spectacular British film, brilliant performances, and a script that is worth its weight in gold.
From director Tom Hooper, comes this wonderful film about the royal ascension of King George VI and his struggle to overcome a speech impediment. Set during the 1930s, the timeline of the film is the passing of King George V, the short, but dramatic, reign of King Edward VIII, Hitler's rise to power in Germany, and the coming of World War II. Albert, known to his family as Bertie, is a decorated Naval officer, with a devoted wife and two beautiful children, his life enters turmoil when it becomes likely that he will have to replace his brother as the Monarch of Britain and the Empire. His problem is a stammer which he has owned since a young age, making him an unfit choice for a King, as his duties would include a lot of public speaking, in particular over the wireless radio. Having exhausted the dozens of recommendations for speech therapists, Albert's wife Elizabeth approaches an unorthodox, yet reputed, speech therapist called Lionel Logue of Harley Street.
The beginnings of the relationship between Lionel and Albert are tense to say the least, given Bertie's lack of enthusiasm and quick temper. However, a friendship blooms between these troubled Englishmen, and they begin to find a source of strength in each other.
An amazing British film, with a superb cast. Colin Firth is sensational as Prince Albert, producing a performance that is sympathetic, elegant, and devastating all at the same time. Helena Bonham-Carter gives a weighty foundation to the film as Elizabeth, with an understated excellence. The most impressive performance, however, is Geoffrey Rush as Lionel Logue, a truly captivating essence emanates from his character, and his delivery is impeccable. The script is witty, sharp, entertaining, and poignant, driving the intimate scenes through like a world-class play. The camera work is original and subtle, allowing for a realistic glimpse into this world without detracting from the drama, in particular, the close up shots of Firth and Rush are done with an elegant taste having them sit close but to the side of the shot. Musically, the film is brilliant, with lots of enigmatic classical tunes flowing from scene to scene, rising the tension when needed.
Some of the story seems to drift away from the main plot from time to time, seemingly trying to fit in all the important historical events. Viewers may find themselves wanting the speech therapy scenes to return, however, these elements are important, if only to add tension for the climax of the film.
A truly wondrous addition to this year's cinema listings, from an excellent British source.
From director Tom Hooper, comes this wonderful film about the royal ascension of King George VI and his struggle to overcome a speech impediment. Set during the 1930s, the timeline of the film is the passing of King George V, the short, but dramatic, reign of King Edward VIII, Hitler's rise to power in Germany, and the coming of World War II. Albert, known to his family as Bertie, is a decorated Naval officer, with a devoted wife and two beautiful children, his life enters turmoil when it becomes likely that he will have to replace his brother as the Monarch of Britain and the Empire. His problem is a stammer which he has owned since a young age, making him an unfit choice for a King, as his duties would include a lot of public speaking, in particular over the wireless radio. Having exhausted the dozens of recommendations for speech therapists, Albert's wife Elizabeth approaches an unorthodox, yet reputed, speech therapist called Lionel Logue of Harley Street.
The beginnings of the relationship between Lionel and Albert are tense to say the least, given Bertie's lack of enthusiasm and quick temper. However, a friendship blooms between these troubled Englishmen, and they begin to find a source of strength in each other.
An amazing British film, with a superb cast. Colin Firth is sensational as Prince Albert, producing a performance that is sympathetic, elegant, and devastating all at the same time. Helena Bonham-Carter gives a weighty foundation to the film as Elizabeth, with an understated excellence. The most impressive performance, however, is Geoffrey Rush as Lionel Logue, a truly captivating essence emanates from his character, and his delivery is impeccable. The script is witty, sharp, entertaining, and poignant, driving the intimate scenes through like a world-class play. The camera work is original and subtle, allowing for a realistic glimpse into this world without detracting from the drama, in particular, the close up shots of Firth and Rush are done with an elegant taste having them sit close but to the side of the shot. Musically, the film is brilliant, with lots of enigmatic classical tunes flowing from scene to scene, rising the tension when needed.
Some of the story seems to drift away from the main plot from time to time, seemingly trying to fit in all the important historical events. Viewers may find themselves wanting the speech therapy scenes to return, however, these elements are important, if only to add tension for the climax of the film.
