Interstellar

• Released Internationally on 06/11/14
• Released in Malta by KRS on 12/11/14

Review (11/11/14)

3-word review: Don’t Go Gently. 

You might be stunned into silence by Interstellar, but you might also dismiss it as a confusing waste of three hours of your life. Either way, it will most probably linger in your memory as something unlike anything you have ever seen before. This is not a film that is easy to digest or define, or write about. But it is most definitely another technically marvellous piece of cinema from the mind of the great Christopher Nolan.

An uncertain future

Starting off like a scene from Signs, the film introduces us to single dad Cooper (Matthew McConaughey, still on top of the world), who lives surrounded by corn fields with his two children. The bond with his daughter is clearly a special one, and with just a few opening scenes we are quickly drawn into this tight family unit that is the heart and soul of the sci-fi opera ahead. What is not clear is what year we are looking at, since we slowly learn that mankind has failed and the last few survivors are slowly starving as crops succumb to pests. Farming is encouraged as the human race tries to survive.

Into the wormhole

We are then introduced to the real crux of the dilemma as an ageing NASA professor (Michael Caine, a Nolan regular) recruits Cooper for a desperate mission to travel to other galaxies and find habitable worlds that the human race could emigrate to. The odds aren’t great, and thanks to the bending of time and space as they travel through a wormhole, the expected duration of the mission is far from certain. Here lies one of the film’s master strokes – the narrative potential as loved ones are separated by time and space is heart-wrenching and full of possibility. Cooper promises to his daughter that he will be back, but she has no way of knowing when.

A complex epic

What unfolds must have been a nightmare to write and condense, and quickly fills up the film’s nearly three-hour running time. As the hopeless mission slowly unravels in space and the subtle apocalypse proceeds on earth, we are treated to such an array of emotions, topics and stunning sequences that it can get exhausting at times. From love, to time, to survival instinct, Nolan and his scriptwriter brother have undertaken quite a lot. Some might be disappointed at how it all comes to the boil, but there’s no denying that this is proper science-fiction, with lots of science but also some fascinating and imaginative fiction.

A feast for the senses

Even if you give up on the fine details of the plot, there’s lots to digest and marvel at on the big screen. The balletic scenes in space are gorgeous, with more than a hint of the waltzes of Kubrick’s 2001. Composer Hans Zimmer also enhances the action and drama with a Philip Glass-like score that is one of the highlights of the film. There are a few casting surprises that should bring a smile to any movie-lover’s face, and there’s a particular docking scene which is the most exciting thing I’ve seen on screen all year.

In the end

I might need two or more viewings of this before I truly grasp what Nolan has done, just as happened with Inception. This might not be a film for everyone, but Nolan continues to be the most original and courageous voice in mainstream film today, with an assembled cast and crew that have made something truly spectacular.

Trailer:

Transformers: Age of Extinction

• Released Internationally on 25/06/14
• Released in Malta by KRS on 06/07/14

Review (05/07/14)

3-word review: Very slight improvements. 

They’re back for another assault on earth and on our summer box-office. After the Decepticons were defeated in the rather disruptive battle of Chicago in the third film, earth had had enough of the Transformers. The last remaining few are being hunted down and used for scrap and research. But an inevitable comeback is taking shape.

What’s new?

Shia LaBeouf is gone, and his main role is now taken over by a garage mechanic and single dad portrayed by Mark Wahlberg. His unconvincing family consists of his daughter (newcomer Nicola Peltz), together with her boyfriend (Jack Reynor). They end up helping Optimus Prime and his Autobots, despite a worldwide mission by black ops to hunt down and destroy them, aided by an other-worldly Transformer named Lockdown. Kelsey Grammer (Frasier) heads the covert CIA mission, and Stanley Tucci (The Hunger Games) is the head or a research corporation who is using the scrapped parts to build earth’s own Transformers. From a nostalgia, childhood-toy point of view, the main new addition is the Dinobots, whom I fondly remember, but who are practically unrecognisable here after the usual Michael Bay ‘upgrade’.

In the end

Michael Bay had given the impression that he was done with the Transformers after the third film, which was even worse than the second one. Something changed his mind, and he decided to take a slightly new direction. But apart from a new human cast and a hardly noticeable new design for the titular robots, nothing much has changed. The action is still disorderly and messy, and the plot and characters are still very weak. Hong Kong offers a slightly more interesting backdrop for destruction, but there’s very little here to recommend, especially if you hated the previous instalments.

Trailer:

Pompeii

 

• Released Internationally on 19/02/14
• Released in Malta by KRS on 01/05/14

Review (26/04/14)

3-word review: Deus ex machina. 

The story of Pompeii, with an entire city frozen in time as it is covered in ash from the nearby volcano Vesuvius, is a wonderful one. Here it serves as a bookend and plot twist for a rather feeble tale of Roman-era slavery and romance. So, after Noah, here’s the second period disaster movie of the year so far. Director Paul W. S. Anderson is mostly famous for the Resident Evil films, and unfortunately this isn’t much better in terms of class or quality.

