Search Results

JUSTICE LEAGUE REVIEW The first thing you should know (if uninitiated in comic book history) is that DCs Justice League is not a direct response to Marvel’s Avengers. The Justice League were formed in 1960, debuting in The Brave & The Bold #28. The original team comprised of: Martian Manhunter, Green Lantern, Flash, Batman, Wonder Woman, Aquaman and Superman. The Avengers first appeared 3 years later. I mention this, because the Justice League movie also stands on its own film credentials, not taking any cues from Marvel's Avengers Assemble or Age Of Ultron. If anything, you’ll notice that there are more re-enactments and scenes that closer match Tolkien’s Lord Of The Rings trilogy, than anything offered from comic book land. It's a slight shame, that the production team looked outward instead of within, as if they really needed some inspiration for a mega scale delivery, they need look no further than their own feature length animations. Rightly done, an adaptation of some of these titles, would have rocked the superhero movie genre for sure. But I delay. Is Justice League any good? The Good News; Justice League is worthy of a cinematic visit. It is better than Batman Vs Superman, but not as good as Wonder Woman. The main kick you’ll get out of this DC entry, is in seeing the roster of heroes (main ones and cameos) that make an appearance. This gives the film a type of fulfilment that a solo character outing can’t achieve. Some of the action scenes are awesome, in particular the Themyscira assault and a little internal squabble between the JL team members. Performance wise, newcomer Ray Fisher who plays Cyborg, ironically brings the most endearing humanity to the proceedings and Ezra Miller as The Flash, brings the humour. "Ultimately, the film’s main downfall, is that it is not a consistent ride." But now, for The Bad News. The CGI…oh lord. I don’t know what it is about DC films, but the graphics always look like they are only one step improved from a triple A computer game. This is one factor that I always have to take my hat off to, in regards to Marvel productions, they make me believe in the worlds that they create. As an overall production value, DC/Warner Bros need to seriously step up in this department and other failures arrive in the script having some clunky dialogue, some physical movement that scientifically doesn’t make sense superhero or not (including one scene where Flash’s running style is really bizarre) some narrative mishaps that will have you planting your face in the palm of your hand…and please, STOP with the superhero poses. For 21st century cinema, it looks corny and ridiculous! I’m all for films not being too aware of themselves, but be aware here! If you want to find the ultimate, unpretentious superhero pose in cinema, then look at the very last shot in Batman (1989). Ultimately, the film’s main downfall, is that it is not a consistent ride. There are noticeably good lines and bad ones, nice surprises and annoying parts, good action and bad action. Consequently the film is a seasaw of good and bad ideas - but you'll have to decide which end is staying up longer. Also, as foes go, they picked the wrong villain – Steppenwolf, Steppen who? Exactly. On a personal note, at this point within the superhero movie, I am officially bored of seeing superheroes fight 10,000 minions throughout an entire movie, that present no real challenge. If a studio needs a means of superheroes being able to unleash their power, without any blow back about screen violence and achieving a PG rating, then find another way. There is also one major reason you have to watch this movie – but that would be a major, major plot spoiler. DC are almost on the right track, they just need some of their production values re-examined and tightened. Watch JL with minimal expectations and just go with the flow. Release Date 17th Nov 2017

It’s been a pretty good week for the creators of ‘Paddington 2’. Firstly, the movie received sparkling reviews upon it’s release last Friday, and then news emerged yesterday that the movie has severed ties from the much maligned Weinstein Company after the North American distribution rights were nabbed by Warner Bros. Paddington, our furry little hero from Peru, is a timely ray of shining generosity and love in this the second edition of his tale. The sequel to 2014’s first instalment is just as charming, amusing and uplifting and includes an extremely talented and extremely British cast. We return to the life of Paddington (brilliantly voiced by Ben Whishaw), who has now settled with the Browns, and has made friends with many in the community. With his aunt Lucy’s birthday coming up, he plans to find the perfect present for her which turns out to be an old pop-up book of London that he finds in an antique shop. In order to pay for the book, he tries saving money by working in a barber shop and as a window cleaner which both carry their own comical bout. Just as he is on the brink of having enough saved, the book is stolen from the antique shop and worse yet, Paddington is framed for the robbery. With the help of the Browns as well as those he inevitably makes friends with in prison, Paddington attempts to devise a plan to clear his name and retrieve the book. Given how much of a pleasant surprise the first Paddington film was, it was certainly going to be a tough task for the second to live up to expectations. But it exceeds them thanks to some more brilliantly put-together comedy sequences, some fine casting and more general joyful, feel-good movie making. It bears (excuse the pun) reiterating again the brilliance of Ben Whishaw as the voice of Paddington, who has that soft, friendly tone that so seamlessly goes along with the CGI’d character. It’s difficult to believe that Whishaw was drafted in at the last minute to voise the bear but thank goodness he was. He heads another incredible cast in the second instalment as Sally Hawkins, Hugh Bonneville, Julie Walters, Jim Broadbent and Peter Capaldi all return. This time joined by Hugh Grant and Brendan Gleeson with cameos from Richard Ayoade, Joanna Lumley, Ben Miller and Jessica Hynes. It’s a brilliant British cast where both Grant and Gleeson are absolutely on top of their acting game. Grant in particular, who plays the failing actor and main villain, Phoenix Buchanan, has certainly resurrected his career and this can be considered as one of his best comic performances. Grant is just one of the many brilliant comical elements of the movie which playfully rolls by with a number of visually funny gags as well as plenty of witty remarks and jokes. With that said, director and writer Paul King includes plenty of peril and tension in the movie beneath the comedy, none more so than the climactic underwater escape sequence. As a result of this layer being including in a movie primarily designed for children, Paddington 2 is an all round treasure of a film, rather than just worthy of a few laughs. But at the centre of this delightful watch is a character who offers a humble message of love and kindness, albeit sometimes in the most calamitous of ways, leaving Paddington 2 a hugely entertaining and charming watch throughout.

