I received a lovely email from Miss Jessica Lynch (not that one) who works with Top Online Colleges.com asking me if I could share a link for them as it movies. The link (10 Best Movie Dream Sequences) is a nice mixture of dream scenes old and new (with a great shout to Wild Strawberries) and defiantly worth a look and a comment. HOWEVER...
Where is Un Chien Andalou?
You know I'm right on this!
Monday, 7 March 2011
Review: The Adjustment Bureau
Year: 2011
Director: George Nolfi
Screenplay: George Nolfi
Starring: Matt Damon, Emily Blunt, Anthony Mackie
Synopsis is here
Is awards season over for another year? Because here's a late entry for "most misguided film comparison". The Adjustment Bureau (based in Phillip K Dick's The Adjustment Team) has had a quote plastered on the posters (attributed to Total Film) labeling the film "Inception meets Bourne". Regardless of whether or not it was a hasty quote slapped on by the mag because of what they knew at the time (I do not have the issue and I ain't looking for it) or it was a a touch of lazy writing picked up by lazy marketing people, it's clear to most people that the quote is WRONG.
Such dodgy wordsmithery (copyright LBP) can cause frustration because it paints the wrong picture of the film. However, in terms of much of the film's marketing, we can clearly see that painting a true portrayal doesn't appear to be a high on the list. Sure enough, checking out some of my friends facebook status over the weekend roused alarm bells.
The only ties to Bourne is that the film has Matt Damon claiming an aspect of his life (Nolfi also wrote Ultimatum). There is little to no relationship with Nolan's extravagant feature; however, one of the most fascinating aspects of The Adjustment Bureau is that it has grander themes than Inception. Dreamworlds are one thing, but fatalism? The film may have the upper hand.
Despite this, The Adjustment Bureau is mostly confined to the frames of romance. In watching the film, it appeared to be more of a melding of A Life less ordinary, Serendipity and Minority Report than anything else. Those who have looked that mesh of films in disgust/confusion shouldn't click close on your windows just yet as despite being softer than one may expect from it's trailers and tv spots, The Adjustment Bureau is an enjoyably lighthearted piece of fluff. One that has funnier than it should be and has a romance more palatable than a thousand Katherine Heigl/Jennifer Aniston/Matthew McConaughey (delete where appropriate) features. Inception is way more effective with it's beefed up sci-fi action and mind breaking visuals/effects. What TAB has however is warmth.
The center of the feature has a relationship that not only feels tangible (the chemistry between Damon and Blunt is smooth and natural.), but due to the sci-fi element put in place (with it's explanations rightly placed in the shade) we are able to get over certain tropes that can often derail cinematic romances. The film does have that "movie love" touch to it, however, the way it's is placed as part of the films universe works.
In fact much of the movie works. Despite the fact that the last third comes off as quite trite, the film rolls by at a pace brisker than the running time suggests and holds a core relationship that's worth bothering about on a Friday night out. Nolfis climatic scenes have a great energy to them that unfortunately goes limp with it's last moments but it's not enough to truly deter the film as a whole.
Those looking for something more substantial with the ideas of fate and free will, may be very put off by the light touch placed on such deep themes. However The Adjustment Bureau is a fun distraction which once again reminds me that Anthony Mackie needs to be given something substantial in the future.
Director: George Nolfi
Screenplay: George Nolfi
Starring: Matt Damon, Emily Blunt, Anthony Mackie
Synopsis is here
Is awards season over for another year? Because here's a late entry for "most misguided film comparison". The Adjustment Bureau (based in Phillip K Dick's The Adjustment Team) has had a quote plastered on the posters (attributed to Total Film) labeling the film "Inception meets Bourne". Regardless of whether or not it was a hasty quote slapped on by the mag because of what they knew at the time (I do not have the issue and I ain't looking for it) or it was a a touch of lazy writing picked up by lazy marketing people, it's clear to most people that the quote is WRONG.
Such dodgy wordsmithery (copyright LBP) can cause frustration because it paints the wrong picture of the film. However, in terms of much of the film's marketing, we can clearly see that painting a true portrayal doesn't appear to be a high on the list. Sure enough, checking out some of my friends facebook status over the weekend roused alarm bells.