A hero bent on revenge
The film borrows heavily from various other films, with the most obvious influence being Gladiator. Lots of gladiatorial action, lots of coliseum drama, and a central hero with a score to settle. Kit Harington (Jon Snow, who knows nothing, from Game of Thrones) makes his main role debut sporting an impressive set of abdominals. As a young child he witnesses the brutal massacre of his entire family and village at the hands of a Roman senator, and many years later his exploits as a gladiator bring him to the arena of Pompeii, where said Senator is visiting, hoping to return to Rome with the lovely Cassia (Emily Browning). Her parents (Jared Harris and Carrie-Anne Moss) disapprove, but Roman senators have a way of getting what they want.

In the background
So ensues a lot of politics and romance under the shadow of the stirring volcano. Kiefer Sutherland is suitably nasty, but terribly one-dimensional, as the bad guy. With a certain inevitability we see the plot progress in such a way as to bring the lowly but manly hero into the life of the fair maiden. The details are not too important, because as expected, the volcano comes into play when necessary to throw the rest of the plot out of the window and wreak havoc on everything in sight. It is reasonably spectacular in terms of CGI and relentless destruction, and serves as the best Deux ex machina since the famous frog scene in Magnolia (from director Paul Thomas Anderson, not this one).

In the end
It’s entertaining enough, because you don’t need much story or acting when your third act has a volcano, an earthquake and a tsunami to keep everyone busy. But it feels unfortunate that what might endure as the main film about the events of Pompeii is hardly the classic that they deserve.

 

 

Trailers:

The Amazing Spider-man 2

 

• Released Internationally on 16/04/14
• Released in Malta by KRS on 16/04/14

Review (16/04/14)

3-word review: Not that amazing. 

I think superhero fatigue is starting to set in. It's the only explanation I can think of for why I was both positively impressed with many of the aspects of this film, but also bored by the whole experience. This will be an average year, by recent cinema standards - a Spider-man sequel, an X-Men sequel, a Captain American sequel, a new group of heroes (Guardians of the Galaxy) and a hero reboot (Teenage Mutant Ninja Turtles). That's peanuts compared to what's lined up for 2015 and 2016. So even when the film itself is great, how do the filmmakers manage to make it stand out?

Garfield
Spider-man has a harder job than most at keeping us interested, given that the whole story arc was tackled successfully only a decade ago. So the novelty factor isn't too high, although thankfully the first Amazing Spider-man film managed to be very entertaining, partly due to a wonderful interpretation by Andrew Garfield. He gives us a lanky, goofy, light-hearted Spider-man who fits the costume and the persona perfectly. His chemistry with Emma Stone (as Gwen Stacy) is effortless, now also thanks to their off-screen romance. The scenes between them in this film are more impressive than many of the supposedly fancier and definitely more expensive action shots, and if this were a normal film about a guy having to choose between a career and a girl it might have been a good one.

Middle chapter syndrome
The film is longer than I would have liked, but the extra time was probably necessary since at least three new villains get introduced. But this is merely the setting up of great things to come. In a development that is just briefly alluded to at the end, the Spider-man branch of the Marvel universe is about to veer off into deeper territory, with six infamous villains (the 'Sinister Six') heading to our screens in the next film. So this second film has some introductions to do, but then ends rather abruptly with a somewhat awkward ending. Not a juicy cliffhanger, like some middle chapters thrive on; but rather a rushed 'to be continued' type ending.

Lots to see
Jamie Foxx is interesting as the introverted, working class, nobody who ends up transformed into 'Electro', Spider-man's main adversary for this chapter. The effects are nicely done, including a Times Square centrepiece action sequence that shows off his abilities. He even gets an innovative electric guitar theme from composer Hans Zimmer, working with Pharrell Williams and guitarist Johnny Marr. The 3D is put to good use, and the whole electro concept is great fodder for effects. New York serves as a wonderful backdrop, and the scale of the film is befitting of the best disaster movies.

In the end
So, all in all, it's a good film. If Spider-man was the only superhero franchise out there, I would be fawning over this second film and heading back to see it again and again. But even when the action works, the hero looks good, the romance works, and the feel-good factor is thriving, it's all stuff we've seen only a few weeks ago in some similar film with different costumes. Maybe this is why TV is on such a high and small independent films are finding bigger audiences. Maybe we're tired of superheroes for now.

 

 

Trailers:
https://trailers.apple.com/trailers/sony_pictures/theamazingspiderman2/

Gravity

• Released Internationally on 03/10/13
• Released in Malta by KRS on 08/11/13

Review (07/11/13)

3-word review: Go watch it.

