Well, well, well...
What do you think about the choice? Will it work?
Comments please
Friday, May 28, 2010
Skins Flick
Skins, the Channel 4 teenfest is to spawn into a feature length.
The BBc have the full details.
Will Dev Patel make an appearance...?
Special, Special Effects - An Article by Damien Sage
Special, Special Effects
An Article by Damien Sage
I remember a time when big budget "blockbusters" featuring copious amounts of special effects could be good films, do you? It wasn't THAT long ago, just around 20-25 years... I suppose during the time period that Hollywood is currently mining for it's remake-a-palooza.
Coincidentally, it was while revisiting the original Clash of the Titans (recently remade IN 3D!!!!!!) yesterday I was inspired to write this article. The 1981 film's effects ARE incredibly dated today, BUT the film has a personality (and considerable acting talent) to it that makes you easily look past it's production aspects and focus just on the film.
One of the set piece scenes, The Medusa Sequence, really made me take notice (when I was a child and now.) The Medusa, rendered with gorgeous Ray Harryhausen stop motion, is obviously fake, but it's still more real than anything CGI can create today. But The Medusa her self is not what I wanted to mention... It's the suspense. Perseus evading, pursuing and eventually killing The Medusa in her dimly lit catacombs is a tense bit of cinema. It's well shot and paced, there is a real sense of drama to it all and above all else it is SUSPENSEFUL.
I have not seen the new version of the film, just the trailer but I can almost guarantee there isn't a single moment (much less a sustained sequence) that packs any real dramatic punch or truly edge of your seat suspense.
And, that unfortunately seems to be the case with most "tent pole" films made today. They're plotted in the fluffiest manner possible. The dialog and acting are flat. And, in the end, all that takes a back seat to the glossy, highly un-realistic, yet hyper-detailed CGI thrown at the screen for two hours anyways. It's what I call the "wood chipper effect." Most films today (2012, Transformers, Clash of the Titans 2.0, etc) just seem like a bunch of elements have been thrown into a wood chipper aimed at an HD camera, with some reaction shots from actors cut in and scored bombastically.
Sure the movies make a lot of money (but really, making $300 million on a $200 million budget isn't THAT big of an accomplishment), but they're soul less. Now, I do not HATE CGI like some people. I think when used properly, mixed with good story telling/acting foremost and practical effects, CGI can be a wonderful tool. Take Terminator 2: Judgement Day for example, one of the first major "big time" uses of CGI. It's still talked about today and the film is considered a classic; but not wholly because of the effects, because it's a great film on it's own.
On that note I am now going to lapse into a list of my favorite Special Effects heavy films and or Special Effects heavy film moments. And of course, they aren't my favorites for the effects alone, but for being wonderful films on their own...
Superman- The Movie (1978)
Directed By Richard Donner
Screw Tim Burton's Batman (which I love) and the current incarnations of the caped crusader (which I tolerate.) Screw Spidermans 1-3, screw Iron Man... Superman- The Movie is THE greatest superhero film ever made AND in my humble opinion the greatest Special Effects film ever made. Not because of how amazing the effects are (and they ARE amazing, 95% of the shots hold up perfectly today) but because of how epic, beautiful and emotionally brilliant the film is.
The opening of the film, the destruction of Krypton and Jor-El sending his only Son, Kal-El, off to Earth are searing, poignant and painful. It's a deadly serious beginning that could never be made today. And SECONDARY to the plot, the effects are stunning, iconic and flawless.
The rest of the film, Kal-El being found by the Kent family, being teased through high school, growing into Clark Kent, discovering his super-heritage and becoming Superman, are all touching, moving and serious. With brilliant performances from REAL actors highlighting dialog that COULD become total camp in lesser hands, and lending both gravitas and a subtle sense of humor to the proceedings.
Throughout the brilliant performances and well paced, tightly plotted story, we get tons of special effects scenes, all integral and all expertly rendered. The poster for the film promised that "You will believe a man can fly..." And you do. Christopher Reeve as Clark Kent/Superman sells it and owns it. There is never a moment when you think that he is human and doubt that he can soar up into the clouds and save us all. The wire work, rear/fore screen projection and practical effects used to make Superman come to life are superb and haven't been matched to this day.
And it isn't because you don't know it's fake (you do know, it's a movie), it's because the film and actors in it are so good you BELIEVE in it and them.
Vertigo (1958)
Directed By Alfred Hitchcock
Hitchcock was always a director on the cutting edge of the medium's technology. Using (sometimes creating) advances in camerawork, editing and yes, special effects to heighten and enhance many of his masterworks. From the iconic crop duster sequence in "North By Northwest" to the hoards of attacking birds, in "The Birds", Hitch always stayed ahead of everyone else and made the most of his films for it. Of course he never let the effects over shadow the plot or performances.
My favorite Hitchcock "effects" movie is "Vertigo." It is a haunting love affair between emotionally unstable Detective Scottie Ferguson (played expertly by James Stewart), the mysterious and suicidal Madeline Elster (Kim Novak) and Madeline's pseudo-double, Judy (also Kim Novak.) The film is ambiguous, dark, psychologically intriguing and brilliantly crafted on all fronts. Also, it really isn't an effects film in the purest sense of the meaning.
The surreal Saul Bass title sequence is the most effects heavy sequence in the film. The rest of the moments I enjoy are touches that are there solely to enhance the film. From the now famous "Zolly Shot" where by the camera moves backward, but zooms forward, creating a disorienting effect (used heavily to this day.) To Scottie's delusions, where his disembodied head floats through spirals of light. To the early use of blue screen and compositing used to make people fall to their deaths and create dramatic aerial shots of bell towers and buildings, appear still and crisp, from impossible angles. The effects are flawless, they hold up today and they don't overpower the film in anyway.
You enjoy Vertigo for the story and the acting, not the effects, even though they are there and they help the film in many subtle ways.
Day of the Dead (1985)
Directed By George A. Romero
A lot of people dislike or dismiss Day of the Dead, but it is in fact my favorite of the Romero "Dead Films", particularly of the original trilogy. "Night of the Living Dead" (1968) is a classic for good reason. It is an exceedingly well made low budget film, that is truly frightening in a realistic, visceral way. It's sequel, "Dawn of the Dead" (1978) is bigger, better and more iconic than it's predecessor, also for good reason. It is a great film, that I too love and cherish. The characters, plot and effects are stunning and memorable. But, Day of the Dead still holds a more special place in my heart.
It is a tale of savage, near hopelessness. It's set in a world that has presumably been entirely taken over by hoards of flesh eating, undead humans, that can only be stopped by decay or severing their head from their bodies (and even then that isn't guaranteed.) What we assume are the last surviving humans (some scientists, some military personnel, both distrustful of one another) are held up in an ancient, underground bunker, trying to find a way to stop the Zombie masses on the surface and survive without killing each other first.
The film is tense and on edge, it's grimy and dark, but in a still stylish way. No, most of the characters aren't "likable" but they are WHOLLY believable. If YOU were forced into a dirty hole, to escape violent death from un-stoppable, rotting cannibals, I doubt you'd be a ray of sunshine either. It is for this reason that Day of the Dead is very real to me and that's why I like it so much. In my opinion it is the most accurate portrayal of what would happen IF zombies some how over ran the world... Naturally not just for the plot and acting, but also for the special effects...
And, what special effects they are. The legendary Tom Savini and his cohorts put on the ultimate gore tour-de-force. No stops were pulled and seemingly no expense was spared to make the horrors of a zombie army come to life. From the zombies themselves, all exposed tissue, bone and muscle (all done with REAL practical effects.) To the violent dispatches of the human cast (heads ripped in half, arms lopped off, intestines spilled) the gore and make-up effects are the best the horror genre has ever offered, ESPECIALLY to this day.
The effects and film are an intense, realistic experience, purely visceral and gut-wrenchingly terrifying, give it a chance.