The only ties to Bourne is that the film has Matt Damon claiming an aspect of his life (Nolfi also wrote Ultimatum). There is little to no relationship with Nolan's extravagant feature; however, one of the most fascinating aspects of The Adjustment Bureau is that it has grander themes than Inception. Dreamworlds are one thing, but fatalism? The film may have the upper hand.
Despite this, The Adjustment Bureau is mostly confined to the frames of romance. In watching the film, it appeared to be more of a melding of A Life less ordinary, Serendipity and Minority Report than anything else. Those who have looked that mesh of films in disgust/confusion shouldn't click close on your windows just yet as despite being softer than one may expect from it's trailers and tv spots, The Adjustment Bureau is an enjoyably lighthearted piece of fluff. One that has funnier than it should be and has a romance more palatable than a thousand Katherine Heigl/Jennifer Aniston/Matthew McConaughey (delete where appropriate) features. Inception is way more effective with it's beefed up sci-fi action and mind breaking visuals/effects. What TAB has however is warmth.
The center of the feature has a relationship that not only feels tangible (the chemistry between Damon and Blunt is smooth and natural.), but due to the sci-fi element put in place (with it's explanations rightly placed in the shade) we are able to get over certain tropes that can often derail cinematic romances. The film does have that "movie love" touch to it, however, the way it's is placed as part of the films universe works.
In fact much of the movie works. Despite the fact that the last third comes off as quite trite, the film rolls by at a pace brisker than the running time suggests and holds a core relationship that's worth bothering about on a Friday night out. Nolfis climatic scenes have a great energy to them that unfortunately goes limp with it's last moments but it's not enough to truly deter the film as a whole.
Those looking for something more substantial with the ideas of fate and free will, may be very put off by the light touch placed on such deep themes. However The Adjustment Bureau is a fun distraction which once again reminds me that Anthony Mackie needs to be given something substantial in the future.
Thursday, 3 March 2011
Review: I Am Number Four
Year: 2011
Director: D.J. Caruso
Screenplay: Alfred Gough, Miles Millar, Marti Noxon
Starring: Alex Pettyfer, Timothy Olyphant, Dianna Agron, Teresa Palmer
Synopsis is here
I took a quick scan of the I Am Number Four novel wiki after watching the movie and although one should not take Wikipedia as the gospel, this entry had me stumped. Why is it that the wiki of the novel appears to be more appealing? I'm not joking those who are really that interested should take a look for themselves. Almost any aspect that looks like it give off the slightest bit of attraction has been sanded down smooth. There's nothing edgy here; and while I don't expect cutting edge wit and inception like plot turns, when your film is being toted as "Twilight with Aliens" you should be bringing something to the party.
Unlike the misery-fest bestows that vampire saga, I Am Number Four does try to have something that resembles a human relationship...I say human when I may mean interplanetary. Our John Smith is an Alien and so has to behave as such. This can explain some of Alex Pettyfer's board n bland responses in certain scenes. However, the chemistry between John and his love interest Sarah (Dianna Agron) has a small amount of spark. It's enough to make the vanilla experience of the film less painful to bear. In fact if the film had the balls to bolster the narrative, rise the character stakes or at least give us interesting secondary characters I may have had more time for it.
Alas D.J Caruso's film is plain Jane of a film which builds to a crescendo of cliche and pre-predicted moments. The second we see the gray hairs in Timothy Olyphant's sideburns, we know where his future lies. It doesn't help that the screenplay believes that the best way to divulge information is by dry exposition as opposed to visually or even with any type of wit in the words. D.J Caruso takes it up a notch in the action stakes later on in the film but with the foundation being so shaky it's hard to take any real notice.
Let's not lie to ourselves. This film was almost destined for my indifference; described as "Twilight with Aliens" and produced by one Micheal Bay, the film was hardly going to appear on my favorites of the year. However, to be honest why would it? While not a grand masterpiece, it's also not a film for myself in terms of target audience. But the problem still remains that while Twilight has many faults, it has a certain sense of scope. I Am Number Four has a central relationship that is more likable than Bella and Edward as it's not based on games, manipulation an a naff explanation. However this alone does not excuse it from it's generic origin story execution.
