The Daley News

'In Time' Review (2011)

2011-10-30T11:31:00.000-07:00

Rating: ****

Writer and Director Andrew Niccol is no stranger to making alternate realities come to life, having a wealth of successful endeavours under his belt. From the man who was responsible for the subtle yet inspired creation of the suburban, Stepford-esque microcosm that provided the locale for box office smash The Truman Show, comes the conception of the futuristic, dystopian, corrupt world in which this latest venture is set.

In Time is above all a concept movie. The concept being this: Human beings are only programmed to live until the age of 25, at which point they stop ageing and one must earn, beg, borrow or steal more time in order to live longer. A green neon clock on their arm literally counts down to the second, how long they have to live. When this clock ‘times out’, they die….one would assume microwave ovens have been made obsolete in this era so not to provide a terrifying reminder of their own mortality…

The currency in this world is measured in minutes and hours, making the phrase ‘time is money’ painstakingly literal. Time can be passed from one person to another by holding arms, however this is also how it can be easily taken from them.

Aside from this one over-arching fact, the world in which they live is not at all dissimilar with our own. There are some areas, or cleverly spun here as ‘time zones’, that have far more ‘wealth’ than others; those that live in the ‘ghettos’ live minute-to-minute, and those that live in the more abundant areas (in this case, a zone called ‘New Greenwich’) have all the time in the world and live out their affluent and decadent centuries without a care. This idea of a class system, a poverty gap between the rich and poor being translated into this reality gives the story an interesting edge. Transposing a worldly familiar and common occurrence into a fantastical and irregular environment, gives the film the ability to indulge in social commentary; to blur the lines between the fictional and the satirical.

Will Salas (Justin Timerberlake) lives in Dayton; a ghetto, where the inhabitants spend their days dodging a wealth of menace. The first being gang of thugs called ‘Minute Men’, who will steal your every second for themselves, draining the life out of you. These urban thieves are lead by gangster ‘Fortis’ (Alex Pettyfer). Additional threat is posed by the elusive ‘Time Keepers’- a governmental body who are appointed to keep order and balance, fronted by straight faced ‘Raymond Leon’ (played superbly by veteran villain Cillian Murphy).

After a reckless 105-year-old man flashes his centuries in a bar in the ghetto, Will helps him escape from the Minute Men. They hide out in an abandoned warehouse and the man shares his experience of the capitalist system with Will; explaining that ‘for a few to be immortal, many must die’. During the night, the wealthy man gives Will all of his time, leaving himself but a few seconds.

Shortly after this, Will’s 50 year old mother, played somewhat humorously by the stunning and youthful Olivia Wilde, ‘times out’ in his arms, unable to reach him in time. (Due to some very questionable cruelty by a bus driver who would rather let a woman die than reduce the fare). Consumed by rage, Will decides to use his riches to cross time zones (separated by increasingly expensive toll booths) get revenge on ‘the man’.

Will discovers the old man was right all along when he meets a wealthy tycoon in a casino and kidnaps his beautiful daughter Sylvia (Amanda Seyfried). Initially a reluctant hostage, Slyvia changes her tune when she is robbed of all her time and the couple decide to upset the economic imbalance, by going ‘on the lam’ and robbing her father’s banks in order to give to those less fortunate.

If you look past the inventive concept, the plotline is simply a futuristic robin hood.

What results is a pseudo action movie with an unsurprising yet unlikely romance, gaping plot holes and a heck of a lot of running. Indeed, for a man so preoccupied with the sanctity of human life, he sure managed to clock up a lot of killings along the way. Backstories where hinted at but never explained, with recurrent cryptic and superfluous mention of Will’s father with absolutely no follow up, and a series of accidents from which the couple continuously escape unscathed.

Solid performances were given by all, whilst elements of humour and intelligence penetrate the thread. For example, when begging for some spare change, a little girl asks: “You got a minute?”

One thing this film does prove is there are an incredible amount of phrases that still work when you interchange the word ‘money’ with the word ‘time’…(we get the idea).

Although In Time should be championed for an original idea, something a lot of today’s releases are in fact lacking, it does unfortunately follow the pattern that most promising concept movies fall victim to. An strong original idea is not enough to carry a two hour feature alone, the script and story line was a little weak and repetitive, not entirely sure of where to go with what they had created.

It may be that the story would benefit from a series of films, but it is unsure if the plotline could carry. Though a little throw away, if you want two hours of entertainment and intrigue, then you won’t be disappointed. In Time has something for everyone; with some very clever ideas, a little humour, romance and some exciting action sequences it is well worth a watch for the creativity alone.

Final Destination 5 Review (2011)

2011-08-16T11:00:00.000-07:00

(Mangled bones and severed limbs and rusty hooks, oh my!)

Rating: * *

Warner Brothers and New Line Cinema have teamed up to take on the fifth installment of the Final Destination franchise, lead by Director Steven Quale.

It feels somewhat redundant at this stage to outline the plot of the film as it is almost exactly the same as the last four features. However, for the benefit of those new to the concept, a short synopsis:

A group of teens narrowly survive a gruesome accident on a collapsing suspension bridge due to an unexplainable premonition that a member of the group, ‘Sam’ (Nicholas D’Agosto) experienced moments before. After expressing his horrific concerns, eight people are able to get off the bridge before his fears are realized and everyone else plummets to their unsuspecting deaths. Returning to their everyday lives after their narrow escape, the lucky few soon discover that you cannot cheat death without him coming back to claim…

Those familiar with the previous films will be no stranger to the hole-ridden plot, stereotypical characterization and diabolical script that comes attached. However, FD5 does offer its fans a notable increase in brutality. Going out of its way to be the absolute ‘grossest’ it could be, this movie definitely trumps its predecessors. The already farcical deaths of features past are outdone by an horrific gore-fest that has now teetered over the precarious border into the entirely ludicrous.

What has resulted will prove surprisingly entertaining for horror fans, with ‘squirming in your seat’ discomfort throughout as the film forces you to wait for each and every character to be systematically slaughtered in obscenely far-fetched ‘Itchy and Scratchy’ style freak ‘accidents’ that each surpass the last. Indeed the overwhelming sound that came from the audience was not of screams but of laughter. Though completely absurd, there is an element of fun and hilarity in nervously awaiting the next implausible fatality.

FD5 suffered from amateur acting in some points by certain members of the cast and one-dimensional, (quite a feat of achievement in eye popping 3D) stock characters. The jock, the girlfriend, the slut, the teacher, the hot-head and even, dare I say it, a single ‘token’ black guy in the mix that turned the film almost into an homage to old horror B- Movies.

While quality may be something this film lacks, unfortunately, it certainly does not skimp on quantity, managing to drag a brutally murdered horse for what is now an eleven-year span.

It is clear that the film must not be subject to review as a movie in its own right, instead, a more favourable opinion will result from comparing FD5 within the ‘Final Destination’ world.

