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:

Maleficent

 

• Released Internationally on 28/05/14
• Released in Malta by KRS on 04/06/14

Review (01/06/14)

3-word review: Disney’s Dark Side. 

Name the last big film you saw Angelina Jolie starring in. Not that easy, is it? Salt, I guess, would be mine. Not exactly a hugely memorable role, or film. But you'd have to go back six years to find Changeling or Wanted. Which shows how much of her immense star power is due to her humanitarian work, her looks, and her famous family. Not necessarily in that order. She broke into the limelight in 1999, with her role in The Bone Collector and her Oscar for Girl, Interrupted, and she also had starring roles as Lara Croft. But it feels like ages since we've had a proper Angelina Jolie film to enjoy, and this one is most definitely all about her.

Not your average Disney film
If you had any doubt that you wouldn't be watching a normal family film, the Disney logo doesn't feature the usual castle, but a darker, less symmetrical one. It does turn out to be Sleeping Beauty's castle after all, but this is the story as seen from a different angle. Jolie stars as the wonderfully-named Maleficent, whom you might remember as the horned evil witch with a crow as a pet, from Sleeping Beauty. This is very much her story, and as with all decent tales of redemption, the best way to understand a baddie is to start from childhood, where the lovely young Maleficent was innocent, lovely and cute.

Back story
Along comes the not-so-wonderfully-named Stefan (Sharlto Copley, District 13, Elysium), who forms a childhood friendship with Maleficent, but who really just wants to become king, at all costs. Things get ugly as the kingdom (where Stefan lives) tries to conquer the Moors (the nearby magical woods, where Maleficent and co. live), and we even get a few large-scale scenes of battle and brutality, whilst keeping everything PG-13. Eventually we reach adulthood, where Stefan has been crowned king and is throwing a party for his gorgeous baby princess Aurora. Maleficent turns up uninvited, and the fairytale you might remember from your childhood comes into play.

Plot holes and awkward moments
The film manages to maintain the aura of dread and mystery that was established so well in the trailers (see the wonderful teaser trailer below), with lots of moody lighting and numerous scenes involving hardly any dialogue at all - just smouldering looks and impossible cheekbones (augmented even further in this case) from Maleficent as she watches over the growing Aurora (Elle Fanning, Super 8), and grows fond of her. But the middle of the film gets dragging, while the ending feels rushed, and Aurora's all-important slumber seems more like a power nap in this version. The carte blanche resulting from the undetermined magical powers mean that it's hard to be surprised by anything that happens, and this origin story loses its charm by the end.

In the end
It's quite significant that this film was made, and it establishes an interesting new direction for Disney to take, now that they might seem to have run out of classic fairytales to adapt. Jolie fits the role like a glove, with looks and a laugh that make Maleficent a wonderfully evil character, despite us now knowing about her soft core and motherly instincts. It's entertaining enough, but nothing special.

 

Trailer:

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/

How To Train Your Dragon

 

• Released Internationally on 25/03/10
• Released in Malta by KRS on 31/03/10
• Showing in ‘RealD’ 3D at Empire Cinemas, Buġibba and in 2D everywhere else

Preview (Published 01/03/10 in VIDA magazine)

Easter holidays mean fun family films, and this looks like the most interesting one this year. Jay Baruchel (the skinny one from Tropic Thunder) voices Hiccup, a young boy in the time of the Vikings who comes from a village terrorised by dragons. When he manages to capture one, he realises their fiery breath is worse than their bite. Also featuring the voices of Gerald Butler (300), Jonah Hill (Funny People) and comedian Craig Ferguson, and directed by the duo that made Disney’s Lilo & Stitch (which might explain why the dragon looks like Stitch).

 

Nutshell Review (27/04/10)

Everything you might have read in the papers or heard from your friends is true – this is a gem of a movie. Making impressive business all over the world since its release one month ago, it manages to soar above most of the tough competition in the smart, funny, animated genre. The main character is equally pitiful and admirable, the Viking setting is fresh and original and full of joke fodder, and the dragons are wonderfully conceived. After a slightly congested opening sequence, the film quickly zooms in on the relationship between Hiccup and his sleek dragon friend, and the bond between them is developed to perfection over the course of the film, culminating in a series of flying sequences that are undoubtedly the most beautiful thing seen on screen this year. The grand finale is epic enough to outdo all that has come before it, and the film manages to end on a surprisingly bittersweet note that is rarely achieved in animated films. A gorgeous thrill-ride.

