My Sister’s Keeper ****½
At a time when cinemas are packed with films aiming to give audiences an adrenaline rush or tickle their funny bones it is quite refreshing to see a film that aims to give the tear ducts a work out instead. My Sister’s Keeper is such a film. Based on the novel of the same name by Jodi Picoult, which itself was inspired by real life cases, My Sister’s Keeper is brought to the big screen under the very capable direction of Nick Cassavetes, who previously helmed such human orientated dramas as The Notebook and John Q. With a track record that shows he knows how to make films that really pack an emotional punch, Cassavetes seems a very good choice for the directorship of this film and his involvement is a good indicator that the film will have the intended impact upon moviegoers, an indication that, at least in this critic’s opinion, is proven correct.
Sara (Cameron Diaz) and Brian Fitzgerald (Jason Patric) have just been informed that their young daughter Kate (Sofia Vassilieva) has leukemia, and that she only has a few years to live. The doctor suggests to the parents that they try an unorthodox medical procedure of producing another child in a test-tube that would be a perfect match as a donor for Kate. Sara will try anything to save Kate, and they have a new baby Anna (Abigail Breslin) to be used as a donor for Kate. The first thing they use is blood from the umbilical cord for Kate. As years go on, the doctors must take bone marrow from Anna to give to Kate. At age 11, the next thing Anna must give to her sister is a kidney. Anna has had enough of all of these medical procedures, and she approaches lawyer Campbell Alexander (Alec Baldwin), deciding to sue her parents for medical emancipation and the right to decide how her body will be used. The whole family is being torn apart by Anna's decision because everyone knows what will happen to Kate if she doesn't get a new kidney. However, the moral and ethical implications could be far greater.
In a human orientated drama such as My Sister’s Keeper one of the key measures of success is always going to be the quality of its central performances, and in this regard the film certainly does not disappoint, with both of its two key characters being excellent. Abigail Breslin is on top form as usual, delivering a very mature performance that sees her character convincingly attempting to balance her own apparent desire to not have her kidney taken away from her with her love for her sister who will die without her help. Breslin here further demonstrates that she is a serious actress who will have a long lasting career and not just the fifteen minutes of fame experience by many young stars. As good as Breslin is, however, she is completely outshone by a powerhouse performance from Sofia Vassilieva who is heartbreakingly honest and sincere in her role, making for a truly believable and moving portrayal of a young girl whose inner strength and bravery motivates her to keep fighting her cancer but at the same time knows that she cannot go on much longer and openly accepts it. She expresses a whole range of emotions, demonstrating everything from anger with the predicament she is in to tolerance, particularly when her character forms a relationship with another cancer patient, ably played by Thomas Dekker. The two share a sweet romance with a sincere on-screen chemistry that makes us feel all the more for their predicament. As far as the older actors are concerned, cast members like Alec Baldwin and Joan Cusack (playing the Judge in Anna’s case) are as reliable as ever, while Cameron Diaz and Jason Patric are decent as the parents, although they don’t really stand out that much. Cameron Diaz, typically seen more in popcorn fare than more serious roles, is perfect as the obsessive mother, convincingly portraying the character’s obsession with saving her sick daughter, even at the expense of her well one, but at the same time she is too unsympathetic in the role. Maybe this is the point of the character but it is hard not to feel that a more capable actress could have still captured the perspective of the character whilst also creating a persona who we as viewers can actually empathize with. On the director’s part the film is consistently of a high standard with only a few small exceptions. At times the multiple elements of the storyline get in the way of each other and the jumping back in forth between present and past events does get slightly confusing. However, for the most part these little flaws don’t get in the way of what is a very well made drama. The almost documentary style at times in which we see the perspectives of different characters regarding the situation is effective us in giving an insight into how everyone is being affected by what is going on. We see the inner turmoil of each of the family members from their perspective, enabling us to see the big picture of the implications of Anna’s decision on everyone, not just her. We also get to see the effects her decision has on certain other characters. Considering the serious nature of this film’s themes it would be easy for it to have turned out very depressing and hard-going for viewers but Nick Cassavetes and Jeremy Leven (who wrote the screenplay together) successfully deal with the issues at hand, notably the ethical and moral implications of what is expected of Anna, whilst also managing to factor in joy and hopefulness in some of the film’s lighter moments, with some instances of humour as well. Cassavetes has crafted a film that manages to be thought provoking but more importantly is extremely moving, and thanks to some quite beautiful cinematography it also quite pleasing visually as well. Overall, like any other film My Sister’s Keeper has its flaws but it has such charm and warmth that makes it a truly delightful viewing experience. I dare you not to cry as this film is guaranteed to make even the most hard hearted of individuals draw a tear.
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Blood: The Last Vampire **
Blood: The Last Vampire is a multimedia Japanese manga series that began with a 2001 anime film and has since spawned a number of follow-ups including a manga comic book, a trilogy of novels, a video game and a 50 episode spin-off anime series which itself has led to the creation of numerous multimedia tie-ins. Now, comes the latest addition to the series in form of a live action English language movie brought to the big screen by the producer of Crouching Tiger, Hidden Dragon and Hero and the director of 2001 Jet Li martial arts flick Kiss of the Dragon. Coming in pretty much under the radar at a time when cinemas are dominated by big budget Hollywood blockbusters it is a safe bet that Blood: The Last Vampire will be overlooked on its theatrical release but does this mean that it will be underrated or is it worthy of being ignored by moviegoers?
On the surface, Saya (Gianna Jun) is a stunning 16-year-old, but that youthful exterior hides the tormented soul of a 400-year-old ‘halfling’. Born to a human father and a vampire mother, she has for centuries been a loner obsessed with using her samurai skills to rid the world of vampires, all the while knowing that she herself can survive only on blood like those she hunts. When she is sent onto an American military base in Tokyo by the clandestine organization she works for, Saya immediately senses that this may be her opportunity to finally destroy Onigen, the evil patriarch of all vampires. Using her superhuman strength and her sword, she begins to rid the base of its evil infestation in a series of spectacular and elaborate showdowns. However, it is not until she forms her first human friendship in centuries with Alice (Allison Miller), the young daughter of the base's general, that Saya learns of her greatest power over Onigen may well be her ability for human connection.
It transpires that there is good reason why Blood: The Last Vampire has been released in cinemas with little fanfare. While the series clearly has a pretty big following based on the success of everything that has come before, this film is highly unlikely to win over any new fans and frankly I wouldn’t be surprised if it costs the franchise a few. While there is clear potential on display here very little effort seems to have been made to capitalise on it with the film turning out to be little more than a by-the-numbers martial arts flick that is heavy on the CGI. This wouldn’t be so bad if the CGI at least looked good but sadly the visual effects are extremely poor, the quality being something that might have impressed twenty years ago but now just looks cheap. And the fact that much of the stuff could have been done much more effectively using practical effects only makes it all seem extremely unnecessary. With the poor effects the film wears its low budget on its sleeve but even with visual effects costing more than ever many low budget films still come up with footage that far surpasses anything this film has to offer. The fight choreography is actually quite good but it is so heavily buried beneath the shoddy CGI, not to mention some rather slapdash cinematography that it is hard to really appreciate it. Consequently, the action sequences fail to deliver the level of thrills that they really should do. This is a fatal flaw as the action has clearly been done at the expense of scares, with virtually no attempt having been made to make this film work as a horror movie also, aside from a few (admittedly quite effective) jump scares. The film doesn’t deliver much better in other areas either with the acting getting the job done and nothing more, the plot being rather incoherent thanks to a weak script that delivers mediocre dialogue and fails to provide sufficient plot or character development, and the generally shaky camera work that seems quite amateurish in its execution. All these things add up to a film that, even with its short running time, fails to really capture the attention, meaning that Blood: The Last Vampire manages to be a fairly watchable but instantly forgettable viewing experience.
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Reviews by Robert Mann BA (Hons)
Tuesday, June 30, 2009
Saturday, June 27, 2009
35 Rhums (English Title: 35 Shots Of Rum)
French filmmaker Claire Denis' latest film 35 Rhums (35 Shots Of Rum) is a wonderful return to form after the ponderous L'Intrus (The Intruder).
35 Rhums is loosely based on Ozu's Late Spring, and is the story of a father and daughter living in a working class Parisian district. The daughter, a university student is on the verge of leaving the family nest, and making her own way in the world, yet feels obliged to take care of her father. Lionel and his daughter Josephine are joined by neighbours, Garbrielle and Noe to form an unconventional family that is at once close and intrusive. All are lonely and sad in their own way, yet they are all alone together.
Refreshingly, the working class set-up is not one of disfunction and filled with drugs and all sorts of abuse usually found in social realist film settings. As Denis said herself in the Q&A after the screening, "Being a train driver...it's working class, but it's a good job, well paid...there's responsibility for other people".
Claire Denis' career has been quite adventurous...from Djibouti setting of Beau Travail (Good Work) to the horrific cannibal movie Trouble Every Day, to the tender relationship drama Vendredi Soir (Friday Night).
The adventurous qualities here, see her make a film that involves black and mixed race, working class Parisians and managing to skillfully avoid stereotypes - their socio-economic set up is the least interesting thing about them.
35 Rhums is a subtle piece of work. At times, melancholic, and at other times, joyous. The stand out scene is a late-night cafe sequence set to The Commodores classic 'Nightshift'.
The film does take a while to get going, yet its slow pace is, again, deceptive...it is a film of silence and movement. The dialogue is sparse.
It isn't all doom and gloom however. The scene in which Noe discovers his cat has died, and proceeds to put it in a black bin bag along with the cat's toys as if he's putting out the rubbish, is hilarious...revealing Noe's eccentric nature and also his pragmatism. His apartment is a like a museum filled with junk that he cannot relate to...as he's often away working.