In this case, kudos must be awarded to some clever alterations. A painstakingly familiar storyline was marginally alleviated by the induction of some new ideas. In this scenario, a morality clause was added. In order to escape the wrath of Death, you can take the life of another and live in his place for the years he was supposed to. This was an interesting addition, as it allowed for some characters to struggle with their morality and for the emergence of villainy within the ranks. Fans of the previous films are also rewarded for their loyalty with subtle references to previous events in the chain and by the repeat appearance of ‘William Bludworth’ (Tony Todd), the unsettling coroner that we see in each release, reminding us here of his trademark creepiness, as he warns the survivors; “Death doesn’t like to be cheated”. Fans will also enjoy the morbid ‘sizzle reel’ celebration of the favourite deaths over the years during the end credits.

Another positive attribute were the red herrings. With many scenes showing almost every object as a possible weapon and every situation a possible hazard, forcing a collective groan from the audience as they began to cover their 3D goggles. Indeed there were some very questionable locations and shoddy building work that would violate every health and safety code anyway. You would think they’d have learnt by now not to put the unstable water cooler next to those pesky exposed electrical cables. However, credit where credit's due, there is an element of surprise in that most deaths do not follow what they have shown you in the trailer and they certainly do not turn out how you expect them to.

Most notably, those who pay attention will be rewarded with a very clever twist at the end that added an element of skill to the storytelling.

Arguably not one for the traditional horror fans, instead appeasing the gore-porn generation which spawned the likes of Saw, (though that series hit our screens with a far more intelligent and versatile thread) and equally with those who enjoy horror comedies like Scary Movie. FD5 confidently straddles the mid point between torture porn and spoof.

One would think the second unit director of Avatar and Titanic and the screenwriter behind Nightmare on Elm Street (2010) and the highly anticipated upcoming horror remake The Thing, could have between them come up with something a little more impressive. It may be that they were intending to stay true to the pattern that the other films followed, in which case they did an excellent job.

Review: Rise of the Planet of the Apes (2011)

2011-08-11T13:20:00.000-07:00

Rating: * * * * ½

I recently had the privilege of going to see a midnight screening of director Rupert Wyatt’s revision of the classic Planet of the Apes; the rather aptly titled Rise of the Planet of the Apes.

Clutching a thermos full of black coffee in one hand and a pre-paid ticket stub in the other, I joined the queue of people eagerly awaiting this advanced screening. Easily one of the most highly anticipated theatrical releases of the year, expectations were certainly high.

Starring James Franco (127 Hours), Freida Pinto (Slumdog Millionaire), Andy Serkis (Lord of the Rings) and John Lithgow (Shrek), the film follows a young Neuro-scientist; Will Rodman (Franco) as he strives to find a cure for Alzheimers in a laboratory in San Francisco, whilst caring for his father who suffers from the degenerative disease. Various strains of a virus designed to encourage the regeneration of brain cells are tested on Chimpanzees in order to assess the long-term effect they may have on humans. When a baby chimp is taken into Will’s care, we are shown the shocking result of this genetical engineering on the animal’s intelligence. The exceptional chimp in question, Caesar (Serkis), is looked after for many years and becomes a beloved member of their family.

When Caesar attacks a neighbour whilst trying to protect his family, he is pulled from his home and taken to a ‘primate sanctuary’ by animal control. Forced to live with other less advanced apes and subject to much maltreatment, Caesar and his peers eventually decides to fight back.

Anyone familiar with the original 1968 movie starring Charlton Heston, concerning a planet in the future on which speaking Apes rule over a minority of humans who are enslaved as their prisoners, will appreciate this prequel’s attempt to provide a meaningful and realistic backstory to the seemingly unfathomable events of former features and series in the franchise. Rise of the Planet of the Apes chronicles the beginnings of the shift in the balance of power between the two species that will ultimately lead to the subordination of the human race.

The film plays heavily on your sympathy for the simians (not least with the arrival of an unbelievably cute baby Ceasar at the beginning of the film), having it seem on first glance that they are suggesting you ally yourself with these badly mistreated creatures. Humans are portrayed as monstrous and barbaric, while Serkis’ Caesar is the gentler, victimized specimen. In fact, audience members were not quite sure if they should feel bad that a Gorilla took down an entire helicopter full of armed Policemen, instead worrying for the animal’s safety. However, I would not stretch to say the film forces you to choose the ‘side’ of the Apes, rather it serves to help you understand the justifications and motives for their rebellious and aggressive behavior.

What helps this plight enormously is yet another incredible performance by Andy Serkis. No stranger to playing a Primate, having played the part of the titular protagonist in Peter Jackson’s 2005 remake of King Kong. Thanks to exceptional performance capture technology, Serkis manages to find the impactful happy medium between the animalistic and the human. His facial mannerisms are clearly distinguishable, adding emotional and empathetic depth to the character. Though the rest of the actors delivered solid performances (notwithstanding the somewhat superfluous existence of Pinto’s ‘love interest’), the Apes really did steal the show.

Packed with action from the very first scene, this 105 minute feature is expertly shot with powerful cinematography and intelligent photographic technique. In a scene depicting Ceasar running through the forest and swinging from treetops, his movements remain perfectly fluid whilst the background imagery shifts from season to season, illustrating the passing of time beautifully. These sequences of harmony and aesthetic delicacy are juxtaposed later with rather menacing visual sequences of the Simian uprising that work together to create a directional narrative with thrilling escalation. Viewers are left with the overwhelming feeling that they are witnessing a revolution; a social uprising of an oppressed population. You almost forget they aren’t human.

A lesser film would not have been able to pull this extraordinary notion off with such graceful execution without becoming farcical, instead Wyatt’s efforts here are action-packed with both pathos and resonance.

Overall, the film is incredibly entertaining from start to finish, teaming explosive action with emotional and sensitive subject, Rise of the Planet of the Apes gives you a whole lot of bang for your buck.

FEATURE

2011-08-11T05:06:00.000-07:00

SNOW WHITE AND THE FAIRY TALE WARS

BY DALE BARNETT

There seems to be a battle going on in Hollywood of late. Heavyweight fighter Universal Pictures is sparring with independent distribution company Relativity media in a race to release their new films before their competitors. The conflict being that both studios have chosen to commission glittering big screen re-makes of the fairy-tale classic Snow White, in the very same year. Ouch!

According to Deadline: ‘Universal and Relativity Media have been playing a game of can you top this in terms of release dates.’ With an initial release date in late 2012, Universal reacted to the news of their opposing production being scheduled for the same year by moving the date of their aptly titled Snow White and the Huntsman to June 1^st, a month ahead of Relativity’s formerly titled The Brothers Grimm: Snow White, which will be directed by Tarsem Singh (The Fall, The Cell). Relativity retaliated by setting its now confirmed March 16^th release, securing their position in first place on the cinematic calendar.

