The 100-Year-Old Man Who Climbed Out the Window and Disappeared

• Released Internationally on 25/12/13
• Released in Malta by KRS on 17/09/14

Review (16/09/14)

3-word review: Silly and wonderful. 

With a title like that and a tagline like ‘You’re never too old for an adventure’, you’d be perfectly correct to assume that this is no ordinary film. It isn’t, and it’s great. Based on the successful novel and made in Sweden with some help and actors from other European nations, this little gem manages to be both a quirky little story as well as a polished film achievement with great acting, impressive make-up and big budget effects.

A colourful century

The 100 year-old man in question has lived an extremely interesting life, partly due to his love for explosives, but mostly due to the lesson his dying mum taught him about not thinking too much, but just doing things. There’s a standout Cold War montage with him as a double agent which is a glorious piece of cinema. In a Forrest Gump way his life intertwines with historic events and famous people over the course of the last century, and the flashbacks prove to be just as entertaining as the present day story. As the staff at his nursing home prepare to celebrate his birthday, he climbs out the window and sets in motion an incredible chain of events that take him across the globe. You’ll need to suspend belief on occasion, but never to the point of distraction or in an annoying way. It’s a comic caper, after all.

In the end

For me, this was one of the biggest surprises of the year so far, coming out of nowhere like a breath of fresh air among the other Hollywood fare. It’s far from perfect, and it borrows from other film and stories at points, but it manages to keep the pace for two hours of fun and humour. If you enjoyed the crazy flashbacks and odd characters of Amélie, you should love this.

Trailer:

X-Men: Days of Future Past

 

• Released Internationally on 22/05/14
• Released in Malta by KRS on 22/05/14

Review (21/05/14)

3-word review: Impressive family reunion. 

 

The X-Men franchise is quite remarkable. Now in it’s seventh film; having had a huge variety of directors, actors, angles of the story and heroic fanfares; it manages to remain hugely entertaining and fresh, mixing a fascinating array of characters with a central theme that is eerily relevant in today’s often xenophobic world. The main risk with this latest film was that too many famous faces and memorable characters would make for a crowded or confusing film, but the end result is in fact great fun and surprisingly coherent, considering the time-travel plot.

Back to the future

The film kicks off in a desolate, dark future, which is unpleasant to watch, let alone live in. After an intense opening sequence we learn that this chaos is the result of a longstanding war against mutants and those who support them, and a war that has got slightly out of hand due to the merciless ‘sentinels’ which enforce it. The cast of the first three X-Men films assemble, along with the ubiquitous Wolverine/Logan (Hugh Jackman, who has appeared in all seven films), whom they agree to send back in time to try and stop this war before it begins. We therefore swiftly jump back to the much more pleasant swinging seventies.

 

Time travel can be fun

Films that dip into the river of time risk opening up huge plot holes and losing the audience, but thankfully the technicalities are made rather simple here. Peter Dinklage (Game of Thrones) stars as the scientist Dr Trask, who back in the 70s is the mind behind the first set of sentinels, whom he has designed to help target mutants. Raven/Mystique (Jennifer Lawrence, The Hunger Games, Silver Linings Playbook) is out to kill him, but in doing so would be captured, and her DNA used to make the sentinels all the more powerful. So essentially Wolverine has to round up the 70s X-Men and get them to stop her. What makes everything more fun is the playing with history that films like this are allowed. Magneto (Michael Fassbender, 12 Years a Slave) has been imprisoned for the alleged assassination of JFK, the Vietnam war is ending, and Nixon is about to approve the sentinel programme.

Spoilt for choice

Rather than overcrowding the film, the many wonderful characters manage to make the film consistently brilliant, with a good mix of set pieces and character scenes. The main new role, besides Dr Trask, is the mutant Quicksilver (Evan Peters, Kick-Ass), who manages to hold his own amongst all the established names, and completely steals the limelight in the superb, show-stopping (literally) ‘time in a bottle’ sequence. Jim Croce sounds as great here as he did in Django Unchained. The overall feeling is that since all the main characters were so wonderfully built up in the previous films, they can immediately step on stage and make the scene more involving. Storm (Halle Berry) is back after a lengthy absence, and even though the future versions of Magneto and Professor X (Ian McKellan and Patrick Stewart) have less action than they are used to, their presence is felt throughout. Jennifer Lawrence manages to shine through her heavy makeup and make Mystique possibly the most intriguing of all of them. It’s great seeing them all on screen together.

 

In the end

Brian Singer has pulled off quite a difficult task – cramming all the X-Men into one film, using time travel, and ending up with an entertaining film rather than a lengthy mess. He also drives forward the central theme of tolerance, and throws in some stunning action and visual effects as icing on the cake. It’s turning out to be a great summer at the movies.

 

p.s. Make sure you stay until the end of the credits, with your 3D glasses on.

 

Trailer: 

Mandela: Long Walk to Freedom

 

• Released Internationally on 28/11/13
• Released in Malta by KRS on 01/01/14

Review (01/01/14)

3-word review: Comprehensive, timely biopic.

In what turned out to be a stroke of good (but sad) luck for the filmmakers, and convenient timing for us viewers, this big screen adaptation of Nelson Mandela’s autobiography was being premiered in London on the same night that news of his death swept the world. Not entirely a coincidence, of course, since his health had been waning for a while, but it’s rare for us to be able to sit and watch a well-made, detailed look at an important figure’s life at the same time as he is being remembered worldwide.

There have been a number of films about Mandela in recent years, but none gave us such a broad look at his life and major triumphs as this one. Goodbye Bafana was focused on his time in prison, as seen through the eyes of a racist guard, whilst the better known Invictus focused on a specific time during his presidency. This lengthy but entertaining adaptation spans the time from his early years as a bright lawyer to his involvement in the ANC and his eventual incarceration as a result. We then see a glimpse of what happened inside prison but also on the South African and world stage during those many years, as well as the huge outpouring of emotion and change on his release.

Idris Elba (The Wire, Thor) might not resemble the kind-faced Mandela too much, but he steps into the part enthusiastically and by the end of the film has become the role in all the many facets required. He manages to portray both the suave, lady-charming young lawyer as well as the stately, wise leader that he becomes. Naomie Harris (Skyfall) dons a thick accent to match up to Mandela as his equally spirited and determined second wife, Winnie, who fought his cause through all those many years of being apart.