Not everything works in 35 Rhums: the character of Rene, his retirement as a train driver and his eventual suicide, deserves a movie of his own...he works symbolically...yet it feels stretched. And the detour to Germany doesn't match the tone of the rest of the film...it reveals backstory that doesn't need revealing. The dead mother is a presence throughout the film.
Claire Denis' latest film is a return to form; it is funny, sad and a subtle piece of filmmaking. Every actor inhabits their characters well...offering an array of emotions that are very poignant.
Agnes Godard's cinematography is outstanding too. The film's exploration of railway lines, rain-drenched streets at night and grey high-rises are shot in a fresh way that looked poetic and fresh on the big screen.
After the film, Claire Denis discussed the film and her career in a Q&A session after the screening. She has a whimsical, inquisitive nature...as she said regarding 35 Rhums:
"For me the film (35 Rhums) was vast and epic...as real life is...there is no closure...only death. With this film, every day life was under observation...and we can all relate to that. I know how to use a washing machine, I know how to use a dishwasher, a vacuum cleaner...I can drive a car".
And that is the greatest trick she pulled in her film...making the mundane appear poetic and epic.
35 Rhums is loosely based on Ozu's Late Spring, and is the story of a father and daughter living in a working class Parisian district. The daughter, a university student is on the verge of leaving the family nest, and making her own way in the world, yet feels obliged to take care of her father. Lionel and his daughter Josephine are joined by neighbours, Garbrielle and Noe to form an unconventional family that is at once close and intrusive. All are lonely and sad in their own way, yet they are all alone together.
Refreshingly, the working class set-up is not one of disfunction and filled with drugs and all sorts of abuse usually found in social realist film settings. As Denis said herself in the Q&A after the screening, "Being a train driver...it's working class, but it's a good job, well paid...there's responsibility for other people".
Claire Denis' career has been quite adventurous...from Djibouti setting of Beau Travail (Good Work) to the horrific cannibal movie Trouble Every Day, to the tender relationship drama Vendredi Soir (Friday Night).
The adventurous qualities here, see her make a film that involves black and mixed race, working class Parisians and managing to skillfully avoid stereotypes - their socio-economic set up is the least interesting thing about them.
35 Rhums is a subtle piece of work. At times, melancholic, and at other times, joyous. The stand out scene is a late-night cafe sequence set to The Commodores classic 'Nightshift'.
The film does take a while to get going, yet its slow pace is, again, deceptive...it is a film of silence and movement. The dialogue is sparse.
It isn't all doom and gloom however. The scene in which Noe discovers his cat has died, and proceeds to put it in a black bin bag along with the cat's toys as if he's putting out the rubbish, is hilarious...revealing Noe's eccentric nature and also his pragmatism. His apartment is a like a museum filled with junk that he cannot relate to...as he's often away working.
Not everything works in 35 Rhums: the character of Rene, his retirement as a train driver and his eventual suicide, deserves a movie of his own...he works symbolically...yet it feels stretched. And the detour to Germany doesn't match the tone of the rest of the film...it reveals backstory that doesn't need revealing. The dead mother is a presence throughout the film.
Claire Denis' latest film is a return to form; it is funny, sad and a subtle piece of filmmaking. Every actor inhabits their characters well...offering an array of emotions that are very poignant.
Agnes Godard's cinematography is outstanding too. The film's exploration of railway lines, rain-drenched streets at night and grey high-rises are shot in a fresh way that looked poetic and fresh on the big screen.
After the film, Claire Denis discussed the film and her career in a Q&A session after the screening. She has a whimsical, inquisitive nature...as she said regarding 35 Rhums:
"For me the film (35 Rhums) was vast and epic...as real life is...there is no closure...only death. With this film, every day life was under observation...and we can all relate to that. I know how to use a washing machine, I know how to use a dishwasher, a vacuum cleaner...I can drive a car".
And that is the greatest trick she pulled in her film...making the mundane appear poetic and epic.
Thursday, June 25, 2009
Hung Over?
The Hangover has just hit a cinema near you and probably hearing people ranting and raving over how funny it all is. How does it weigh up?
Here is a review:
The Hangover:
Dir: Todd Phillips
Coming from the 'Frat Pack' school of thought, The Hangover nails dumb comedy to a Las Vegas flag pole and swings it around violently.
When we flash back two days to their road trip to Vegas for a bachelor party where we meet the gang.
1. Groom Doug who plays the everyman (Or the Mitch Martin seen in Old School role).
2. Schoolteacher and maverick smooth talker Phil (The out there Vince Vaughn/Luke Wilson role).
3. Steady, reliable dentist Stu (The worrier, the Kyle from Road Trip).
4. Last but not least Alan who holds the film together like really strong cement (The Will Ferrell mentalist role).
Sporting a Joaquin Pheonix beard Zach Galifianakis steps up the role of the crazed, insane and generally special character greatly. A joy to watch so far as to say this is the likes of what made John Belushi a true force to be reckoned with. He plays the clueless, special guy who holds the character well for a more sincere feel. He also pulls the best comedy lines also throughout.
The film roars through comic situations that just what happens in Vegas when you get drunk. It is a crazy place and where these type of madcap things can happen. Phew. It is comedy a mile a minute there. It is wild. Raaaarrr.
What you must say to this is that is is a slick production. The quality of how it is shot is there, it is well edited to make the Road Trip mad adventure all work out. Even when some of the script goes wayward, comedy situations bring it back around for the audience.
It would have been super to see some of the happenings of the bachelor party instead of piecing together all the incidence and feels like an opportunity had been missed. We have a perfectly executed pull back and reveal in place that keeps you watching. I wasn't convinced by the film but, it did provide solid comedy entertainment. That's until everything worked out and lived happily ever after. The conventional ending is needed for this particular audience.
The storyline is a definite bi-product of a Judd Apatow film warehouse whereby actors were chosen to fill the usual roles. They managed to make the roles halfway convincing, therefore the film hits the mark for its target audience.
Todd Phillips has certainly stuck to what he knows best. Be sure to keep track of his future exploits in the next couple of years. This includes 'Old School: Dos'.
"It's not on par with Wedding Crashers, but it's a good laugh."
Andy Roddick on preparing for his first round match by watching the film The Hangover.
See if you like: Frat House, Role Models, Old School, Road Trip, Superbad, Knocked Up, Semi Pro or any of the other ones.
Tuesday, June 23, 2009
The Girlfriend Experience
Review: The Girlfriend Experience
The Girlfriend Experience is Steven Soderbergh's latest attempt to blend indie texture with sophisticated sexuality. Coming out the fog that was CHE, Mr. Soderbergh has created a film that sits on the opposite of the spectrum. The story of a call girl with emotional and intellectual attachments to her clients is appropriate in this modern world. Where efficiency is key in the service industry, her research to improve the business is familiar to capitalistic urges to expand.
I saw the film in HD at my house so my impression is somewhat different than of the local cinema. There are pros and cons to this but that's another debate for another time.
The script is simple with few characters performing in the same settings. Beautifully shot, the film reminds me of the dreamlike scenes from Solaris. The cinematography gives the actors space, creating a hidden camera perspective but it also reminds me of the god awful show, The Hills. The casting of an Adult film star as the lead was somewhat reminiscent of the "real" people who acted in Bubble. Sasha Grey is actually cute and her manner is calm and collective.
While she seems somewhat nervous about her future, her expression is confident, giving her more sex appeal. Her actual boyfriend is dealing with his own business ventures, selling fitness clothes and seems not too bothered about his girlfriend's job. The contrast of the boyfriend and girlfriend is needed in the script but I feel his side is boring. Not because of its lack of sex, because of its lack of substance. The chronology is mixed up with small segments spliced throughout the film. I thought is was distracting altogether but the story needed it.
I think Soderbergh needed to make this film to sooth his indie roots. While I wasn't captivated by its story, the idea and drama of it seemed real enough to relate and absorb.
Watch it if your curious about indie experiments or just a Soderbergh fan.
Monday, June 22, 2009
Sunday, June 21, 2009
Saturday, June 20, 2009
My Latest Comedy Offering
Hey up folks! I've not posted in a while since I've been busy with work (yuck) and script writing (woo woo). I'm a filmmaker in my spare time and at the suggestion of our alustrious leader Alton, I decided to share with you the fruits of my comedic labour.......
Let me know yer thoughts... and if any of you feel inclined to, you can comment over at the Virgin Media Shorts site as well
http://www.virginmediashorts.co.uk/films
Cheers!
Ash x
Let me know yer thoughts... and if any of you feel inclined to, you can comment over at the Virgin Media Shorts site as well
http://www.virginmediashorts.co.uk/films/film/the-used-car/
Cheers!Ash x
The Week in Film by Robert Mann - Week Starting 19/6/09
Transformers: Revenge of the Fallen *****
In 2007 director Michael Bay unleashed the Transformers in all their CGI glory onto the big screen for the first time. Finding its inspiration in the toy line (and other subsequent spin-offs, e.g. comics and an animated TV series) of the same name, it hardly seemed like the kind of film that would really stand out for moviegoers, after all, a film based on a range of toys doesn’t necessarily sound like a recipe for success. This critic in particular was extremely apprehensive about it when the project was first announced. How wrong I was. Combining some of the most impressive visual effects ever seen with rip-roaring action sequences, witty humour and an impressive cast consisting of both established actors and up-and-coming stars, Transformers proved to be the perfect embodiment of everything you could hope for from a popcorn blockbuster and, consequently, it became one of 2007’s most successful movies at the box office, paving the way for the inevitable sequel. Now, two years later, it is upon us in the form of Transformers: Revenge of the Fallen, which has become one of 2009’s most eagerly anticipated blockbusters. Bay has promised a movie packed with even more robots, lots more action and more eye candy courtesy of Megan Fox and, judging by the trailers it appears to fully deliver on this promise. But does the film itself deliver on the promise of these trailers and, in the grand tradition of second movies is it an improvement upon its predecessor or just more of the same name?