Both parties certainly have cause for concern, presenting to a rather skeptical public not one, but two fairy tale remakes in extremely quick succession. There is a danger of a despondent public judging the films long before they make their theatrical debut, grouping them under a collective umbrella of ‘fairy tale remakes’ that have proven less than exemplary at the box office this year. The two features will arrive shortly after the release of Catherine Hardwicke’s Red Riding Hood; a gothic adaptation of the European folk tale made famous by The Brother’s Grimm, which was met by rather mixed reviews to say the least. Similarly, Lionsgate’s attempt at a modern take on Beauty and the Beast came this year in the form of teen romance Beastly which proved somewhat twee and insubstantial, falling victim to harsh criticism from the press.

The direct competition between the two Snow Whites will prove palpable with audiences who will no doubt compare one film with the other. At the risk of further confusion, we’re going to break it down for you.

So let’s deal with this chronologically… Tarsem Singh’s offering is currently residing under the temporarily indecisive title of Untitled Snow White Project. The previous and not so tentatively named Brothers Grimm addition suggested an homage and possible throwback to the classic lore from the story-telling siblings. It seemed Singh was learning from the mistakes of preceding titles that have tried to modernise an inherently antiquated story. However, the decision to ditch this in favour of a presently unrevealed title, leaves us a little in the lurch. With a bumped up release date the clock is certainly ticking, thus a decision like this can only be seen as a strategic one. Being billed as ‘the one with no name’ gives a definite air of mystery to Singh’s re-imagining, whilst surely serving to irritate Universal by leaving them in the dark with the rest of us.

Singh and his crew have just started principal photography in picturesque Montreal. In a press release leaked by Collider.com, it appears Relativity are not straying too far from the original plotline. You’ll see an evil queen ruling over a helpless kingdom, and an exiled princess who meets the acquaintance of seven small yet resourceful friends who will work to help her reclaim her rightful place in the palace, yada yada yada. However, the hook being that this time, they are going for a ‘spirited adventure comedy filled with jealousy, romance and betrayal’. This change of genre, could give Untitled a slight edge; leaning more towards the humorous side could actually work to give an extra-ordinary piece of fiction some validity with today’s audience. When working with magical or melodramatic subject matter such as this, presenting the events in a tongue-in-cheek manner, allowing the actors to almost make fun of themselves and letting the audience in on the joke in the process may prove a very wise move.

So what of the cast? The undoubtedly raven-haired and ruby-lipped princess will be played by porcelain-skinned newcomer, Lily Collins. (The Blind Side, Priest) Oscar winner Julia Roberts will play the evil enchantress, whilst Armie Hammer (The Social Network) plays the object of their affection and Prince Charming substitute, ‘Prince Andrew Alcott’. The film also stars Nathan Lane (The Birdcage) as a clumsy and doting servant to the Queen.

The seven dwarves are all there, but not as we know them. Coming Soon reports: “Each of the film’s seven dwarfs features a distinctive look and seems to be nicknamed by their costume. “Cowboy” wears a cowboy hat, “Wolf” is draped in animal skin and another wears a crooked top hat.”

Is anyone else picturing some very awkward auditions involving actors scrambling around on their knees in full pantomime attire making Shakespearian proclamations in teeny tiny soprano? Let’s hope I’m wrong.

According to the site, the most noticeable departure from the primary account lies in the characterization:

“Snow White herself…will be portrayed as a bit of a fighter, allowing for multiple action sequences…she’s actively trying to win back her rightful throne and combines a blue dress with black, leather armour.” Interesting, I wonder if we’ll have a new entry for our Style Spy pages…

Firmly determined to stay one step ahead in this medieval duel against industry giant Universal, Relativity Media released the first promotional teaser images for the film The photos reveal a very stylized design, “including a very Indian-looking palace and several masquerade designs reminiscent of Mardi Gras and old storybook illustrations.” (Coming Soon) Both projects have now revealed character posters (below). As you can see, Relativity are sticking very closely to the story’s magical roots. Collins told Entertainment Weekly: "I keep saying to everyone I feel like I'm walking into a snow globe, a fairy tale, every single day”. Contrarily, Universal’s artwork portrays a very battle orientated theme, particularly with the protagonist, which is a surprising step away from its competitor.

With a behind the scenes line-up that have lent their collective filmmaking talent to the likes of The Fighter, 300 and Rush Hour, it seems the elusive tagline: “A Comedic Adventure Awaits”, which is displayed proudly above the promos, is a promise Relativity intend to keep.

In the blue corner, flying the flag for Universal is Rupert Sanders’ Snow White and the Huntsman.

Sanders is making his directorial debut here, but with help from Joe Roth, producer of Alice in Wonderland and Tears of the Sun who has had his own directorial turns in the past with hits such as America’s Sweethearts alongside writer Evan Spiliotopolous, who penned the screenplays for children’s favourites; The Jungle Book 2 and The Nutty professor, this is by no means an amateur outfit.

The appropriately named Snow White and the Huntsmen focuses on the relationship between a girl and the man who was sent to kill her. According to Universal: “In a twist to the fairytale, the Huntsman ordered to take Snow White into the woods to be killed winds up becoming her protector and mentor in a quest to vanquish the evil queen”. Is anyone else starting to feel a little sorry for the old broad?

This film is slightly more traditional, in that it sounds like what you would expect from a Snow White born out of the Twilight generation. To begin with, it centres around a forbidden romance between Snow White and not Prince Charming, but the ‘why-did-you-even-bother-altering-the-name-so-trivially’ titled ‘Prince Charmant’, played by Sam Clafin (Pirates of the Caribbean: On Stranger Tides), from whom she was separated in their teen years by evil Queen ‘Ravenna’. It is certainly no accident, then, that the studio made the wildly calculated decision to cast Kristen Stewart as the lead. Yes OK, she is fair skinned and dark haired, but could they be more obvious? The second teen audiences catch a glimpse of Miss Stewart on a teaser trailer, well, there’s your one million plus young adult viewers right there.

Snow White and the Huntsman gives a more in-depth backstory to the compassionate woodsman of legends past. Chris Hemsworth (Thor) will star as the Queen’s henchman, devastated by the recent death of his wife, ‘Eric’ is determined to find the white wolf that killed her. When Eric discovers this wolf was acting under the instruction of queen Ravenna, he takes ‘the fairest of them all’ into the forest to prepare to get his revenge. I’m seeing a lot of training montages, with Kristen giving intense and pouty glares and Chris Hemsworth chopping wood…preferably without a shirt on.

Competing against Julia Roberts’ she-villain will be (also) Oscar-winning actress Charlize Theron, who gained the part over Angelina Jolie and Winona Ryder and who pulled out of Clint Eastwood’s upcoming biopic J. Edgar to take the job. For those who remember her incredible character acting in Patty Jenkins harrowing masterpiece; Monster, Theron is a very clever pick, who will definitely stand up against her rom-com frequenting adversary.