Star Trek The Motion Picture (1979)
Directed By Robert Wise
Much like Day of the Dead, a lot of people hate on Star Trek- The Motion Picture, or "Motion-less Picture" as it is jokingly referred to in some circles, I on the other hand find it to be a brilliant bit of science fiction and a beautiful film.
The Motion Picture, is very much a cerebral experience in terms of the plot. There is little action and lots of dialog. It is very much an "exploration of the unknown" film... A true middle ground between the innocent whole hearted sixties-ness of Original Series Trek and the darker, more philosophical Science Fiction of "2001 A Space Odyssey." However, some say it's just a long, boring mish-mash of special effects and reaction shots. And, I can understand this way of thinking, but I don't agree with it.
The Motion Picture was supposed to be the flip side to Star Wars. A big budget, "thinking man's" science fiction film. And it is, despite some cliches here and there. Really though, the reason I love this film, unlike the others on my list, isn't necessarily for it's plot, it IS for the Special Effects (and score) almost solely. And they are magical. When I watch The Motion Picture I feel like a little kid, every time. I get lost in the epic expanse and beauty of the film.
Early in the film, when Admiral Kirk travels to the re-fitted Enterprise, gaping in wonder at it's size and beauty, tears welling in his eyes, Jerry Goldsmith's score blaring triumphantly in the background, I feel like I'm there. I feel a true sense of something indescribably special... That is what the whole film is to me.
The largest section of the film, the travel into the mysterious V-Ger cloud and it's inner depths, is mystifying in both it's beauty and it's depiction of the sensation of experiencing something unknown. The crew of the Enterprise doesn't know what's happening any more than the audience does, all they can do is go forth into the darkness and pray they find a way to protect us from the evils that might lie within.
The Motion Picture IS an EXPERIENCE, one you must give into and go with to appreciate. But it is a beautiful journey and the effects have not been surpassed in the 30+ years since it's release.
Legend (1985)
Directed By Ridley Scott
Before he moved on to exclusively directing gritty, realistic crap, Ridley Scott was a master of the fantasy/sci-fi genre. "Alien" (1979) is a classic film of the genre and the Special Effects subset, as is "Blade Runner" (1982) and I love them both dearly. But Legend, Scott's last true film in the genre(s), is my favorite of his films and one of my all time favorite films in general.
Plot wise the film is purposefully iconic; essentially the tale of a beautiful princess, saved by a young warrior from the clutches of a great evil. The entire film was shot on sets (creating lavish, expansive forests, more beautiful than anything found in nature) and done entirely in studio, but never once does it not feel like a real place or magical world unto itself.
There aren't many overt VISUAL effects in the film, the ones that are there are well used and practical, serving to enhance not to weigh down. The reason this film is one of the greatest effects films comes down, not to visual pizzaz, but to two PEOPLE; Make-Up Artist Rob Bottin and actor Tim Curry.
Curry plays the villain of the film, simply called Darkness, and he is the living embodiment of pure evil brought to life onscreen. Tim Curry as Darkness, IS the Devil you always imagined. He's 12 feet tall, impossibly muscular, red skinned, with giant horns, massive cloven hooves and piercing yellow eyes... But most importantly, he is REAL and there in the world and on the set with the other actors, towering above them and tearing through every scene with menacingly, lustful, relish.
Rob Bottin went all out to make Darkness THE ultimate expression of cinematic evil and his work is flawless. CGI could never create a creature like Darkness. He is alive and breathing, vivid and totally realistic. Darkness is the scariest creature to grace a film of this type. A horrific Disney villain brought to full life before our eyes. However, Bottin's work would only be half as good if it were anyone other than Tim Curry under the make-up.
For those not familiar with Curry outside of Rocky Horror, he is a brilliant character actor, famous for stealing almost any scene he is in and Darkness is his ultimate work as an actor. Every line of dialog, every inflection, every nuance is pitch perfect. Couple that knowledge with the fact that Curry is covered in POUNDS and POUNDS of make-up and prosthetics, it's a wonder he can even move, much less enliven all of his moments with a palpable, evil-gravitas. Darkness is a powerhouse character and one that really must be seen to be believed.
Legend is an adult fairy tale, a definite pre-cursor to the Lord of the Rings Trilogy, extremely enjoyable in either it's Theatrical or Director's Cut.
Star Wars Episode VI Return of the Jedi (1983)
Directed By Richard Marquand
I will start off by saying that "The Empire Strikes Back" (1980) is my favorite Star Wars film, BUT Return of the Jedi is probably the one I've watched and enjoyed the most. Aside from the much hated (I don't mind them) Ewok sequences Return of the Jedi is a dark, ambiguous and emotional film. The opening scenes in Jabba's dark, foreboding palace, Luke's search for his father and attempted seduction at the hands of the Emperor and the Rebellion's final battle against the Empire are emotionally and psychologically well played and exceptionally melodramatic, in a classic sort of way.
And... the special effects of the film are the best in the entire series. Jabba's palace and the creatures within are a marvel of set/production design merged together with make-up and practical effects. The battle against the Rancor inside the palace and the pit of the Sarlac outside are also an expert combination of compositing, miniatures and on set effects work.
The Death Star sequences of Luke being prodded by Vader and the Emperor to succumb to the dark side, intercut with the battle on the surface of Endor are thrilling examples of great acting and special effects talents coming together for vivid dramatic impact. And, lastly, the final battle in space. The rag-tag rebellion fleet versus the Death Star and a seemingly endless volley of Imperial fighters is suspenseful and visually stunning. THIS is how a space dog fight is supposed to be. You can see everything that is happening, you have moment's to catch your breath. There is a lot going on, but you are never OVERLOADED by everything (unlike in the prequel trilogy.)
Return of the Jedi is an underrated film, still certainly a sci-fi classic. (Avoid the Special Editions of the original trilogy at all costs, watch the original cuts.)
V for Vendetta (2005)
Directed By James McTiegue
The only fairly modern Special Effects film on my list, is this, V for Vendetta. Having not read the original graphic novels, I cannot complain or compare the screen adaptation to it's source. But, as a stand alone film, looking at it just for cinematic merit, it is outstanding. The plot is dark, subversive, twisty and suspenseful. The acting, particularly from leads Hugo Weaving and Natalie Portman, is brilliant all around, inflecting each moment of the film with the appropriate weight, humor or gravity as required. Nothing, even perpetual scene chewer John Hurt, is TOO over the top. The film is pitch perfect in the plot, story, acting and tone from beginning to end.
This brings me of course to the Special Effects... Aside from one or two CGI shots ever so SLIGHTLY poorly integrated into the film, the effects on the whole are brilliant, especially for a modern film. Once again, nothing is taken TOO over the top or done TOO much. And NEVER at any point do the special effects over shadow the story or the performers, they only serve to enhance the film.
Case in point my favorite effects scene in the film, the destruction of Parliament perfectly synchronized to the 1812 Overture. It is a dramatic scene, emotional and powerful. It's a seminal moment in the film and it FEELS like it. When I saw it in the theater I was left speechless and stunned, in awe. The first time I'd had that sensation since the next film I'm about to list. It's a tour-de-force moment and probably the best special effects moment in recent history. AND it was done with very little CGI, mostly model work and practical effects.
V for Vendetta is a powerful modern blockbuster, both in terms of it's effects and it's effect.
Jurassic Park (1993)
Directed By Steven Spielberg
Ah, the end of a great era and the beginning of a not so great era. I consider Jurassic Park to be Spielberg's last gasp of "Spielbergian Magic." After this he stopped having fun with his movies and started taking himself and his work far too seriously. Partially to blame was his next film, the admittedly great Schindler's List. After Jurassic Park and that film, he just lost whatever it was that made him special. And now he just makes big, slightly better than average, "giant-films." They're soul less though, formulaic and just not Spielbergian.
Jurassic Park doesn't just mark the end of the classic Spielberg era, it marks the beginning of the CGI Blockbuster era. It is both a sad and wonderful thing. Sad in that most of today's dull, effects over burdened, summer crap-fests wouldn't exist if it didn't exist. And wonderful in that Jurassic Park's CGI effects are the ultimate example of the medium, never bested, even nearly twenty years later. (Granted a lot of Jurassic Park's CGI effects are seamlessly blended with animatronic and practical effects.)