 

 

Trailer:

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

Clash of the Titans

• Released Internationally on 26/03/10
• Released in Malta by KRS on 14/04/10
• Showing in ‘RealD’ 3D at Empire Cinemas, Buġibba and in 2D everywhere else

In a nutshell

If you learnt all your Greek mythology from secondary school and Disney’s Hercules, this might be a good opportunity for a not-too-accurate update. A remake of the 1981 classic, this battle of the gods is big, boisterous and not too brainy.

Oh my gods

The film opens with a much-needed prologue, where as we watch lightning snake across the sky, a soothing voice fills us in on the current state of Greek god affairs. Zeus rules the skies, whilst his brother Hades runs the underworld. We are also told that Poseidon captains the seas, but we hardly get to see him, despite Danny Huston (Birth) being cast in the role. One can only presume his scenes amongst the many that were allegedly cut. Back to politics – the people of Argos (the city, not the franchise), are angry with the gods for what they claim is poor recent management, so they declare war on Zeus by destroying the huge statue of him that stands astride their jagged coast. Bold move.

Of course, you know, this means war

In the meantime, we meet Perseus, who is adopted by a fisherman (Pete Postlethwaite – The Usual Suspects, Romeo + Juliet) after being found as a baby, adrift in a coffin with his dead mother. He grows into quite a strong lad, which can be partly explained by the fact that he is in fact the illegitimate son of Zeus. The attack by Hades on Argos, and on Perseus’ adoptive family, spurs the young man to accept a perilous mission to find a way to defeat the humungous Kraken, which Hades has threatened to unleash on Argos unless they sacrifice their princess, Andromeda (Alexa Davalos – Defiance).

I need a hero

Confused yet? If not, then by all means rush to watch this film. If you are, don’t worry – it won’t matter much in the end. The prologue unfolds so quickly and fitfully that before you know it Perseus is leaving Argos, with a small band of suicidal men, ready to face the numerous battle scenes that the script has prepared for him. Taking on this main role is rapidly rising actor Sam Worthington, whom you might have seen in Avatar. He seems to have walked off that set and onto this one, as he sticks to the same accent, look and motivation. Unfortunately, not even all the rousing one-liners that the screenplay throws at him are enough to breathe any true emotion into his role, and it’s ironic that the hero ends up being so two-dimensional in a film made for 3D.

Easy to hate

Films like this are unfortunately becoming common in this age where so much depends on your opening weekend box-office. Grand scope, enormous aspirations, hefty budgets, big names. Sadly coupled with poor writing, last-minute cuts and re-shoots that decimate the film, and a belief that spectacular effects alone with make the film a good one. Much like the 1981 original, the film boasts top-drawer actors in the roles of the gods, but the result is painful to watch, as Liam Neeson (Schindler’s List) as Zeus and Ralph Fiennes (The English Patient) as Hades prance around in grotesque hair and make-up spouting dialogue that would make a Dynasty fan cringe. Gemma Arterton (Quantum of Solace), as Perseus’ tepid love interest, looks very British and slightly out of place amongst all the olive-skinned Greeks. Also jarring is the last-minute replacement soundtrack, which tries too hard to drum up some sense of awe, but could easily have been copied and pasted from numerous recent action films. For all the emphasis they are given, the effects occasionally falter too, with some of the creatures being only slightly more convincing than their Harryhausen predecessors. But in the film’s final act, when the kraken is released, nearly all is forgiven.

Fun to like

Ultimately, this film needs to be watched as a source for mindless fun, rather than inspiration or art. The film starts building to its climax from an early stage, and the oncoming kraken onslaught hangs heavily over the proceedings throughout. Once he (she? it?) is awoken, many of the wince-worthy moments that came before are forgotten, and we can sit back and grin through a bombastic and destructive conclusion full of shrieking Greeks and slithering tentacles. The scenes with Perseus astride Pegasus are probably the best in the film, and his mismatched duel with Godzilla’s grandfather manages to make some sense of all that came before it.