However, aside from the fact that production seems well under way for Sanders who has a concrete cast and a confirmed title, the road to theatres is proving a bumpy one. Universal Pictures have reportedly asked Hossein Amini (Drive) to re-write parts of the script. It is unclear if this will be an entire re-working or just a slight tweak, but to the outside world, and to Relativity I’m sure, this suggests Universal and it’s crew are displaying a lack of confidence in their own work at this late stage in the game.

So prepare to pick a side. At this stage, ‘Team Kristen’ and ‘Team Lily’ T-shirts don’t seem out of the question. In the best case scenario, both films will be refreshing and innovative and do very well, then Relativity and Universal can put aside their differences and, for want of a better phrase, live happily ever after. This doesn’t seem likely. Instead, it seems the fairy tale wars have only just begun.

I hear on the entertainment grapevine that there are talks of a 2013 feature ‘Snow and the Seven’, as well as Disney commissioning yet another; Order of the Seven, which will no doubt be like a kid who turns up late to the party. Does this mark a whole-hearted appreciation of timeless classics, or are we simply running out of original ideas? With a finite amount of fairytales to tell, we are bound to get a little repetition from a competitive industry, keen to follow the trend. But is it too much to ask to space it out a little? The next few years will bear witness to a whole host of fairytale re-makes battling it out, with a Hansel and Gretel re-invention and numerous new Cinderellas, Jack and the Beanstalks, a Sleeping Beauty, multiple Pinnochios, countless Peter Pans and even a Tom Thumb in the pipeline, we should probably get used to Tinsletown getting a little Grimm.

Relativity Media

Universal Pictures

PARADISE LOST CONCEPT ARTWORK REVEALED

2011-08-04T14:20:00.000-07:00

Good news ladies, Bradley Cooper’s becoming the number one bad boy…

Director Alex Proyas (The Crow, Knowing) talked recently at the Legendary Pictures pre-production panel at Comic Con about his upcoming big screen adaptation of John Milton’s epic morality tale, Paradise Lost.

Originally published in 1667, the poem concerns the story of the fall of man. Legendary have released this brief synopsis of the plot:

‘Lucifer and Michael, God's greatest archangels, share the bond of extraordinary friendship until God produces his greatest creation: Man. Unable to remain subservient to God if it means bowing down to humanity, Lucifer begins his dark descent and is cast out — only to plot his revenge.’

A release date has yet to be announced, however the film is causing quite a stir already with the first teaser images released of The Hangover and Limitless star Bradley Cooper as fallen angel, Satan.

At present the only actor attributed to the project, Cooper had been in talks with Proyas for the role for years. He told Entertainment Weekly: “ I’d been vying for that role for three years.” He reveals an anecdote about meeting Ralph Fiennes, who has just finished his eight year stint as dark wizard Lord Voldemort in Harry Potter. Fiennes told him if he really wants to play the role, then he’s got to go for it.

The role is not without its challenges. Cooper told Den of Geek ‘it’s going to be motion capture, and I’ve never done anything like that.’ Following the footsteps of the likes of Rise of the Planet of the Apes, Cooper will play the whole piece using performance capture. Of this technology, he remarked: “[it] is evolving exponentially, so where they were when they did Avatar as opposed to where they are now is almost different worlds.”

Proyas revealed more about the film’s focus, claiming: “we’re going to make an incredible epic film about the devil’s fall from grace and the archangel Michael. Adam and Eve play heavily in it as well.” He continued, alluding to the ambitious production process involved: “This film couldn’t have been made a few years ago. In fact, we’re not even sure we can make it now. But we’re gonna try.”

Set to start filming in October in Sydney, Australia, the film is rumoured to be aiming for a 2013 release. With much excitement now surrounding the project, it is speculated that the film will attract another big name to star opposite Bradley in the role of Michael.

PRODUCTION COMPANY MR MUDD GIVES TEEN NOVEL THE STAR TREATMENT

2011-08-04T14:19:00.000-07:00

FILM ADAPTATION OF ‘THE PERKS OF BEING A WALLFLOWER CURRENTLY IN PRODUCTION’

Based on the 1999 book of the same name, The Perks of Being A Wallflower is a story of teenage discovery. Novelist Stephen Chbosky will write the screenplay for the film adaptation of his book and also direct the feature himself. With a little help from production company Mr Mudd and Producers including John Malkovich, the film is set for release in the U.S in 2012. It is not yet clear when it will hit cinemas in the UK. The epistolary novel is narrated by a Pittsburgh born teenager who goes by the name ‘Charlie’. This is only an alias, nearly all of the main characters are not given real names. ‘Charlie’ tells us his life story and the events that unfold around him through the medium of letters that he writes to an anonymous person he has never met.

The introverted and unpopular ‘wallflower’, will be played by Logan Lerman. (Percy Jackson and the Lightning Thief) The story has come under some scrutiny in the past due to its controversial subject matter. Covering topics such as sexuality, abuse, drugs, abortion and mental illness, it is perhaps not the most child friendly tale.

The protagonist is a High School freshman who is dealing with the recent death of is best friend. The plotline follows him through the ups and downs of his adolescent life, covering everything from making friends to having his first love.

‘Charlie’ meets step-siblings ‘Sam’ and ‘Patrick’ who take him under their wing and introduce him to a life of crazy parties and extroverted expressionism and he begins to get his life back on track.

Sam will be played by Harry Potter star Emma Watson, whilst the supporting cast includes some impressive talent including Paul Rudd (Role Models), teen idol Nina Dobrev (The Vampire Diaries), Mae Whitman and Johnny Simmons (both of whom starred in Scott Pilgrim vs The World). This cast line up should certainly attract a young adult audience. It may not be a coincidence, then, that the production and distribution company behind ‘The Twilight Saga’; Summit Entertainment is said to be lending a hand to this movie remake also.

Candid pictures from the set have recently been tweeted by Lerman:

BURTON’S LONG ANTICIPATED ‘DARK SHADOWS’ SET FOR 2012 RELEASE

2011-08-04T14:18:00.001-07:00

Based on the popular Gothic Horror television series, Tim Burton will direct a big screen adaptation of the black comedy Dark Shadows. With writing expertise from Dan Curtis, who contributed to the original series, this movie remake is looking promising. Not least owing to a rather impressive cast, including (of course) Johnny Depp and Helena Bonham Carter, with Michelle Pfeifer and Eva Green alongside fresh-faced talent the likes of Chloe Moretz (Kick Ass, Let Me In) and Australian soap star Bella Heathcote.

For those unfamiliar with the plot, Warner Brothers Pictures recently released a short synopsis that doesn’t skimp on intrigue.

