Cinematic Dramatic 4x09 - Ted

The Dramatics take in Seth MacFarlane's first full length feature where cute and cuddly teddy bears can be really foul mouthed and not suitable for kids. It can only be Ted.



via GeekPlanetOnline: Cinematic Dramatic http://www.geekplanetonline.com/hosting/originals/dramatic/?p=episode&name=2012-08-14_cinematic_dramatic_4x09__ted.mp3

Review: Ted

Year: 2012
Director: Seth MacFarlane
Screenplay: Seth MacFarlane, Alec Sulkin, Wellesley Wild
Starring; Mark Wahlberg, Mila Kunis, Seth MacFarlane, Joel McHale,

Synopsis is here

If you have ever taken any major issue with any of Seth MacFarlane's animated television work (Family Guy, American Dad, The Cleveland Show), I see little to no reason for you to watch Ted. It is the film equivalent. Playing on the same tropes that have done him so well since his Larry and Steve shorts, Ted deals with a naive male who has an anthropomorphic toy bear as his best friend. It is a loaded truck of pop culture references and absurd physical slapstick, with a loose plot line to hang everything together. It is a format that has made him a multimillionaire. Like so many trends that empties greenbacks out of pockets, it appears to me that if Seth doesn't think the situation is broken, why should he fix it?

Much like those Star Wars films; MacFarlane routinely parodies, Ted wrings as much out of a premise as its creator can. You are told to "write what you know" and Seth knows this relationship very well, as Ted (MacFarlane) and John (Wahlberg) launch into a series of loosely connected vignettes about them smoking joints, partying and causing grief for the long suffering Lori (Kunis in the Lois role). It's hard not to notice that we've seen this before. Especially as someone who has their late night insomnia fuelled by the exploits of Stan Smith and his wacky family on BBC3. Despite the faint feeling of staleness, the switch from animated to "proper" film making has not lessened MacFarlane's timing and gags. The trails and tribulations of a once happy minor celebrity bear now battered by the harsh realities of life (with added crass humour) works exceedingly well in the hands of a guy like Seth. There's dick and fart jokes at their premium.

It would be easy to attack the films lack of a decent narrative, however, MacFarlane preempts this with an early homage to Airplane (a scene which in itself parodies Saturday Night Fever), reminding us that so much humour at its heart runs on a certain type of illogicality to function. With this said, all jokes have a target and while I'm holding my sides with laughter at some of the films precise crassness and throwback humour (a major set piece and cameo had me in fits), many in the audience found laughs in the "easiest" jokes. The sexually suggestive bear brings amusement, the references to 80's films and T.V did not. MacFarlane's fixation with taking the piss out of Top Gun and Octopussy are fine for late 20 somethings (and over) in a state of arrested development (see me raise my hand) but were clearly lost on those born after 1991. Some references are so neatly odd, that it helps date the movie its own way.

A minor quibble, however, for a film that is in my opinion, a very funny and warm film. The relationship between John and Ted is the film's heart, and the chemistry between Wahlberg and MacFarlane is the thumping man-child heart of the movie. A naive, child-like Wahlberg is always a great Wahlberg and much like Boogie Nights and The Other Guys, he once more, puts in the work. MacFarlane's Boston bear is little more than a more outlandish Peter Griffin voiceover, although once again, Ted recognises this with a throwaway gag. Kunis is fine with a bland role, which does nothing but remind you that she could have been given a funnier role in something like this. Such is life.

Ted will not win over those who already abstain from those who hate MacFarlane. While those whose pop culture starts and ends with TOWIE may find some references fly over their heads. In addition to this, MacFarlane's button pushing sometimes feels a little trite. His jokes on race aren't so much offensive, rather than forced. For me Ted brings laughs when we're given the stupid pop culture and the lead relationship takes centre stage. The chemistry is so strong between a man and his talking toy bear that when a television lands on the character's penis (pop culture crushing manhood metaphor ahoy) I had to laugh. 

Review: Iron Sky

Year: 2012
Director: Timo Vuorensola
Screenplay: Michael Kalesniko, Timo Vuorensola
Starring: Julia Dietze, Gotz Otto, Christopher Kibry, Peta Sergeant, Udo Kier

When the film you're watching; begins with a group of school children explaining that a segment of the Nazi army, escaped to the Moon in 1945, and have lived there plotting a vengeful come back, you are clearly not watching for any emotional weight. In fact there is a good chance that you're watching this with the likes of Hobo with a shotgun in your cinematic collection.