Some films are beautiful, whilst others sacrifice the sweeping vistas and slow shots to deliver a fast-paced thriller instead. Gravity manages to do both, resulting in a film that manages to be gripping from start to finish, whilst still finding time to be a gorgeous feast for the senses.  

Simple, always simple

The first beautiful thing about this film is its simplicity. Two astronauts - one a seasoned veteran (George Clooney) and one a first-timer (Sandra Bullock), are on a space walk when their mission goes very wrong. Cut off from their usual lines of communication and well-rehearsed procedures, they need to struggle to survive. That’s more or less it. No cliché pre-take off introductions on earth, no flashbacks, no deus ex machina. Just a simple, immersive story that leaves you stunned for an hour and a half.

Great performances

As ground-breaking as the technical wizardry on display is, the film succeeds largely thanks to the wonderful presence of both Clooney and Bullock. Clooney is in familiar territory here, character-wise, as the wise veteran who knows all the tricks, offers a voice of reassurance, and never takes things too seriously. His calming presence is vital to his partner in space, whom Bullock instils with equal doses of insecurity and deep-seated determination.

A visual feast

Nowadays, it’s rare that I catch myself wondering ‘How did they do that?!’ when watching a film. I thought it a handful of times during this one. The sheer logistics of creating these completely convincing spacewalks and zero gravity accidents must have caused many a headache, but the end result makes you glad you have your 3D glasses on and a huge screen in front of your face. One scene in particular, as Bullock’s character enjoys a much-earned moment of freedom in zero gravity, is one of those priceless scenes where everything gels perfectly and makes you catch your breath.

Don’t let go

The film somehow manages to keep the tension and action going for most of its running length without ever getting tedious or tiring. Things keep going wrong, but not once does it feel far-fetched. The audience is toyed with continuously, given fleeting moments of security before they are pulled out from under us. This makes for a powerful human drama, the rise and fall of which is played out on the rate of Bullock’s breathing.

Technical masterpiece

This is an astounding achievement in every regard. The eerie, pulsating music; the visual effects; the spectacular shots of earth; the great use of sound - it all comes with a sheen of excellence and feels so much better and cleaner than anything I can recall in many months. Easily the best film of the year so far, and one of the most accomplished pieces of cinema I can remember experiencing.

 

Trailers:

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

Teaser Trailer

Thor: The Dark World

 

• Released Internationally on 30/10/13
• Released in Malta by KRS on 30/10/13

Review (29/10/13)

3-word review: London gets hammered.

Possibly better than the first one

I was a bit wary of this sequel. Kenneth Branagh’s Thor was entertaining enough, but it felt a bit heartless, and focused too much on the pomp and circumstance of the world of Asgard (where Thor and his dad, Odin, are from). When the action shifted down to earth for something us viewers could relate to, it was small towns in the middle of nowhere, and hardly scenes befitting a movie of that scale. Thankfully, these flaws have nearly all been addressed this time around.

Not all Dark

The prologue is rather grand, with battle scenes reminiscent of the Lord of the Rings prologue, and although I usually prefer the earthly action to the other-worldly lore in these films, the backstory and mythology don’t outstay their welcome. We’re introduced to a new nemesis - the silent and scary Malekith, portrayed with not many words but a lot of presence by Christopher Eccleston (Elizabeth). The fine details of his history and masterplan are not too important, of course, but the film does require a rather hefty suspension of belief for us to grasp that when instructed to hide a great evil power somewhere in the universe where nobody would find it, someone hid it in an abandoned building in a London industrial zone. But anyway, things move swiftly to the action.

Loki Loki Loki

For all his posturing and unsightly prosthetics, the new bad guy still pales in comparison to the hugely effective Loki (Tom Hiddleston), who post-Avengers gets to walk that delightfully ambiguous line between friend and foe, and who makes very good use of his screen time in this instalment of the Avengers saga. His chemistry, or lack thereof, with his adoptive brother Thor allows for a few well-conceived scenes and a good dose of Asgard family dynamics.

Between two worlds

Thankfully, the Asgard scenes, as well as those in other worlds, are regularly interrupted by down-to-earth action that help keeps the film somewhat grounded and relevant. The focus is mostly on present-day London, with the Shard getting the sort of attention cinema used to give to Big Ben, and the recent ‘walkie talkie’ building also making an appearance. The film’s final confrontation takes place on British soil, and is rather enjoyable if you manage to ignore all the ridiculous scientific explanations that Jane (Natalie Portman) and her team insist on shouting out intermittently.

In the end

Chris Hemsworth (Rush) manages to keep Thor likeable and reliable, despite him not being half as interesting a hero as Iron Man, or even Captain America for that matter. The film slots nicely into the Avengers timeline, and doesn’t take itself too seriously, with even an amusing cameo or two, as expected. Director Alan Taylor has previously done an excellent job directing Sopranos, Mad Men and even Game of Thrones episodes; and here he shows that he can handle an event film like this one. It’s nothing too refined, but at least it’s good fun. And of course, make sure you sit through the end credits.