‘In the year 1752 Joshua and Naomi Collins, with young son Barnabas (Depp) set sail from Liverpool…to start a new life in America. But even an ocean was not enough to escape the mysterious curse that has plagued their family. Two decades pass…Barnabas is rich, powerful and an inveterate playboy…until he makes the grave mistake of breaking the heart of Angelique Brouchard… Angelique dooms him to a fate worse than death: turning him into a vampire and then burying him alive. Two centuries later, Barnabas is inadvertently freed from his tomb…’

With Burton in the director’s chair it is highly unlikely that this will follow in the footsteps of recent teenage-angst driven vampire romances. Instead, the film will have a dark humour to it that will be reminiscent of the original television show. Burton told Collider: “It’s a funny tone, and that’s part of what the vibe of the show is, there’s something about it that we want to get”

Humour it appears will be teamed with a ghostly atmosphere that only the director of titles such as Edward Scissorhands and Beetlejuice could execute with resonance. He claims: “it’s a real ethereal tone we’re trying to go for”.

Set to hit the cinemas around May, Burton revealed that contrary to rumour, he has absolutely no plans to release the film in 3D: “I think people should have a choice. I don’t think it should be forced on anybody.”

Dark Shadows will be filmed in England and will feature a haunting score by composer Danny Elfman whose credits include Tales from the Crypt and Corpse Bride.

HARRY POTTER AND THE VENGEFUL GHOST

2011-08-04T14:17:00.000-07:00

THE ONE POTTER FILM YOUR MUM WON’T LET YOU WATCH

From director James Watkins, the mastermind behind spine-tinglingly chilling releases such as The Descent and Eden Lake, comes the second big screen re-visioning of Susan Hill’s harrowing ghost story; The Woman in Black. Set for UK release on 10^th February 2012, courtesy of Momentum pictures and horror powerhouse; Hammer films, The Woman in Black is being branded as ‘the most chilling ghost story of our time’, according to it’s recently released teaser trailer.

The film will tell the tale of 25-year-old father and lawyer, ‘Arthur Kipps’ as he travels to a remote village to organize a recently deceased client’s papers. He soon discovers the angry ghost of a scorned woman set on vengeance.

This haunting account has an impressive arsenal of producers, who have notched up some pretty spooky numbers in the past. With contributing talent behind titles such as Let me In, The Grudge, Black Swan and The Ring, it seems their ambitious tagline might well turn out to be true.

Jane Goldman of Kick Ass and X-Men: First Class fame will write the screenplay.

Taking the lead role is a somewhat surprising Daniel Radcliffe. The 22-year-old star is making his first foray into the genre in a very demanding part that couldn’t be further from his immortalizing stint in children’s fantasy series, Harry Potter. Radcliffe is reprising the role from Adrian Rawlins who starred in the 1989 version. Coincidentally, Rawlins now plays Harry’s father in the Potter films.

Radcliffe told MTV News: “It’s the kind of film I probably wouldn’t see if I wasn’t in it…it’s going to be terrifying…at the test screening they had, apparently people were leaping out of their seats.” He continues: “I know a lot of people that have said they aren’t going to be able to see it and I’m going to have to force them to, because…it’s just going to be a really, really good movie”

The supporting cast includes Ciarán Hinds (Road to Perdition) as townsman Mr Daily and Janet McTeer as Daily’s wife. With such a small cast, there is much pressure placed on performance. It seems much of the film will echo the feel of the play, which is riddled with suspense and anticipation, using classic horror technique to scare the audience repeatedly with various ‘jumpy’ moments.

Radcliffe notes: “There is apparently a portion for like 15 minutes in the film with no dialogue. It’s just me walking around the house, but it’s apparently some of the most compelling footage.”

The Woman in Black is set to be a massive success, but take caution; it is certainly not for the faint of heart!

FIRST LOOK: 'MAN OF STEEL'

2011-08-04T14:15:00.000-07:00

HENRY CAVILL HAS SOME BIG RED BOOTS TO FILL

Zach Snyder (300, Watchmen) and Christopher Nolan (Batman: The Dark Knight, Inception) are collaborating on Warner Bros and Legendary Pictures most recent installment of DC comic’s epic Superman saga.

Well, almost.

The film’s crew was recently shaken by Nolan’s decision to work on the initial script with screenwriter David Goyer and then hand all creative control to Snyder, to enable him to focus on his own upcoming comic book blockbuster The Dark Knight Rises.

Man of Steel will star British born Henry Cavill as the lead, (Cavill was a front-runner for recent remake flop Superman returns, for which newcomer Brandon Routhe was cast) while Amy Adams will take the role of firey reporter and romantic interest ‘Lois Lane’. Adams knocked some pretty heavy-weight actresses off the top spot for this one, she was cast over Natalie Portman, Anne Hathaway, Kristen Stewart, Rachel McAdams, Olivia Wilde, Mila Kunis and Jessica Biel, to name a few.

Russell Crowe has been officially named as the protagonist’s birth father and Kryptonian ‘Jor-El’ and Kevin Costner and Diane Lane will resurrect the characters ‘Jonathan’ and ‘Martha Kent’, Clarks adoptive (and human) parents. Connie Nielson is currently rumoured to play ‘Lara’.

Surprisingly, long-time arch nemesis ‘Lex Luthor’ will not feature as main villain of the piece, instead Michael Shannon will make a star turn as heel ‘General Zod’.

Prestigious directors that didn’t make the cut included Black Swan’s Darren Aronofksy, Let Me In’s Matt Reeves and Source Code’s Duncan Jones. Ben Affleck reportedly turned down the job due to inexperience with VFX.

Warner Bros has announced the film will be a “clean reboot’ of the famous franchise. Hoping to start fresh and put a new spin on an old story.

In the last week, Bleeding Cool via the website Collider leaked a plot synopsis for the film which was met by outrage from the industry. The summary details the thread of a young reporter who roams the world covering news stories. He is compelled to use his secret powers to prevent a crisis in West Africa, causing him to return to his hometown and learn more about his origins, in order to ‘be the hero he was born to be’. For fans of the series, this won’t seem to stretch too far from what they were expecting. In fact, it should strike a chord with comic book readers who will no doubt see the similarity to a Mark Waid comic ‘Birthright’ which follows Kal-El from infancy to manhood, sees him witness a conflict in Western Africa between two fictional ethnic clans and which also sees him head back to Smallville to go on a voyage of personal discovery. With a rumoured budget of a modest 175 million dollars and a pressure to bring us something new, Man of Steel will have to really work to pull something out of the bag.

AVATAR SEQUEL GOES GREEN

2011-08-04T14:13:00.000-07:00

James Cameron has confirmed that he will be dusting off his directors chair and he starts work on the screenplays for two more currently unnamed Avatar movies, which will be released in quick succession in 2014 and 2015. It has been suggested that the sequels will take place several years after the events of the 2009 smash hit.

The second and third films will serve to compliment their predecessor and fulfill an overall story arc that will become the director’s first film trilogy.