Director: D.J. Caruso
Screenplay: Alfred Gough, Miles Millar, Marti Noxon
Starring: Alex Pettyfer, Timothy Olyphant, Dianna Agron, Teresa Palmer
Synopsis is here
I took a quick scan of the I Am Number Four novel wiki after watching the movie and although one should not take Wikipedia as the gospel, this entry had me stumped. Why is it that the wiki of the novel appears to be more appealing? I'm not joking those who are really that interested should take a look for themselves. Almost any aspect that looks like it give off the slightest bit of attraction has been sanded down smooth. There's nothing edgy here; and while I don't expect cutting edge wit and inception like plot turns, when your film is being toted as "Twilight with Aliens" you should be bringing something to the party.
Unlike the misery-fest bestows that vampire saga, I Am Number Four does try to have something that resembles a human relationship...I say human when I may mean interplanetary. Our John Smith is an Alien and so has to behave as such. This can explain some of Alex Pettyfer's board n bland responses in certain scenes. However, the chemistry between John and his love interest Sarah (Dianna Agron) has a small amount of spark. It's enough to make the vanilla experience of the film less painful to bear. In fact if the film had the balls to bolster the narrative, rise the character stakes or at least give us interesting secondary characters I may have had more time for it.
Alas D.J Caruso's film is plain Jane of a film which builds to a crescendo of cliche and pre-predicted moments. The second we see the gray hairs in Timothy Olyphant's sideburns, we know where his future lies. It doesn't help that the screenplay believes that the best way to divulge information is by dry exposition as opposed to visually or even with any type of wit in the words. D.J Caruso takes it up a notch in the action stakes later on in the film but with the foundation being so shaky it's hard to take any real notice.
Let's not lie to ourselves. This film was almost destined for my indifference; described as "Twilight with Aliens" and produced by one Micheal Bay, the film was hardly going to appear on my favorites of the year. However, to be honest why would it? While not a grand masterpiece, it's also not a film for myself in terms of target audience. But the problem still remains that while Twilight has many faults, it has a certain sense of scope. I Am Number Four has a central relationship that is more likable than Bella and Edward as it's not based on games, manipulation an a naff explanation. However this alone does not excuse it from it's generic origin story execution.
Wednesday, 2 March 2011
Review: The Rite
Year: 2011
Director: Mikael Håfström
Screenplay: Michael Petroni
Starring: Anthony Hopkins, Colin O'Donoghue
Synopsis is here
It's safe to say that I couldn't stand The Rite. For me it failed in all areas. Supernatural Thriller? I wasn't thrilled. Horror film? I wasn't scared. Drama? Those elements left me cold. Of course for many, Anthony Hopkins would be a draw unfortunately this will not be one of his crowning achievements. In fact The Rite reminds me why I sometimes dislike Hopkins as an actor. Here, Sir Hopkins is a teeth gnashing, scene chomping irritant; thundering in with a performance so hammy during the final third that the only thing missing from it is a honey glaze. Such a performance this is that it makes the "based on a true story" credits at the beginning even more snort worthy.
This is not to say that whatever the author of the book that The Rite is based on is an outright lie. Far from it. The true life account of a want-away priest gaining a new perceptive after witnessing real exorcisms appeals to a person like myself. I'm not a man of faith per say but the lives of those who have faith I find quite compelling. The problem however, is that these events are shoved into a very by-the-numbers execution. Don't look for ambiguity within The Rite, as it wishes to follow down all same routes that we've seen in features such as The Exorcism of Emily Rose et all.
Of course shades of The Exorcist appear within the films DNA, but it is clear to the viewer that the film wishes to take a less hysterical approach. A throw away line sets us straight when Hopkins' Father Lucas states after the first event we see "what did you expect? Spinning heads?". For the most part wants us to question what we see as the devil or mental illness. However, The Rite's approach to this is so lackluster that one doesn't need to question it (the film plays an obvious hand very quickly) nor does one indeed care. The young priest (O'Donoghue) whose eyes we are meant to see this story through not only lacks faith but any kind of charisma to keep us interested. O'Donoghue doesn't appear to be a bad actor, however, this a role with no characteristics to make it stand out. But with this said, The Rite is a film which believes that the old cat at the window jump scare is creative enough for it's audience.