Based on Michael Crichton's novel of the same name, the plot of the film is quite intelligent and witty (especially compared to modern "popcorn" films... or Jurassic Park 2 and 3....) The acting is uniformly good all around, particularly from Sam Neill, Laura Dern and the two child actors that carry the film. And the dialog, while weighted down with a lot of exposition and techno-babble, is crisp, tight and at times darkly humorous. Like Star Trek- The Motion Picture however, Jurassic Park is not on this list for it's plot per say, it is an experience, something that must be given into and just... seen.
Spielberg promised to deliver something with Jurassic Park, something un-imaginable, something akin to making Superman fly... Dinosaurs. Realistic, wholly believable dinosaurs. Does it achieve that? It does. And so much more...
I was at Jurassic Park on opening weekend when I was 8 years old. I sat in the front row and was mesmerized by the film. The first shot, when they reveal the Brontosaurus eating leaves from the treetops of the Park, left me speechless. Even when I think about it today it brings tears to my eyes. It's one of those un-describable moments that confirms the magic of movies, unlike any other. Even the wonderful Tyrannosaurus and Raptor sequences from later in the film, while expertly crafted and totally believable, cannot compare to that one splendorous instant when we see a Dinosaur for the first time.
That first reveal is a moment of pure, beautiful wonderment and for that moment alone Jurassic Park could stand as a classic, thankfully the rest of the film is great too.
Poltergeist (1982)
Directed By Tobe Hooper
Here is yet another film that holds a very special place in my heart and mind, on an emotional level. Poltergeist is a movie that I consider the last "70's Horror Film." Meaning that; 1. It is well written and brilliantly acted. And, 2. It is a PG rated film that packs the punch of a Hard-R.
Poltergeist tells the story of an average american family that moves into a new home, in a new neighborhood, only to find their house possessed. At first the spirits that inhabit their house are playful, even humorous, but that soon devolves into the ultimate suburban nightmare. Their daughter is taken from them, the family is put at psychological odds with themselves and their deepest fears and if they don't come together, they'll lose everything and possibly by sucked straight into the darkest depths of hell.
My main love for Poltergeist stems from it's plot and the carrying of that plot mostly on the shoulders of Jo Beth Williams. As the matriarch of the "most average and relatable family" Williams delivers an emotionally draining, heart wrenching performance, that not only anchors and drives the film, but in a perfect world would have netted her not only an Oscar but a much grander career. The latter parts of Poltergeist, when Williams (and the rest of the family) are searching for the missing daughter are as emotionally draining as they are terrifying. You truly feel for this woman and her family and that is what makes Poltergeist work so well.
As for the effects, they are brilliant, the film wouldn't be on this list if they weren't. From the little tricks the spirits play early on, to the killer tree, the evil clown doll, the nightmarishly stretching corridors and the climactic, ghastly apparitions, every effect in Poltergeist is first rate. And, not only are the ghosts of the film capable of generating suspense and terror, they also, in a few brief scenes, expose us to that mystical sensation of the unknown, ever so difficult to capture on film.
If you like horror with an emotional undertone, experience Poltergeist (before the (surely wretched) remake comes out.)
Star Trek III The Search for Spock (1984)
Directed By Leonard Nimoy
Wrath of Khan is considered the greatest Star Trek film, for good reason of course, because it IS the greatest Star Trek film. It is one of the few major Hollywood films to pack such darkness, drama and emotional impact into it's effects laden borders. Also it is one of the few major Hollywood films to kill off a long standing, beloved, iconic character (Spock) and do it in a SERIOUS, weighty, truly heart wrenching way. And, I love Wrath of Khan, it's a classic, but Star Trek III The Search for Spock is my FAVORITE Star Trek film.
Star Trek III begins right after the climactic events of Wrath of Khan. Kirk has been reunited with the son he never knew he had. The Enterprise is limping back home to Earth. The crew is drained and depressed and Dr. McCoy appears to be going insane after being touched by Spock, just before the vulcan saved all their lives in the last film.
When our intrepid heroes finally arrive back home they are met with little fanfare. Sulu, Scotty and Uhura are reassigned to less than thrilling jobs. Admiral Kirk is essentially told he's gonna be put behind a desk and the Enterprise is to be decommissioned. And, Dr. McCoy is institutionalized.
The glimmer of hope at the center of the film is that there is a chance Spock is still alive. To follow through on this chance, Kirk and crew must throw their careers away, break Dr. McCoy out, steal the nearly destroyed Enterprise and trek back to the now forbidden Genesis Planet, created at the end of the last film, to retrieve Spock's body. On their journey, in addition to being pretty much alone and outmatched by all, the crew must deal with irate Starfleet forces and a deranged renegade Klingon.
Star Trek III is the darkest chapter of the original series' run and one of the darkest, most depressing mainstream films ever made. And, it is for this reason I love the film the most. It is a film of much uncertainty and great ambiguity, it is also a film that deigns to kill off yet ANOTHER beloved character in a tragic, shattering manner...
And no, I don't mean David Marcus, Admiral Kirk's son (who's death and Kirk's subsequent reaction is powerful and a high point of the series), I mean the destruction of the Original Starship Enterprise. It is for this sequence alone the film is on this list. AND this sequence is one of the few pure special effects moment that is emotionally draining unto itself.
The destruction of the Enterprise is the single greatest "stuff being blown-up real good" scene in cinema history. The Enterprise is such an iconic creation and such a powerful image by itself, seeing it ripped apart inside and out and blown to bits in rich wide screen glory is painful. To add to the pathos, we see Kirk and his crew, helpless and heartbroken, stranded now on a hellish planet, as they watch their beloved ship fall through the sky, burning, dying.
Star Trek III is a misunderstood, highly underrated, emotionally powerful film. If you like Sci-Fi or are a fan of Star Trek (new or old) I recommend watching the original series films, particularly 2-4 (it's a great story arc.)
Coincidentally, it was while revisiting the original Clash of the Titans (recently remade IN 3D!!!!!!) yesterday I was inspired to write this article. The 1981 film's effects ARE incredibly dated today, BUT the film has a personality (and considerable acting talent) to it that makes you easily look past it's production aspects and focus just on the film.
One of the set piece scenes, The Medusa Sequence, really made me take notice (when I was a child and now.) The Medusa, rendered with gorgeous Ray Harryhausen stop motion, is obviously fake, but it's still more real than anything CGI can create today. But The Medusa her self is not what I wanted to mention... It's the suspense. Perseus evading, pursuing and eventually killing The Medusa in her dimly lit catacombs is a tense bit of cinema. It's well shot and paced, there is a real sense of drama to it all and above all else it is SUSPENSEFUL.
I have not seen the new version of the film, just the trailer but I can almost guarantee there isn't a single moment (much less a sustained sequence) that packs any real dramatic punch or truly edge of your seat suspense.
And, that unfortunately seems to be the case with most "tent pole" films made today. They're plotted in the fluffiest manner possible. The dialog and acting are flat. And, in the end, all that takes a back seat to the glossy, highly un-realistic, yet hyper-detailed CGI thrown at the screen for two hours anyways. It's what I call the "wood chipper effect." Most films today (2012, Transformers, Clash of the Titans 2.0, etc) just seem like a bunch of elements have been thrown into a wood chipper aimed at an HD camera, with some reaction shots from actors cut in and scored bombastically.
Sure the movies make a lot of money (but really, making $300 million on a $200 million budget isn't THAT big of an accomplishment), but they're soul less. Now, I do not HATE CGI like some people. I think when used properly, mixed with good story telling/acting foremost and practical effects, CGI can be a wonderful tool. Take Terminator 2: Judgement Day for example, one of the first major "big time" uses of CGI. It's still talked about today and the film is considered a classic; but not wholly because of the effects, because it's a great film on it's own.