In the end

Director Louis Leterrier (The Transporter, The Incredible Hulk) seems to have taken on too big a project, but in his defence the end product is probably very far from what he originally planned to make. For such grave source material, the film is rather ridiculous at times, but if you’re after a couple of hours of beasts, bombast and numerous heavenly bodies, than you might enjoy this more than you expected to. It’s a quiet month, so why not?

Trailer:

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

Alice in Wonderland

 

• Released Internationally on 05/03/10
• Released in Malta by KRS on 05/03/10
• Showing in ‘RealD’ 3D at Empire Cinemas, Buġibba and in 2D everywhere else

 

Preview (Published 01/03/10 in Vida Magazine)

In a nutshell

The eccentric, visionary and often brilliant director Tim Burton teams up with his frequent collaborator Johnny Depp to give us their version of Wonderland (and it’s in 3D too).

Why we’re hyped

Tim Burton’s films share a few wonderful characteristics – they’re usually great fairytales filled with memorable characters, and bursting with flair and colour. Whether it’s his retelling of Charlie and the Chocolate Factory, the excellent tall tales of Big Fish, or his dark gothic imagining of the story of Ichabod Crane in Sleepy Hollow, you can usually tell you’re in the hands of an enthusiastic storyteller. Lewis Carroll’s classic seems like a perfect fit, since the pages of the book overflow with strange scenes, oddball creatures and a general feeling of disorientation. Many of our mental images of the characters come from the Disney version, so it will be interesting to see Burton’s darker and dreamier version.

Who’s in it?

Johnny Depp, ever the chameleon, gets to act even crazier than Jack Sparrow this time around, since he’s hosting a tea party as the Mad Hatter. Burton’s partner and other frequent casting choice Helena Bonham Carter (Big Fish, Fight Club) will be screaming orders as the Red Queen, and rising star Anne Hathaway (Rachel Getting Married, The Devil Wears Prada) will try to balance matters out as the White Queen. Veteran comic Stephen Fry (The Hitchhiker’s Guide to the Galaxy, Wilde) will lend his soothing voice to the Cheshire Cat, whilst Alan Rickman (Harry Potter’s Snape) will lend his to the caterpillar. Michael Sheen (The Queen, Frost/Nixon) will be keeping track of the time, as the White Rabbit, and a partially recognizable Matt Lucas (of Little Britain fame) will be doubling as both Tweedledee and Tweedledum. Crispin Glover (Back to the Future, Willard) will be the Red Queen’s henchman, whilst the size-shifting role of Alice goes to the young Mia Wasikowska (Defiance, Amelia).

 

Review (04/03/10)

Alice in England

The film starts off with a real-world prologue, which is one of the many alterations to the classic tale introduced by scriptwriter Linda Woolverton. Rather than feeling like necessary filler material before Alice goes tumbling down the hole, these scenes of Alice’s real life are funny and entertaining, and cleverly add depth and motivation to Alice’s character. As expected, she then catches sight of the punctuality-obsessed white rabbit, and down she goes. From then on things may seem familiar, but there’s one important difference to the proceedings, which I won’t spoil for you in case, like me, you only realise once Alice herself does.

Quite a character

The film benefits from being a re-imagining of a tale that has entered into public consciousness and many viewers may feel right at home once the famous inhabitants of Wonderland start appearing on the scene. Carefully altering the previous Disney versions without straying too far from the original descriptions and illustrations, the characters are beautifully brought to life by a mix of CGI, borrowed facial features and the superb voice cast listed above. Soon after her arrival, Alice meets the wise caterpillar, who is allowed to smoke in public places, as well as the Cheshire Cat and his transparent methods. The list goes on. There’s even the Jabberwocky, a bad-tempered dragon-like creature from Lewis Carroll’s poem by the same name, who brings a touch of drama and danger to the film’s finale, also thanks to the gravelly voice of Christopher Lee.