 

Trailers:
http://trailers.apple.com/trailers/marvel/thorthedarkworld/

Captain Phillips

• Released Internationally on 10/10/13
• Released in Malta by KRS on 18/10/13

Mini-Review (29/10/13)

3-word review: Hanks excels again.

Some of the best films ever made focus on a single person’s struggle, and Tom Hanks has portrayed that person on numerous occasions. He’s back in top form here, as the true life captain of the first American cargo ship to be captured by Somali pirates back in 2009, before these hijackings became regular news. Director Paul Greengrass (United 93, The Bourne Ultimatum) gives us a simple, no-frills look at the unfolding events, and Hanks perfectly portrays the ordinary man caught up in extraordinary circumstances. His powerful acting starts off subtle and unremarkable but ends in a powerful finale as the hostage situation reaches its conclusion. Credit must also go to the supporting cast, especially his captors – clearly desperate and unprepared, but led by the chillingly calm Muse (impressive first time actor Barkhad Abdi). It’s a moving story of confrontation and survival, and a great piece of cinema.

 

Trailers:
http://trailers.apple.com/trailers/sony_pictures/captainphillips/

Pain & Gain

• Released Internationally on 24/04/13
• Released in Malta by KRS on 04/09/13

Review (03/09/13)

3-word review: Entertaining Bay display.

The unmistakable Michael Bay

Whether Michael Bay’s films feature asteroids, giant robots or weapons of mass destruction, or even if they do away with all the sci-fi and gadgetry and just focus on present day crime, they are all easily identifiable as larger-than-life Bay spectacles. Not one to go for subtlety, Bay has often divided opinions with his over the top style. Everything must be drenched in sweaty, unforgiving sun, everything must be bursting with colour, and lots of action needs to happen in slow-motion and accompanied by wailing electric guitars. You also need at least one shot encircling the character from below, and one with a massive plane flying directly overhead, if possible. 

But while the end result is often a big hot mess (the Transformers films, especially the two sequels), or not worthy of the subject matter (Pearl Harbour), it does occasionally result in wide-eyed cheesy entertainment that is a joy to watch (The Rock, Armageddon). Those instances, however, where Bay does away with all the extras and stamps his style onto a crime film, are in my humble opinion the instances where his controversial talents are best displayed. Which is why this film works, just as the two Bad Boys films worked. When your subject matter resembles something out of an MTV reality show, what better way to present it than looking like a big budget music video?

“My name is Daniel Lugo, and I believe in fitness.”

Mark Wahlberg (Boogie Nights, The Fighter), stars as the gym-obsessed ex-convict Daniel, who dreams of a life beyond his mundane personal trainer job and realises he can’t obtain that life through strictly legal means. He singles out a wealthy, seemingly helpless client of his (Tony Shalhoub - The Man Who Wasn’t There, Monk) and after getting fired up by a motivational speaker (Ken Jeong - The Hangover trilogy) he decides to go for broke and try to skim every last penny off the unsuspecting Jewish businessman. The trio he assembles for the job include his colleague and fellow fitness-fanatic Adrian (Anthony Mackie - The Hurt Locker) and built-like-a-bus Paul (Dwayne ‘The Rock’ Johnson - Fast & Furious 6). 

Fargo, on steroids

Between the three of them they have enough brawn to intimidate anyone, but not enough brain to pull their ridiculous scheme off. And thus ensues a regular winning formula in literature and cinema - the convoluted scheme which goes impressively wrong, partly due to misfortune, and partly due to sheer stupidity. Fargo remains one of the most nuanced and engrossing examples of this, with A Simple Plan trying to repeat the formula a couple of years later. This is nowhere as subtle or high-brow, but it is very entertaining nonetheless, although admittedly in a similar way to watching disastrous reality TV or other instances where you can shake your head and feel hugely superior to the protagonists. Wahlberg anchors the trio well, with his trademark puzzled expression perfectly suited for the enthusiastic but clueless gang leader he portrays. Dwayne Johnson is the most entertaining, however, managing to shift between highly-string cocaine fiend and his character’s recently discovered happy-clappy religious side. 

This is still a true story

By the time a private detective (the ever-bankable Ed Harris - A Beautiful Mind) is brought in to try and uncover the fraudulent scheme, and by the time our anti-heroes have spent all their money and are itching for a second hit, Bay does well to remind us, during one particularly insane scene, that “this is still a true story”. It takes some convincing, but we are shown the real-life protagonists during the end credits, and the events in the film did in fact happen in the mid-90s. Which is why the film is also a wonderfully cheesy collection of 90s styles and music, which cements the comparison with Bad Boys even further.