Several years have passed since the war between the Autobots and the Decepticons first found its way to Earth. Since then the organisation known as Sector 7 has been disbanded, forcing Agent Simmons (John Turturro) to go underground, and a new organisation known as NEST has been created, uniting the Autobots with the US military, including Captain Lennox (Josh Duhamel) and Sergeant Epps (Tyrese Gibson), in hunting down Decepticons who are still hiding out on Earth. Megatron (voiced by Hugo Weaving) is lying dormant at the bottom of the ocean under permanent guard and the last piece of the Allspark, the source the gives the Transformers life, is under safeguard. Meanwhile, Sam Witwicky (Shia Labeouf) is trying to live a normal life and is heading off to college. Despite the distance between them Sam is determined to keep his relationship with Mikaela Barnes (Megan Fox) going, as their relationship seems to be going to a whole new level. Sam’s attempts to lead a normal life seem in vain, however, as he once again becomes the centre of the war between the Autobots and the Decepticons when he accidentally learns the ancient origins of the Transformer race. Becoming the target of the Decepticons, who want the knowledge he now possesses, Sam must follow the clues as he tries to unlock the secrets buried within his mind. And time is of the essence as the Decepticons revive Megatron, who in turn sets about bringing forth the revival of The Fallen (voiced by Tony Todd), the most powerful Decepticon in existence who is determined to wipe out the entire planet. All that stands between the Decepticons and Sam is the Autobots, under the leadership of Optimus Prime (voiced by Peter Cullen) and tragic circumstances in store threaten their very existence, with the future of the entire of the human race left in the hands of Sam. With the help of Mikaela, Simmons, Lennox and Epps Sam must follow the clues before all hope is lost.
As you would expect from a Transformers movie (or any movie directed by Michael Bay for that matter) Revenge of the Fallen is hardly a masterpiece of filmmaking. But, it doesn’t try to be nor does it pretend to be. This is a film that isn’t ashamed to be just pure entertainment that doesn’t require much work on the part of the audience to appreciate it and this is why the film works so well as a popcorn blockbuster. Rather than trying to add subtext to create a film that is thought provoking as well as entertaining Bay just delivers what viewers want from a film such as this and the film delivers on everything that he promises. There are loads more robots than the first film. There is much more action and even more explosions. And there is lots more Megan Fox too. And, of course, there is also the humour that helped to make the first film such a crowd pleaser. This film also has a darker streak, however, something that helps to distinguish it somewhat from its predecessor. As with the first film the biggest triumph is of course the visual effects. Once again the effects are amazing with the film showcasing some of the most photo realistic CGI even seen on the big screen. Not only that but the interaction between real actors and environments and the virtual creations are virtually seamless, which serves to heighten the realism further. Frankly, we have come to expect nothing less from the visual effects wizards at Industrial Light & Magic. The spectacle that this film offers doesn’t just come courtesy of the effects though but also the locations. Whereas the first film was set predominantly in the vicinity of Los Angeles, this time around there is a much more global feel with a genuine sense that the world as a whole is under threat. As well as numerous locations in America, Shanghai and Egypt both feature prominently and the apparent use of real locations, as opposed to digitally created recreations, also serves to heighten the realism of everything that happens. The action sequences that are created against these backdrops are breathtaking and in line with the seamless real-virtual interaction it really seems as if Shanghai and the Pyramids are being decimated by the Transformers. The action delivers all the thrills you could want, many of the sequences completely outdoing those from the first film. The only gripe is that the final battle between Optimus Prime and The Fallen does feel a tad anticlimactic considering the build up but this doesn’t diminish the sheer entertainment value of the film as a whole. Another element from the first film that is carried over is, of course, the humour and, for the most part, it is witty and well executed. There are a few gags which some may consider in slightly bad taste but these are few and far between. With a few exceptions most of the gags don’t get in the way of the film’s darker, more serious elements, with the light and dark working together quite well for the most part. Much of this can be attributed to the script by Roberto Orci, Alex Kurtzman (both of whom scripted the recent Star Trek movie) and Ehren Kruger, which blends together all the elements pretty well.
As far as the cast are concerned, while the film hardly offers a master-class in acting, all the returning principal cast members are still very good in their roles, delivering performances that may not win them any awards but are still very good on their own terms. Since appearing in the first Transformers movie Shia Labeouf has become a big name in his own right and here he shows why he deserves his success. His performance of a teenager turning into adulthood who wants to live a normal life but constantly finds himself thrust into the middle of the war between the Autobots and the Decepticons is convincing and likable and he proves adept at all sides of his character’s personality, being witty at times but deadly serious at others. He also shares a believable and likable romantic chemistry with co-star Megan Fox (who has also become a big name since appearing in the first film) and their somewhat strained and troubled relationship rings true and works well against the backdrop of everything that is going on around them. Much has been made of Megan Fox’s presence serving as eye candy and while this is certainly prominent her role in the film is far more than just for her looks. She is actually pretty good as the heroine and romantic lead role and while much talk will be made of her with regard to her eye candy role she deserves far more recognition than that. Also returning from the first film is John Turturro, who once again delivers an amusing performance as the (now unemployed) agent from Sector 7, as well as Josh Duhamel and Tyrese Gibson, both of whom don’t get a lot of screen time this time round with the younger actors getting a lot of the attention. The vocal cast behind the Transformers is also of a good standard with the principal actors from the first film being joined by a range of different actors who really help to give the different Transformers distinct personalities, helped slightly, of course, by terrific work from the digital animators who created the characters. All in all, Transformers: Revenge of the Fallen follows in the footsteps of its predecessor in being a (near) perfect popcorn movie. It features all the crucial elements that made up a crowd pleasing blockbuster and, at 2 hours and 30 minutes long (clearly the idea of a short movie is an alien concept to Michael Bay) you get real value for the price of your cinema ticket. Sure, it isn’t a masterpiece and it won’t transform your life but if all you want from a movie is to be entertained this is a film that will do just that. Is it better than the first film? Not quite but it does deliver more of the same, essentially matching its predecessor for quality, and this is all that is necessary from it.
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Review by Robert Mann BA (Hons)
In 2007 director Michael Bay unleashed the Transformers in all their CGI glory onto the big screen for the first time. Finding its inspiration in the toy line (and other subsequent spin-offs, e.g. comics and an animated TV series) of the same name, it hardly seemed like the kind of film that would really stand out for moviegoers, after all, a film based on a range of toys doesn’t necessarily sound like a recipe for success. This critic in particular was extremely apprehensive about it when the project was first announced. How wrong I was. Combining some of the most impressive visual effects ever seen with rip-roaring action sequences, witty humour and an impressive cast consisting of both established actors and up-and-coming stars, Transformers proved to be the perfect embodiment of everything you could hope for from a popcorn blockbuster and, consequently, it became one of 2007’s most successful movies at the box office, paving the way for the inevitable sequel. Now, two years later, it is upon us in the form of Transformers: Revenge of the Fallen, which has become one of 2009’s most eagerly anticipated blockbusters. Bay has promised a movie packed with even more robots, lots more action and more eye candy courtesy of Megan Fox and, judging by the trailers it appears to fully deliver on this promise. But does the film itself deliver on the promise of these trailers and, in the grand tradition of second movies is it an improvement upon its predecessor or just more of the same name?
Several years have passed since the war between the Autobots and the Decepticons first found its way to Earth. Since then the organisation known as Sector 7 has been disbanded, forcing Agent Simmons (John Turturro) to go underground, and a new organisation known as NEST has been created, uniting the Autobots with the US military, including Captain Lennox (Josh Duhamel) and Sergeant Epps (Tyrese Gibson), in hunting down Decepticons who are still hiding out on Earth. Megatron (voiced by Hugo Weaving) is lying dormant at the bottom of the ocean under permanent guard and the last piece of the Allspark, the source the gives the Transformers life, is under safeguard. Meanwhile, Sam Witwicky (Shia Labeouf) is trying to live a normal life and is heading off to college. Despite the distance between them Sam is determined to keep his relationship with Mikaela Barnes (Megan Fox) going, as their relationship seems to be going to a whole new level. Sam’s attempts to lead a normal life seem in vain, however, as he once again becomes the centre of the war between the Autobots and the Decepticons when he accidentally learns the ancient origins of the Transformer race. Becoming the target of the Decepticons, who want the knowledge he now possesses, Sam must follow the clues as he tries to unlock the secrets buried within his mind. And time is of the essence as the Decepticons revive Megatron, who in turn sets about bringing forth the revival of The Fallen (voiced by Tony Todd), the most powerful Decepticon in existence who is determined to wipe out the entire planet. All that stands between the Decepticons and Sam is the Autobots, under the leadership of Optimus Prime (voiced by Peter Cullen) and tragic circumstances in store threaten their very existence, with the future of the entire of the human race left in the hands of Sam. With the help of Mikaela, Simmons, Lennox and Epps Sam must follow the clues before all hope is lost.