Plotting her course

Another noticeable departure from previous versions is the obvious attempt to organise her dreamy encounters into more of a linear story, as opposed to the often random dreaming that Carroll presented. This gives more of an active role to Alice herself, as well as to Depp’s Mad Hatter. Her eventual adventure and contribution to Wonderland may seems similar to what we saw in Narnia recently, although to be fair these queens were barking their orders long before the White Witch ever graced a page.

Not so wonderful

Despite nailing the appearance, environment and encounter of each of Alice’s Wonderland encounters, the end result isn’t as great as the ingredients made me hope for. It’s all fun and it looks great, but when things come to the boil and Wonderland is at stake, do we care? I felt very little sympathy or attachment towards most of the characters, with the exception of the poor Hatter, whom Depp manages to instil with humanity beneath his insane glazed eyes. Only Alice herself and the Hatter get enough screen time to warrant a response, and ironically for a film so obsessed with queens and knaves and cards and spades, I felt it lacked heart. The 3D didn’t impress much either, although Avatar is admittedly a tough act to follow. Apparently shot in 2D and converted in post-production, I don’t imagine this film would lose much if you opt to ditch the fancy glasses.

In the end

As an attempt at creating a fantasy adventure, the film falls slightly short. But as a whimsical dream full of colourful characters, this film is an ambitious and dazzling live-action portrayal of Lewis Carroll’s vivid imagination. They don’t write fairytales like this anymore, and this version will probably make you want to dig out your old copy and give it another read.

 

 

Trailer:

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

The Road

• Released Internationally on 25/11/09
• Released in Malta by KRS on 17/02/10

In a nutshell

In an unspecified time, after an unexplained event has wiped out nearly all life on earth, an unnamed man and his only son must fight for survival against other survivors, the elements, and hunger.

Cormac McCarthy

The film is a wonderful, respectful and unwavering adaptation of the excellent book by Cormac McCarthy, who also penned No Country For Old Men. Showered with acclaim ever since its release in 2006, the novel is both a touching father and son story, as well as a cautionary environmental tale. Early trailers gave the impression that the story had been given a ‘Hollywood’ makeover with extra characters and elements of a disaster movie, but these are thankfully absent from the finished product.

Stripping away the details

It is the absence of these extra details that renders the story so powerful and focused. Disaster movies are nowadays frequent and varying in quality, and we never seem to tire of seeing the world reach its end in different spectacular fashions. That’s not the point here. What happened before the event is only briefly hinted at in flashbacks, and there are no fancy CGI destruction shots anywhere to be seen. Instead, we join ‘the man’ and ‘the boy’ as they trudge across the scorched earth, scavenging for food and heading south for what they hope will be a milder climate.

Survival

What we do know is that whatever happened was powerful and widespread enough to effectively arrest life on earth. Plants and animals are all dead or dying, and all that remains are a few (un)lucky individuals with the whole ransacked planet as their playground. The number one priority is food, and everyone forays through the rubble and deserted buildings for preservatives or anything else edible. With time, the spectre of cannibalism rears its unholy head, causing our two protagonists to fear other humans more than the cold or hunger.

Any colour, as long as it’s grey

With the sun perpetually shielded by a cloud of ash, the earth is a bleak and depressing landscape, with plummeting temperatures. We’re never told exactly where the road passes through, but each leg of the journey brings them to more grey-toned destruction. Largely shunning visual effects, the filmmakers found numerous run-down locations across North America, and filmed on the dullest days possible. Any greenery was later removed digitally, and shots were toned down to fit the overall look. There’s even an impressive scene filmed during the aftermath of hurricane Katrina, with the resulting havoc fitting in perfectly.

Father to son

Viggo Mortensen makes the film. We see him slowly wither and fade under the immense strain of hunger, travel, and the painful memories of his wife (Charlize Theron) who didn’t survive the event. The pain and anguish on his bearded face is balanced by the love for his son (newcomer Kodi Smit-McPhee), and the chemistry between them, so essential to a film like this, works convincingly. The man’s purpose is clear – besides surviving and reaching the coast, he must equip his young son with the skills and cunning to survive without him should they get separated. He never misses a chance to teach his son, and makes sure he knows the difference between themselves - the good guys, and the cannibals – the bad guys. Mortensen is fast becoming the most interesting actor working today, and this powerful performance stands alongside his excellent work in Eastern Promises and The Lord of the Rings.