The film is long, but it needs to cover a lot of ground, and it manages to include all the important political aspects without leaving out the human emotion. The now famous Struggle is mirrored by the smaller scale struggle of a very particular family. The Mandela family had to endure a lot and pay a hefty price, but they were ultimately crucial in the shaping of their country.

 

Trailers:

http://trailers.apple.com/trailers/weinstein/mandelalongwalktofreedom/

The Hunger Games: Catching Fire

• Released Internationally on 20/11/13
• Released in Malta by KRS on 21/11/13

Review (20/11/13)

3-word review: Even better sequel.

I think I’ll stop rushing to read books before they are made into films. It makes the films so much more enjoyable when I have no clue what’s coming next. I hadn’t read the Hunger Games books when the first film was released, and I enjoyed it so much I decided not to read the other two, despite itching to know what comes next. And here I am, hugely satisfied by the second film, and itching to know what happens in the third. But I’ll be patient.

Of course, the eternal debaters between the book and the film choices would point out that reading the books without having seen the films offers the same raw joy, but considering how many books I have lined up waiting to be read, I think I’ll be fine without delving into these particular  three.

 

So where were we?

But I digress. This second film definitely assumes you have watched the first, and picks up soon after Katniss (Jennifer Lawrence, now an Oscar winner) and Peeta (subtle but effective Josh Hutcherson) have won the 74th edition of the infamous Hunger Games, in a dystopian world somewhere in the future. Their stirring victory and apparent love story has sent ripples of admiration and defiance through the twelve districts of Panem, and President Snow (a wonderfully malicious Donald Sutherland) rightly fears a revolution. He schemes with his new Head Gamesmaker (Philip Seymour Hoffman) to get them eliminated or at least have their image deflated, by hosting a 75th Hunger Games that involves participants selected from amongst past winners. So sort of like the Champions League, but instead of getting knocked out, you’re killed.

 

Deeply disturbing stuff

Much like the first film, the strength of this sequel is the worrying concept at its core, and the unsettling similarities to the world we live in, where TV and reality work together to manipulate audiences, and too much is done purely for show. The capital city’s thriving population feeds off the work and misery of the backward districts, and their celebrity TV presenter (a finely-tuned manic performance by Stanley Tucci) turns shocking and morbid news into sound bites for the cheering crowds. Death is reduced to a mere TV event, and lives are judged by their impact on TV audiences. It’s a far exaggerated version of the reality TV scenarios we have today, but so much of it rings eerily true. The helpless people on TV are instructed to merely be a distraction, so that the unwashed masses in the audience don’t have time to think about the real problems in their lives.

 

Making us accomplices

One of the impressive feats of the film, although I’m not sure whether intentionally or not, is that during the extensive build-up to the games, as we meet the eventual participants and see what is really at stake, the revulsion at the concept of the murderous games is mixed with a palpable anticipation for the games to start. I for one felt a rush when the countdown finally began and all hell broke loose. It’s hugely entertaining of course, and just like the manipulated workers of Panem I was eager to see the contest unfold. But of course, these are not straightforward games like we saw in the first film.

 

Cast and crew

The star-studded cast makes for quite an impressive list. Complementing Tucci as another well-executed fake is Elizabeth Banks (Zack and Miri Make a Porno) as the District 12 escort, and trying to keep calm and grounded amidst all the craziness is celebrated designer Cinna (Lenny Kravitz). Woody Harrelson also returns as the previous District 12 victor who mentors the new stars, and Liam Hemsworth (younger brother to Thor star Chris) resumes duties as Katniss’ close friend and hopefully more. The new participants in the games include a few familiar faces too - Jeffrey Wright (Syriana, Casino Royale), Amanda Plummer (Honey Bunny from Pulp Fiction), Lynn Cohen (Munich) and Jena Malone (Donnie Darko). This sequel has a new director (Francis Lawrence, I Am Legend) and writers (Simon Beaufoy, Slumdog Millionaire; Michael Arndt, Little Miss Sunshine) but they do a remarkable job of continuing seamlessly where the first film left off, also thanks to the recurring musical themes of James Newton Howard (Batman Begins, The Sixth Sense).

 

In the end

This is extremely entertaining cinema, and it touches on a host of themes, from unrequited love to the power of the media, and all showcased in a post-apocalyptic world where excess and poverty feed off each other. The plot is taken up a notch in this second instalment, after the seeds of revolution were sown in the first, and I eagerly anticipate the next part of the story. The film also has that rare luxury only offered to second films in trilogies, which The Empire Strikes Back and The Two Towers made such excellent use of - the downer, cliff-hanger, ending.

 

Trailers:
http://trailers.apple.com/trailers/lions_gate/thehungergamescatchingfire/

Rust and Bone

• Released Internationally on 17/05/12
• Released in Malta by KRS on 30/04/13
• French, with subtitles

Review (29/04/13)

3-word review: Visceral and beautiful.

Love is not always pretty. Some might argue that love is never pretty, but after many decades of romantic comedies full of good-looking, smartly-dressed people with toothpaste smiles, it’s not surprising that many of us roam around expecting knights on white horses or proposals during summer rainfall. Thankfully, every so often a love story comes along that manages to convey the ugly, compromising side of relationships, but which also manages to show how the resulting emotions are no less genuine or intense. I have been lucky enough to come across a few such films, but this is definitely one of the best I can remember.

Directed by French director Jacques Audiard, who received mountains of praise for his last film - 2010’s A Prophet - the film stars Oscar-winner Marion Cotillard (La Vie en rose, Inception) and relatively unknown Belgian actor Matthias Schoenaerts as the central roles. The two characters have very little in common, but both have been dealt a rough hand in very different circumstances. A chance chivalrous encounter leads to future meetings, but in the meantime both their lives have changed significantly. He is a single father who struggles to make ends meet and ends up using his brute strength to support his son. She is a killer whale trainer who suffers an accident at work that changes her outlook on life.

This is a very emotional film - I went from fear to tension to anger to sadness in quick succession, but the emotions and salient points are not spoon-fed to the audience. Audiard has the courage and skill to get his message across with very few words and with many missing pieces needing filling in. He is aided immensely by the powerful yet subtle performances from both main actors, as well as the unobtrusive visual effects where needed. The film has its graphic moments, but no amount of bloodied fists can compete with what’s going on inside. Very different and very impressive.