On that note I am now going to lapse into a list of my favorite Special Effects heavy films and or Special Effects heavy film moments. And of course, they aren't my favorites for the effects alone, but for being wonderful films on their own...
Superman- The Movie (1978)
Directed By Richard Donner
Screw Tim Burton's Batman (which I love) and the current incarnations of the caped crusader (which I tolerate.) Screw Spidermans 1-3, screw Iron Man... Superman- The Movie is THE greatest superhero film ever made AND in my humble opinion the greatest Special Effects film ever made. Not because of how amazing the effects are (and they ARE amazing, 95% of the shots hold up perfectly today) but because of how epic, beautiful and emotionally brilliant the film is.
The opening of the film, the destruction of Krypton and Jor-El sending his only Son, Kal-El, off to Earth are searing, poignant and painful. It's a deadly serious beginning that could never be made today. And SECONDARY to the plot, the effects are stunning, iconic and flawless.
The rest of the film, Kal-El being found by the Kent family, being teased through high school, growing into Clark Kent, discovering his super-heritage and becoming Superman, are all touching, moving and serious. With brilliant performances from REAL actors highlighting dialog that COULD become total camp in lesser hands, and lending both gravitas and a subtle sense of humor to the proceedings.
Throughout the brilliant performances and well paced, tightly plotted story, we get tons of special effects scenes, all integral and all expertly rendered. The poster for the film promised that "You will believe a man can fly..." And you do. Christopher Reeve as Clark Kent/Superman sells it and owns it. There is never a moment when you think that he is human and doubt that he can soar up into the clouds and save us all. The wire work, rear/fore screen projection and practical effects used to make Superman come to life are superb and haven't been matched to this day.
And it isn't because you don't know it's fake (you do know, it's a movie), it's because the film and actors in it are so good you BELIEVE in it and them.
Vertigo (1958)
Directed By Alfred Hitchcock
Hitchcock was always a director on the cutting edge of the medium's technology. Using (sometimes creating) advances in camerawork, editing and yes, special effects to heighten and enhance many of his masterworks. From the iconic crop duster sequence in "North By Northwest" to the hoards of attacking birds, in "The Birds", Hitch always stayed ahead of everyone else and made the most of his films for it. Of course he never let the effects over shadow the plot or performances.
My favorite Hitchcock "effects" movie is "Vertigo." It is a haunting love affair between emotionally unstable Detective Scottie Ferguson (played expertly by James Stewart), the mysterious and suicidal Madeline Elster (Kim Novak) and Madeline's pseudo-double, Judy (also Kim Novak.) The film is ambiguous, dark, psychologically intriguing and brilliantly crafted on all fronts. Also, it really isn't an effects film in the purest sense of the meaning.
The surreal Saul Bass title sequence is the most effects heavy sequence in the film. The rest of the moments I enjoy are touches that are there solely to enhance the film. From the now famous "Zolly Shot" where by the camera moves backward, but zooms forward, creating a disorienting effect (used heavily to this day.) To Scottie's delusions, where his disembodied head floats through spirals of light. To the early use of blue screen and compositing used to make people fall to their deaths and create dramatic aerial shots of bell towers and buildings, appear still and crisp, from impossible angles. The effects are flawless, they hold up today and they don't overpower the film in anyway.
You enjoy Vertigo for the story and the acting, not the effects, even though they are there and they help the film in many subtle ways.
Day of the Dead (1985)
Directed By George A. Romero
A lot of people dislike or dismiss Day of the Dead, but it is in fact my favorite of the Romero "Dead Films", particularly of the original trilogy. "Night of the Living Dead" (1968) is a classic for good reason. It is an exceedingly well made low budget film, that is truly frightening in a realistic, visceral way. It's sequel, "Dawn of the Dead" (1978) is bigger, better and more iconic than it's predecessor, also for good reason. It is a great film, that I too love and cherish. The characters, plot and effects are stunning and memorable. But, Day of the Dead still holds a more special place in my heart.
It is a tale of savage, near hopelessness. It's set in a world that has presumably been entirely taken over by hoards of flesh eating, undead humans, that can only be stopped by decay or severing their head from their bodies (and even then that isn't guaranteed.) What we assume are the last surviving humans (some scientists, some military personnel, both distrustful of one another) are held up in an ancient, underground bunker, trying to find a way to stop the Zombie masses on the surface and survive without killing each other first.
The film is tense and on edge, it's grimy and dark, but in a still stylish way. No, most of the characters aren't "likable" but they are WHOLLY believable. If YOU were forced into a dirty hole, to escape violent death from un-stoppable, rotting cannibals, I doubt you'd be a ray of sunshine either. It is for this reason that Day of the Dead is very real to me and that's why I like it so much. In my opinion it is the most accurate portrayal of what would happen IF zombies some how over ran the world... Naturally not just for the plot and acting, but also for the special effects...
And, what special effects they are. The legendary Tom Savini and his cohorts put on the ultimate gore tour-de-force. No stops were pulled and seemingly no expense was spared to make the horrors of a zombie army come to life. From the zombies themselves, all exposed tissue, bone and muscle (all done with REAL practical effects.) To the violent dispatches of the human cast (heads ripped in half, arms lopped off, intestines spilled) the gore and make-up effects are the best the horror genre has ever offered, ESPECIALLY to this day.
The effects and film are an intense, realistic experience, purely visceral and gut-wrenchingly terrifying, give it a chance.
Star Trek The Motion Picture (1979)
Directed By Robert Wise
Much like Day of the Dead, a lot of people hate on Star Trek- The Motion Picture, or "Motion-less Picture" as it is jokingly referred to in some circles, I on the other hand find it to be a brilliant bit of science fiction and a beautiful film.
The Motion Picture, is very much a cerebral experience in terms of the plot. There is little action and lots of dialog. It is very much an "exploration of the unknown" film... A true middle ground between the innocent whole hearted sixties-ness of Original Series Trek and the darker, more philosophical Science Fiction of "2001 A Space Odyssey." However, some say it's just a long, boring mish-mash of special effects and reaction shots. And, I can understand this way of thinking, but I don't agree with it.
The Motion Picture was supposed to be the flip side to Star Wars. A big budget, "thinking man's" science fiction film. And it is, despite some cliches here and there. Really though, the reason I love this film, unlike the others on my list, isn't necessarily for it's plot, it IS for the Special Effects (and score) almost solely. And they are magical. When I watch The Motion Picture I feel like a little kid, every time. I get lost in the epic expanse and beauty of the film.
Early in the film, when Admiral Kirk travels to the re-fitted Enterprise, gaping in wonder at it's size and beauty, tears welling in his eyes, Jerry Goldsmith's score blaring triumphantly in the background, I feel like I'm there. I feel a true sense of something indescribably special... That is what the whole film is to me.
The largest section of the film, the travel into the mysterious V-Ger cloud and it's inner depths, is mystifying in both it's beauty and it's depiction of the sensation of experiencing something unknown. The crew of the Enterprise doesn't know what's happening any more than the audience does, all they can do is go forth into the darkness and pray they find a way to protect us from the evils that might lie within.
The Motion Picture IS an EXPERIENCE, one you must give into and go with to appreciate. But it is a beautiful journey and the effects have not been surpassed in the 30+ years since it's release.
Legend (1985)
Directed By Ridley Scott
Before he moved on to exclusively directing gritty, realistic crap, Ridley Scott was a master of the fantasy/sci-fi genre. "Alien" (1979) is a classic film of the genre and the Special Effects subset, as is "Blade Runner" (1982) and I love them both dearly. But Legend, Scott's last true film in the genre(s), is my favorite of his films and one of my all time favorite films in general.
Plot wise the film is purposefully iconic; essentially the tale of a beautiful princess, saved by a young warrior from the clutches of a great evil. The entire film was shot on sets (creating lavish, expansive forests, more beautiful than anything found in nature) and done entirely in studio, but never once does it not feel like a real place or magical world unto itself.