As you would expect from a Transformers movie (or any movie directed by Michael Bay for that matter) Revenge of the Fallen is hardly a masterpiece of filmmaking. But, it doesn’t try to be nor does it pretend to be. This is a film that isn’t ashamed to be just pure entertainment that doesn’t require much work on the part of the audience to appreciate it and this is why the film works so well as a popcorn blockbuster. Rather than trying to add subtext to create a film that is thought provoking as well as entertaining Bay just delivers what viewers want from a film such as this and the film delivers on everything that he promises. There are loads more robots than the first film. There is much more action and even more explosions. And there is lots more Megan Fox too. And, of course, there is also the humour that helped to make the first film such a crowd pleaser. This film also has a darker streak, however, something that helps to distinguish it somewhat from its predecessor. As with the first film the biggest triumph is of course the visual effects. Once again the effects are amazing with the film showcasing some of the most photo realistic CGI even seen on the big screen. Not only that but the interaction between real actors and environments and the virtual creations are virtually seamless, which serves to heighten the realism further. Frankly, we have come to expect nothing less from the visual effects wizards at Industrial Light & Magic. The spectacle that this film offers doesn’t just come courtesy of the effects though but also the locations. Whereas the first film was set predominantly in the vicinity of Los Angeles, this time around there is a much more global feel with a genuine sense that the world as a whole is under threat. As well as numerous locations in America, Shanghai and Egypt both feature prominently and the apparent use of real locations, as opposed to digitally created recreations, also serves to heighten the realism of everything that happens. The action sequences that are created against these backdrops are breathtaking and in line with the seamless real-virtual interaction it really seems as if Shanghai and the Pyramids are being decimated by the Transformers. The action delivers all the thrills you could want, many of the sequences completely outdoing those from the first film. The only gripe is that the final battle between Optimus Prime and The Fallen does feel a tad anticlimactic considering the build up but this doesn’t diminish the sheer entertainment value of the film as a whole. Another element from the first film that is carried over is, of course, the humour and, for the most part, it is witty and well executed. There are a few gags which some may consider in slightly bad taste but these are few and far between. With a few exceptions most of the gags don’t get in the way of the film’s darker, more serious elements, with the light and dark working together quite well for the most part. Much of this can be attributed to the script by Roberto Orci, Alex Kurtzman (both of whom scripted the recent Star Trek movie) and Ehren Kruger, which blends together all the elements pretty well.
As far as the cast are concerned, while the film hardly offers a master-class in acting, all the returning principal cast members are still very good in their roles, delivering performances that may not win them any awards but are still very good on their own terms. Since appearing in the first Transformers movie Shia Labeouf has become a big name in his own right and here he shows why he deserves his success. His performance of a teenager turning into adulthood who wants to live a normal life but constantly finds himself thrust into the middle of the war between the Autobots and the Decepticons is convincing and likable and he proves adept at all sides of his character’s personality, being witty at times but deadly serious at others. He also shares a believable and likable romantic chemistry with co-star Megan Fox (who has also become a big name since appearing in the first film) and their somewhat strained and troubled relationship rings true and works well against the backdrop of everything that is going on around them. Much has been made of Megan Fox’s presence serving as eye candy and while this is certainly prominent her role in the film is far more than just for her looks. She is actually pretty good as the heroine and romantic lead role and while much talk will be made of her with regard to her eye candy role she deserves far more recognition than that. Also returning from the first film is John Turturro, who once again delivers an amusing performance as the (now unemployed) agent from Sector 7, as well as Josh Duhamel and Tyrese Gibson, both of whom don’t get a lot of screen time this time round with the younger actors getting a lot of the attention. The vocal cast behind the Transformers is also of a good standard with the principal actors from the first film being joined by a range of different actors who really help to give the different Transformers distinct personalities, helped slightly, of course, by terrific work from the digital animators who created the characters. All in all, Transformers: Revenge of the Fallen follows in the footsteps of its predecessor in being a (near) perfect popcorn movie. It features all the crucial elements that made up a crowd pleasing blockbuster and, at 2 hours and 30 minutes long (clearly the idea of a short movie is an alien concept to Michael Bay) you get real value for the price of your cinema ticket. Sure, it isn’t a masterpiece and it won’t transform your life but if all you want from a movie is to be entertained this is a film that will do just that. Is it better than the first film? Not quite but it does deliver more of the same, essentially matching its predecessor for quality, and this is all that is necessary from it.
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Review by Robert Mann BA (Hons)
2 Days Later Short Filmmaking Competition 2009 Launched
Now in its seventh year, supported by Screen South and KCC Arts Investment Programme, this week sees the launch of 2 Days Later 2009, complete with a fully re-vamped website that contains full information, a trailer for this year’s event, and the opportunity to view previous year’s award winning films.
The aim of the competition is to devise and produce a chilling 10 minute short film within 48 hours. Entrants are required to feature three items from a given list as part of their film productions.
Featured on ITV Meridian & BBC Local News, Kent has proven itself a hotbed for showcasing talent, with a back-catalogue of over 200 films made especially for the competition from all over the UK and Europe. This year’s films will be screened at The Halloween Screen Event in the haunted Theatre Royal Margate, on October 31st 2009.
Since the competition began in 2003, the organisers have been pleased to see many of their first-time filmmakers go on to train and succeed in careers within the media industry; with some, such as Herne Bay’s Russell Gomm, to then form Aurora Pictures and win Best Film in the Kent Film Festival 2008. Dominic Currie, from Surrey, who first cut his teeth in filmmaking as a regular and very successful competition entrant, won the Mark Ravenhill Guardian You-Tube Film Challenge 2008, to receive a year’s mentoring by top Channel 4 TV producers.
Previous Nottingham based Best Film 2007 winner Shawn Robert-Smith’s The Soldier, succeeded to gain national cinema release with Showcase Cinemas in October 2008
‘Horror was the obvious choice for our festival, as it appeals to the novice filmmaker and everyone can have a go. It’s about accessibility. We want people to not get too worried or scared about the process of making a film, and not spend too much time or money on it either. As we tell them - All you need is a camera and a bottle of ketchup!”
….says Mick Etherton, Director of Beeping Bush…..
“It’s amazing how many enquiries we receive each year from all over the globe. We get fantastically well made films of all types, from traditional zombie flicks to more sophisticated psychological productions. Films made with digital stills cameras, and one past entry was actually awarded BEST FILM 2007 by our Film Industry Judging Panel, made on only a mobile phone!”
This year’s judging panel is still to be confirmed, but previous judges have included
Kim Newman , multi-award-winning journalist, author & broadcaster; contributing editor to 'Empire' and 'Sight & Sound' magazines
James Moran, Screenwriter, Severance; Torchwood; Dr Who
Jo Nolan, Chief Executive Screen South -UK Film Council Regional Screen Agency
Barry Basset, Managing Director of VMI High Definition and Broadcast,
John McGhie, Director of Programmes Kent TV
Philip Ilson, Co-Director, Halloween Short Film Festival / Shorts Programmer, Curzon Soho and a member of Film Network's Industry Panel.
Mike Shaw, Freelance Film correspondent &Founder/editor-in chief of The Void, entertainments’ website
Prizes will be awarded in a variety of categories including Best Film, Best Screenplay and Best Actor. There will also be an audience vote for most Popular Film. The filmmakers are competing for the opportunity to develop their career by winning a week’s hire of Broadcast Quality High Definition full camera kit from Soho sponsors VMI High Definition and Broadcast,
Entrants can access the competition brief at www.2dayslater.co.uk. The closing date for entries is 5pm, Wednesday 30th September. The lead producer must be 18 or over to enter.
Friday, June 19, 2009
Lovely By Surprise
I've been emailed by someone called Ben. He sent me bits and pieces about a award-winning feature, Lovely By Surprise. It's being released on DVD at the end of this month.
There are four clips, plus the trailer, on the Vimeo channel.
The official release is July 7, by the way.
Here is an excerpt from the press release:
Winner of the Special Jury Prize at Seattle International Film Festival, and the New Filmmakers Forum Award at St. Louis International Film Festival, Lovely By Surprise established itself as a cinemagoers favorite.
Leading a true ensemble cast, Carrie Preston turns in a moving performance as Marian; while Austin Pendleton, playing her literary mentor/ex-lover, and his wife, played by Kate Burton, try to keep Marian from falling apart before finishing her first novel.
In the second of three interwoven threads, Richard Masur does his best to buttress a bereft Reg Rogers, until Michael Chernus and Dallas Roberts literally escape from Marian's developing manuscript to emerge in the "real" world.
Shot by Steve Yedlin and amplified by the astral sounds of Shelby Bryant, with songs by the visionary Stephin Merritt, Gunn's film displays a beautiful palate while remaining a defiantly independent labor of love featuring cameo performances from legendary members of the Memphis arts scene, with Tom Waits performing the closing song.
Lastly, I’m attaching a pic that we haven’t released to anybody. Taken by Trey Clark, it is of Carrie Preston (Marian) and Dallas Roberts (Mopekey).
There are four clips, plus the trailer, on the Vimeo channel.
The official release is July 7, by the way.
Here is an excerpt from the press release:
Winner of the Special Jury Prize at Seattle International Film Festival, and the New Filmmakers Forum Award at St. Louis International Film Festival, Lovely By Surprise established itself as a cinemagoers favorite.
Leading a true ensemble cast, Carrie Preston turns in a moving performance as Marian; while Austin Pendleton, playing her literary mentor/ex-lover, and his wife, played by Kate Burton, try to keep Marian from falling apart before finishing her first novel.
In the second of three interwoven threads, Richard Masur does his best to buttress a bereft Reg Rogers, until Michael Chernus and Dallas Roberts literally escape from Marian's developing manuscript to emerge in the "real" world.
Shot by Steve Yedlin and amplified by the astral sounds of Shelby Bryant, with songs by the visionary Stephin Merritt, Gunn's film displays a beautiful palate while remaining a defiantly independent labor of love featuring cameo performances from legendary members of the Memphis arts scene, with Tom Waits performing the closing song.
Lastly, I’m attaching a pic that we haven’t released to anybody. Taken by Trey Clark, it is of Carrie Preston (Marian) and Dallas Roberts (Mopekey).
Mission Impossible 4
Not sure if this is old or new news? but I heard about on the E! News today and thought it might interest some people. If you are a fan of Mission Impossible you will be pleased to hear that a 4th film is being made and all the rumours seem to state that it will be co-produced by JJ Abrams and Tom Cruise and Tom will star again. Greenlit for a 2011 release if possible, I’m sure fans of the Cruise will be happy he will be hitting the screens again as Ethan Hunt.
what are your thoughts on Tom Cruise taking on this role again?