 

 

Trailer:

Oblivion

• Released Internationally on 10/04/13
• Released in Malta by KRS on 24/04/13

Preview (first published 01/04/13 in VIDA Magazine)

Oblivion hasn’t been released anywhere yet, so it’s hard to gauge whether it lives up to expectations or not. Expectations are understandably high, however, since it looks like a smart, futuristic action thriller and it stars Tom Cruise and Morgan Freeman.

Set 60 years in the future, the post-apocalyptic backdrop is apparently the result of a huge war which resulted in the destruction of most of our planet. Although the war was won, everyone had to be evacuated. All that remains is a few individuals who keep the planet secure and maintain all the drones. So it’s a sort of Wall-E-type scenario, although instead of a cute little robot we have Tom Cruise looking serious despite his tight white outfit.

Of course, things are not all as they seem, and shortly before his shift on earth is about to end, he uncovers an underground community of humans, led by a grungy-looking Morgan Freeman. They try to enlighten him, and he starts to question the political manoeuvres behind the current situation, and whether all is as it seems on desolate planet Earth.

The film is the second directorial effort by Joseph Kosinski, who was at the helm of Tron: Legacy, and it is based on the graphic novel he wrote. To help him polish the screenplay, they roped in Michael Arndt, who was previously slightly famous for writing Little Miss Sunshine and Toy Story 3, but who is currently the man entrusted with the behemoth task of writing Star Wars: Episode VII. The film also stars Olga Kurylenko (Quantum of Solace), Melissa Leo (The Fighter), Nikolaj Coster-Waldau (Game of Thrones) and Zoë Bell (Death Proof).

 

Review (23/04/13)

3-word review: Quite cool overall.

Oblivion looks great from start to finish, and during the main titles manages to convincingly ‘sell’ us the post-apocalyptic world it is based in, with impressive and beautiful shots of a desolated Earth, in which Jack (Tom Cruise’s character) is a very isolated maintenance guy. The scenery is even more notable as it is showcased in broad daylight, largely avoiding the visual effects tricks of clouding scenes in shadows. The main title sequence sounds great too, although it’s a bit too similar to Tron: Legacy, which was the director’s previous project.

The plot, although engaging on a human and technological level, doesn’t try to be too original, and feels like a healthy mix of many previous science-fiction landmarks - anything from 2001 to the above-mentioned Wall-E, with an overall coating of the classic ‘man reaching the end of his mission’ plot device. The settings are a mix of spotless, white, designer space-stations and vehicles, and the grungy, Tatooine-like dirt of the underworld down below. Sitting up in the spotless control centre is Jack’s supervisor, partner and lover, who for some reason insists on wearing lovely dresses and high heels even though she sits at a screen all day. Back at the orbiting mothership, everyone is happy about what a great team they make.

As is usually the case in these sort of films, Jack stands out because he is curious about the past, and this stems from a series of dreams and flashbacks that he can’t shake off. One hour in, we hear the instantly recognizable voice of Morgan Freeman, and Jack’s journey of discovery gets the necessary catalyst for him to defy orders and seek the truth. To go into too many plot details would be a disservice to the filmmakers, but suffice to say that there’s a reasonable amount of human drama for an effects-driven film, and not since Moon a few years ago have I enjoyed a stand-alone science fiction film so much. The sheer scale of the finale is also impressive, with some Independence Day influences making a welcome appearance. The epilogue is a slight cop-out, where in my humble opinion the script loses the chances to be truly different, but otherwise I found this to be highly enjoyable, irrespective of whether it is a Tom Cruise ego-trip or not.

 

Trailers:

http://trailers.apple.com/trailers/universal/oblivion/

Jack the Giant Slayer

• Released Internationally on 27/02/13
• Released in Malta by KRS on 27/03/13

Preview (first published 01/03/13 in VIDA Magazine)

Yup, another fairy tale. Fee fi fo fum, etc., but of course this is the supercharged version for the big screen. I have higher hopes for this one though, compared to all the other fairy tale films of recent years. Mostly because it’s directed by Bryan Singer (The Usual Suspects, X-Men), but also because he roped in Christopher McQuarrie (also of The Usual Suspects fame) to polish up the script. The film stars Nicholas Hoult (A Single Man) as Jack, who finds his way in the world of giants, and of course has a princess to rescue. Ewan McGregor (Moulin Rouge!), Stanley Tucci (The Lovely Bones), Ian McShane (Sexy Beast) and the inimitable Bill Nighy (Love Actually) also star.

 

Review (27/03/13)

So far, this has been one of the most pleasant surprises of the year. The trailers and promotional material for this film didn’t help raise my expectations, but I ended up enjoying myself from start to finish. If accepted for what it is – a light-hearted re-working of a famous fairytale – this film manages to deliver on all levels.

It starts off, as all proper fairytales should, with a bedtime story, setting up the parallel situations of our hero Jack and his counterpoint princess, as they both sit in their (respective) beds, listening wide-eyed as their parents recount the lore of the giants. Fast forward a bit and Jack is of course a poor farmer’s boy, while the princess is, well, a princess. Before long the infamous beans make an entrance, and the grand adventure can begin. Before the beanstalk even starts to sprout, however, I was already fond of the main characters – both Jack and the princess (newcomer Eleanor Tomlinson) are likeable, and with good chemistry between them. The smaller roles don’t disappoint either, with Ewan McGregor having great fun in ‘Tally-Ho!’ mode as the head of the king’s guard, and Stanley Tucci in delightfully crafty mode as the scheming advisor.

We then head, as expected, to the place ‘half-way between heaven and earth’, where giants roam free. The giants, who come in various shapes and sizes (none of which are pleasing to the eye), don’t burst onto the scene, but director Singer manages to build up enough expectation and grant them a tense, silent, ‘reveal’ – a sort of lesser cousin of T-Rex’s appearance in Jurassic Park (with similar sound effects). Their land is depicted as an oddly familiar paradise – resembling some parts of earth, but feeling very different – again, akin to Isla Nublar in Jurassic Park, or Skull Island in King Kong. Some of the set pieces also delight – such as a wonderful kitchen scene reminiscent of ‘Les Poisson’ in The Little Mermaid.