Just take a moment to think about how much time you spend on your smartphone. Think about how much of your week is spent on social media, scrolling through the endless amounts of selfies and filtered pictures. Do you ever get envious or judge people based on what they post on social media? Wish that picture of you from Friday night got more likes on Facebook or that you had more followers on Instagram? Well this is Ingrid cranked all the way to maximum and the poignant message in the dark comedy, Ingrid Goes West, is of how social media promotes an illusion of connectivity which is currently being cast on a generation in today’s society. This movie comes so close to homing in on that warning but cops out right at the end when all of its good work comes undone and any caution about the perils of social media evaporate literally within the last 20 seconds of the film. Ingrid is played by Aubrey Plaza who fits the role of the main character perfectly. The 33 year-old has come a long way in a short space of time since Parks and Recreation and here she plays an unstable social media stalker. We get an understanding of just how media obsessive she is at the start when she pepper sprays her friend at her wedding for not inviting her only to discover that the bride wasn’t a friend but had once commented on one of Ingrid’s Instagram posts. After recovering from that episode, Ingrid then decides to move to LA to track down Instagram expert, Taylor (Elizabeth Olsen), who she had come across and begins to fixate upon. Through a series of creepy acts, she tricks Taylor into befriending her and the pair begin spending time together before it all falls apart when Ingrid’s dark secrets are revealed. None of the characters in the movie are particularly likeable and therefore make the film a rather uncomfortable experience all round. Just think how annoying it is being out with your friends when everyone is staring at their phones or taking selfies – now think how annoying that would be just to watch unfold. The one aspect of relief is Dan (O’Shea Jackson Jr.), Ingrid’s landlord in LA and Batman fanatic who offers a number of laugh out loud moments to the proceedings and the only one who has any concept of reality. The devastating twist at the end should have been where the movie ended and landed its knockout blow of a message. But where 99% of the film is about the dangers of social media obsession, the remaining 1% is the closing sequence to the film that completely obliterates any positive message it was trying to promote. It ultimately lets down what is otherwise a poignant, contemporary movie.

The Greatest Showman, by Michael Gracey is truly a wonderful and aesthetically pleasing film. I watched the film with my sister and Mum on Monday 8th January. After hearing great things about the film and of course the Golden Globe win for “This is Me” made me very excited to watch the film. As soon as the film started I was hooked, it made me shiver with how beautifully crafted the beginning was. All the colours, twirling, flying and singing was chaotically perfect. The music was beautiful throughout. However, I didn’t think Hugh Jackman (who played the ambitious showman and entrepreneur, P.T. Barnum) was too impressive, for me his voice didn’t fit the songs. Zac Efron played the playwright and future partner to Barnum, Phillip Carlyle. He did a very good performance, not my favourite of his characters but still very good. I grew up watching High School Musical and Hairspray on repeat, so seeing that Zac Efron is in his fifth musical was very exciting. His song “Rewrite the Stars” with Zendaya (who played an acrobat, trapeze artist of the name Anne Wheeler) not only sounded beautiful the scene was beautiful too, the trapeze tricks along with the lighting made the scene very romantic and the song was stuck in my head all day afterwards! “This Is Me” and “Never Enough” were my favourite songs in the film. Two very powerful songs by two very powerful actresses. The songs were moving and almost brought me to tears in the Cinema while watching the film. The film being a partly real story set in 1800’s New York, made it even more appealing as you had Victorian style costuming with a modern style Circus, their Costume Designer, Ellen Mirojnick did a fantastic job. Hugh Jackman’s acting as the caught up, somewhat spoilt showman was fantastic, Michelle Williams who played his wife was a great partner for Jackman and you were really rooting for him, his family and their story. Despite the twist in the story, he was a great protagonist to follow and even though some of his actions were questionable you couldn’t help but understand what he was doing and why he was doing it. Overall the film was a very aesthetically pleasing film, it had a great storyline with a great narrative arc. It also had some fantastic songs that were performed by some great actors. I would definitely recommend you watching the film if you love a Moulin Rouge themed musical that is filled with lots of music, dancing and an equally great story.