In the end

By the time the explosions have died down and everyone has come down from their steroid rage or cocaine high, there isn’t all too much substance to take home, apart from the very obvious moral lesson that crime doesn’t pay and that the elusive ‘American Dream’ needs to be attained through hard, honest work. But who cares? It’s an entertaining two hours, and despite being Michael Bay’s second least expensive film to date, I think it’s one of his best.

Trailers:
http://trailers.apple.com/trailers/paramount/paingain/

The Lone Ranger

• Released Internationally on 03/07/13
• Released in Malta by KRS on 14/08/13

Review (13/08/13)

3-word review: Surprisingly, consistently, fun.

 

British comedian Billy Connolly once defined ‘intellectual’ as ‘someone who can listen to the William Tell Overture without thinking of the Lone Ranger’. Well that rules me out. After months spent watching re-runs of the 50s TV show as a child, Rossini’s orchestral gallop is forever linked to the masked hero in my mind, and I must admit I felt a surge of excitement when it burst onto the screen this time around.

News from afar

Inevitably, us European audiences are often influenced by feedback from the US when it comes to tentpole films which aren’t released simultaneously worldwide. In this case, Disney’s big summer blockbuster flopped spectacularly, despite Johnny Depp’s name being plastered everywhere and despite much of the crew from the Pirates of the Caribbean films being on deck. The reasons why could be debated at length, but for starters the film is definitely a good half-hour too long, which always means less box-office returns. That aside, however, I couldn’t find any obvious, major flaws, and I thoroughly enjoyed the ride.

Wild Wild West

Westerns tend to struggle to find an audience, but when done well I find them hugely entertaining. This one is about as western as it gets, and there’s equal parts sweeping, gorgeous vistas and oppressive heat and dust. Director Gore Verbinski (who has already regaled us with a masterful western starring Depp - Rango), makes more than the occasional nod to the spaghetti westerns of the Sergio Leone days, from highlighting the bad guy’s clear blue eyes to using incidental background sound effects to create tension. And like all the great classic tales from the west, train tracks and native Indians form an essential part of the plot.

Why so serious?

Thankfully, Verbinski steers clear of the classics when it comes to taking himself seriously, and just like Rango this film is infused with a healthy dose of self-awareness and humour. It is mostly provided by the misunderstood and seemingly not-too-bright Tonto (Depp), who proves to be a useful sidekick much in the vein of captain Jack Sparrow. He gets to do a lot of eye-rolling too, due to the bumbling antics of the titular character himself (Armie Hammer, The Social Network). The excuse for the Texas ranger’s lack of expertise is that this is an origin story, and he therefore makes the transition from clean-cut legal office man to bankable vigilante before our eyes. The tongue-in-cheek attitude is a blessing, especially when your hero is a man in a suit, mask and white hat, who rides a horse whiter than Shadowfax and who silhouettes himself against the setting sun whilst yelling “Hi-Ho Silver!”. Verbinski handles all this marvellously, and I for one laughed out loud more than once.

Cast & Crew

Besides the two main guys, the film is populated with a host of two-dimensional characters, but the talented cast does the job admirably, with William Fichtner (The Dark Knight Rises, Armageddon) finally getting a full-blooded bad guy role, Tom Wilkinson (Michael Clayton, Batman Begins) playing his usual shifty self, and Helena Bonham Carter (Big Fish, The King’s Speech) pulling out all her eccentric tricks. Behind the scenes, the film boasts wonderful scenery and some stunning shots, including a few self-aware, eye-catching ones as in all Verbinski’s recent efforts, and one set piece that looks like a scaled-down Helm’s Deep. Composer Hans Zimmer moves on from the noisy Man of Steel and shits into playful mode, including his all-important take on the Overture, which predictably ends up sounding like Rossini on steroids, in a good way.

In the end

It has its flaws, and it could have been shorter, but it’s gorgeous to look at, fun throughout, and packed with action, humour and some (predictable) drama. It may not be everyone’s cup of tea, but I found it ticked all my boxes for a summer blockbuster, and provided more escapist entertainment than many of its more successful summer competitors. And it was definitely the most fun I’ve seen on a train since Back to the Future Part III, which was over two decades ago.

 

 

 

Should you sit through the end credits? Yes

 

Trailers:

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

Star Trek Into Darkness

• Released Internationally on 09/05/13
• Released in Malta by KRS on 15/05/13

Preview (as published 01/05/13 in VIDA Magazine)

J.J. Abrams received mountains of praise for his courageous rebooting of the Star Trek franchise a few years ago, and that was probably one of the main reasons why he has been handed an even bigger task - Star Wars Episode VII. Before that announcement was made, however, he had completed his Star Trek sequel, which hopes to build on the success and hype of its predecessor. The one element of the reboot that was slightly lacklustre was Eric Bana as the nemesis, so to raise this outing to the next level they enlisted one of the hottest actors of the moment to portray the foe - Benedict Cumberbatch. The star of Tinker, Tailor, Soldier, Spy, as famous for his voice as for his acting (he will be voicing Smaug the dragon in the remaining Hobbit films, and he stole the show in the famous ‘Tom’ Google+ advert) has dominated all the trailers and posters so far, so it remains to be seen how the young crew of the Enterprise will get the better of him.