Back on the ground, the obvious false ending quickly makes way for a riotous third act, including a castle assault that manages to be coherent and entertaining. The single-mindedness of the giants makes them formidable foes, with not a single big friendly giant in sight. Throughout proceedings, the film manages to keep on just the right side of silly – something I felt last week’s Oz failed to do. The ending was another wonderful surprise – I loved it! This is no thought-provoker or event film, but it’s not pretentious, and it’s fun throughout, managing to bring a classic fairytale back to life with gusto.

 

 

Trailers:

http://trailers.apple.com/trailers/wb/jackthegiantslayer/

Zero Dark Thirty

• Released Internationally on 01/11/12
• Released in Malta by KRS on 27/02/13

Preview (first published 01/02/13 in VIDA Magazine)

Osama Bin Laden - quite a household name. My guess is that if there’s a more widely recognised name on the planet then it’s probably that of Barack Obama, who was lucky enough (or effective enough?) to be in office when Bin Laden was found. Jokes about being world hide-and-seek champion aside, Bin Laden’s decade in hiding is quite a feat, considering how his face was plastered all over the news, and considering how hungrily the Americans wanted to bring him to justice. Whether being shot by Navy Seals in your hideout is justice or not is another story, but I guess after publicly claiming responsibility for 9/11 he wasn’t expecting to have a fair, quiet, trial.

Anyway, his capture was big news, although the vague way in which it was announced, and in which the body was laid to rest, left a few of us guessing. But the US administration insisted that it was done in a way that would ensure minimal unrest, and we sort of had to take their word for it. In the age of social media, where Saddam Hussein’s hanging and Gaddafi’s last truck ride were splashed, disturbingly, across video sites worldwide, this equally newsworthy end happened in relative silence. That was May 2011.

Fast forward just over a year, and this is the most high-profile film to emerge from the proceedings, with none other than Oscar-winning director Kathryn Bigelow (The Hurt Locker) at the helm. Since it’s release, two main focuses of attention have been the acting of Jessica Chastain (The Help), for which she is currently scooping awards, and the torture issue. Whether or not torture methods, such as waterboarding, were used to obtain the information leading to the success of the mission will probably never be known for sure, but the US administration is not too pleased about their inclusion in the film. It all helps the film’s publicity of course.

 

Review (23/02/13)

‘Zero Dark Thirty’ is military speak for half past midnight, which is when the raid on Bin Laden’s compound started. When that moment arrives, the film grows in stature and piles on the tension, and for the last half hour or so of this gripping tale we are treated to a more or less real-time re-enactment of the infamous raid, and Bin Laden’s last moments. An interview with the unnamed ‘shooter’ who was actually responsible for that all-important assassination has revealed that the filmmakers got remarkably close to how the actual raid unfolded, which is an impressive feat considering all the variables and secrecy involved.

This realism, this connection with the very recent past, and the far-reaching importance of the events concerned make this an engrossing and important film to watch, even during the occasional lulls in the narrative which might have crippled a similar effort if it were fiction. The lengthy build-up to the actual raid is of course necessary, and to be fair it is handled slickly, moving along with a brisk pace and managing to depict the duration, the immensity and the impossible odds of the task at hand. The script and direction, as well as convincing acting from even the tiniest roles, help make us care and worry about even minor, nameless characters in this worldwide drama. But ultimately, it is all just build-up, so thankfully the raid itself doesn’t disappoint.

The manhunt is depicted as a complex mix of impressive technology and good old fashioned human error, with an important dose of gut instinct thrown in. Chastain’s portrayal of the central figure of Maya is steely and determined, and in a way might be channelling director Kathryn Bigelow, as she makes spectacular headway in a business dominated by men. As the hunt gets warmer, it’s also great to see the message slowly creeping up the chain of command, with characters who were pushy and apparently all-powerful in the previous scene now humbly grovelling and trying to convince their superiors.

The myth of this infamous man is so great, so universal and so powerful, that only the tiniest glimpses of him are necessary throughout the film. His presence is everywhere, however, and every mention of ‘UBL’ helps remind us that what we are watching is not only highly entertaining, but also very relevant to the news we hear every day and the world we live in.

 

Trailers:

http://trailers.apple.com/trailers/sony_pictures/zerodarkthirty/

Lincoln

• Released Internationally on 16/11/12
• Released in Malta by KRS on 30/01/13

Preview (first published 01/01/13 in VIDA Magazine)

I have yet to watch a Steven Spielberg film I didn’t enjoy, and which didn’t showcase his huge talent and knack for storytelling. And I have yet to see a Daniel Day Lewis performance that was not completely convincing. Few actors have gained as much respect as he has recently, especially after his seminal There Will Be Blood. So when Spielberg has a long-standing desire to make a film about Abraham Lincoln, and Day Lewis looks uncannily like the famous US President, the board is set for a piece of classic Americana storytelling. Any US president would probably be worth making a film about, but if you abolish slavery and end up assassinated, that film might just be all the more important and poignant.

Review (29/01/13)

This film might not provide you with many edge-of-your-seat moments, and its main plot point - the abolition of slavery in the US - is an outcome that all viewers will (hopefully) already know was successful. But it still manages to portray the time and the process with the gravitas that such a historic moment deserves, and much of that gravitas is carried and dished out by Daniel Day Lewis' Abraham Lincoln. 

It's a restrained but stunning piece of acting, and in ways far more impressive than the over-the-top performances he excelled at, such as Bill the Butcher in Gangs of New York. There's a wonderful mix of the serious side and the playful side, as well as both his political facade and his struggles as a husband and father. During the family scenes, he jousts with another veteran - Sally Field as his pained wife. The rest of the cast are far too numerous and wonderful to mention individually, although Tommy Lee Jones does stand out, and his wizened character is given probably the best ending in the whole film.

Spielberg evidently has great respect for the subject matter here, and he delivers this wonderful historical chapter without much gloss, but with loads of class. Some might argue that this is more a film that needed to be made rather than one that was released for entertainment purposes, but I for one enjoyed it from beginning to end, and every aspect of what you see and hear on screen is top notch work from quality artists. 