There aren't many overt VISUAL effects in the film, the ones that are there are well used and practical, serving to enhance not to weigh down. The reason this film is one of the greatest effects films comes down, not to visual pizzaz, but to two PEOPLE; Make-Up Artist Rob Bottin and actor Tim Curry.
Curry plays the villain of the film, simply called Darkness, and he is the living embodiment of pure evil brought to life onscreen. Tim Curry as Darkness, IS the Devil you always imagined. He's 12 feet tall, impossibly muscular, red skinned, with giant horns, massive cloven hooves and piercing yellow eyes... But most importantly, he is REAL and there in the world and on the set with the other actors, towering above them and tearing through every scene with menacingly, lustful, relish.
Rob Bottin went all out to make Darkness THE ultimate expression of cinematic evil and his work is flawless. CGI could never create a creature like Darkness. He is alive and breathing, vivid and totally realistic. Darkness is the scariest creature to grace a film of this type. A horrific Disney villain brought to full life before our eyes. However, Bottin's work would only be half as good if it were anyone other than Tim Curry under the make-up.
For those not familiar with Curry outside of Rocky Horror, he is a brilliant character actor, famous for stealing almost any scene he is in and Darkness is his ultimate work as an actor. Every line of dialog, every inflection, every nuance is pitch perfect. Couple that knowledge with the fact that Curry is covered in POUNDS and POUNDS of make-up and prosthetics, it's a wonder he can even move, much less enliven all of his moments with a palpable, evil-gravitas. Darkness is a powerhouse character and one that really must be seen to be believed.
Legend is an adult fairy tale, a definite pre-cursor to the Lord of the Rings Trilogy, extremely enjoyable in either it's Theatrical or Director's Cut.
Star Wars Episode VI Return of the Jedi (1983)
Directed By Richard Marquand
I will start off by saying that "The Empire Strikes Back" (1980) is my favorite Star Wars film, BUT Return of the Jedi is probably the one I've watched and enjoyed the most. Aside from the much hated (I don't mind them) Ewok sequences Return of the Jedi is a dark, ambiguous and emotional film. The opening scenes in Jabba's dark, foreboding palace, Luke's search for his father and attempted seduction at the hands of the Emperor and the Rebellion's final battle against the Empire are emotionally and psychologically well played and exceptionally melodramatic, in a classic sort of way.
And... the special effects of the film are the best in the entire series. Jabba's palace and the creatures within are a marvel of set/production design merged together with make-up and practical effects. The battle against the Rancor inside the palace and the pit of the Sarlac outside are also an expert combination of compositing, miniatures and on set effects work.
The Death Star sequences of Luke being prodded by Vader and the Emperor to succumb to the dark side, intercut with the battle on the surface of Endor are thrilling examples of great acting and special effects talents coming together for vivid dramatic impact. And, lastly, the final battle in space. The rag-tag rebellion fleet versus the Death Star and a seemingly endless volley of Imperial fighters is suspenseful and visually stunning. THIS is how a space dog fight is supposed to be. You can see everything that is happening, you have moment's to catch your breath. There is a lot going on, but you are never OVERLOADED by everything (unlike in the prequel trilogy.)
Return of the Jedi is an underrated film, still certainly a sci-fi classic. (Avoid the Special Editions of the original trilogy at all costs, watch the original cuts.)
V for Vendetta (2005)
Directed By James McTiegue
The only fairly modern Special Effects film on my list, is this, V for Vendetta. Having not read the original graphic novels, I cannot complain or compare the screen adaptation to it's source. But, as a stand alone film, looking at it just for cinematic merit, it is outstanding. The plot is dark, subversive, twisty and suspenseful. The acting, particularly from leads Hugo Weaving and Natalie Portman, is brilliant all around, inflecting each moment of the film with the appropriate weight, humor or gravity as required. Nothing, even perpetual scene chewer John Hurt, is TOO over the top. The film is pitch perfect in the plot, story, acting and tone from beginning to end.
This brings me of course to the Special Effects... Aside from one or two CGI shots ever so SLIGHTLY poorly integrated into the film, the effects on the whole are brilliant, especially for a modern film. Once again, nothing is taken TOO over the top or done TOO much. And NEVER at any point do the special effects over shadow the story or the performers, they only serve to enhance the film.
Case in point my favorite effects scene in the film, the destruction of Parliament perfectly synchronized to the 1812 Overture. It is a dramatic scene, emotional and powerful. It's a seminal moment in the film and it FEELS like it. When I saw it in the theater I was left speechless and stunned, in awe. The first time I'd had that sensation since the next film I'm about to list. It's a tour-de-force moment and probably the best special effects moment in recent history. AND it was done with very little CGI, mostly model work and practical effects.
V for Vendetta is a powerful modern blockbuster, both in terms of it's effects and it's effect.
Jurassic Park (1993)
Directed By Steven Spielberg
Ah, the end of a great era and the beginning of a not so great era. I consider Jurassic Park to be Spielberg's last gasp of "Spielbergian Magic." After this he stopped having fun with his movies and started taking himself and his work far too seriously. Partially to blame was his next film, the admittedly great Schindler's List. After Jurassic Park and that film, he just lost whatever it was that made him special. And now he just makes big, slightly better than average, "giant-films." They're soul less though, formulaic and just not Spielbergian.
Jurassic Park doesn't just mark the end of the classic Spielberg era, it marks the beginning of the CGI Blockbuster era. It is both a sad and wonderful thing. Sad in that most of today's dull, effects over burdened, summer crap-fests wouldn't exist if it didn't exist. And wonderful in that Jurassic Park's CGI effects are the ultimate example of the medium, never bested, even nearly twenty years later. (Granted a lot of Jurassic Park's CGI effects are seamlessly blended with animatronic and practical effects.)
Based on Michael Crichton's novel of the same name, the plot of the film is quite intelligent and witty (especially compared to modern "popcorn" films... or Jurassic Park 2 and 3....) The acting is uniformly good all around, particularly from Sam Neill, Laura Dern and the two child actors that carry the film. And the dialog, while weighted down with a lot of exposition and techno-babble, is crisp, tight and at times darkly humorous. Like Star Trek- The Motion Picture however, Jurassic Park is not on this list for it's plot per say, it is an experience, something that must be given into and just... seen.
Spielberg promised to deliver something with Jurassic Park, something un-imaginable, something akin to making Superman fly... Dinosaurs. Realistic, wholly believable dinosaurs. Does it achieve that? It does. And so much more...
I was at Jurassic Park on opening weekend when I was 8 years old. I sat in the front row and was mesmerized by the film. The first shot, when they reveal the Brontosaurus eating leaves from the treetops of the Park, left me speechless. Even when I think about it today it brings tears to my eyes. It's one of those un-describable moments that confirms the magic of movies, unlike any other. Even the wonderful Tyrannosaurus and Raptor sequences from later in the film, while expertly crafted and totally believable, cannot compare to that one splendorous instant when we see a Dinosaur for the first time.
That first reveal is a moment of pure, beautiful wonderment and for that moment alone Jurassic Park could stand as a classic, thankfully the rest of the film is great too.
Poltergeist (1982)
Directed By Tobe Hooper
Here is yet another film that holds a very special place in my heart and mind, on an emotional level. Poltergeist is a movie that I consider the last "70's Horror Film." Meaning that; 1. It is well written and brilliantly acted. And, 2. It is a PG rated film that packs the punch of a Hard-R.
Poltergeist tells the story of an average american family that moves into a new home, in a new neighborhood, only to find their house possessed. At first the spirits that inhabit their house are playful, even humorous, but that soon devolves into the ultimate suburban nightmare. Their daughter is taken from them, the family is put at psychological odds with themselves and their deepest fears and if they don't come together, they'll lose everything and possibly by sucked straight into the darkest depths of hell.
My main love for Poltergeist stems from it's plot and the carrying of that plot mostly on the shoulders of Jo Beth Williams. As the matriarch of the "most average and relatable family" Williams delivers an emotionally draining, heart wrenching performance, that not only anchors and drives the film, but in a perfect world would have netted her not only an Oscar but a much grander career. The latter parts of Poltergeist, when Williams (and the rest of the family) are searching for the missing daughter are as emotionally draining as they are terrifying. You truly feel for this woman and her family and that is what makes Poltergeist work so well.