 

Review (14/05/13)

3-word review: For the fans.

J.J. Abrams has made a point of telling the press, at every possible opportunity, how he wanted to make a film that would appeal to all moviegoers, and not just Star Trek fans. Well, I’m no trekkie, and I felt neglected whilst watching this film. I’ve seen a few of the films, I’ve seen a small portion of the countless TV episodes, and I’ve read enough to know the basics. But in this film, although I got to enjoy it as an action and effects film, I felt like an outsider. Without spoiling anything, I can say that a huge character ‘reveal’ makes a very obvious reference to past Trek movies, and the way someone’s name is announced you’d expect the cinema audience to gasp out loud and burst into slow applause. The explanations that follow are sparse, and the ending of the films features other apparent symmetries with earlier films, which of course flew right over my head and I only learnt about later.

I guess it’s also for Cumberbatch fans. The rocketing star is wonderful as the main nemesis here, with his steely presence, impressive physicality and of course his famous voice, all combining to make a villain that you sincerely believe could take on every else in the film. The problem is, he’s hardly given a good ending, and I felt let down by the end of it. The other main new face is the gorgeous new female addition to the crew (Alice Eve), although it does seem like she is there merely to add a feminine touch and to walk around looking stunning, with or without her uniform.

It’s not all bad of course, and as expected in a J.J. Abrams film there’s stellar effects, a few action set pieces that take your breath away, and enough character development to make everyone interesting. The main cast continue their great work from the previous film, with excellent chemistry and a good mix of drama and humour, the latter mostly thanks to Simon Pegg. The musical and visual aura of the Enterprise is also continued in grand style, as is the simmering bromance between Kirk and Spock. It’s exciting and entertaining from start to finish, but I would hesitate to recommend it to anyone who never had an Enterprise or Cumberbatch poster on their wall.

 

 

Trailers:

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

Olympus Has Fallen

• Released Internationally on 21/03/13
• Released in Malta by KRS on 08/05/13

Preview (as published 01/05/13 in VIDA Magazine)

It happens every few years or so - Antz/A Bug’s Life, Deep Impact/Armageddon, The Illusionist/The Prestige. This year we will get two similar films portraying enemies taking over the White House. This is the first. The instantly recognizable building is of course mostly know for what it represents, and has been an extra in films for decades - taken over by mutants in X-Men 2, a crime scene in Murder at 1600, and of course being blown to smithereens in Independence Day. This time around, Aaron Eckhart (The Dark Knight) is the president, Morgan Freeman is the speaker, and Gerard Butler (300) is the action hero who will save the day.

 

Review (07/05/13)

3-word review: Entertaining American clichés.

America has its quirks. I love how they go to great lengths to hype up and worship their institutions, their country, their star spangled banner. No harm in being patriotic, I guess. But then, when the aura surrounding the flag and the president has been cranked up to the max, they all flock to the cinema to see it all blown up or jeopardised. It's all harmless fun, of course, and I'll admit to having a soft spot for these sort of films - all-out action films, with not a single bit of science-fiction in sight. No superheroes, no paranormal phenomena, no fantasy, no aliens. Just good old-fashioned terrorism and disaster, with lots of guns, hostages and wreckage, lots of people saying 'Mr President' in urgent tones, and lots of codes and protocols we the public have never heard of and which probably don't exist anyway.

This is definitely one of those films. It reminded me a lot of Wolfgang Petersen's entertaining Air Force One from over a decade ago. That was fun, and there was nothing too fancy about it - just ordinary people in extraordinary situations, and the president of the USA thrown into the mix. Just like in that film, this one does a decent job of introducing the main players and showing us the president's family life and inner circle, and this of course so that later, when everything is at stake, the human drama will unfold with more depth. There's also a few no-nonsense fist fights, despite the mountains of government technology at hand.

When picking an enemy, the script-writers went with the very safe bet of a North Korean terrorist, and I imagine that this should make the film as uncontroversial and inoffensive as possible, unless of course you're a North Korean terrorist. Aaron Eckhart uses his Dark Knight noble image to look convincing as the supposed leader of the free world, although he does seem to keep the same facial expression for the duration of the film. Gerard Butler is likeable, dependable and occasionally funny as the renegade hero, and the various supporting roles are filled with recognisable faces who add some weight to the proceedings and look and sound like they actually could be in cabinet.

Unfortunately, what they spent on acting talent seems to have been saved on special effects, with some scenes looking below par for this sort of film. But ultimately everything ties up nicely in heroic fashion, and the world gets to live another day, and I walked out feeling as if I had ordered an item off the menu that was familiar, satisfying, but nothing special. Now we just wait to see how White House Down compares.