Too Much Freedom aka. The Problem With Robert Rodriguez
Robert Rodriguez's career was born from limitations. With a desire to become a film-maker but a lack of funds, Rodriguez famously participated in scientific test subject work whilst penning the script for his debut low-budget feature. Intended for the Spanish video market the resulting film, El Mariachi, was a surprise festival hit and box office success. Costing just $7,000 to shoot Rodriguez made the most of what he had access to, his friends, a guitar case, a bus and created a fast-paced, witty, action flick that opened the cheque books of Hollywood studios. Anyone who has seen Rodriguez's brilliant 10 Minute Film Schools on his DVD releases will have even more of idea how the director milked every penny from his tight budget.
Capitalising on its success Rodriguez did a Sam Raimi and basically re-made El Mariachi with a bigger budget (and sexier stars) as Desperado, with the budget going up three noughts to $7,000,000 Rodriguez expanded his vision accordingly. Creating cartoon-like shoot-outs, an array of explosive set-pieces and populating his cast with indie cool cameos (notably Tarantino as a jabbering pick-up guy). Desperado was still a low-budget flick, but it didn't feel that way, Rodriguez used the limitations to his advantage once more and created a knockabout, if flawed, fun film.
After, whisper it, Four Rooms, Rodriguez and Tarantino joined forces again to bring - in my opinion - his finest film to date, From Dusk Til Dawn. This gritty post-crime thriller would have showcased an awesome twist if it weren't for the giveaway title/trailer/poster/everything, but still is an expertly balanced Grindhouse flick with too-cool-for-school dialogue played beautifully by George Clooney, eager to shed his E.R. image, a generally fantastic supporting cast and gore-soaked, B-movie, horror action come the film's second half.
It was after this, and The Thing-lite teen-horror The Faculty that things began to go awry. Spy Kids was a surprise move from the director, but a somewhat logical one, Rodriguez had always wanted to be a cartoonist and this light, colourful children's flick was a silly but entertaining step. However when a sequel emerged barely a year later the charm was gone, replaced by an over-abundance of glossy effects and shrill dialogue, then another sequel plopped out a year after that, this time practically drowning in CG and coming out at you in gimmicky 3-D.
In an effort to return to his routes there was a third Mairachi movie, Once Upon A Time in Mexico, but despite its cooler-than-cool cast the film was a mess. Over complicated, under-written, lacking any real set-pieces or narrative drive, and sloppily edited. Sure it had Johnny Depp being a bit weird, Willem Dafoe playing a Latino and an okay bit where Salma Hayek and Antonio Banderas escaped from a building whilst chained together; but it just felt so slapdash and ill conceived, lacking any of the magic of his earlier, grittier efforts. Watching his Ten Minute Flick School on the DVD begins to shed light on why this may be so.
Rodriguez had, by this point, converted his house into his own studio and editing suite, with sound mixing and scoring facilities, just down the road from where he lived were his studios and effects house. Rodriguez had all the gadgets and gizmos a film-maker could desire right at his fingertips, 24/7. This was so, as Rodriguez says, he could move 'at the speed of thought.' This should, in some ways, bring out the best in a film-maker, but what it seemed to do was strip away the pressures of having a studio breathing down his neck, or a budget looming over his head. With his whip-smart style of using a lot of tricks and cheats to wring the most of low budgets he was actually beginning to under-think what he was doing, and cheating even when it wasn't required.
There was a brief hurrah with the arrival of Sin City in 2005, a faithful recreation of Frank Miller's tale of guys, guns, girls and corruption. It was a comic book printed on celluloid and succeeds due to its reverence and adherence to the source material, indeed, going so far on the DVD as to present the film chopped up into its original 'books'. Here the 'limitation' placed on Rodriguez was to adjust Miller's panels to cinemascope and fit his grizzled speech bubbles into the lips of professional actors. With perfect casting the film succeeded, all style and swagger, the promise of a sequel was - unlike Spy Kids - no bad thing.
At the same time though Rodriguez brought another family-friendly 3D flick to our screens. I feel ashamed even writing these words: The Adventures of Sharkboy and Lava Girl. The story for this film came from Racer Rodriguez, Robert's - by then - 8 year old son, and I only mention that mainly to reinforce how much freedom Rodriguez had amassed for himself as a film-maker. How many other auteurs could have their kid give them an idea for a movie and rush out and make it? Rodriguez's home studio allowed him to create these 'dream' projects, the films that perhaps you and I may have conjured in our youthful imagination, and realise them with relative ease. The results, however, were dire.
Since then Rodriguez made the 'quick and nasty' Grindhouse installment Planet Terror, which suggested more of the cartoony, ultra-violent fun of Rodriguez past, but he seems to have squandered any remnants of respect he may have reamassed from that by following up with Shorts.
Now, far be it for me to judge a film before it's released, but the trailer for this latest kid's flick (starring Rebel Rodriguez), does not bode well.
Beyond this, who knows what's in store for Rodriguez. His upcoming slate seems to chop and change 'at the speed of thought', with projects laying dormant and suddenly becoming green-lit or seemingly appearing out of nowhere. It seems that he may be about to lens the Grindhouse spin-off Machete, which, in itself, is a Mariachi spin-off as well, and perhaps this combination will bring out the best in Rodriguez. Though, personally, I wish he'd hurry up and return to Sin City. Other than that there's the potential for his Predator sequel (?) Predators or his live-action take on The Jetsons.
Perhaps there are too many ideas in Rodriguez's head, and with studios wavering commitments to a film-maker who works erratically, Rodriguez never reall gets a chance to properly develop a project, leaving results half-baked. Or, maybe he just has every tool at his disposal now and instead of figuring out a more ingenious way of making something work he can just nip down to the tool-shed and grab the appropriate CG template. It's nice that an interesting film-maker, developing 'original' ideas can have some freedom for a change, it's just a shame that the films coming from Rodriguez's Troublemaker Studios seem to be a little, um, troubling.
Capitalising on its success Rodriguez did a Sam Raimi and basically re-made El Mariachi with a bigger budget (and sexier stars) as Desperado, with the budget going up three noughts to $7,000,000 Rodriguez expanded his vision accordingly. Creating cartoon-like shoot-outs, an array of explosive set-pieces and populating his cast with indie cool cameos (notably Tarantino as a jabbering pick-up guy). Desperado was still a low-budget flick, but it didn't feel that way, Rodriguez used the limitations to his advantage once more and created a knockabout, if flawed, fun film.
After, whisper it, Four Rooms, Rodriguez and Tarantino joined forces again to bring - in my opinion - his finest film to date, From Dusk Til Dawn. This gritty post-crime thriller would have showcased an awesome twist if it weren't for the giveaway title/trailer/poster/everything, but still is an expertly balanced Grindhouse flick with too-cool-for-school dialogue played beautifully by George Clooney, eager to shed his E.R. image, a generally fantastic supporting cast and gore-soaked, B-movie, horror action come the film's second half.
It was after this, and The Thing-lite teen-horror The Faculty that things began to go awry. Spy Kids was a surprise move from the director, but a somewhat logical one, Rodriguez had always wanted to be a cartoonist and this light, colourful children's flick was a silly but entertaining step. However when a sequel emerged barely a year later the charm was gone, replaced by an over-abundance of glossy effects and shrill dialogue, then another sequel plopped out a year after that, this time practically drowning in CG and coming out at you in gimmicky 3-D.
In an effort to return to his routes there was a third Mairachi movie, Once Upon A Time in Mexico, but despite its cooler-than-cool cast the film was a mess. Over complicated, under-written, lacking any real set-pieces or narrative drive, and sloppily edited. Sure it had Johnny Depp being a bit weird, Willem Dafoe playing a Latino and an okay bit where Salma Hayek and Antonio Banderas escaped from a building whilst chained together; but it just felt so slapdash and ill conceived, lacking any of the magic of his earlier, grittier efforts. Watching his Ten Minute Flick School on the DVD begins to shed light on why this may be so.
Rodriguez had, by this point, converted his house into his own studio and editing suite, with sound mixing and scoring facilities, just down the road from where he lived were his studios and effects house. Rodriguez had all the gadgets and gizmos a film-maker could desire right at his fingertips, 24/7. This was so, as Rodriguez says, he could move 'at the speed of thought.' This should, in some ways, bring out the best in a film-maker, but what it seemed to do was strip away the pressures of having a studio breathing down his neck, or a budget looming over his head. With his whip-smart style of using a lot of tricks and cheats to wring the most of low budgets he was actually beginning to under-think what he was doing, and cheating even when it wasn't required.
There was a brief hurrah with the arrival of Sin City in 2005, a faithful recreation of Frank Miller's tale of guys, guns, girls and corruption. It was a comic book printed on celluloid and succeeds due to its reverence and adherence to the source material, indeed, going so far on the DVD as to present the film chopped up into its original 'books'. Here the 'limitation' placed on Rodriguez was to adjust Miller's panels to cinemascope and fit his grizzled speech bubbles into the lips of professional actors. With perfect casting the film succeeded, all style and swagger, the promise of a sequel was - unlike Spy Kids - no bad thing.
At the same time though Rodriguez brought another family-friendly 3D flick to our screens. I feel ashamed even writing these words: The Adventures of Sharkboy and Lava Girl. The story for this film came from Racer Rodriguez, Robert's - by then - 8 year old son, and I only mention that mainly to reinforce how much freedom Rodriguez had amassed for himself as a film-maker. How many other auteurs could have their kid give them an idea for a movie and rush out and make it? Rodriguez's home studio allowed him to create these 'dream' projects, the films that perhaps you and I may have conjured in our youthful imagination, and realise them with relative ease. The results, however, were dire.
Since then Rodriguez made the 'quick and nasty' Grindhouse installment Planet Terror, which suggested more of the cartoony, ultra-violent fun of Rodriguez past, but he seems to have squandered any remnants of respect he may have reamassed from that by following up with Shorts.