This uninspired approach takes us all the way through the film. O'Donoghue gives us the seriously concerned face throughout, while director Mikael Håfström trudges us through very familiar territory at a snails pace. Hopkins only frustrates by giving us an impression of a Hannibal Lector impersonator. Once again reminding me that I'd rather watch Manhunter over Red Dragon.
Some ok visuals aside (the red eyed horse and the possessed 16 year old provide evocative imagery) there is nothing truly of note within The Rite. The Exorcist still provides the richness needed for the themes in place (it is also based on alleged elements of truth). To add to this, there are other films in recent times that may not have succeeded with completely but have at least been daring enough to play with certain features. At least with those films they sought out to seek a reaction.
Director: Mikael Håfström
Screenplay: Michael Petroni
Starring: Anthony Hopkins, Colin O'Donoghue
Synopsis is here
It's safe to say that I couldn't stand The Rite. For me it failed in all areas. Supernatural Thriller? I wasn't thrilled. Horror film? I wasn't scared. Drama? Those elements left me cold. Of course for many, Anthony Hopkins would be a draw unfortunately this will not be one of his crowning achievements. In fact The Rite reminds me why I sometimes dislike Hopkins as an actor. Here, Sir Hopkins is a teeth gnashing, scene chomping irritant; thundering in with a performance so hammy during the final third that the only thing missing from it is a honey glaze. Such a performance this is that it makes the "based on a true story" credits at the beginning even more snort worthy.
This is not to say that whatever the author of the book that The Rite is based on is an outright lie. Far from it. The true life account of a want-away priest gaining a new perceptive after witnessing real exorcisms appeals to a person like myself. I'm not a man of faith per say but the lives of those who have faith I find quite compelling. The problem however, is that these events are shoved into a very by-the-numbers execution. Don't look for ambiguity within The Rite, as it wishes to follow down all same routes that we've seen in features such as The Exorcism of Emily Rose et all.
Of course shades of The Exorcist appear within the films DNA, but it is clear to the viewer that the film wishes to take a less hysterical approach. A throw away line sets us straight when Hopkins' Father Lucas states after the first event we see "what did you expect? Spinning heads?". For the most part wants us to question what we see as the devil or mental illness. However, The Rite's approach to this is so lackluster that one doesn't need to question it (the film plays an obvious hand very quickly) nor does one indeed care. The young priest (O'Donoghue) whose eyes we are meant to see this story through not only lacks faith but any kind of charisma to keep us interested. O'Donoghue doesn't appear to be a bad actor, however, this a role with no characteristics to make it stand out. But with this said, The Rite is a film which believes that the old cat at the window jump scare is creative enough for it's audience.
This uninspired approach takes us all the way through the film. O'Donoghue gives us the seriously concerned face throughout, while director Mikael Håfström trudges us through very familiar territory at a snails pace. Hopkins only frustrates by giving us an impression of a Hannibal Lector impersonator. Once again reminding me that I'd rather watch Manhunter over Red Dragon.
Some ok visuals aside (the red eyed horse and the possessed 16 year old provide evocative imagery) there is nothing truly of note within The Rite. The Exorcist still provides the richness needed for the themes in place (it is also based on alleged elements of truth). To add to this, there are other films in recent times that may not have succeeded with completely but have at least been daring enough to play with certain features. At least with those films they sought out to seek a reaction.
Tuesday, 1 March 2011
Review: Drive Angry
Year: 2011
Director: Patrick Lussier
Screenplay: Patrick Lussier, Todd Farmer
Starring: Nicolas Cage, Amber Heard, William Fichtner
Synopsis is here
Drive Angry is a trashy little exploitation flick that for the most part does exactly what it says on the tin. Sex? Check. Blood and Gore? Check. Nic Cage walking away from an explosion in slow motion? Double check. It's silly, ridiculous and for the most part it's kinda fun in a schlocky sort of way. Don't go looking for "serious" write up of a film like this because it doesn't take itself seriously. Unfortunately despite it's b-movie intentions I'm quite surprised it doesn't go for broke.