As for the effects, they are brilliant, the film wouldn't be on this list if they weren't. From the little tricks the spirits play early on, to the killer tree, the evil clown doll, the nightmarishly stretching corridors and the climactic, ghastly apparitions, every effect in Poltergeist is first rate. And, not only are the ghosts of the film capable of generating suspense and terror, they also, in a few brief scenes, expose us to that mystical sensation of the unknown, ever so difficult to capture on film.
If you like horror with an emotional undertone, experience Poltergeist (before the (surely wretched) remake comes out.)
Star Trek III The Search for Spock (1984)
Directed By Leonard Nimoy
Wrath of Khan is considered the greatest Star Trek film, for good reason of course, because it IS the greatest Star Trek film. It is one of the few major Hollywood films to pack such darkness, drama and emotional impact into it's effects laden borders. Also it is one of the few major Hollywood films to kill off a long standing, beloved, iconic character (Spock) and do it in a SERIOUS, weighty, truly heart wrenching way. And, I love Wrath of Khan, it's a classic, but Star Trek III The Search for Spock is my FAVORITE Star Trek film.
Star Trek III begins right after the climactic events of Wrath of Khan. Kirk has been reunited with the son he never knew he had. The Enterprise is limping back home to Earth. The crew is drained and depressed and Dr. McCoy appears to be going insane after being touched by Spock, just before the vulcan saved all their lives in the last film.
When our intrepid heroes finally arrive back home they are met with little fanfare. Sulu, Scotty and Uhura are reassigned to less than thrilling jobs. Admiral Kirk is essentially told he's gonna be put behind a desk and the Enterprise is to be decommissioned. And, Dr. McCoy is institutionalized.
The glimmer of hope at the center of the film is that there is a chance Spock is still alive. To follow through on this chance, Kirk and crew must throw their careers away, break Dr. McCoy out, steal the nearly destroyed Enterprise and trek back to the now forbidden Genesis Planet, created at the end of the last film, to retrieve Spock's body. On their journey, in addition to being pretty much alone and outmatched by all, the crew must deal with irate Starfleet forces and a deranged renegade Klingon.
Star Trek III is the darkest chapter of the original series' run and one of the darkest, most depressing mainstream films ever made. And, it is for this reason I love the film the most. It is a film of much uncertainty and great ambiguity, it is also a film that deigns to kill off yet ANOTHER beloved character in a tragic, shattering manner...
And no, I don't mean David Marcus, Admiral Kirk's son (who's death and Kirk's subsequent reaction is powerful and a high point of the series), I mean the destruction of the Original Starship Enterprise. It is for this sequence alone the film is on this list. AND this sequence is one of the few pure special effects moment that is emotionally draining unto itself.
The destruction of the Enterprise is the single greatest "stuff being blown-up real good" scene in cinema history. The Enterprise is such an iconic creation and such a powerful image by itself, seeing it ripped apart inside and out and blown to bits in rich wide screen glory is painful. To add to the pathos, we see Kirk and his crew, helpless and heartbroken, stranded now on a hellish planet, as they watch their beloved ship fall through the sky, burning, dying.
Star Trek III is a misunderstood, highly underrated, emotionally powerful film. If you like Sci-Fi or are a fan of Star Trek (new or old) I recommend watching the original series films, particularly 2-4 (it's a great story arc.)
Wednesday, May 26, 2010
National Movie Awards
"We're a nation of movie lovers and there's an extra thrill on the night knowing that millions of filmgoers have chosen the winners."
James Nesbitt
ACTION / THRILLER
Sherlock Holmes
FAMILY
Harry Potter and the Half-Blood Prince
FANTASY
The Twilight Saga: New Moon
VUE MOST ANTICIPATED MOVIE OF THE SUMMER
The Twilight Saga: Eclipse
BREAKTHROUGH MOVIE
The Time Traveler's Wife
PERFORMANCE OF THE YEAR
Robert Pattinson
SPECIAL RECOGNITION
Harry Potter
SCREEN ICON
Tom Cruise
Huntington-Whiteley Is A Fox
Rosie Huntington-Whiteley has been tipped to take over from Megan Fox in the third Transformers movie.
The Victoria's Secret beauty, who has no previous acting experience, reportedly auditioned for the role last Friday and is now the favourite to replace Fox, who starred in the first two blockbusters but opted out of a third installment.
Huntington-Whiteley, 23, is said to be leading a short-list of three potential stars, including The House Bunny's Sarah Wright and Sports Illustrated model-turned-actress Brooklyn Decker, according to Deadline.com.
Production on the action sequel began on 17 May in Los Angeles and the leading actress is slated to begin shooting scenes with the franchise's male star Shia LaBeouf next month.
Other young actresses who have been linked to the project include Heroes' Hayden Panettiere, Australian model Miranda Kerr, and Twilight star Ashley Greene.
Tuesday, May 25, 2010
Help Emma
Can anyone help a damsel in distress?
If you can, contact me, and I'll give you Emma's number.
Tell her BRWC sent ya.
Hi there,
I'm Emma, a producer from the National Film and Television School (NFTS) and i'm looking for some help with our graduation film, which we will be shooting in Maerdy for 7 days mid - late July (final dates still tbc). We are looking for local crew and I am hoping that you may be interested in helping initially with some casting, and later as an assistant when we film. I got your details from Screen Wales, apologies if this is no longer of interest.
What I really need help with is finding our two lead actresses, who we want to cast locally. The plan is for the director and her casting assistant to come to Cardiff on 10th June and stay until 18th. They will go round schools, youth groups etc to find cast. I'm looking for the third person for their team who can help wrangle 14 - 16 year old girls, help co-ordinate the week, film / upload audition tapes (so that I can view from here) and also to drive them from place to place. And here's the really big ask, we really need to find a kind hearted soul to put them up as we can't afford to accomodate them. They are actually a couple, so one bed would be fine!
If you think you can help, or if you know of someone who could be interested, please do let me know. The grad films from the NFTS do really well and are screened to top industry professionals so lots of exposure; one of last years films screened in competition in Cannes and another won a student Oscar! The director, Andrea, is one of the most talented I have met and has been nominated for a Scottish Bafta before, so i am certain that this will be a fantastic film. She is also lovely and a good house guest! Have a look at the website (link below) for more info about the NFTS.
I'm sorry to say we can't afford to pay anyone but will of course cover petrol and give a bit of cash towards electricity / water costs. Sorry it can't be more, we have an ambitious project and need to make a little go a long way.
I'd love to hear from you, and if you have any questions don't hesitate to ask. Also, if you can help with the production, but not with casting, it would still be great to hear from you as i'll be looking for two full time assistants / runners.
All the best,
Emma Lamont
http://www.nftsfilm-tv.ac.uk/
I'm Emma, a producer from the National Film and Television School (NFTS) and i'm looking for some help with our graduation film, which we will be shooting in Maerdy for 7 days mid - late July (final dates still tbc). We are looking for local crew and I am hoping that you may be interested in helping initially with some casting, and later as an assistant when we film. I got your details from Screen Wales, apologies if this is no longer of interest.
What I really need help with is finding our two lead actresses, who we want to cast locally. The plan is for the director and her casting assistant to come to Cardiff on 10th June and stay until 18th. They will go round schools, youth groups etc to find cast. I'm looking for the third person for their team who can help wrangle 14 - 16 year old girls, help co-ordinate the week, film / upload audition tapes (so that I can view from here) and also to drive them from place to place. And here's the really big ask, we really need to find a kind hearted soul to put them up as we can't afford to accomodate them. They are actually a couple, so one bed would be fine!