Now, far be it for me to judge a film before it's released, but the trailer for this latest kid's flick (starring Rebel Rodriguez), does not bode well.
Beyond this, who knows what's in store for Rodriguez. His upcoming slate seems to chop and change 'at the speed of thought', with projects laying dormant and suddenly becoming green-lit or seemingly appearing out of nowhere. It seems that he may be about to lens the Grindhouse spin-off Machete, which, in itself, is a Mariachi spin-off as well, and perhaps this combination will bring out the best in Rodriguez. Though, personally, I wish he'd hurry up and return to Sin City. Other than that there's the potential for his Predator sequel (?) Predators or his live-action take on The Jetsons.
Perhaps there are too many ideas in Rodriguez's head, and with studios wavering commitments to a film-maker who works erratically, Rodriguez never reall gets a chance to properly develop a project, leaving results half-baked. Or, maybe he just has every tool at his disposal now and instead of figuring out a more ingenious way of making something work he can just nip down to the tool-shed and grab the appropriate CG template. It's nice that an interesting film-maker, developing 'original' ideas can have some freedom for a change, it's just a shame that the films coming from Rodriguez's Troublemaker Studios seem to be a little, um, troubling.
Thursday, June 18, 2009
Twitter Shit
Live_for_FilmsA glimpse of Krueger's glove from the new Elm Street film http://bit.ly/pEn9Y RT
CraveOnline#CraveOnline Phil Hester and Frazer Irving are tapped for Days Missing: Archaia and Roddenberry Prod.. http://tinyurl.com/l75m7c
wittertainmentAnd now to Edinburgh prep. Particularly looking forward to Bill Forsyth and Ian Hart. And we are having a new 'Ask DrK' feature.
KarinaLongworthReally weird that feminists are getting behind CHERI. Yes, it's about a sexual 50yrold woman...who spends half the film whining, "I'm old!"
screenrantProducer Frank Marshall Talks Indy 5 & Other Projects http://bit.ly/15frnN
JulieGongif you were vitamin water what sports figure/celebrity or event would you sponsor?
CraveOnline#CraveOnline Phil Hester and Frazer Irving are tapped for Days Missing: Archaia and Roddenberry Prod.. http://tinyurl.com/l75m7c
wittertainmentAnd now to Edinburgh prep. Particularly looking forward to Bill Forsyth and Ian Hart. And we are having a new 'Ask DrK' feature.
KarinaLongworthReally weird that feminists are getting behind CHERI. Yes, it's about a sexual 50yrold woman...who spends half the film whining, "I'm old!"
screenrantProducer Frank Marshall Talks Indy 5 & Other Projects http://bit.ly/15frnN
JulieGongif you were vitamin water what sports figure/celebrity or event would you sponsor?
Wednesday, June 17, 2009
The Man With The Hat Is Back..............Again.
Its been a while since I last graced your computer screens, and for that I apologise.
Whose got thoughts on Indy 5?
Until next time my lovely little minions.
I come to you now though, with a heavy heart. In a recent interview with the BBC, Hollywood's "go to guy" Shia LaBeouf announced that there is indeed plans for a 5th Indy movie. Now I don't know about you, but I was pretty blown away by Crystal Skull. I mean, how can an iconic director, a beloved character and some of the best actors in the business royally bugger up such an amazing franchise? I'll tell you how. It had f**king aliens! Up until then, the films had been based around religious myth (I'm not a believer but it was cool) and it really suited the character and his background. So to then throw aliens and space ships into the mix really ticked me off (would use stronger language, but children may read it).
So whats the future hold for Indy? Well no one really knows just yet. All we know is Spielberg has "cracked the story" for Indy 5. With this news, it raises lots of questions. Will Harrison return? Will Spielberg himself even come back to direct? Can we hope that Lucas stays away from the script? Will it go back to its roots? Will John Hurt actually have anything to do this time?
I was, like many others, totally let down by the last film. It just didn't have the charm the others had. Plus I'd rather forget about the flying fridge and swinging with the monkeys. So with Indy 5 in the pipeline, what do we want from it? Do we want another CGI driven event film like Crystal Skull, or do we want a throw back to the old school and please every fan alive? Hmmm, tough question.
Whose got thoughts on Indy 5?
Until next time my lovely little minions.
9 - The Scientist's Lab
I gave you the theatrical poster for the 9.
Now I give you a cool microsite for 9, which will continue to reveal major story beats about the film..
The Scientist's lab, located here, has recently become open to the public.
Explore and discover the Scientist's inner most thoughts, ideas and inventions.
Actively participate in the development of the story leading up to the opening scene of the movie.
Now I give you a cool microsite for 9, which will continue to reveal major story beats about the film..
The Scientist's lab, located here, has recently become open to the public.
Explore and discover the Scientist's inner most thoughts, ideas and inventions.
Actively participate in the development of the story leading up to the opening scene of the movie.
Tuesday, June 16, 2009
Ramchand Pakistani
Mara Pictures, a boutique theatrical distribution company focused on independent cinema, is releasing the film Ramchand Pakistani in cinemas across the United Kingdom in July 2009.
Ramchand Pakistani is a rare and unique film from Pakistan, even more so during this current time of high tensions and regional conflict, and is the feature film debut by female filmmaker Mehreen Jabbar. “It is very exciting to bring Ramchand Pakistani to the British audience and show independent Pakistani cinema to the world,” says Mehreen Jabbar. This film has been a big labour of love for all of us and we look forward to the response in the UK.”
The film is derived from a true story concerning the accidental crossing of the Pakistan-Indian border by a father and son and the extraordinary consequences of this unintended action. This is a story of one boy’s coming of age in a hostile environment and how he discovers humanity and hope even in the most difficult of circumstances.
The film stars Indian film actress Nandita Das and Pakistani actors Rashid Farooqui and Syed Fazal Hussain. The music is by Debajyoti Mishra from India and the highly acclaimed Shuhba Mudgal and Shafat Amanat Ali from India and Pakistan respectively. While the film was conceived and produced entirely in Pakistan, it also represents a path-breaking example of creative co-operation between independent artistic talent between both India and Pakistan and their respective Governments.
Ramchand Pakistani has received worldwide acclaim at international film festivals including Honorable Mention at the London Film Festival 2008, the International Critics Prize from the International Federation of Film Critics 2008 and most recently the Fribourg International Film Festival. “The fact that the film won the People's Choice Award in an European city like Fribourg, Switzerland during its March 2009 Film Festival symbolizes the strong universal appeal of Ramchand Pakistani to audiences around the world, ” says the film’s Producer Javed Jabbar.
“A UK theatrical release of Ramchand Pakistani is a milestone for both Pakistani and global independent cinema,” states Roopa Saini, Head of Acquisitions for Mara Pictures. “The film shifts the focus towards the creative efforts that are emerging out of South Asia amidst the current political climate. This is the first of many exciting releases for Mara Pictures.”
Below are some beautiful stills.Monday, June 15, 2009
Moore Saving Your CEOs
Audiences at thousands of theaters across the US of A the other night were treated to a surprise teaser for Micheal Moore's new film, Save Our CEOs.
Click here to check out the teaser. And after you've watched it, check out the commotion Mike's coming attraction caused at manycinemas, but please, watch the trailer first
More info on the new film coming your way in the weeks ahead.
Transformer 2 Reviews
It's out fairly soon, but here are two verdicts so far.
IGN UK: Epic, spectacular but unfortunately far, far too long; the film proves that when it comes to Michael Bay blockbuster movies, you can have too much of a good thing.
TotalFilm: Fallen so frequently approaches the first pic's all-out awesomeness, and even occasionally surpasses it - notably in an opening blitzkrieg in Shanghai and a forest face-off between Optimus Prime and three Decepticons - that it's this close to being the perfect summer flick.
IGN UK: Epic, spectacular but unfortunately far, far too long; the film proves that when it comes to Michael Bay blockbuster movies, you can have too much of a good thing.
TotalFilm: Fallen so frequently approaches the first pic's all-out awesomeness, and even occasionally surpasses it - notably in an opening blitzkrieg in Shanghai and a forest face-off between Optimus Prime and three Decepticons - that it's this close to being the perfect summer flick.
Saturday, June 13, 2009
The Week in Film by Robert Mann - Week Starting 12/6/09
The Hangover ****
Every summer the movie industry unleashes a barrage of blockbusters upon cinemagoers, hoping to score big bucks at the box office. The biggest movies are the ones that are hyped up well in advance of the film’s release and that you can’t help but be aware of but amongst all the big budget effects spectaculars there is always an underdog that has its day, on occasion even managing to completely eclipse the biggest movies that Hollywood has to offer. Such a movie has come to be known as the sleeper hit and it is fast becoming a staple of summer cinema, and the sleeper hit of summer 2009 is undoubtedly The Hangover, a film that no one had even heard of just a few short months ago but thanks to terrific word of mouth generated by the hilarious trailer and excellent reviews from film critics has turned into one of the must see events of the year, already giving major blockbusters a run for their money across the pond. Despite not being hyped us as far in advance as most blockbusters, it is fair to say that The Hangover has a lot of anticipation to live up to and fortunately it is one of those films that actually does live up to its hype.
In two days time Doug (Justin Bartha) is going to marry the love of his life Tracy (Sasha Barrese). Before that, however, is his bachelor party for which he is heading off to Las Vegas for a night on the town he will never forget along with his friends Phil (Bradley Cooper), a school teacher unhappy with his life, and Stu (Ed Helms), a dentist whose life is ruled by his dominating girlfriend, and his soon to be brother-in-law Alan (Zach Galifianakis), a seemingly dim-witted loner. What is supposed to be a night that none of them will ever forget, however, soon turns into a night none of them can remember as Phil, Stu and Alan wake up the morning after to find that Doug is missing. With no memory of anything that happened during the night, the three of them must attempt to retrace their steps if there is any hope of finding the groom and getting to the wedding on time and in one piece. Each retraced step reveals a new clue about where Doug is and as they put all the pieces together they uncover the most insane night out ever, involving a tiger, a baby, a hen, a missing tooth, a stolen police car, a trip to the hospital, a drunken marriage, gangsters, incompetent cops and Mike Tyson.