A truly wondrous addition to this year's cinema listings, from an excellent British source.
Wednesday 16 February 2011
The French Connection (1971)
All out crime thriller, starring Gene Hackman.
Set in the urban decay of NYC, two police detectives try to break a drug smuggling ring with links to France. Their investigation takes them through the gritty underworld of petty narcotics, to the high-octane corruption of the trade which spans two continents.
The storyline is an excellent example of what a crime thriller should be: dangerous, twisted, and full of energy. The performances are excellent, in particular Hackman, who deserves his Oscar. One of the biggest flaws of films in this genre, is the script. Too often they are laboured and full of pointless clichés. The French Connection however has a brilliant script, that is full of cut-throat lines but does not waste time by putting in sentiment or distraction.
When someone mentions The French Connection the first image that comes to mind is Hackman during the infamous car chase. It is an amazing set piece, that spans several miles of streets, railway lines, and other places around the city. The stunts are impressive, and are remain that way with a modern eye.
The main flaw of this film is the music. It may have seemed excellent in the early seventies, but today it dates the movie tremendously. It is tinny, irritating and manages to spoil several of the key scenes. Another criticism would be the ending, it is somewhat unsatisfying.
Apart from those two minor faults, this film is one of the best crime-action flicks around. It is a measuring truncheon for any wanna-be cop movie.
Set in the urban decay of NYC, two police detectives try to break a drug smuggling ring with links to France. Their investigation takes them through the gritty underworld of petty narcotics, to the high-octane corruption of the trade which spans two continents.
The storyline is an excellent example of what a crime thriller should be: dangerous, twisted, and full of energy. The performances are excellent, in particular Hackman, who deserves his Oscar. One of the biggest flaws of films in this genre, is the script. Too often they are laboured and full of pointless clichés. The French Connection however has a brilliant script, that is full of cut-throat lines but does not waste time by putting in sentiment or distraction.
When someone mentions The French Connection the first image that comes to mind is Hackman during the infamous car chase. It is an amazing set piece, that spans several miles of streets, railway lines, and other places around the city. The stunts are impressive, and are remain that way with a modern eye.
The main flaw of this film is the music. It may have seemed excellent in the early seventies, but today it dates the movie tremendously. It is tinny, irritating and manages to spoil several of the key scenes. Another criticism would be the ending, it is somewhat unsatisfying.
Apart from those two minor faults, this film is one of the best crime-action flicks around. It is a measuring truncheon for any wanna-be cop movie.
Tuesday 15 February 2011
Valentine's Day (2010)
Star-studded romantic comedy, with enough flowers, chocolates and cheese, to make anyone grab feel sick.
Set during one Valentine's day, a whole mixture of love plots become entwined as the day progresses. Engagements, love rats, and anti-romance-holiday fanatics fill our screen, the hectic pace of those trying to make this Valentine's Day the best ever, is matched by the moroseness of those just trying to survive it.
A difficult film to like, as the frenetic structure allows for little character development, or for any attachment to the lives of these people to grow. The performances are comically mediocre, one senses that many of these stars have been forced into this picture. Ashton Kutcher is the best part of this film, his enthusiastic approach to life (and the heartbreak which follows) allow for some attachment. Julia Roberts gives the most poignant storyline of the movie, playing a soldier in the army travelling back for one day to see her son. Mostly, though, the film is filled with A and B list celebrities pretending to have romance problems. I found it very difficult to believe that Jessica Biel would have man problems, or that Jennifer Garner could not get a man of her own!
The film gets points for trying something new with the genre, but not many, due to the tedious nature of the story and the complete lack of depth.
Set during one Valentine's day, a whole mixture of love plots become entwined as the day progresses. Engagements, love rats, and anti-romance-holiday fanatics fill our screen, the hectic pace of those trying to make this Valentine's Day the best ever, is matched by the moroseness of those just trying to survive it.