 

Trailers:

http://trailers.apple.com/trailers/independent/olympushasfallen/

Iron Man 3

• Released Internationally on 24/04/13
• Released in Malta by KRS on 01/05/13

Preview (as published 01/05/13 in VIDA Magazine)

If you thought Iron Man’s exploits ended with the multi-hero love-fest that was last summer’s Avengers, then you might be pleased to know that that was apparently only chapter one. Most of the superheroes in question will continue to have their own individual outings, and we can probably assume that this gigantic cash cow will be milked well into the next decade. Personally, I thought Iron Man was the most entertaining of the related films so far, although the period setting of Captain America added some class to that character. Most of Iron Man’s credit goes, of course, to Robert Downey Jr., who managed to combine effortless panache and good acting to make him likeable, but in a ‘roll your eyes’ way.

His new antagonist, because there must of course be a bigger and badder one each time around, is ‘The Mandarin’, portrayed with interesting hair arrangements by Ben Kingsley (Elegy, Gandhi). So Downey Jr. might have met his match in the class and acting departments too. Gwyneth Paltrow returns as the hero’s steadfast partner, and Don Cheadle (Ocean’s Eleven) returns as his sort of sidekick. Guy Pearce (Memento) and Rebecca Hall (The Town) are other high-profile additions to the cast. It remains to be seen how much of what happened in The Avengers will be referenced here, since this film is set after those events. So why exactly is he back working solo?

 

Review (29/04/13)

3-word review: Better than 2.

The song that kicks off this highly entertaining film wasn’t exactly a good start, but it did the job of transporting me back to the turn of the millennium, for an amusing flashback sequence set during one of the many overhyped New Year’s Eve parties that ushered in the year 2000. It reminds us of the Tony Stark of the first film, and also shows us how easily he made friends and enemies.

Fast forward to the present day (at Christmas-time, which is odd for a summer blockbuster), and Tony Stark is having a bit of a delicate moment. The epic events depicted in last summer’s Avengers have taken their toll, and he doesn’t exactly like to talk about them. Which might be why he doesn’t meet his superhero friends for drinks (or a shawarma). Gwyneth Paltrow’s Pepper Potts gets a bigger, meatier role this time around, and she is clearly one of the few things holding Tony Stark together.

A sort of forced timeout helps Stark regroup, rethink and get his act back together, which is helpful, since the new nemesis, The Mandarin (a wonderful and surprising Ben Kingsley), is proving to be too much for the authorities to handle. The action unfolds with enough twists and surprises to keep it entertaining, and the science-fiction element is taken to even greater heights than it was in Avengers.

As expected, the various Iron Man suits Stark has built over the years feature prominently, and this film provides a sort of greatest hits of all his past models. The film cleverly highlights the man himself, however, clearly showing the suits as mere tools, and ones which can be used and abused as necessary. Once the aura that used to surround the suits is dampened, Stark himself can emerge as the true hero, and hopefully a more stable one than he was in the previous film.

The trilogy is nicely wrapped up by the end of proceedings, and whether or not Iron Man or Downey Jr. return, this chapter is most definitely closed. Everything is rounded off by a wonderfully stylized and scored end credits sequence, and the by now obligatory post-credits scene. I left smiling, and much more entertained than I thought I’d be.

 

 

Trailers:

http://trailers.apple.com/trailers/marvel/ironman3/

 

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/

A Good Day To Die Hard

• Released Internationally on 07/02/13
• Released in Malta by KRS on 06/03/13

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

It’s hard not to like Bruce Willis, and men should hope they age as well as he has. Now approaching 60, he continues to mix dramatic roles (Moonrise Kingdom) with his famous action ones, and the Die Hard franchise would be unthinkable without him. Just like in the previous outing, Live Free or Die Hard, he has a sidekick this time around (Jai Courtney, who was very effective in the recent Jack Reacher) - but this time it’s all in the family. The action is shifted to Russia for this fifth instalment, so John McClane might need to pack something else besides his usual blood-stained vest.

 

Review (05/03/13)

There are hints of the previous Die Hard films peppered throughout this one - a few bars of Beethoven's 9th, the driving and eventual demolition of heavy vehicles, John McClane’s daughter from the previous film, and of course the bloody vest - but otherwise it plays out like an average action film, albeit with a likeable hero. Bruce Willis has finely honed the art of performing wonderful action heroics whilst always looking bemused and slightly annoyed, giving the impression that he’d rather be elsewhere. The scriptwriters still felt, however, that they had to get him to say he should be on vacation every 25 seconds, which gets tedious.

The traffic carnage is pretty impressive. We’re first introduced to the crippling traffic gridlock in central Moscow, and shortly afterwards McClane and his son proceed to destroy half the cars involved. The bulk of the action then shifts to Chernobyl (where else?), but often tries too hard to be over the top and epic. One shot stood out for the right reasons - a wonderful slow-mo of the Chernobyl sign being chewed up by a helicopter, but a later, climactic scene uses such cringe-worthy CGI that you’ll think you’re playing a computer game.