The film is about a man named John Milton (geddit?) escaping hell to seek bloody revenge on those who have killed his daughter. So why is it that we have Nic Cage in the lead role not chewing the scenery like a child chomping on taffy? In fact why are we seeing not only Cage but the script itself so restrained? This is a film that need not copy Planet Terror but defiantly needs to get hold of the same energy. Unfortunately this lack of verve (right word to use for a grindhouse pic?) display the films main weakness. This is a film that suffers from too much downtime and not enough lunacy. We can forgive Drive Angry for a patchy narrative if it promises not to be dull. But tell that to the films middle act, which goes nowhere. It's fairly obvious that in the hands of Roger Corman; 15 minutes would have been yanked out of it's 104 minute run time.
We must also add that despite a story which features god guns, breaking out of hell, lunatic priests and the like, why are are the set pieces so uninspiring? Is it because there's TOO much money for something like this? We used to see films like this at your local video store; costing less but having way more nuttiness throughout. Hell, compare this even Hostel and you could be surprised at how little this film does to turn heads. But at least Lussier understands that 3D is best used as a gimmick.
The reason to see this if any it seems is the two performances from Amber Heard and William Fichtner, as they seem to understand that Drive Angry is supposed to be a laugh and get the tone right. Least not Heard who has a character that not only wants to be a strong ass kicking female but also wishes to titillate like an Zoo magazine model. Let's not lie here as most men in the screen will be watching to see how far those hot pants ride up Miss Heard's pert posterior. Heard however manages to be more interesting to watch than Cage just by being up for the role. Fichtner in the meanwhile steals most scenes he's in by not only getting all the best lines, but also having fun with the films most intriguing character.
Driver Angry may gain more fans on DVD and fair play to it. However those who enjoy their grindhouse without a certain amount of gloss may look elsewhere. Just think about that for a minute...grindhouse with gloss...see where the problems lie?
Director: Patrick Lussier
Screenplay: Patrick Lussier, Todd Farmer
Starring: Nicolas Cage, Amber Heard, William Fichtner
Synopsis is here
Drive Angry is a trashy little exploitation flick that for the most part does exactly what it says on the tin. Sex? Check. Blood and Gore? Check. Nic Cage walking away from an explosion in slow motion? Double check. It's silly, ridiculous and for the most part it's kinda fun in a schlocky sort of way. Don't go looking for "serious" write up of a film like this because it doesn't take itself seriously. Unfortunately despite it's b-movie intentions I'm quite surprised it doesn't go for broke.
The film is about a man named John Milton (geddit?) escaping hell to seek bloody revenge on those who have killed his daughter. So why is it that we have Nic Cage in the lead role not chewing the scenery like a child chomping on taffy? In fact why are we seeing not only Cage but the script itself so restrained? This is a film that need not copy Planet Terror but defiantly needs to get hold of the same energy. Unfortunately this lack of verve (right word to use for a grindhouse pic?) display the films main weakness. This is a film that suffers from too much downtime and not enough lunacy. We can forgive Drive Angry for a patchy narrative if it promises not to be dull. But tell that to the films middle act, which goes nowhere. It's fairly obvious that in the hands of Roger Corman; 15 minutes would have been yanked out of it's 104 minute run time.
We must also add that despite a story which features god guns, breaking out of hell, lunatic priests and the like, why are are the set pieces so uninspiring? Is it because there's TOO much money for something like this? We used to see films like this at your local video store; costing less but having way more nuttiness throughout. Hell, compare this even Hostel and you could be surprised at how little this film does to turn heads. But at least Lussier understands that 3D is best used as a gimmick.
The reason to see this if any it seems is the two performances from Amber Heard and William Fichtner, as they seem to understand that Drive Angry is supposed to be a laugh and get the tone right. Least not Heard who has a character that not only wants to be a strong ass kicking female but also wishes to titillate like an Zoo magazine model. Let's not lie here as most men in the screen will be watching to see how far those hot pants ride up Miss Heard's pert posterior. Heard however manages to be more interesting to watch than Cage just by being up for the role. Fichtner in the meanwhile steals most scenes he's in by not only getting all the best lines, but also having fun with the films most intriguing character.
Driver Angry may gain more fans on DVD and fair play to it. However those who enjoy their grindhouse without a certain amount of gloss may look elsewhere. Just think about that for a minute...grindhouse with gloss...see where the problems lie?
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