A difficult film to like, as the frenetic structure allows for little character development, or for any attachment to the lives of these people to grow. The performances are comically mediocre, one senses that many of these stars have been forced into this picture. Ashton Kutcher is the best part of this film, his enthusiastic approach to life (and the heartbreak which follows) allow for some attachment. Julia Roberts gives the most poignant storyline of the movie, playing a soldier in the army travelling back for one day to see her son. Mostly, though, the film is filled with A and B list celebrities pretending to have romance problems. I found it very difficult to believe that Jessica Biel would have man problems, or that Jennifer Garner could not get a man of her own!
The film gets points for trying something new with the genre, but not many, due to the tedious nature of the story and the complete lack of depth.
Sunday 13 February 2011
Knight and Day (2010)
Cameron Diaz and Tom Cruise star in this all-out action comedy, with stunts galore and non-stop shooting.
Rogue agent Roy crosses paths with tom-boy mechanic June in an airport, where their two destinies entwine, with explosive results. Roy is being pursued by his former employer after stealing a "battery" that is self-energising, and can power a small city. He is also being hunted by arms dealers, who seek the power that this scientific development would entail. June becomes an accomplice simply by being on the same flight as Roy, and now she must attempt to outrun gun-ho agents, and evil gun-barons with the help of Roy.
A fun film, that delivers action, humour, pace, and excellent stunts (all performed by Cruise and Diaz themselves). Both leads are brilliant, and they provide A-Lister performances that are worthy of their reputations, and avoid the shiny mediocre output that we receive from so many big names.
Rogue agent Roy crosses paths with tom-boy mechanic June in an airport, where their two destinies entwine, with explosive results. Roy is being pursued by his former employer after stealing a "battery" that is self-energising, and can power a small city. He is also being hunted by arms dealers, who seek the power that this scientific development would entail. June becomes an accomplice simply by being on the same flight as Roy, and now she must attempt to outrun gun-ho agents, and evil gun-barons with the help of Roy.
A fun film, that delivers action, humour, pace, and excellent stunts (all performed by Cruise and Diaz themselves). Both leads are brilliant, and they provide A-Lister performances that are worthy of their reputations, and avoid the shiny mediocre output that we receive from so many big names.
Eclipse (2010)
Teen Vampire sensation produces a penultimate film that brings the franchise back in the right direction.
With the success of the Twilight saga films, viewers are demanded an incredible amount of substance from the series. This newest addition goes a long way to make up for the fumble that was New Moon (2009). A new director has been brought in to bring the films back to life, and he manages to find that essence that made the first film so popular. A lot of the same, exhausted techniques are there, like the quietly spoken, brooding vampire, in overly-long bedroom pillow chat scenes with the stumbly, awkward girl who just loves him so much. As well as the cheesy references to the "hotness" of the actors. However, the story is genuine, and the action sequences are excellent.
This time, a new enemy arises in the form of a new-born vampire army led by Riley Biers, who are causing havoc in Seattle, which makes the Cullen family worry about their own safety. Parallel to this, is Bella's looming graduation, which signifies the date she will take the plunge, and enter the vampire coven, much to Edward and Jacob's distaste. The tension between the vampire and the wolves continues, with slighted comments and vicious encounters on both sides, however, truces will be needed in order to stop the impending attack by the new-born army.
An entertaining film, that is up there with the best of the modern vampire flicks, however, the acting is poor from most of the cast, and the script is terrifyingly awful. There is a real problem with translating the book on to screen, as the scenes seem tenuous and long winded, while the music is ill-fitting and always around. I would say, the saving grace is the action, great fight and chase scenes with plenty of characters to satisfy the eye. The darkness of the filming makes for an entertaining watch on a Saturday night.
With the success of the Twilight saga films, viewers are demanded an incredible amount of substance from the series. This newest addition goes a long way to make up for the fumble that was New Moon (2009). A new director has been brought in to bring the films back to life, and he manages to find that essence that made the first film so popular. A lot of the same, exhausted techniques are there, like the quietly spoken, brooding vampire, in overly-long bedroom pillow chat scenes with the stumbly, awkward girl who just loves him so much. As well as the cheesy references to the "hotness" of the actors. However, the story is genuine, and the action sequences are excellent.