Key episodes

The main narrative of the book and film revolves around certain key episodes in the duo’s journey. Each memorable episode is brought to life and filled with urgency and emotion, since each one presents a potential life or death situation for our fragile heroes. The discovery of a residual can of coke in a derelict dispenser becomes a touching moment of discovery for the boy, who has never tasted the bubbly flavour before. The exploration of abandoned houses is a tough decision, since food supplies or dangerous squatters could be found within. A chance encounter with an ageing fellow survivor (Robert Duvall) provides a rare chance for friendship and humanity. With our focus so sharply on the man and boy, these episodes resonate and make the film engrossing from start to finish.

In the end

Director John Hillcoat has brought McCarthy’s Pulitzer Prize-winning novel to the screen without pandering to any blockbuster norms and without diluting the powerful father-son bond and desperate survival struggle they face. This is by no means light viewing, but besides being bleak, harrowing and often haunting, it is ultimately moving and very, very beautiful. Easily one of the best films of the year.

Trailer:

http://www.apple.com/trailers/weinstein/theroad/ (High-res QuickTime)

The Mummy: Tomb of the Dragon Emperor

 

• Released Internationally on 31/07/08
• Released in Malta by KRS on 13/08/08

 

Preview (01/08/08)

In a nutshell

When in doubt, make sequels. Another big movie franchise from recent summers is back for another effects-laden assault on the box-office. After the hugely enjoyable The Mummy nearly 10 years ago, and its sequel The Mummy Returns, Brendan Fraser is back in the boots of adventurer Rick O’Connell to once again save us all from the undead.

Why we’re hyped

The original film was great fun, with a likeable Indiana Jones-type hero taking us through a good old-fashioned history-lesson and adventure. We then had an inferior but still enjoyable sequel, and a rather forgettable spin-off (The Scorpion King). Now, after a 6 year-gap, we’re shifting location to China where a rather unpleasant emperor is awoken from his supposedly-final resting place, and with the services of the Terracotta Army at his disposal things could get ugly.

Who’s in it?

Besides the obligatory return of Brendan Fraser, we also have John Hannah resuming his comic-relief sidekick role as Jonathan Carnahan. Rachel Weisz decided to opt out of this one, and Maria Bello (A History of Violence) takes her place. Jet Li fills yet another villainous role as the emperor. The director of the previous two instalments also decided it was time for fresh ideas, so the director’s chair is now occupied by Rob Cohen, whose impressive action resume includes Daylight, DragonHeart, xXx and The Fast and the Furious.

 

Review (12/08/08)

Good timing, nice location

It could be coincidence, but after Kung-Fu Panda, this is the second big movie of the summer to be set in China, during this spectacular summer of the Beijing games. But whatever the reasons, the change of scene serves this franchise well, because by leaving Northern Africa we are offered a fresh start, and this film manages to feel like a film of its own, rather than simply continuing to stretch the ideas and characters of the first two films.

Like father, likes mummies

After the spectacular and promising prologue, which takes us back to ancient China to show us how the Emperor in question ended up entombed along with all his army, we get to meet the now fully-grown Alex O’Connell. He was just a boy in The Mummy Returns, and already following in the footsteps of his thrill-seeking parents. Now he’s deep in the excavation sites of China, while his family think he’s studying at university, and he uncovers the expansive tomb of the titular emperor. Mum and dad soon burst onto the scene, but that’s not enough to prevent the emperor from awakening and seeing to his unfinished business. The term ‘mummy’ is used loosely here – what we get is hordes of undead warriors, and Terracotta instead of Tutankhamen.

The baddies

Unfortunately for such an CGI-heavy film, the special effects here often look sub-par compared to what else has been gracing our big screens for the summer months. There's also a point half-way through when things get a bit silly, and it takes an improbable deus ex machina in the form of three poorly-rendered yetis to bring the heroes, and plot, back on track. Maria Bello does her best at replacing Rachel Weisz (who opted to come to sunny Malta and film Agora, instead), but she doesn’t breathe much life into the character.