Actors Sam Worthington and Zoe Saldana have confirmed they will be reprising their starring roles as Jake and Neytiri respectively. Worthington told Total Film “I think I’ll be 94 by the time it finishes, to be honest. I know Jim’s got some ideas in his big head.” Further casting is at this stage only rumoured, yet it looks like most surviving characters from the first film will be seen again, in some respect at least.

In an interview with Entertainment Weekly at the Producers Guild awards in LA, Cameron revealed that some of the proceeds from these two films will be donated to environmental causes. He told one reporter: “I didn’t want to make more Avatar movies without a greater plan in place”. Fox has partnered with Cameron on this green mission to give back to charitable organisations and causes that are “the heart of the Avatar world”, focusing on the moral messages within the film series. With the first film grossing over two billion dollars at the worldwide box office, the decision to give back will surely stand in good stead with the public.

It is rumoured that Cameron plans to shoot a large part of ‘Avatar 2’ seven miles underwater in one of the deepest locations on earth: the Challenger Deep. He told the LA Times: “Part of my focus in the second film is in creating a different environment…and I’m going to be focusing on the ocean.”

The world-renowned director suggests his reasons for reviving the story may be down to practicality: “It just makes sense to think of it as a two or three film arc, in terms of the business plan.” He continues; “The CG plants and trees and creatures and the musculo-skeletal rigging of the main characters- that all takes an enormous amount of time to create. It’d be a waste not to use it again.”

However, fans can be assured that the new films will not just be a regurgitation of the original story, more a continuation of its filmic achievements. It appears the second film will explore the Na’vi culture in more detail in a slightly different setting. In a statement to The Hollywood Reporter, Cameron promised an expansion on the dynamic visual innovation of the former: “ We will not back off the throttle of Avatar’s visual and emotional horsepower, and will continue to explore it’s themes and characters which touched the hearts of audiences in all cultures around the world.” Scheduled to shoot at the one of the most hi-tech production studios in America; the Mbs Media campus in Manhattan Beach, which is pegged as the most technologically advanced outside of Hollywood, it seems admirers of the first film’s visual effects and aesthetic beauty will certainly not be disappointed.

On the re-vivification of this exceptional world, Cameron express his excitement at the birth of a global franchise, telling THR: I’m looking forward to returning to Pandora; a world where our imaginations can run wild.”

'PAY NO ATTENTION TO THAT MAN BEHIND THE CURTAIN'

2011-08-04T14:11:00.000-07:00

WALT DISNEY PICTURES PRESENTS OZ: THE GREAT AND POWERFUL’

Penned as a prequel to Frank L. Baum’s infamous 1900 work ‘The Wonderful Wizard of Oz’, the latest silver screen adaptation; Oz: The Great and Powerful is the story we all know and love, with a twist. It is to be told from the wizard’s point of view. Chronicling a young man’s humble beginnings as a circus wrangler in Omaha, the film will see him arrive in a magical land by accident, (involving a wayward hot air balloon) where he is mistaken for a wise wizard.

Directed by Sam Raimi (Spiderman), this re-working of a fantasy classic is scheduled to begin shooting this July in Michigan and will air in the UK on 8^th March 2013. Producer Joe Roth has announced the film’s theatrical debut will be in eye-popping 3D, hoping to replicate the success of his last collaboration with Disney; Alice in Wonderland which was a worldwide success.

Hoping to set the film apart from previous revisions, is it’s star studded line up. The role of the protagonist will go to James Franco, who has been cast opposite some formidable leading ladies. Mila Kunis is to play ‘Theodora’, The Wicked Witch of the West, Rachel Weisz has been recently cast as her sister and therefore Wicked Witch of the East; ‘Evanora’. Michelle Williams will play Glinda the good witch, who acts as Franco’s love interest and Zach Braff makes an appearance as Oz’s assistant, ‘Frank’. It will be interesting to see how they will successfully transform beauties Mila Kunis and Rachel Weisz into believable evil witches when one remembers the green faced, wart-nosed versions of the 1939 classic.

Early talks were had with Christoph Waltz, Robert Downey Jr and Johnny Depp for parts in this ensemble cast, yet, toyboy Franco pipped them to the post.

Oz is also set to be an aesthetic treat with a magical dream team crew with an endless list of fantasy film accolades at the helm. Production Designer Robert Stromberg (Pan’s Labyrinth, The Golden Compass and Pirates of the Caribbean) and co. Producer K. C Hodenfield (Transformers, The Chronicles of Narnia, Cowboys and Aliens) will contribute. Watch this space fantasy fans!

Troll Hunter Review

2011-07-22T07:47:00.000-07:00

André Øvedal’s Troll Hunter starts with a disclaimer, which claims all images that are about to be seen are completely authentic. This ‘Mockumentary’ is about a group of students who choose to follow and film a mysterious bear hunter, ‘Hans’ (Otto Jespersen). They soon get far more than they bargained for, discovering that Hans is in fact hired by a secret government body to scourge the menace of real life Trolls, that are causing destruction and devastation around the scenic mountains and forests of Norway.

Troll Hunter asks it’s audience to ‘believe’ this new truth. Throughout the film Hans shows them ‘signs’ of Troll interference that are things we see everyday and discard as natural occurrences. They endeavor to plant a single, simple idea in our heads and make us doubt ourselves. I believe if a handful of people leave the cinema questioning the legitimacy of telegraph poles and pylons really being electric fences that act as a cage for unruly Trolls, then Øvedal’s work here is done.

The first half is incredibly tense, with dark, silent moments giving you the feeling that something is about to jump out, reminiscent of The Blair Witch Project. However, the anticipation is not at all symbiotic with the output.

The footage is very cleverly edited to give the feeling of amateur hand held camerawork and the realism inherent in the deadpan humour and casual stoicism toward an otherwise extra-ordinary subject worked in it’s favour. The design and execution of these monsters was exceptional. With the end result being a creature that looked like something out of Pans Labyrinth combined with Lord of the Rings.

There were elements of social commentary, but their ultimate statement was somewhat lost in the build up of an idea that unfortunately never got off the ground.

The film has some very clever ideas but fell victim to it’s own hype. With a misleadingly scary, action-packed trailer and ominous taglines, the pace of the film was a let down. It read more like a nature documentary that when it hit the mid point, dragged lethargically towards a disappointing and ultimately pointless conclusion.

The film wasn’t sure whether it was a Documentary, a Horror, a Comedy or a Fantasy, and it’s failure to decide upon its direction and establish a genre ultimately led to it’s inability to execute any of them effectively.

Think Cloverfield without the action and Where The Wild Things Are without the charm.

The Twilight Saga: New Moon review

2011-06-12T14:37:00.000-07:00

The Twilight Saga: New Moon ‘dazzles’ viewers across the globe.