This time, a new enemy arises in the form of a new-born vampire army led by Riley Biers, who are causing havoc in Seattle, which makes the Cullen family worry about their own safety. Parallel to this, is Bella's looming graduation, which signifies the date she will take the plunge, and enter the vampire coven, much to Edward and Jacob's distaste. The tension between the vampire and the wolves continues, with slighted comments and vicious encounters on both sides, however, truces will be needed in order to stop the impending attack by the new-born army.
An entertaining film, that is up there with the best of the modern vampire flicks, however, the acting is poor from most of the cast, and the script is terrifyingly awful. There is a real problem with translating the book on to screen, as the scenes seem tenuous and long winded, while the music is ill-fitting and always around. I would say, the saving grace is the action, great fight and chase scenes with plenty of characters to satisfy the eye. The darkness of the filming makes for an entertaining watch on a Saturday night.
Wednesday 9 February 2011
Shrek: Forever After (2010)
The animated fairytale comes back strongly with its fourth installment.
Family fairytale fun, as the magical world of Far Far Away is back on the screens, and Shrek, the ogre, must take on evil genius Rumple Stiltskin.
When Shrek chooses to give up a day from his childhood in exchange for one day as a feared ogre again, his plan goes awry, when the deal master, Rumple, takes away the day Shrek was born! Now the beloved ogre has just one day to find his true love Fiona, and make her kiss him otherwise he will die.
An excellent addition to the Shrek series, and one that has more in common with the original film than the other two, making it one of my favourites. The story is coherent and entertaining, there are laugh out loud moments throughout, and the film has a degree of pride, unlike the other two that seemed to sell out on cheap laughs and ridiculous plots.
The 4th film, but the 2nd best.
Family fairytale fun, as the magical world of Far Far Away is back on the screens, and Shrek, the ogre, must take on evil genius Rumple Stiltskin.
When Shrek chooses to give up a day from his childhood in exchange for one day as a feared ogre again, his plan goes awry, when the deal master, Rumple, takes away the day Shrek was born! Now the beloved ogre has just one day to find his true love Fiona, and make her kiss him otherwise he will die.
An excellent addition to the Shrek series, and one that has more in common with the original film than the other two, making it one of my favourites. The story is coherent and entertaining, there are laugh out loud moments throughout, and the film has a degree of pride, unlike the other two that seemed to sell out on cheap laughs and ridiculous plots.
The 4th film, but the 2nd best.
Friday 4 February 2011
Zombieland (2009)
A road-trip Zombie-flick that bites hard and laughs hard.
With the influx of Vampire films in the last few years, Zombies have become a monster of the past. They are slow, boring, and look nothing like a teen idol. So director of Zombieland Ruben Fleischer takes a more comedic approach to this old horror convention, and adds touches of flashy camera work, digital effects, and all-out gore to make it appeal to the teens.
After a strain of Mad Cow Disease takes over the planet, very few humans are left. One boy/man (Jessie Eisenberg) searching for his family in Columbus, has managed to survive by sticking to his own list of important rules. Mostly common sense things, like making sure that Zombie's are dead by shooting them twice, or checking the bathroom stalls before getting down to business. As he makes his journey, he encounters a fellow survivor (Woody Harelson) who is heading to Tallahassee. The two differ on their outlook on survival, Tallahassee taking a more violent, head-on approach than Columbus, but decide to stick together and head west. Along the way they are scammed by two surviving sisters, who are also in search of something, the Pacific Playland in Wichita. These four survivors end up relying on each other like a dysfunctional family, as they battle against countless Zombies across the US.
A spectacularly gory film, with plenty of blood and guts to make even the most bloodthirsty viewer satisfied. The stunts are impressive, and the performances are worthy enough. For the most part, the story is predictable, although the film has the element of comedy making it more interesting than your average Zombie movie. Some of the storyline becomes ridiculous, insert Billy Murray into the fray, however, parts of the tale of touching and entertaining.
With the influx of Vampire films in the last few years, Zombies have become a monster of the past. They are slow, boring, and look nothing like a teen idol. So director of Zombieland Ruben Fleischer takes a more comedic approach to this old horror convention, and adds touches of flashy camera work, digital effects, and all-out gore to make it appeal to the teens.