Iron Sky's premise promises to be hit some fantastic B level heights. We start with a lunar expedition to promote re-election of a Sarah Palin type president. The tongue is embedded deep within the cheek here and for the most part it works. A plot strand which involves the films hero; a black model, being "whitefaced" to please the Aryan race is a button pusher, but the absurdity of the very notion and the context manages to coax a certain amount of humour out of the situation. When the film gets the tone right, laughs can be gained. And for me there were one or two loud ones.

Unfortunately the film seems to rely heavily on it's main conceit. Moon nazis are fine and all but the film needs more to be truly satisfying. I love the idea that Moon Nazis were given a shortened version of Chaplin's Great Dictator that coincides with their why of thinking. There's also the idea that the U.S president is willing to utilise nazis for speech making because quite simply, they are that damn good. But the film doesn't do enough with the ideas to keep the entertainment levels up.

I'm not too bothered about the films dubious plotting or hammy performances. As a B movie, that's part of the fun. The film also neatly references the likes of Dr Stranglelove for good measure. However, the likes of Black Dynamite and Hobo with a shotgun were happy to go in all guns blazing with their material and came up better. Iron Sky loses its edge by the second half and we are treated to dull space fights and weak conclusions. Iron Sky is mildly distracting, but far to often there is is the nagging feeling that more could be done with this. Moon Nazis coming back to reek havoc on the earth? I'm shocked they mined the well so shallow.

Cinematic Dramatic 4x08 - The Dark Knight Rises

The biggest film of 2012 is finally here! But does Batman truly rise or get smacked in the face by Byron? The Dramatics look at the positives and the tragic negatives this film has brought the movie world.



via GeekPlanetOnline: Cinematic Dramatic http://www.geekplanetonline.com/hosting/originals/dramatic/?p=episode&name=2012-07-30_cinematic_dramatic_4x08__the_dark_knight_rises.mp3

Review: Beyond The Black Rainbow

Year: 2010 (2012 U.K release)
Director: Panos Cosmatos
Screenplay: Panos Cosmatos
Starring: Eva Allan, Michael Rogers

Synopsis is here

Due to Twitter, Rotten Tomatoes and every other social network, app or message board going, I've become even more aware of disappointment in movies as of late. Because anyone who writes about film is an idiot and can't be trusted, many have to rely on the ever trustworthy marketing committees to guide them towards the correct films. Due to amount of money spent on the larger films, the amount of push behind them is great. So often, there's bound to be a few bitter pill for some to swallow when they pay their hard earned cash for this weeks "most anticipated movie of the year."

The reason why I'm padding this review out is because one my biggest film disappointment this year is Beyond the Black Rainbow. A film that is, visually, one of the most uncompromising visions I've seen in recent times. Very frame seems to throb in a way that feels similar to the sparse industrial landscape of Eraserhead. The film is so deliberate in its style, tone and pace that it's beyond admirable. An early sequence which explores the reason why our heroine is encased in this quasi-futuristic, new age prison is gorgeous in its subtlety. The film is unbelievably bold with its imagery and sound. I can see its synth soundtrack and humming sound design being dissected by sound geeks at universities.

And yet, despite this, the film didn't do enough to engage me fully. The prospect is tantalising, but it's overtly deliberate pacing, and obtuse telling of its simple plot did little to stir. A film like this doesn't have to be explicit but for the most part, Beyond the Black Rainbow, does little to bring about any investment. The film doesn't advance further past it's first reveal and when thing begin to accelerate, the film finishes. Hinting once on something grand, but not really delivering. The film is littered with such moments. I don't need to know everything, but it would be brilliant to know more. Meanwhile both Eva Allan and Micheal Rogers turn in muted and expressive performances, but their gestures feel empty as the film withholds so much.

Maybe i was fooled by the films well presented trailer, which utilises the films best moments. Reminding me that the film could have been tightened for pace, as opposed to forcing an endless barrage of fading transitions. Beyond the Black Rainbow has enough plot for 30 minutes but is extended to feature length. The films tone and atmosphere is so bold that I would still feel its pulse if it was shorter. Kudos to Cosmatos for a cult vision that out-Trons Tron for way less money, unfortunately I anticipated too much.