But I guess it’s reasonably entertaining overall, if you feel like some brainless fun. McClane spends a good third of the film roaming around Chernobyl without protection, so we can look forward to Die Hard with a Third Arm sometime soon.

 

Trailers:

http://trailers.apple.com/trailers/fox/agooddaytodiehard/

Wreck-It Ralph

• Released Internationally on 01/11/12
• Released in Malta by KRS on 20/02/13

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

Here’s one for the nostalgics. Wreck-It Ralph is the villain from an arcade video game, who gets tired of his repetitive, destructive life and breaks free. He travels through the colourful and crazy world of video game characters, trying to become a hero. The main vocal duties went to John C. Reilly (Magnolia, Step Brothers) who seems (and sounds) perfect for the role. The film’s concept allows for countless characters from the arcade games of the 90s to be brought back to life, and I suspect this animated Disney film will be as much a hit with parents as with their young children.

 

Review (19/02/13)

Before this film even starts, you’ll probably already be in a good mood. It’s preceded, like many of Pixar/Disney’s animated films of the past decade, by a short animated film. This time around it’s Paperman – a 7-minute-long, black and white (with a splash of red) whimsical love story, which is as wonderful as it is simple. We then delve into the world of video arcade games, where Street Fighter, Space Invaders and Pac-Man reign supreme, and which should bring back a lot of great memories, if you fondly remember the pre-Playstation days.

The concept is simple – all the characters in a video arcade ‘work’ during the arcade opening hours, trying to attract players to their game and giving a good show. After closing time, they all trudge off through the cables at the back, and are free to roam around, via ‘central station’ (the multiplug) until opening time next morning. Not all games get the same attention, and not everyone is happy with their role. Ralph, who is the bad guy is his game, yearns for a better life, and he sets off, against the rules, to try out a few heroic roles and earn himself a medal. This, of course, causes chaos in the arcade.

The film is warm and lovely from start to finish, despite a few action-packed interludes with the insect enemies from one particularly graphic video game. Ralph is brought wonderfully to life by John C. Reilly, and many other characters benefit similarly from great work by a number of actors who are mostly known from TV – 30 Rock’s Jack McBrayer, Glee’s Jane Lynch, and especially Saturday Night Live’s Sarah Silverman. The latter helps create one of the cutest animated characters since Monsters Inc.’s Boo – a pint-sized, feisty, occasionally disgusting but overall adorable race car driver named Vanellope.

There’s endless eye candy, especially in the Willy Wonka-type world of the car racing game Sugar Rush. The grand finale is equally impressive, and of course everything turns out wonderfully for our heroes. This film knows exactly what it should aim for, both with children and adults. It even takes a moment to define the word ‘retro’ – old, but cool. Which is more or less why I enjoyed my time with these characters from start to exhilarating finish.

 

Trailers:

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

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/

Jack Reacher

• Released Internationally on 20/12/12
• Released in Malta by KRS on 26/12/12

Preview (first published 01/12/12 in VIDA Magazine)

Tom Cruise’s post-Tropic Thunder renaissance continues, and just in case the Mission: Impossible franchise loses popularity, he has now landed another role as a modern day action hero, with franchise potential. Jack Reacher is a rather unorthodox but highly effective crime fighter, who uses his past military skills rather than donning any fancy costumes, and he’s quite good with his hands too. This film is an adaptation of just one of the series of novels about the character, and it’s adapted by Christopher McQuarrie, who will always be ‘the genius who wrote The Usual Suspects’. If you liked Angelina Jolie’s Salt from a couple of years ago, this should work as the male equivalent.

 

Review (23/12/12)

This film is fun. It doesn’t pretend to be anything it’s not, but rather embraces its role as a smart action film with franchise potential. Tom Cruise is still evidently deeply in love with himself, but to be fair this is one scenario where it works, and his cocksure titular character manages to be both slightly over the top and likeable.

The films opens with a powerful, largely silent extended scene, which as the film progresses is later seen from different angles and provides an intriguing ‘whodunit’ scenario that forms the backbone of the plot. Once that is established, Reacher arrives on scene in stylish fashion, and gets to work. His clever dialogue is often countered effectively by Rosamund Pike’s character, with whom he shows good chemistry. But despite being very witty at times, the script throws in enough humour to make it all very easygoing and engaging. There’s also a fair amount of original action, with even good old fashioned fist fights getting a few new twists.

Throughout all the proceedings, however, not much is as it seems, and things finally fall satisfactorily into place, although the film does lose some originality and smartness in the third act. More importantly, though, the film does a great job of letting the audience get to know Jack, but at the same time leaving enough mystery for us to be curious about what his next adventure will be, if and when he shows up.

 

Trailers:

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