Trailers:
http://trailers.apple.com/trailers/dreamworks/lincoln/

Django Unchained

• Released Internationally on 25/12/12
• Released in Malta by KRS on 23/01/13

Preview (first published 01/01/13 in VIDA Magazine)

It must be a good month if a new Tarantino film isn’t film of the month. And of course, it’s unfair to compare, especially with films so diverse. Anyway, one of the most prolific, admired and unique directors of the past twenty years is back, and as usual this promises to be a finely-crafted but boisterous film. After proving his talent with twisted crime dramas (Reservoir Dogs, Pulp Fiction), martial arts films (Kill Bill), action films (Death Proof) and war films (Inglourious Basterds), he has now turned to westerns, a genre he loves and has already drawn very obvious inspiration from. The titular Django (Jamie Foxx), an inspiration from the 1966 spaghetti western of the same name, is a freed slave. He teams up with a bounty hunter (Christoph Waltz, who rose to stardom after stealing the show in Basterds) to hunt down his enemies and free his wife from the clutches of a wealthy slave trader (Leonardo DiCaprio, finally in a proper villain role). There will be action, there will be humour, and it’s a safe bet to say there will be a few ‘wow’ moments. Tarantino has already used music and directing styles from westerns to elevate numerous scenes from his previous films, so it should be fun to see him run amok here.

Review (22/01/13)

There were two major films about slavery released in 2012, but this is the one that makes you squirm. Lincoln showed us the dealings and wheelings that were necessary to help abolish slavery in America, but this film shows it in all its grotesque glory, going seemingly overboard with depicting it as a normal and accepted way of life, despite the day-to-day horrors it entailed.

The D is silent

Jamie Foxx looks stern and focused as the titular hero, as he proceeds, with great sacrifice, on what is essentially a love quest to find and release his wife. He is aided by Christoph Waltz’s cunning bounty hunter, who operates within the boundaries of the law but detests the whole slavery business. His character is entertaining to watch, although it is essentially a continuation of his masterful performance in Inglourious Basterds.

Candie-man

A good hour into the film we meet the main villain of the tale, portrayed with zealous glee by Leonardo Di Caprio. The man is rich, the man is powerful, and the man is disgustingly and convincingly racist, something he believes in like a science. It is at his hands and within his premises that the most flinch-inducing scenes play out, and Tarantino doesn’t hold back when it comes to showing the depravity and horror that slavery can lead to.

Below par

Despite being an entertaining and wonderfully-made film, it’s far from Tarantino’s best, and probably the first time I ever looked at my watch during one of his films. Many of his signature touches are missing, with surprisingly linear storytelling, interrupted only by the occasional flashback or vision. I missed his complex, stylish interludes, so evident in previous films. He also gives himself a cameo, which results in him looking and sounding very out of place towards the end of the film - a far cry from his wonderful role back in Reservoir Dogs.

Music

Always a forefront feature of Tarantino’s films, the music serves it’s purpose well here without going too over the top. One particular highlight is the sumptuous use of the late Jim Croce’s ‘I’ve Got a Name’, which fits perfectly in a great montage marking the beginning of Django and the bounty hunter’s fruitful partnership. The maestro Morricone also contributes an original song, after having had selections from his previous works used so perfectly in Tarantino's recent films. It’s also great to see Tarantino venturing into other legendary composer’s discographies, with some vintage Jerry Goldsmith being put to good use this time around.

In the end

When the water finally comes to the boil, there’s a wonderful, cathartic, explosion of an ending, releasing all the pent up pressure in the long-suffering Django, and providing the usual endless carnage that we have come to expect from Tarantino. Throughout it all, Django maintains a fair amount of panache, which is a welcome break from the horrors that have come before. It’s not easy viewing, and it’s not one of his best films, but it’s still one of the most accomplished films of the year.

Trailers:
http://trailers.apple.com/trailers/weinstein/djangounchained/

Scott Pilgrim vs. the World

• Released Internationally on 13/08/10
• Released in Malta by KRS on 15/09/10

In a nutshell

Scott Pilgrim is something of a loser. Yet he somehow manages to woo the eccentric and mysterious Ramona Flowers, who recently moved to his Toronto neighbourhood from the US. Things start of promisingly, but he then meets the ‘League of Evil Exes’. He must defeat all seven, if he is to win her hand. Fight!

Scott Pilgrim's precious little life

Based on the six-volume comic book, the film opens much like many other teenage romantic comedies we've seen recently. Scott plays bass in a band, which he admits are terrible. He also has a rather platonic relationship with a girl quite younger than him. Then a dyed-hair mystery girl starts rollerblading through his dreams, and after bumping into her at a party, he becomes obsessed. He manages to find out where she works, and asks her out, but what he doesn't find out about is her chequered romantic history.

Scott Pilgrim vs. the universe

Suddenly, the films roars into life. Much like the trailer (see below), the transition is impressive and very welcome. When the first evil ex-boyfriend comes crashing through the ceiling during a battle-of-the-bands gig, we quickly shift gear from romantic comedy to full-blown videogame action, although the romance and the comedy thankfully stick around. Admittedly, there are a few hints early on, such as the wonderful pixelated 'Universal' logo that opens the film, complete with PC-soundcard music instead of the usual glorious orchestra. But as the film progresses, the line between film and videogame continues to blur, with wonderful, exciting results. Whether picking up an extra life in Super Mario style or gaining points and powers as the exes are defeated, the Gameboy style of the action helps hide Scott's physical inferiority, and adds colour and panache to the film.

Scott Pilgrim and the infinite sadness

It's not all smooth and slick however. The over-stylized fights and action might put large chunks of the audience off, while for those who head in yearning for the end-of-level-baddies, the film takes some time to take off. The ending could have been trimmed a little too, although the climactic end duel deserves all the screen-time it gets. Michael Cera (Superbad, Juno) might also be an issue - he tends to polarise audiences, so if you despise him it might ruin the film for you. I don't mind him, and I think he fits this role perfectly. He is irritating and wimpy and neurotic, but that's what the role calls for.