If you think you can help, or if you know of someone who could be interested, please do let me know. The grad films from the NFTS do really well and are screened to top industry professionals so lots of exposure; one of last years films screened in competition in Cannes and another won a student Oscar! The director, Andrea, is one of the most talented I have met and has been nominated for a Scottish Bafta before, so i am certain that this will be a fantastic film. She is also lovely and a good house guest! Have a look at the website (link below) for more info about the NFTS.
I'm sorry to say we can't afford to pay anyone but will of course cover petrol and give a bit of cash towards electricity / water costs. Sorry it can't be more, we have an ambitious project and need to make a little go a long way.
I'd love to hear from you, and if you have any questions don't hesitate to ask. Also, if you can help with the production, but not with casting, it would still be great to hear from you as i'll be looking for two full time assistants / runners.
All the best,
Emma Lamont
http://www.nftsfilm-tv.ac.uk/
The Killer Inside Me
Great trailer here.
Based on the classic novel by legendary pulp writer Jim Thompson, THE KILLER INSIDE ME tells the story of handsome, unassuming small town sheriff’s deputy Lou Ford (Casey Affleck). A quiet charmer of his idyllic West Texas town, Ford has a simple life and a pretty girl (Kate Hudson) to come home to. But when the job brings him face to face with a gorgeous prostitute (Jessica Alba) on the edge of town, Ford’s fragile world cracks – unbridling his own dark urges. In THE KILLER INSIDE ME’S blacker–than–noir universe, nothing is ever what it seems.
Splice Pics
IMDb has a load of pics from upcoming film Splice.Splice is a 2010 film directed by Vincenzo Natali and starring Adrien Brody and Sarah Polley, who portray two young scientists and lovers who begin involving human DNA in their splicing.
Pixar Sketches
Wired magazine has access to the 49,000 rough sketches were used to create the lush, detailed scenes in Toy Story 3.
Monday, May 24, 2010
Film Review with Robert Mann - Capitalism: A Love Story
Capitalism: A Love Story ****½
He’s examined America’s gun culture in Bowling For Columbine, provided a witty look of post 9/11 America in Fahrenheit 9/11 and taken on the American health care system in Sicko but now controversial US documentary filmmaker Michael Moore has taken on the big enchilada - (a theme that has been present in pretty much all his films to date) the domination of corporations in American society. Michael Moore’s latest documentary film Capitalism: A Love Story is not one of his more popular efforts, having done rather poorly at the box office when compared with his last two efforts but this doesn’t mean that Moore has lost any of his impact when it comes to dealing with the big issues.
America’s most feared filmmaker remains as resolute as ever in exploring the big issues that affect his fellow citizens. However, underpinning many of Moore’s investigations is a common theme - the impact of corporate dominance on America (and thus, the rest of the world). In what he describes as “the biggest robbery in the history of this country”, namely the colossal transfer of US taxpayer’s money to private financial institutions, Moore once again takes a wry peak at dubious commercial and political goings-on. From Middle America to Wall Street’s epicentre and the halls of power in Washington, no one is spared Moore’s caustic humour and indignation as he asks, could it be that the American people are finally falling out of love with capitalism?
The opening of Capitalism: A Love Story bluntly and wittily states: “This picture, truly one of the most unusual ever filmed, contains scenes which under no circumstances should be viewed by anyone with a heart condition or anyone who is easily upset. We urgently recommend that if you are such a person or the parent of a young or impressionable child now in attendance that you and the child leave the auditorium.” This warning may come across as humorous - well, it is - but it is also very apt as some of the outcomes of Michael Moore’s investigations into the pitfalls and outright evils of capitalism in America are truly shocking and the revelations quite terrifying. It really could be quite depressing but for Moore’s trademark witty and satirical humour preventing the film from being completely unwatchable. He examines serious real world issues seriously and sensitively, ensuring that we can really can and do feel for the plight of the everyday American citizens who have lost everything that Moore interviews throughout the film, but the humour built around this complements rather than contradicts the serious and inherently unfunny things that he is investigating. Frequently hilarious and thoroughly thought provoking, Moore has crafted a film that amuses as much as it interests, successfully combining archive footage - clips from films and documentaries, new and old; news footage; political broadcasts; television advertisements - with interviews with people working for the banks, congress men and women, the people who are suffering at the hands of capitalism and some of the vultures (a particularly applicable wording given one of the persons interviewed) who are responsible for their suffering (although, as you may expect based on past films by Moore, the really power people are not interviewed - not for lacking of trying on Moore’s part though), and even some of Moore’s own childhood home movies, not forgetting, of course, Moore’s well known escapades. The mix works superbly in presenting the unabashed truth that the corporations don’t want you to know. “This is capitalism. A system of taking and giving. Mostly taking…That’s the point with capitalism. It allows you to get away with anything.” Of particular note is the way in which Moore compares American capitalism to the decaying Roman Empire, intercutting footage from film Life in Ancient Rome with scenes of everyday American life, a comparison which is surprisingly apt. What really makes the film though is, of course, is not so much the use of pre-recorded footage but rather the way in which Moore puts himself in the firing line with his escapades, clearly not afraid of what the consequences may be for himself. For example, when he goes around post-recession Wall Street banks with an armoured van and a bag with a dollar sign on it, demanding that banks return money to the taxpayers that had been given to them to bail them out, a poignant point is made and in truly hilarious fashion. The only problem with the film is that, while Moore is rousingly successful in putting across his argument, the argument tends to be very one sided. This, however, is likely due to the fact that Moore was unable to get interviews with the people holding the real power, as evidenced by his repeated attempts during the film to do just that, each ending in failure. This, however, is only a minor fault in a film that is extremely poignant and has much to say about a system that has become corrupt and broken. The system is evil but it stays alive because American citizens allow it to do because they have been programmed to believe in the American Dream. There is a huge contrast been the positive manner in which the rich and powerful attempt to portray capitalism and the way it actually is in the real world, something which Moore knows well and, after this seeing this film, you will too. Capitalism: A Love Story is a provocative piece of filmmaking and also a very entertaining one. And it perfectly sums up capitalism in three simple words: “Greed. Exploitation. Failure.”
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Review by Robert Mann BA (Hons)
Sunday, May 23, 2010
The Cannes Winners
Palme d'Or - Uncle Boonmee Who Can Recall His Past Lives,
directed by Apichatpong Weerasethakul
Best director - Mathieu Amalric for On Tour
Best actress - Juliette Binoche for Certified Copy
Best actor- Javier Bardem for Biutiful and Elio Germano for Our Life (shared)
Best screenplay - Lee Chang-Dong for Poetry
Grand Prix - Of Gods and Men directed by Xavier Beauvois
Jury Prize - A Screaming Man directed by Mahamat-Saleh Haroun
Film Review with Robert Mann - Tooth Fairy
Tooth Fairy *
When he first made the move from the world of wrestling to the world of filmmaking, Dwayne Johnson (then known by his wrestling name The Rock) showed great promise as a new generation of action movie star, so much so that he even had the personal approval of Arnold Schwarzenegger - the long time king of the action movie - who viewed Johnson as his sort of successor, even putting in a cameo appearance in Welcome to the Jungle as a passing of the torch if you will. Showed great promise, Johnson certainly did but it didn’t take long to realise that he perhaps didn’t quite have what it took. The underwhelming performance of several of his action films seemed to put an end to a promising action movie career before it had even begun. But, then Johnson did a little film called The Game Plan and he had found a new calling - not as an action star but as a family film star. So, rather than being a successor to Schwarzenegger, Dwayne Johnson is instead the new Tim Allen or Eddie Murphy, the go to guy for family films requiring an adult actor who has to deal with a bunch of kids. However, what was amusing with The Game Plan - the tough guy being thrown into the most improbable of scenarios - is now more tiresome, having being done to death in countless similar family movies and no longer having the same appeal it once did. Consequently, the arrival of Tooth Fairy on cinema screens is likely to be welcomed by a collective yawn from moviegoers and even the association of Walden Media - usually known for their high quality family films - is not likely to win many viewers for this film.