After a strain of Mad Cow Disease takes over the planet, very few humans are left. One boy/man (Jessie Eisenberg) searching for his family in Columbus, has managed to survive by sticking to his own list of important rules. Mostly common sense things, like making sure that Zombie's are dead by shooting them twice, or checking the bathroom stalls before getting down to business. As he makes his journey, he encounters a fellow survivor (Woody Harelson) who is heading to Tallahassee. The two differ on their outlook on survival, Tallahassee taking a more violent, head-on approach than Columbus, but decide to stick together and head west. Along the way they are scammed by two surviving sisters, who are also in search of something, the Pacific Playland in Wichita. These four survivors end up relying on each other like a dysfunctional family, as they battle against countless Zombies across the US.
A spectacularly gory film, with plenty of blood and guts to make even the most bloodthirsty viewer satisfied. The stunts are impressive, and the performances are worthy enough. For the most part, the story is predictable, although the film has the element of comedy making it more interesting than your average Zombie movie. Some of the storyline becomes ridiculous, insert Billy Murray into the fray, however, parts of the tale of touching and entertaining.
Thursday 3 February 2011
Pan's Labyrinth (2006)
A movie that appeals to all the senses.
Set during the fascist rule of Spain, in 1944, a young girl named Ofelia finds an enchanted world that had only previously existed in the fairy tales and stories she so loved to read. One of the stories she used to read involved a princess who escaped the underworld and dies in the real world, and the tale reveals that one day, the princess shall be reborn into a human body, and be able to re-enter the underworld. A cryptic, and unpredictable Faun finds Ofelia, and believes that she is the Princess reincarnate. He asks her to perform three tasks which will prove her royal bloodline, and allow her entrance back home. Whilst Ofelia battles with magical toads and a child-eating monster in her magical world, there is turmoil in the life behind her. A violent and unyielding army officer Vidal, stepfather to Ofelia, does battle with the unrelenting rebels hiding in the woods surrounding the army's base. Ofelia's mother, pregnant with Vidal's son, struggles with her health and her vicious partner. As the tumultuous present becomes entwined with the magical underworld, Ofelia must fight on all fronts.
From visionary director Guillermo del Torro, this astonishing film breaks boundaries in all categories. It is visually stunning, with creatures and effects which are unparalleled. The violence is artistically shocking, with moments that make the stomach churn (look out for a scene with a farmer and a bottle). Completely filmed in Spanish, the subtitles give the film authenticity and originality for most English viewers.
One of those rare films that manages to successfully combine the real with fantasy, in a way that is original and entertaining. Absolutely unrelenting in its creativity, with cinematography and effects to tun, Pan's Labyrinth is a film that deserves its accolades.
Set during the fascist rule of Spain, in 1944, a young girl named Ofelia finds an enchanted world that had only previously existed in the fairy tales and stories she so loved to read. One of the stories she used to read involved a princess who escaped the underworld and dies in the real world, and the tale reveals that one day, the princess shall be reborn into a human body, and be able to re-enter the underworld. A cryptic, and unpredictable Faun finds Ofelia, and believes that she is the Princess reincarnate. He asks her to perform three tasks which will prove her royal bloodline, and allow her entrance back home. Whilst Ofelia battles with magical toads and a child-eating monster in her magical world, there is turmoil in the life behind her. A violent and unyielding army officer Vidal, stepfather to Ofelia, does battle with the unrelenting rebels hiding in the woods surrounding the army's base. Ofelia's mother, pregnant with Vidal's son, struggles with her health and her vicious partner. As the tumultuous present becomes entwined with the magical underworld, Ofelia must fight on all fronts.
From visionary director Guillermo del Torro, this astonishing film breaks boundaries in all categories. It is visually stunning, with creatures and effects which are unparalleled. The violence is artistically shocking, with moments that make the stomach churn (look out for a scene with a farmer and a bottle). Completely filmed in Spanish, the subtitles give the film authenticity and originality for most English viewers.
One of those rare films that manages to successfully combine the real with fantasy, in a way that is original and entertaining. Absolutely unrelenting in its creativity, with cinematography and effects to tun, Pan's Labyrinth is a film that deserves its accolades.
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