Scott Pilgrim gets it together

Besides the titular character, the film boasts an impressive cast playing an array or colourful characters. Mary Elizabeth Winstead (Death Proof, Live Free or Die Hard) is arresting as the object of affection that causes all this trouble. She doesn't look like much at first, but she manages to make us realise why Scott would bother so much. Kieran Culkin (Macaulay's brother) has a brief but amusingly snide role as Scott's gay roommate, and rising starlet Anna Kendrick (Up In The Air, Twilight) occasionally offers condescending advice as Scott's sister. The exes all have looks and back-stories of their own, with Chris Evans (The Fantastic Four, the upcoming Captain America) stealing the show as the hilariously egocentric actor and skateboarder Lucas Lee. Brandon Routh (Superman Returns) seems like one of the toughest ones to beat, with a combination of huge physique, bass-paying ability, and psychic powers earned by being vegan, and the final and most powerful ex is portrayed by a delightfully over-the-top Jason Schwartzman (Funny People, Fantastic Mr. Fox).

Scott Pilgrim's finest hour

The film is directed by Edgar Wright (Hot Fuzz, Shaun of the Dead), who also helped adapt the comics. He is obviously having fun here, with lots of tricks and add-ons at his disposal to make the film sparkle and grab your attention. Thankfully the gimmicks aren't overused, and while they sometimes provide convenient plot shortcuts, they never replace the story or the characters. For no apparent reason at all, he even directs one post-date-discussion scene as if it was a scene from Seinfeld, complete with intro music and audience reactions. It's the sum of all these little crazy story and directorial pieces that make this film so colourful.

In the end

The word 'original' is often thrown about nowadays, including by yours truly in several reviews. But I can't think of any other film this year that deserves the description more than this one. It's not for everyone, but if you think you'll like it, you'll probably love it.

Trailers:

http://trailers.apple.com/trailers/universal/scottpilgrimvstheworld/ (High-res QuickTime)

Toy Story 3

• Released Internationally on 18/06/10
• Released in Malta by KRS on 28/07/10

Preview (first published 01/07/10 in VIDA magazine)

The computer animated gem that started it all way back in 1995 is back. After a 1999 sequel that was as brilliant as the original, the host of colourful toy characters have been spending some quality time being bashed about by children all over the world. But since most good franchises come in trilogies, the minds at Pixar have opened the toy chest for a third and (they claim) final adventure. Andy, the much-loved boy who owned Buzz Lightyear, Woody, Potato Head and the rest, is now eighteen, and his mother unceremoniously sends all his toys off packing to a day-care centre, there to be systematically dismembered by a new army of children every day. Our heroes meet a host of new toys there, but Woody for one has no plans to stay put. The excellent voice cast are all back, as is editor and director Lee Unkrich who worked on the previous two films, as well as Finding Nemo, Ratatouille, Cars and Monsters Inc.. The screenplay was written by Michael Arndt, who shot to the A-list after writing Little Miss Sunshine.

Review (27/07/10)

Old Friends

I hadn't revisited the famous toys of Toy Story since seeing the second film upon release. Yet as soon as this third chapter got underway, a certain feeling of familiarity and affection arose, and I was eager to see what lay in store for these colourful characters. The exhilarating opening sequence offers a welcome change from the bedrooms and streets where we normally see these plastic heroes, and sets the tone for the adventures ahead. A few characters have gone missing, but the usual suspects are all still there, waiting patiently in Andy's toy chest for him to spend some time with them or even glance in their direction. Hardly likely considering he's engrossed in his laptop and upcoming move to college.

No toy gets left behind

The inevitable happens, and we arrive at that point that most mothers love and most others dread – the clearing away of clutter. As Andy prepares to fly the nest, he must decide what to take with him, what to throw away, and what deserves the middle ground of being stored in the attic. These anxious moments are even more tense for the toys in question, and as the garbage truck creeps up the street outside, the toys are faced with a moment of destiny of epic toy proportions. Woody (Tom Hanks) gets some preferential treatment as Andy opts to take him to college, but camaraderie prevails and the toys manage to stick together and avoid the worst.

Sunnyside down

The action then shifts to Sunnyside day-care centre, where the toys are dumped, but which looks promising with regards to quality playtime spent with children. The horde of toys at Sunnyside are presided over by the cuddly Lots-O'-Huggin' bear, or Lotso for short, who welcomes the new toys warmly but later turns out to have a shady past and resulting character issues. The film then shifts into Great Escape mode, with Woody returning to help mastermind the toys' escape from this bright but terrifying compound. With Lotso's henchmen on the prowl after lights out, Sunnyside isn't somewhere you'd want to stay the night.

Why it works

The film can be summed up as a wonderful escape movie sandwiched between a touching, nostalgic beginning and an emotional ending. Each part of the film works because of our attachment to the toys in question, which is something the minds at Pixar are skilled at developing. Rather than sully the memory of the two previous films, this final outing tops them both and doesn't need to resort to fancy gimmicks to keep things exciting. The final scenes are a master stroke, and complete the story arc in a satisfying way that makes perfect sense once you look back on it.

In the end

Possibly the best animated film of the year so far, although certain dragon trainers offer some stiff resistance. A film that should prove a highlight with children, and that will probably resonate even louder with adults, or at least those who remember the time when they had toys of their own.

Trailers:

http://trailers.apple.com/trailers/disney/toystory3/

Shrek Forever After

• Released Internationally on 20/05/10
• Released in Malta by KRS on 02/07/10 (also in 3D)

Preview (first published 30/06/10 in VIDA magazine)

In a nutshell

Everyone’s favourite green ogre (Shrek, or Fiona, depending on your tastes), is back for the fourth and final adventure. They have a new nemesis, and he’s short with red hair.

Why we’re hyped?

The third instalment may not have set the world alight, but it had a tough job topping the first and second parts of this alternative fairytale, which remains one of the freshest and funniest franchises around. In less than a decade, Shrek has firmly established himself in popular culture, bringing with him a barrage of quotes and jokes, and giving rise to numerous imitations. Along with Pixar’s stellar output, Shrek is largely to thank for the constant output of smart, hilarious and spectacular computer animation we get to enjoy today. So it’s fitting that he is sent off with a bang, in what the filmmakers have promised will be the final chapter. Something tells me this won’t be a simple sentimental ‘happily ever after’ type closure.

Who’s in it?