Clutching my prepaid ticket to the midnight screening of the latest instalment of the box-office busting Twilight saga, I stepped out of the taxi at an eager 11.09pm. Apparently not eager enough. Imagine my surprise when I look up onto the third floor of Sunset Mall, Miami and saw a line of five hundred strong excited and apprehensive men, women and children snaking its way around the entire precinct and ending by my feet in the parking garage. Perhaps it was naïve of me to underestimate the popularity of a multi-million dollar franchise that has gripped a generation of fans like that of an unstoppable epidemic.

After pushing my way into the entrance of the movie theatre, I was greeted by an unruly mob consisting of mainly teenage girls frantically trying to find seats in one of the twenty auditoriums that displayed the 12.01am screening. Others took their place at the back of one of two queues. The first being the merchandise stand selling cups, posters and t-shirts bearing the faces of the immortal cast of heartthrobs. The second was unsurprisingly, the women’s bathroom. (Naturally, the men’s was absolutely fine).

After employing very questionable means to secure myself and my friends seats next to each other, I looked around at the buzzing pandemonium and one single thought entered my mind: this mayhem could only be in honour of the agonisingly awaited motion picture monster: New Moon.

After what seemed to the average fan an eternity, the lights dimmed and the opening shot appeared on screen accompanied by ominous music. The much uttered title appeared encircling the figure of a moon at night. This alone caused the audience to let out screams and applause reminiscent of a child when he sees an ice-cream truck.

New Moon continues the story of the forbidden love between Bella Swan (Kristen Stewart) and her un-dead paramour Edward Cullen (Rob Pattison). The film begins by chronicling Bella’s trepidation at growing older whilst her vampire boyfriend remains eternally young and beautiful. This is illustrated in a stunning dream sequence the night before her eighteenth birthday. Director Chris Weitz shows an appreciation and understanding for both aesthetic beauty and sensory pleasure in scenes such as this, displaying cinematographic excellence in both composition and photography. This is the first of many scenes to follow that contribute to the splendour and reverence of this cinematic effort.

The bulk of the picture is dedicated to Bella’s attempted recovery after Edward leaves her and plunges her world into darkness. Enter Jacob. Bella slowly finds the key to numbing her emotional pain and filling the void that the Cullens left, is to spend time with her childhood friend and persistent admirer, Jacob Black (Taylor Lautner). Bella’s life undertakes various twists and turns as she discovers that she has visions of Edward when doing something adrenaline-packed and life-threateningly reckless.

While Bella’s heart is slowly, being pieced back together, Jacob starts behaving strangely. It seems Jake has a secret that will return Bella’s life back to the whirlwind anarchy that is once was. Bella’s relationship with Jacob is put at further risk after a impromptu visit from Alice (Ashley Greene). In a race against the clock, Bella must flee to Italy to try and save the love of her life from impending death.

Notwithstanding previous critics reviews, Weitz brings action, comedy and emotion to this big screen adaptation of Stephenie Meyer’s second best-selling book, that had the audience laughing and crying respectively.

Lautner gave a great performance as the unfortunate love interest. His newly-buff bod will no doubt catapult him to fame in the hearts of female viewers who sympathise with his character in a series of close-but-no-cigar advances towards our heroine that had the audience elatedly squirming in their seats before being struck down by interrupted frustration.

The special effects deserve a note here. At the risk of looking inauthentic, the CGI wolf pack was surprisingly realistic and did not disappoint nor let down the validity of the action. The sequences shot on location in Italy were a treat for the eyes and served as wonderful juxtaposition to the somewhat scary Volturi scenes that provided suspense and excitement. This sequence, much elongated in print, would have benefitted from a larger fear factor but it seems there will be more to come from them.

The final scene epitomises the tension between the supernatural love triangle and a cliff-hanger ending left us begging for more.

All in all, The Twilight Saga: New Moon rewards its fans for their avid loyalty with a filmic triumph that spawns the beginning of mass impatience at the arrival of the next offering in the bewitching global phenomenon that is the Twilight saga.

2001: A Space Odyssey review

2011-06-12T14:35:00.000-07:00

2001: A space Oddity?

‘2001: A Space Odyssey’ was a milestone both in cinematic history and the development of the science fiction genre. There are positive and negative points to the movie. What struck me the most, was the visual beauty of the work. Every single cell of the film, every frame could have been taken out on its own and viewed as a painting for artistic study. The amount of effort invested in composition and aesthetics was astounding. Kubrick’s penchant for symmetry and framing is not a secret, but his influence was palpable from the first shot. The score was intense and instantly recognisable to a modern audience from later products of the genre, but also cleverly utilised. The background music would build up and depress tension at appropriate moments within the action. Simple things like taking away sound had so much power on the audience’s attention. Occasionally, in stark contrast to the loud, prominent music that had appeared sporadically, some scenes or sections of scenes were filmed in total silence. This is a technique I was not that familiar with but that had a massive impact on the scene. It gave Kubrick the power to determine the level of attention or intensity the audience gave to each moment in the film. Other directorial decisions such as having the astronauts breathing for long periods of time as the only sound heard were interesting and innovative and served to affect my personal breathing pattern which was probably the desired outcome, making me identify with the character and feel everything he felt. Some of the scenes were ‘hammed up’ a bit, either making them go on for an uncomfortable length of time or using extended slow motion. It was no wonder why the film was so long, there was an elongation of every scene and sequence to it’s limit, even featuring slow motion prominently- yet there seemed to be a frustrating lack of action or indeed purposeful content. There we certain problems I had in terms of plot and narrative. The film seemed to be following one story, of the two men on the mission to Jupiter with the rogue computer, yet this was somewhat abandoned in favour of a cryptic and abstract ending sequence that left the audience dazed and confused. It is obvious that the film is open to interpretation and highly metaphorical in its resolution, but it left me somewhat cold, without conclusion. There is a ton of discussion and differentiation in interpretation surrounding this film and rightly so. I felt that the desire to remain ambiguous and interesting has overwhelmed the films ability to make a statement. It would only be from asking Kubrick himself what he was trying to say at the end of this film that you would fully appreciate the artistic effort. As it stands, everyone takes a unique confusion home with them. However, I found myself ignoring the head-aching concept of the ending due to the visual spectacle. For the time it was made the film is highly advanced in special effects, technological ideas and creative impetus. I can completely understand why this is a must see film for a motion picture student. I think people will either love it or hate it, being too annoyed by the ending to appreciate the achievements of the entire work. The movie was rife with clever, intriguing ideas and concepts and was filmed in an interesting and uniquely stylised manner. I believe the meaning of the movie was to convey a fear of advancements in technology and human dependence on computers. Suffice it to say, If I could provide a final comment that summarises the feel of the overwhelming ‘2001…’ it would be this: Notwithstanding the intense subjectivity of one’s reaction to the work, the overarching feeling you get and are left with can be summed up in a single word: epic.