Ultra-aggressive ice hockey player Derek Thompson (Dwayne Johnson) has a nasty habit of bashing opposing players in the mouth, earning him the nickname 'The Tooth Fairy'. Derek's not really a bad guy, but his days of greatness were ended by an injury and now he has to settle for drastically lowered expectations. But when Derek's blunt-talking ways dash a young fan's dreams and get him on the wrong side of his girlfriend Carly (Ashley Judd) for almost revealing to her daughter that there is no such thing as the Tooth Fairy, the hulking athlete gets a highly unusual punishment - he's transported to Fairyland where no-nonsense matriarch Lily (Julie Andrews) sentences him to two weeks as a Tooth Fairy. An officious administrative fairy named Tracy (Stephen Merchant) is assigned to make sure Derek serves his sentence to the letter. Armed with his Wand (with All-Purpose Magic Generator Button), Invisibility Spray, Shrinking Paste, Dog Bark Mints, 'Cat-Away' and Amnesia Dust, Derek becomes the most unlikely tooth fairy ever...
It is really hard to believe that Tooth Fairy is made by Walden Media. To date the production company has prided itself on making family films that are more sophisticated and original than the norm but here it just seems like they have sold out. While this film has a good message at its heart, it is lumbered with a weak script, the plot essentially being a rip off of the superior kids flick The Santa Clause (the first one, not the mediocre sequels, which were incidentally from the same director as this film) and its tale of redemption being predictable and obvious. These things wouldn’t be a problem if the film at least scored big in the laugh out loud department but, unless you are a very undemanding viewer, you will find laughs to be few and far between, the dialogue being weak and the gags lame. Only a few things raise any giggles here, the funniest scene probably being one that features during the closing credits, and the sight of Dwayne Johnson sporting a tutu and fairy wings raising a few titters. The problem is that the film just seems stupid at times and so-so effects do little to change this. The only thing that prevents the film from being completely abysmal are the scenes with Stephen Merchant, who provides the film’s few glimpses of genuine humour but even these are hardly laugh out loud moments. Dwayne Johnson’s performance is packed full of his usual energy and charisma and he is extremely game for the many humiliating situations he has to endure throughout the duration of the film but he really has next to nothing to work with and the supporting cast do little to help matters. The likes of Julie Andrews, Ashley Judd and Billy Crystal (in a small role as Jerry, the Tooth Fairy gadget guy) are completely wasted while a cameo appearance by Seth MacFarlane just seems bizarre. So, Tooth Fairy is just one family film too far for Dwayne Johnson. It may keep undemanding youngsters mildly amused but anyone else will just be bemused as to why Johnson would do such a film as this. There is nothing magical about this fairy.
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Review by Robert Mann BA (Hons)
Film Review with Robert Mann - Prince of Persia: The Sands of Time
Prince of Persia: The Sands of Time ***½
For Walt Disney Pictures, the Pirates of the Caribbean franchise is quite possibly one of the best things that has ever happened (financially speaking of course). A hit movie series of mega blockbuster proportions, and one that found its inspiration in a theme park ride of all places, the series has generated tremendous revenues for the Mouse House, but, as is the case with most film franchises, there is only so much life in it, and the people at Disney are well aware of this fact. Consequently, they have been looking for what they hope to be the next Pirates of the Caribbean style success and, in Prince of Persia: The Sands of Time, they may just have found it. An adventure in a similar vein to the Pirates movies and produced by the same person - Jerry Bruckheimer, who also gave Disney the hugely successful National Treasure movies - as them, Prince of Persia: The Sands of Time finds its inspiration in a somewhat more tangible source, that of the the Prince of Persia video game series. The track record for movies based on video games to date is sketchy at best, in terms of both box office takings and actual film quality, with even the best video game adaptations - the Resident Evil films standing out in this regard - requiring you to leave your brain at home and the worst being examples of perhaps the very worst kind of filmmaking there is - the Uwe Boll kind. But, with a director who has a great track record - Mike Newell, who previously helmed Harry Potter and the Goblet of Fire and Four Weddings and a Funeral among other things - and a producer who consistently delivers entertaining popcorn fare, could Prince of Persia: The Sands of Time be one of the best ever video game adaptations, both at the box office and in the raw quality department?
Adopted by King Sharaman (Ronald Pickup), ruler of the Persian Empire, as a young boy, the good hearted and strong willed orphan Dastan (Jake Gyllenhaal) grows up to become a rogue prince, alongside his adopted brothers Tus (Richard Coyle), the next in line to the throne, and Garsiv (Toby Kebbell). Following a misguided attack on a city ruled by the mysterious princess Tamina (Gemma Arterton), King Sharaman is murdered and Dastan is framed as his father’s murderer. Dastan finds himelf on the run and in the possession of a magical dagger. Releasing the sand the dagger contains has the effect of turning back time for a period in which only the dagger's holder is aware of what's happening. Reluctantly joining forces with Tamina, Dastan learns that to find such a treasure means the Gods have a plan for him. Also seeking the dagger's power are the evil forces led by Nizam (Ben Kinglsey) that want to use it to destroy the world. Tamina persuades Dastan that the only way for them to halt this Armageddon is to take the dagger to its secret guardian temple. Together, and with some help from the opportunistic Sheik Amar (Alfred Molina), they race against time - and the terrifying Hassansins who pursue them - to stop the dagger from falling into the wrong hands and thus save the world from destruction.
Despite many differences in theme and style, Prince of Persia: The Sands of Time really does try to establish itself as the next Pirates of the Caribbean. In this regard the film is a failure, proving to be not nearly as entertaining as any of the three Pirates movies. Also, Jake Gyllenhaal, while a very good actor, is definitely no Johnny Depp. On its own terms, however, and by comparison to other movies based on video games, this film is a well crafted popcorn movie that, while no masterpiece, makes for a very enjoyable viewing experience. There is much more visual and creative flair in this film than you would find in the average videogame adaptation and, for once, it seems that a movie has been based on a game that had genuine potential for adaptation to the screen. While some will argue that the film is essentially a succession of action sequences linked together by a servicable if unspectacular plot, the writing here is quite sufficient for this to work as blockbuster entertainment. There is sufficient story here for us to actually care what happens to the characters and while the characters are not all very well developed, they are mostly pretty three dimensional, each complete with their own distinctive personality, and while the dialogue they speak is sometimes a tad obvious it is never bad either. Additionally, the film successfully blends in a number of pretty funny, if rarely hilarious, moments of humour, ensuring that this film is well grounded in the same kind of popcorn style as the ‘Pirates’ movies. These aspects, though, are, of course, successful in part thanks to the performances. The acting is generally of a high standard and, while no one will be winning any awards for their performances here, everyone entertains. Jake Gyllenhaal has enough charisma and cocksure swagger to ensure that female viewers in the audience will be charmed by him and that he convinces as the action hero type, and his chemistry with co-star Gemma Arterton is electric. Arterton herself is also very good, if a bit too similar to her role in Clash of the Titans. Additionally, Ben Kingsley is suitably sinister, although admittedly very obvious, as the villain of the piece and Alfed Molina is hugely entertaining in a role that is essentially comic relief but still sees him chewing scenery at every opportunity. The film is also well done in the visuals department. The visual effects are good but not quite great, the imagery obviously computer generated but not so much that it doesn’t still look good, and the locations that are realised throughout are quite beautiful in their presentation. The action sequences often make pretty good use of the visual effects but some of the best action comes courtesy of practical stunt work in a number of Parkour style free running sequences featuring some truly excellent stunt work. These scenes embody an almost old fashioned style and surely anyone fond of the original Indiana Jones movies will have some appreciation of them. The action sequences, both of the practical and visual effects variety, are well crafted and enjoyable, even though they are never truly awe inspiring. So, Prince of Persia: The Sands of Time may not be the next Pirates of the Caribbean but, from a technical standpoint, it is one of the better made films to be based on a video game, and it is an enjoyable, if not especially memorable piece of popcorn cinema that will ensure that you won’t want to turn back time after leaving the cinema.
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Review by Robert Mann BA (Hons)
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