The four main stars return. Mike Myers’s faux Scottish accent has become synonymous with the titular ogre, despite no rational reason for it being there. Cameron Diaz continues to sound better than she looks as his blushing, verdant bride. Eddie Murphy, the highlight of the original chapter, is still stomping around as the ever-faithful sidekick, Donkey, and Antonio Banderas once again lends his silky voice to the star of the second film, Puss in Boots, who now has a motivation and weight problem. Voice actor Walter Dohrn is the new major addition as the fiendish Rumpelstiltskin, whose infamous tantrum has now developed into a larger, more anti-social problem. Craig Robinson (Hot Tub Time Machine) also joins the cast as Cookie the ogre, and the wonderful John Cleese and Julie Andrews reprise their roles as Fiona’s entertaining parents. It’s curtain call time for possibly the best original character of the past decade.

Review (01/07/10)

Green and unamused

You'd think Shrek of all creatures would know that the grass is always greener on the other side. But he doesn't, and as his new life with Fiona and the triplets starts to settle down into a routine of burps, nappies, lack of sleep and not a moment of quiet, he starts to miss the time when he was a feared, secluded ogre with nothing to keep him from taking relaxing mud baths all day. So, in a moment of frustration, he says some regrettable things to Fiona, and storms off for some time to think. Enter Rumpelstilskin, a fiendish little redhead with an old grudge and a disturbing pet. He pounces on Shrek's moment of weakness and offers him an apparently simple deal - twenty-four hours of his single, villager-chasing days in exchange for some other day from his life - such as some day from his baby years which he doesn't even remember. Shrek doesn't sleep on it, and signs, which is never a good idea.

Fiona, warrior princess

What follows in a wonderfully inventive and entertaining Shrek adventure in what could be described as an alternate universe - what the kingdom of Far, Far, Away would look like if Shrek had never appeared on the scene and Rumpelstiltskin ruled the roost with his cackling army of ashen-faced witches. This idea works, because it allows us to rediscover the beloved characters and locations all over again, without the storyline having to toss in new elements to keep the novelty factor going, as happened in Shrek the Third. So we meet Puss in Boots, who has outgrown his boots and most other garments in sight thanks to a life of lazy pampering. And a ruffled Donkey who lives a hard life carting slaves and has to sing for his supper. Fiona, on the other hand has grown into a Xena-type revolutionary princess, who leads the resistance against Rumpelstiltskin. And none of them have any idea who this Shrek guy is, despite his insistence that he's their best friend.

Cool mule

As Shrek's friends rediscover him, and Shrek learns to appreciate how great his life was before that ill-fated contract signing, so do we. Which makes this fourth and final chapter a joy to watch. Donkey is given his due prominence, and Eddie Murphy does his usual stellar job as he sings, dances, and even tries to introduce 'flip-flop Fridays'. The music often takes centre stage, with Rumpelstiltskin employing the skills of the Pied Piper to smother the resistance, with hilarious musical results. There's even a brief but wonderfully timed Lionel Richie moment that is one of the musical highlights of the show. And when against all the odds everything falls nicely back into place for our thick-skinned hero, we're treated to the expected swamp-party to end all swamp-parties, which appropriately serves as a curtain call for the entire story, including good old Farquaad.

In the end

After a disappointing third outing (but only by Shrek's high standards), the franchise finishes with a flourish. A fitting end to a fantastic fairytale.

Trailers:

http://trailers.apple.com/trailers/dreamworks/shrekforeverafter/

Robin Hood

• Released Internationally on 12/05/10
• Released in Malta by KRS on 14/05/10

Preview (Published 01/05/10 in VIDA magazine)

In a nutshell

Mr. Hood needs no introduction. We’ve seen and read countless versions of the story, from fantastic foxes with whistling sidekicks, to Kevin Costner and his princely ways, and even merry men in not-so-manly tights. But that was all quite a while ago, so we’re due for another take, with this one promising to tell the back-story behind the outlaw. The details should remain the same, however – rob the rich, provide for the poor, arrows, friars, etc.

Why we’re hyped

Although Robin’s boots have been filled by various big names over the years, we can now look forward to a visionary director as well as a stellar cast. Ridley Scott has made many excellent films in a variety of genres, but has yet to recapture the epic feel and huge success of 2000’s Gladiator. He nearly managed with Kingdom of Heaven five years ago, but the theatrical cut was a bit of a mess, and Orlando Bloom was a bit of a wimp as the hero. Let’s face it – if you need to rally the troops, beat the odds and win the girl, you’re better off with Russell Crowe.

Who’s in it?

Besides Crowe as the titular archer, the film boasts the presence of the classy and beautiful Cate Blanchett as Lady Marian. As if those two weren’t enough to appeal to all ages and genders, we can also look forward to Max von Sydow (Shutter Island), Mark Strong (Sherlock Holmes), Matthew Macfadyen (Frost/Nixon), Mark Addy (The Full Monty), William Hurt (A History of Violence) and Danny Huston (Birth) in lesser roles of varying menace and personal hygiene. The latest trailer looks very promising, so let’s hope for the best.

Review (14/05/10)

Robin Longstride

This is not the story of Robin Hood’s adventures. It’s a sort of prequel to all the Robin Hood adaptations you may have seen before, and tells the story of how a certain Robin Longstride, after returning from the crusades as part of Richard the Lionheart’s army, helped start an uprising against the tyrannical King John, and ended up being brandished an outlaw. Once this concept has sunk in, the scope and progression of the film become enjoyable to watch, and the ending proves very satisfying.

Political woes

When King Richard’s reign ends, Robin and his closest friends desert the army, and try to make their own way home across the channel. They bump into a covert squad of French soldiers under the guidance of a certain Sir Godfrey, who are attempting to assassinate the king and lay the groundwork for the French invasion of the British Isles. Back in the Tower of London, King John eventually inherits the crown and with a mix of greed and ignorance manages to infuriate the already oppressed and impoverished English people. Tired of wallowing in misery as the state and church squander their precious resources, the villagers across the land start a rebellion, and the well-timed arrival of the charismatic Robin manages to unite them.

The more the merrier

The impressive cast all take to their parts with gusto, and the consistently strong acting is also helped by a script that manages to be grand without going overboard. The mid-section suffers a bit when it’s unclear exactly who is fighting who, but it all works out tidily in the end. Crowe adds a British accent to his Maximus persona, and is convincing as the hero, albeit without enough human flaws. Blanchett’s Marian manages to warm to him, but not too quickly, and Max Von Sydow as her father is, as usual, excellent. Mark Strong is suitably evil as the traitorous Sir Godfrey, King John’s henchman. His shaved head and reckless disregard for protective headgear make him the most easily identifiable of the enemy forces during the various pillage and battle scenes, and his rivalry with Robin develops as the film progresses, culminating in a wet and wild duel during the film’s spectacular climax.