In a similar vein to the Ashton Kutcher/Sean William Scott film Dude, Where’s My Car? but actually funny (and smart), The Hangover is helmed by Todd Phillips, the man behind Old School and Starsky & Hutch. Phillips has shown a unique talent for bringing a smart touch to films that sound extremely dumb and proves the perfect choice of director for this project, taking something that could have been extremely lowbrow and unfunny and making it into a film that manages to be genuinely funny without resorting to many of the typical clichés and conventions of R rated comedies such as this, and that is actually quite smart in its execution. This isn’t to say that the humour is soft in any way, however, as the humour is extremely crude and at times quite distasteful, just that it is executed with such a sense of charm and intelligence that even though you may feel like you shouldn’t be laughing you will and you won’t feel too guilty for it. It should be noted, however, that this may not be a film for anyone who is too easily offended as some content may be considered offensive, particularly some of the nudity, which is rather gross, this being one of the low points of the film, although thankfully only accounting for a brief amount of time. Regardless of whether or not the humour is to your taste, however, there is no denying that this is one of the most original comedies seen in a long time, with the concept making for one of the most screwed up comedies ever. The script written by Jon Lucas and Scott Moore (who previously wrote Ghosts of Girlfriends Past and Four Christmases) is sharp and witty and delivers some completely insane scenarios that are so out there that they are almost worth a star in their own right. The story flows excellently with all the pieces of the puzzle falling perfectly into place, and the characters are also extremely well developed with some very good dialogue being given to them. The strength of the characters is as much down to the actors, though, and in the acting department the film really delivers. Rather than established big name stars, the low key cast is made up of relatively unknown comedy actors, all of whom excel in their portrayals of their characters, each completely unique from the rest. It is clear that new comic talent has surfaced. The cameo appearance by Mike Tyson is also a highlight with the former boxer proving quite natural at comedy in one of the film’s funniest scenes. Other members of the cast include Heather Graham, who is quite sweet as a stripper who finds herself involved in the group’s night on the town, Ken Jeong as an over the top gangster who they get on the wrong side of and Jeffrey Tambor as the father of the bride. Overall, The Hangover is one of the most unique comedies seen in quite a while, taking a tired formula and making it seem fresh again. It certainly won’t be to everyone’s tastes, particularly anyone easily offended, but for those who like comedy that doesn’t shy away from breaking boundaries this is certainly the movie for you.
---------------------------------------------------------------------------------------------------------------------------------------
Review by Robert Mann BA (Hons)
Every summer the movie industry unleashes a barrage of blockbusters upon cinemagoers, hoping to score big bucks at the box office. The biggest movies are the ones that are hyped up well in advance of the film’s release and that you can’t help but be aware of but amongst all the big budget effects spectaculars there is always an underdog that has its day, on occasion even managing to completely eclipse the biggest movies that Hollywood has to offer. Such a movie has come to be known as the sleeper hit and it is fast becoming a staple of summer cinema, and the sleeper hit of summer 2009 is undoubtedly The Hangover, a film that no one had even heard of just a few short months ago but thanks to terrific word of mouth generated by the hilarious trailer and excellent reviews from film critics has turned into one of the must see events of the year, already giving major blockbusters a run for their money across the pond. Despite not being hyped us as far in advance as most blockbusters, it is fair to say that The Hangover has a lot of anticipation to live up to and fortunately it is one of those films that actually does live up to its hype.
In two days time Doug (Justin Bartha) is going to marry the love of his life Tracy (Sasha Barrese). Before that, however, is his bachelor party for which he is heading off to Las Vegas for a night on the town he will never forget along with his friends Phil (Bradley Cooper), a school teacher unhappy with his life, and Stu (Ed Helms), a dentist whose life is ruled by his dominating girlfriend, and his soon to be brother-in-law Alan (Zach Galifianakis), a seemingly dim-witted loner. What is supposed to be a night that none of them will ever forget, however, soon turns into a night none of them can remember as Phil, Stu and Alan wake up the morning after to find that Doug is missing. With no memory of anything that happened during the night, the three of them must attempt to retrace their steps if there is any hope of finding the groom and getting to the wedding on time and in one piece. Each retraced step reveals a new clue about where Doug is and as they put all the pieces together they uncover the most insane night out ever, involving a tiger, a baby, a hen, a missing tooth, a stolen police car, a trip to the hospital, a drunken marriage, gangsters, incompetent cops and Mike Tyson.
In a similar vein to the Ashton Kutcher/Sean William Scott film Dude, Where’s My Car? but actually funny (and smart), The Hangover is helmed by Todd Phillips, the man behind Old School and Starsky & Hutch. Phillips has shown a unique talent for bringing a smart touch to films that sound extremely dumb and proves the perfect choice of director for this project, taking something that could have been extremely lowbrow and unfunny and making it into a film that manages to be genuinely funny without resorting to many of the typical clichés and conventions of R rated comedies such as this, and that is actually quite smart in its execution. This isn’t to say that the humour is soft in any way, however, as the humour is extremely crude and at times quite distasteful, just that it is executed with such a sense of charm and intelligence that even though you may feel like you shouldn’t be laughing you will and you won’t feel too guilty for it. It should be noted, however, that this may not be a film for anyone who is too easily offended as some content may be considered offensive, particularly some of the nudity, which is rather gross, this being one of the low points of the film, although thankfully only accounting for a brief amount of time. Regardless of whether or not the humour is to your taste, however, there is no denying that this is one of the most original comedies seen in a long time, with the concept making for one of the most screwed up comedies ever. The script written by Jon Lucas and Scott Moore (who previously wrote Ghosts of Girlfriends Past and Four Christmases) is sharp and witty and delivers some completely insane scenarios that are so out there that they are almost worth a star in their own right. The story flows excellently with all the pieces of the puzzle falling perfectly into place, and the characters are also extremely well developed with some very good dialogue being given to them. The strength of the characters is as much down to the actors, though, and in the acting department the film really delivers. Rather than established big name stars, the low key cast is made up of relatively unknown comedy actors, all of whom excel in their portrayals of their characters, each completely unique from the rest. It is clear that new comic talent has surfaced. The cameo appearance by Mike Tyson is also a highlight with the former boxer proving quite natural at comedy in one of the film’s funniest scenes. Other members of the cast include Heather Graham, who is quite sweet as a stripper who finds herself involved in the group’s night on the town, Ken Jeong as an over the top gangster who they get on the wrong side of and Jeffrey Tambor as the father of the bride. Overall, The Hangover is one of the most unique comedies seen in quite a while, taking a tired formula and making it seem fresh again. It certainly won’t be to everyone’s tastes, particularly anyone easily offended, but for those who like comedy that doesn’t shy away from breaking boundaries this is certainly the movie for you.
---------------------------------------------------------------------------------------------------------------------------------------
Review by Robert Mann BA (Hons)
Friday, June 12, 2009
Le Brothers Bloom Poster
Here is the french poster for The Brothers Bloom.Now, I'm off to Wokingham for a long weekend. See you on Tuesday.
Thursday, June 11, 2009
3D Jackson
According to this 3ality Digital Systems interview, Peter Jackson, is committing to shooting all his films in 3D. Now this is big news. Peter Jackson joins James Cameron and Steven Spielberg.
"I think this is big news for the industry because we are all pushing to get theaters built. Some theater owners are on the fence, asking, 'If we do jump [into 3D], is there enough content?' And having guys like Peter Jackson jump in and say things like 'I'll be making all my movies in 3D' is a great vote of confidence for the theater owners who are thinking about making the investment."
What do you think ? Is 3D the one ?
Wednesday, June 10, 2009
Number 9, Number 9, Number 9......
Above is the first look at the exclusive one-sheet image for Shane Acker's 9, produced by Tim Burton and Timur Bekmambetov. I've seen the short version, and it's wonderful.Over the next few months I'll hopefully be able to reveal bits and pieces regarding the feature. Until then, please click here where the back-story of 9 is told through the voice of the film's Scientist, and also see his designs...
The trailer is a beauty too.
Look, click, watch, soak it all in, and please, leave a comment.
Iron Man 2... Whiplash
This was released through USA Today and with a few comments from Jon Favreau. The chest piece looks like the mini arc reactor Tony Stark has and apparently "The technologies are definitely related" which Favreau says is "...Part of the core theme of the film." You can also see the handles of the two whips in his hands, powered by the chest piece. Whiplash "is going to light them up" says Rourke. Anyone getting excited yet?!
Tuesday, June 9, 2009
Vicky Cristina Barcelona - Deleted Scene
Click HERE for an 'Exclusive Deleted Scene' from Woody Allen's acclaimed film Vicky Cristina Barcelona.
(This may be the first of a recurring feature... apologies in advance!)
(This may be the first of a recurring feature... apologies in advance!)
Monday, June 8, 2009
CSI: The Movie
A big screen version of the series has long been rumoured, but Petersen confirmed it in his latest interview. “Yes, there will be a movie. I can understand people are a little trepidatious because of the franchise around the world and how well it's doing. Usually people leave it until a series has finished - they did that with the X-Files and Sex and the City. But it's about finding the right story - there has got to be a real reason to do it. You don't just do it because you want to make money - you do it because there's a story that can't be told on TV and needs to be told from CSI's perspective and the audience wants it. And we can't wait for CSI to end or Grissom will be about 90,” he told The Radio Times.