https://youtu.be/ltDoXCeNv70

Four Rooms is the result of the collaboration between four of the most influential directors of the 1990’s: Allison Anders, Alexandre Rockwell, Robert Rodriguez and Quentin Tarantino. The anthology comedy film is set at a hotel on New Year’s Eve. The audience follow Ted the bellhop (Tim Roth) on his first shift at the hotel as he wanders from room to room attempting to fulfill the every request of its guests. Each film maker makes their mark on the hotel by directing the inhabitants of one room; and, you guessed it, there are four in total. Tim Roth’s portrayal of Ted in Four Rooms does not disappoint. From room to room, he oozes energy: skipping, jumping, wiggling and sweating whilst cantering around the hotel. Ted’s every move is exaggerated. Roth brings a fresh take on the bubbly male character, and no homosexual stereotypes are thrown at him, though he uses his light voice and crisp, English accent to his advantage. In many ways, it is Roth’s performance which makes the film a whole. Without a strong lead, and commitment to the character, a movie with four big name directors would be unenjoyable. Instead, the comedy which flows through the movie links each room and is expressed greatly through Ted. The first scene is from Anders, winner of the 1992 New York Film Critics Circle Award for Best New Director. Hers is an all-female cast; a covern of witches who attempt to revive one of their own. Madonna stars as Elspeth, the head of the covern, a woman dressed in head to toe, skin tight leather. The Honeymoon Suite was my favorite of the rooms, for it proved itself to special. The women are written to be sexy and funny, a combination which, it could be said, intimidates male audiences and is thus scarce in Hollywood. They dance around, semi-nude, close together and chanting. Not one actress falters, embracing the weirdness of the scene which results in hilarity for audiences watching the drama unfold. A highlight is the discomfort shown by Ted around the women, who in turn tease him and eventually end up needing his services to complete their spell. The next room is Room 404, written and directed by Rockwell. Following a call to the room where a party is taking place, Ted heads up to refill their ice bucket, however, he enters the wrong room. Suddenly, a fantasy hostage situation is unfolding before Ted, and he soon becomes non-consensual participant. A husband has his wife tied up and gagged and is accusing Ted of having an affair with her. Uncertain if the situation is real or a fantasy of the couple, Ted ends up with a gun pointed at his head. The best part of this scene is the shot of Ted hanging out of the bathroom window, shouting for help. The screen is split in half by the outside wall of the hotel as Ted’s body is suspended, his whole weight on the window ledge. Despite the creativity in the cinematography of this scene, the scene as whole doesn’t contain much action. Furthermore, I found the narrative of the scene quite confusing. The audience are aware Ted is at no real threat, though the husband and wife characters are written to compliment the faults of the other. Eventually, Ted escapes the room and checks the number on the exterior of the door, it could either read 404 or 409. As every film fan knows, Rodriguez has a certain panache to his movies. They are effortlessly stylish, and usually dangerous. In the third installment to Four Rooms, Room 309, Antonio Banderas is the strict father of two misbehaving children. He and his wife wish to escape their little terrors for an evening, thus bribing Ted to watch over them whilst they party into the New Year. Chaos, as it surely does where the bellhop is concerned, ensues. The screenplay for Room 309is is near perfect: for example, the scene opens as Banderas’ character is scraping his son’s hair back with a comb, causing the boy obvious pain but he shows little regard for his son’s dcomfort. Eventually he gives up, angrily telling his son he has his mother’s hair. His wife’s reaction is priceless. The children display a sassy attitude towards the eager to please Ted, calling him for every little thing and driving him crazy. This scene is by far the funniest of the four in the movie and ends in a horrifically hilarious still. The final room is The Penthouse. Tarantino directs and stars in the seemingly longest installment of the movie. As always, his acting is wooden and the scene revolves around him; Tarantino casts himself as “famous film director, Chester Rush”, the hotel’s VIP guest. By this point, Ted is growing tired and after phoning his boss to quit, he is persuaded to stay for one more call. He enters The Penthouse and from there the scene is seamlessly edited as the camera pans the set and the audience are introduced to each of Rush’s friends. The first half feels like Tarantino is exaggerating his knack for writing dialogue. The scene is fun, but pointless; nothing much happens. However, the narrative picks up in the second half as the characters educate Ted on their bet, which if he agrees to participate in will earn him a lot money: one of the men bets Rush he can light his Zippo lighter ten times in a row with no faults. If successful, this man will win Rush’s classic car, but if he fails he loses his “pinky” finger. After much persuasion Ted agrees to participate: it is his role to slice the man’s finger from his hand. The scene ends swiftly (WARNING: SPOLIERS) with the man failing to light his Zippo on the first attempt, the shot cuts to a close up as Ted brings down a hatchet onto the man’s finger, dismembering it from his body. Ted sweeps up his money and exits The Penthouse, anarchy unravelling in his mist. Overall, Four Rooms is a well put together comedy drama which begs not to be taken seriously. The lack of action in some scenes is made up for in the cinematography and comedy provided by Ted. The directors created a brilliant common thread in the bellhop, the character’s physical comedy and exaggerated hyperactive mind is well portrayed by Tim Roth. For me, the best room is Anders’ Honeymoon Suite whereas Tarantino’s Penthouse is an anticlimactic end to an otherwise entertaining movie.