Archers with tonic

The skills with a bow and arrow play an essential part from the prologue right up the epilogue scenes, and reach epic proportions in the French invasion of England - a magnificent scene mirroring the Normandy landings in WW2. It’s more or less everything you would expect from a war movie set in 12^th century England, and at times the film is quite clearly a mix of Braveheart and Gladiator, even down to individual shots and actions. But I guess you could do worse than try to emulate those two modern classics. The score is one aspect which falls short, however, with the music being unmemorable and largely intrusive.

In the end

The second big film of this summer season should appeal to an even wider audience that the superhero antics in Iron Man 2. Anchored by predictably good performances from the hero and heroine at the core of the story, the film presents an original story, but told in a fashion we have seen before. It’s undeniably fun and action-packed, and like all good ‘prequels’ ends on a satisfying note with everything falling into place as you know it. If you loved Braveheart, this should be fun.

Trailers:

http://trailers.apple.com/trailers/universal/robinhood/

Iron Man 2

 

• Released Internationally on 28/04/10
• Released in Malta by KRS on 05/05/10

 

Preview (Published 01/04/10 in VIDA magazine)

In a nutshell

Although The Dark Knight rightly received most of 2008's attention, that summer provided another smart, slick superhero film, with Robert Downey Jr. bringing zest and charisma to the lesser-known character of Iron Man and his alter-ego Tony Stark. So, before the ironing starts piling up, he's back.

Why we’re hyped

Not only was the original an entertaining and well-written action film, but it also succeeded where many superhero films fail - it gave us interesting characters and a good story. The ending was particularly ingenious, and left us with a cliff-hanger as the world's media finally found out who Iron Man really is. So this sequel was never in doubt.

Who’s in it?

For the sake of continuity, it's good to see that director Jon Favreau has kept his chair, and of course so has Downey Jr., whose renaissance continues to land him great roles which he pulls off in style. His assistant and intermittent romantic interest, Pepper Potts, remains in the hands of Gwyneth Paltrow. The role of his partner James Rhodes has been given to Don Cheadle (Hotel Rwanda, Ocean's Eleven), and Paul Bettany (Creation, Wimbledon) returns as the voice of JARVIS. Two exciting new faces have been added to the arena - Mickey Rourke (The Wrestler, Sin City) looks menacing as 'Whiplash', and Scarlett Johannsen (Match Point, Lost in Translation) might cause a few chest pains as 'Black Widow'. The script was a collaborative effort, but the main contributor seems to have been Justin Theroux, who co-wrote Tropic Thunder, and has also acted in Mulholland Drive and American Psycho. Veteran rock band AC/DC joined A-list composer John Debney to provide the music for the film. Let's hope this sequel is at least as good as its predecessor, rather than sinking under the weight of so many big names.

 

Review (04/05/10)

He's back

Iron Man 2 succeeds in feeling like a continuation, rather than a sequel. With the prologue picking up during the final scenes of the 2008 hit, the story arc and characters continue unabated, and the vibrant freshness that was so enjoyable first time around is thankfully evident once again. Downey Jr. is clearly enjoying himself developing this superhero, and he perfectly balances the style and showmanship of Tony Stark's public persona, with the recklessness and inner demons which threaten to derail his success and health. Similarities with the actor's own history are probably more than co-incidental, and they are milked for all they're worth.

Weapons of mass destruction

With Iron Man keeping America's foes at bay, he cheekily claims to have successfully privatised world peace. But the government is wary of him getting out of hand, and wants his armour handed over to the state for controlled use and possible replication. Stark isn't having any of it, and he reassures everyone that the technology of America's rivals is lagging years behind his. But that all changes when a certain Ivan Vanko ('Whiplash') appears on the scene during the Monaco grand prix, with a fancy costume clearly as powerful as Iron Man's, and less noble ideas about how to use it. The son of a former Soviet scientist who used to work with Stark's father, Vanko has inherited the secret to Iron Man's technology, and suddenly Stark's rivals want the unsightly Russian on their team. Rourke is suitably menacing and mysterious as the film's most obvious villain, shuffling through his scenes like he's had too much vodka but showing his skills when necessary.

All together now

I say 'most obvious villain' because most characters aren't so easy to pigeonhole. With even Iron Man himself getting a bit rusty at points, one of the film's plusses is that hardly any of the characters are all good or all bad, and those who, like me, aren't familiar with the comics might take some time to decide who is to be trusted and who needs to be ironed out. All the smaller roles are well-cast and interesting, with the actors managing to establish their presence despite having only sporadic minutes of screen-time to do so. Scarlett Johannsen doesn't need to do much apart from standing around looking, well, perfect, although she does get one scene where she can show off her choreographed moves, and in a catsuit, please note. Samuel L. Jackson (Pulp Fiction, Unbreakable) returns as the spectral head of the S.H.I.E.L.D. organisation, which will apparently be a unifying thread throughout various upcoming Marvel comic adaptations. Sam Rockwell (Matchstick Men, Moon) also manages to make his role as Stark's competitor a memorable one, showing us what a slightly darker version of Tony Stark would look like.

Summer fun

Billed as one of this summer's main blockbusters, the film manages to meet expectations and will probably draw in the crowds over the next month or so. The effects are largely faultless, although the daytime flying sequences I enjoyed so much in the first film have been scaled back. The writing is engaging and interesting without getting too technical, and there are enough one-liners to make you grin without getting too cheesy. The encounters between our hard-headed hero and Whiplash are fun and spectacular, although oddly brief. The film sticks to everything that made the original so great, yet manages to flex its muscles as the bigger (and probably more expensive) sequel – with everything from lavish set pieces in Monaco to appearances by CNN’s Christiane Amanpour.

In the end

It’s big, it’s shiny and it’s fun. Yet, unlike other big sequels such as the Transformers one, the filmmakers haven’t gone overboard at the expense of story and soul. It’s not as great as the first film, but probably only because we’ve seen the fancy armour before. Summer is here.

 

 

Trailers:

http://trailers.apple.com/trailers/paramount/ironman/