Petersen previously said that the prospective of a film outing was the reason why his character was not killed off. "I'd love to see us make a CSI film. That's the reason Grissom isn't going to die of a brain tumour," he said. [1]
I really hope this happens not only is CSI a brilliant show it would be a brilliant film with a huge fan base already it would be a box office hit and if Grissom and Sarah came back the fans would instanly be drawn in. I have watched the show for the last 9 years so watching on the big screen would be amazing, fingers crossed this happens.
The Twilight Saga
“What if I’m not the hero, what if I’m the bad guy?”Twilight was one of 2008 biggest movies and in November, New Moon the next instalment of the saga hits our screens. This movie should be darker more emotional and more intense than Twilight.
If you haven’t heard the hype surrounding The Twilight Saga where have you been, go and rent the film and buy the books and see what you think you might just fall in love with Edward Cullen yourself?
These are a few things director of Twilight, Catherine Hardwicke could have included in the film. I know this upset some fans.
*Why did James bite Bella on the forearm not her hand?
*Why didn’t Bella and Edward wear matching outfits in the meadow scene?
*Why are Jasper and Rosalie Cullen's and not Hale's?
*Why did they change/cut out the meadow scene?
*Why was it never mentioned that Jasper has a gift?
It will also be interesting when New Moon hits cinemas how it is perceived by the fans, with a new director in Chris Weitz (American Pie) what can we expect? In a letter from the director himself addressing the fans Chris states that
“I will devote myself to making the very best and most faithful version of New Moon that can be brought to the screen. To those who doubt that as a male director I can capture Bella’s experience, I can only say that emotion is universal and that my work has often involved working with some of the most talented actresses in the world.
For the rest, the proof will be in the pudding, But I promise to remain responsive to your hopes and fears.
I thank you for this opportunity and for your faith”. [1]
The third instalment of the saga Eclipse is due for release in 2010 and will be directed by David Sade when Stephenie Meyer was asked what she thought of this she stated
"I am thrilled that David Slade will be directing Eclipse. He's a visionary filmmaker who has so much to offer this franchise. From the beginning, we've been blessed with wonderful directorial talent for the Twilight Saga, and I'm so happy that Eclipse will be carrying on with that tradition."[2]
Breaking Dawn the fourth instalment of the series will be made into a film but it is unclear when this is due to happen, this could be due to Robert Pattinson’s busy schedule. New Moon and Eclipse are also due to be filmed pretty much back to back so this could be why a date for filming Breaking Dawn hasn't been nailed down yet. The actors will also need a well deserved break before filming the hardest and most demanding of the saga. In my opinion Breaking Dawn should be split into two films as it is a huge book and being the last in the Saga it needs to be finished off flawlessly.
When New Moon is released in cinemas in November sides will have to be picked are you Team Edward or Team Jacob?
Sunday, June 7, 2009
It's Bleeding Cool
A note from Rich Johnson.
"Hi ho,
BleedingCool.com, my new daily blogsite on comics and comics-related items started last Monday.
Since then I've broken news from Brian Blessed being cast in Kenneth Branagh's Thor, Terminator 5 set in London 2011, Mark Millar and Dave Gibbons starting a new comic together and company viral marketing gone hideously wrong.
As well as running popular features such as Swipe File, Manchild, a review of Simon Pegg and Nick Frost's screenplay for Paul and the first of a series of columns by Warren Ellis.
I'd love to know your thoughts...
It's at www.bleedingcool.com - and I'm probably staying there a while.
Rich Johnston
richjohnston@gmail.com
London"
"Hi ho,
BleedingCool.com, my new daily blogsite on comics and comics-related items started last Monday.
Since then I've broken news from Brian Blessed being cast in Kenneth Branagh's Thor, Terminator 5 set in London 2011, Mark Millar and Dave Gibbons starting a new comic together and company viral marketing gone hideously wrong.
As well as running popular features such as Swipe File, Manchild, a review of Simon Pegg and Nick Frost's screenplay for Paul and the first of a series of columns by Warren Ellis.
I'd love to know your thoughts...
It's at www.bleedingcool.com - and I'm probably staying there a while.
Rich Johnston
richjohnston@gmail.com
London"
And Away We Go....
Above is a clip from Away We Go, sent to me via email by Ben. Took me a while to put it up here.
But it's up now. It's Sam Mendes new one, about a young couple traveling across the United States in search of the perfect place to raise their family.
Enjoy, and leave a comment.
Saturday, June 6, 2009
Quote of the Week : Jaws (1975)
"Y'all know me. Know how I earn a livin'. I'll catch this bird for you, but it ain't gonna be easy. Bad fish. Not like going down the pond chasin' bluegills and tommycods. This shark, swallow you whole. Little shakin', little tenderizin', an' down you go. And we gotta do it quick, that'll bring back your tourists, put all your businesses on a payin' basis. But it's not gonna be pleasant. I value my neck a lot more than three thousand bucks, chief. I'll find him for three, but I'll catch him, and kill him, for ten. But you've gotta make up your minds. If you want to stay alive, then ante up. If you want to play it cheap, be on welfare the whole winter. I don't want no volunteers, I don't want no mates, there's just too many captains on this island. Ten thousand dollars for me by myself. For that you get the head, the tail, the whole damn thing."
Robert Shaw with his powerful introductory speech in Steven Speilberg's finest. One of the most captivating moments in the history of cinema.
Friday, June 5, 2009
Owain Salvation
Thought I'd put this up for all to see.
Owain's comment on Robert's review...
"I feel very differently about Terminator Salvation (ou est the colon?), though I cannot fault the effects work I found the script and the actors and the direction to be generally bland in the extreme.
Bale's Connor had no depth, and seemed far removed from the smarmy youth of T2, the slightly edgy rogue from T3, and though - obviously - a large burden is being shouldered by Connor as 'prophet' of the resistance, Bale did little more than shout and scowl in a wobbly accent. There was no investment in the character, and it seemed slightly implausible that he couldn't conceive of the machine's doing any good (seeing as he saw Arnie as father figure in T2 and 3), so his extreme distrust of Marcus was a bit strange.
Worthington as Marcus had no charisma, his opening scene with Bonham Carter (who I found to be quite woeful in both her scenes, especially the second!) was such a flat exchange, when it instead should have been a strong grounding for the character and his demons. He played some of the later moments - coming to terms with his fate - rather well, but for the most part had either little to do or was too busy getting upstaged by Yelchin as Kyle Reese, unfortunately Reese had a mute moppet strangling his charisma and a ropey script like an albatross round his neck. Still, the scenes with Marcus and Reese were the film's strongest.
The terminators themselves though well realised have however descended into cartoon villainy, with none of the unstoppable menace of before. One terminator that just walks by the hiding Connor even did the cartoon guard double-take, and later Terminators seemed more content to throw people around rather than actually terminate them. The huge skill of T1 and T2, even T3 to some extent, was that you felt that if a Terminator caught its prey there would be no hesitation; the only times a terminator would pause would be if they were using their current catch as bait.
Elsewhere the score was poor, the supporting cast bland, the script riddled with questionable plot developments and character motivations (the excuse that they'll solve it in sequels is flimsy at best) and there was no sense of weight to any of the big moments in the film nor was there a climax, instead the film just ended.
I am not a Terminator obsessive, I think T1 and T2 are both milestone action thrillers, perfectly balancing smart sci-fi with intense chases and a soupcon of dark humour, whilst T3 has its problems it still manages to deliver some effective moments here and there. Of course, as a future war movie Terminator Salvation has to take a different stance to its predecessors and can't simply be a cat and mouse, but to just throw a load of action at the screen with little regard for characters to invest in and a coherent narrative is pretty bland."
Owain's comment on Robert's review...
"I feel very differently about Terminator Salvation (ou est the colon?), though I cannot fault the effects work I found the script and the actors and the direction to be generally bland in the extreme.
Bale's Connor had no depth, and seemed far removed from the smarmy youth of T2, the slightly edgy rogue from T3, and though - obviously - a large burden is being shouldered by Connor as 'prophet' of the resistance, Bale did little more than shout and scowl in a wobbly accent. There was no investment in the character, and it seemed slightly implausible that he couldn't conceive of the machine's doing any good (seeing as he saw Arnie as father figure in T2 and 3), so his extreme distrust of Marcus was a bit strange.
Worthington as Marcus had no charisma, his opening scene with Bonham Carter (who I found to be quite woeful in both her scenes, especially the second!) was such a flat exchange, when it instead should have been a strong grounding for the character and his demons. He played some of the later moments - coming to terms with his fate - rather well, but for the most part had either little to do or was too busy getting upstaged by Yelchin as Kyle Reese, unfortunately Reese had a mute moppet strangling his charisma and a ropey script like an albatross round his neck. Still, the scenes with Marcus and Reese were the film's strongest.
The terminators themselves though well realised have however descended into cartoon villainy, with none of the unstoppable menace of before. One terminator that just walks by the hiding Connor even did the cartoon guard double-take, and later Terminators seemed more content to throw people around rather than actually terminate them. The huge skill of T1 and T2, even T3 to some extent, was that you felt that if a Terminator caught its prey there would be no hesitation; the only times a terminator would pause would be if they were using their current catch as bait.
Elsewhere the score was poor, the supporting cast bland, the script riddled with questionable plot developments and character motivations (the excuse that they'll solve it in sequels is flimsy at best) and there was no sense of weight to any of the big moments in the film nor was there a climax, instead the film just ended.
I am not a Terminator obsessive, I think T1 and T2 are both milestone action thrillers, perfectly balancing smart sci-fi with intense chases and a soupcon of dark humour, whilst T3 has its problems it still manages to deliver some effective moments here and there. Of course, as a future war movie Terminator Salvation has to take a different stance to its predecessors and can't simply be a cat and mouse, but to just throw a load of action at the screen with little regard for characters to invest in and a coherent narrative is pretty bland."
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