The goodies

Despite the above, the film manages to be a good dose of spectacular fun, just like its predecessors. Back in 1999, the original Mummy was a great reminder of just how engrossing Indiana Jones' archaeological exploits had been, and Rick O'Connell was as good a substitute as we had seen in years. This summer, the original man with the hat and whip is back at the box-office, but this sequel manages to hold up pretty well. Some homages are pretty obvious - including the mid-century Shanghai nightclub scene which brings back wonderful memories of Club Obi-Wan from Temple of Doom. The supporting cast give mostly solid performances, and the film doesn't outstay it's welcome.

 

 

Trailer:

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

 

The Chronicles of Narnia: Prince Caspian

 

• Released Internationally on 15/05/08
• Released in Malta by KRS on 26/06/08

 

Preview (01/06/08)

In a nutshell

No surprises here. When The Lion, The Witch and the Wardrobe was released in the wake of the Lord of the Rings phenomenon, another highly successful and screen-worthy fantasy franchise had made the jump to the big-screen. So once the first film proved itself as a massive box-office hit (even wrestling past Peter Jackson’s King Kong back in the 2005 Christmas season), all bets were off that the other books in the Narnia series would be filmed. So here’s part two of a potential seven.

Why we’re hyped

The four Pevensie children return to Narnia, only to discover that 1300 years of oppression have elapsed since their last visit. So we can expect this to be a darker and grittier film than the previous one. There’s also another large-scale battle on offer, so hopefully the digital effects wizards will manage to top the battle in Wardrobe, which was one of the highlights of the film, albeit a bit too shiny and clean for my tastes.

Who’s in it?

Everyone’s favourite mane character, Aslan, will be back of course, voiced by the ever-noble Liam Neeson. Plus the four child actors who portrayed the central characters, and relative newcomer Ben Barnes as the eponymous prince. Andrew Adamson (Shrek, Shrek 2 and The Lion, the Witch and the Wardrobe) returns to the director’s chair.

 

Review (25/06/08)

So where were we?

Three years ago, when quite a large chunk of the world exited cinemas after seeing The Lion, the Witch and the Wardrobe, we left the four main protagonists just as they had returned to our world, leaving Narnia behind after reigning over it for many years. This next chronicle, penned by C.S. Lewis soon after completing the previous book, picks up shortly after, with the four children finding life in London rather on the drab side compared to their previous exploits. Sure enough, over in Narnia, things have been set in motion for the old rulers to be summoned back, because they are sorely missed.

Things have changed

Narnia is a bit on the dark side nowadays, with a troupe of European-sounding humans called Telmarines having taken over, and being intent on exterminating all other Narnian inhabitants. The Prince is question is one such Telmarine, but he is forced to flee after realising his life is in danger due to his power-hungry uncle’s lust for the throne. This makes for a beautiful night-time escape sequence, which opens the film. He eventually meets the four Pevensie children, and together with centaurs, minotaurs, mice, dwarves, badgers and countless other creatures they seek to end the rule of this foul-tempered uncle of Caspian’s.

Another religion lesson?

The Christian allegory which C.S. Lewis enmeshed into his first novel was very evident on screen, whereas here it seems to have been toned down or at times omitted, also due in part to some of the deliberate changes made when adapting the book to the screen, in order to make it more of a big action film.

Sequel syndrome?

Despite not being as interesting or as magical a story as the first instalment, this film makes amends by having a number of exciting and well-orchestrated action sequences, such as the above-mentioned escape and a wonderful, hushed, midnight assault on a castle which evoked great memories of Disney’s Robin Hood from many moons ago (and which wasn’t in the book). The final confrontation is also bigger, flashier and more intricate than the climax of Wardrobe, and in the end I felt that while very clearly set in the same world, these two films are very different and can be judged on their own separate merits, of which there are many.

 

 

Trailer:

http://www.apple.com/trailers/disney/thechroniclesofnarniaprincecaspian/ (High-res QuickTime)