Fame review

2011-06-12T14:34:00.000-07:00

Fame’s Gonna Live Forever

Kevin Tancharoen’s long awaited adaptation of the 1980s classic opens in documentary style, cataloguing the first day of auditions for a prestigious New York school of performing arts. The sequence is reminiscent of one of the many reality television talent shows that we have become accustomed to in today’s generation of viewers. Here we are introduced to the many promising young actors, singers, dancers and musicians, of whose journey we will be following throughout the film.

The movie is split into sections, each covering a year at the firm but fair performing arts college, and concerning the trials, tribulations and triumphs of a select few of the chosen artists. Each character’s story is developed in little detail amongst these sections, but there is a great atmosphere within the scenes filmed during school hours that had the audience literally dancing in their seats in the theatre. The most exciting of these are, of course, the musical numbers which do not disappoint the high hopes of its cult fan base.

The film must indeed be credited for its fabulous song and dance performances, ranging from ensemble extravaganzas to moving solo pieces. However, it seemed the film served as a platform for up- and -coming faces, a virtual launch pad for a talented new generation of entertainers screaming the immortal: ‘remember my name’ to a captivated audience. The primary cast were unknown actors and performers and it was very obvious that the film will be a wonderful introduction into the business for these aspiring kids.

Tipped as the protagonist, if any, of the piece was Naturi Naughton who played ‘Denise Dupree’ a classically trained pianist and a kick arse vocalist.

The film chronicled the turbulence of life in the performing arts business and delivered a somewhat realistic impression of the harshness it entails, yet the original blockbuster had much more of a storyline centred around the characters.

It is a tricky issue here, as despite being sympathetic and likeable, the entourage consisted of certain stock characters that have popped up in movies of similar considerations. Angry youths and struggling stars trying to cope with life in the school are not unfamiliar to audiences in the wake of movies such as ‘Step Up’ and ‘Save the Last Dance’. Interestingly, (but not surprisingly), before venturing into feature directing, Tancharoen was a dancer in the chorus of ‘You Got Served’, which would explain his flair for choreographical brilliance, but exposes a nascent vulnerability in terms of cinematic experience.

Pleasing performances were given by big names such as Kelsey Grammer and Megan Mullally, who even delighted us with a musical number.

Fame (2009) was a valiant effort as an entire entity but lacked a lot of the lustre and depth of the original screenplay and stage show. It will be interesting to see if audiences will grow tired of recycled storylines, characters and musical conventions, but, at present, Fame does not disappoint its target audience: Pre-teens mourning the loss of the High School Musical saga. I don’t believe it will be in line to win an academy award any time soon, but I found Fame to be an enjoyable family film tapping into the wild success of the other dance movie genre trendsetters.

Star Trek Review

2011-06-12T14:33:00.000-07:00

An ageing Star Trek franchise can live long and prosper on the back of this latest offering

Boldly going where the Starship Enterprise has literally gone before, JJ Abrams sci-fi triumph acts as a prequel to previous films in the series, chronicling the turbulent journey of a group of young and promising students into the nations favourite Starfleet.

Beginning with the story of George T Kirk’s heroic captainship of the enterprise during a threat from an enemy spacecraft, we are introduced to a moving and inspirational back story that would spawn the beginning of two important events: the start of a decade long vendetta between the Vulcans and the Romulans, and the birth of Jim Kirk, later a cocky, young maverick played by pretty boy Chris Pine. The story joins our much loved miscreant in the days of his early childhood rebellions. Fittingly, an equally intense backstory belongs to a young Spock, torn between his human emotion and his Vulcan stoicism. Inevitably the two meet in a training facility for Starfleet crewmen, and it is fair to say they do not get off on the right mildly deformed foot. Various other infamous characters are introduced as the team must work together to prevent impending devastation from the enemy fleet, headed by an almost unrecognisable Eric Bana, who illustrates his skill as a character actor as the villain of the piece, Nero.

Whilst fans and trekkies alike will be delighted with the subtle nods to Star Trek history, much remains to be said for a weak and confusing storyline, leading up to a rather cheesy ending with a superfluous romance that appears to have been chucked into the mix in a desperate attempt to give the story some depth. With energy firmly focused on likeable characters and witty dialogue whilst neglecting the need for a three dimensional plotline, (and a rather questionabld appearance from Winona Ryder as 32 year old Zachary Quinto’s elderly mother), the film seemed to echo the pattern of Starship Troopers rather than the Starship enterprise.

It must be noted that Abrams has made an admirable attempt that has struck gold with the majority of its audience redeeming the franchise from its less popular past endeavours and probably re-vivified the chain, paving the way for a string of other nostalgic productions in the future. However, the film falls into the category of light entertainment for myself personally, in all my non trekkie capacity. If you seek an elaborate extended example of a star trek series episode rather than a complex, well rounded original feature, then Star Trek won’t disappoint.

Bottom line: I’m not jumping up the walls about it. Something was unfortunately missing. To the film’s credit, I was fairly reluctant to leave my seat, even when the inevitability of nature called for me to do so. I attribute this to the indisputably stunning special effects and ingenious performances from a group of talented actors so resembling people they were portraying that it was eerie. Even the guy who peed on Stiffler in American Pie was able to give a credible and memorable performance as Hiraku Sulu whilst a refreshing appearance from a heavily Scottish Simon Pegg provided a much needed lift to a somewhat confusing film.

If I have been a little harsh about the movies downfalls, I must say they are almost forgiven when considered next to its triumphs. It is almost as if you want to forgive the screenwriters when they repeatedly display a penchant for the co-incidental, due to the myriad successes that this sweet and sour concoction had to offer. The highlight of the entire viewing experience has to be the poetically potholed relationship between Kirk and Spock. Pine and Quinto go beyond the call of duty in a swashbuckling exchange of thrilling one liners laced with utter hatred for one another that develops humorously and believably into a quietly respectful partnership. Undoubtedly a visual spectacle, the film delivers sky-high budget sets and props teamed with an engaging and impressive score that is presented to the viewer on a platter as a cinematographic treat for both the eyes and ears.

It is safe to say the next generation of convention-goers is being formed. You only have to ask a member of the public what they thought of the film and the reception is overwhelmingly admirable. The person I saw the film with had no qualms with the fact that she was paying to see it for the second time, which demonstrates its longevity and popularity amongst a highly complimentary audience.

Abrams thrill ride has been championed as the start of a new beginning for the Star Trek franchise, blowing previous failed attempts out of the water. (Star Trek Nemesis, anyone?) J.J Abrams has succeeded in producing a science fiction marvel that throws you into the action from the opening scene.

So, if you can excuse a slightly holey plotline and some random production choices, Star Trek delivers exactly what it says on the tin. More often praised than critiqued, Abrams blockbuster paves the way for a line of new Star Trek tales, hopefully, with a little more complexity. As the tagline promises: The future begins.

Scott Pilgrim vs The World review

2011-06-12T14:00:00.000-07:00

Scott Pilgrim vs The World (2010)

This latest offering from director Edgar Wright takes the phrase ‘Smash Hit’ to a whole new dimension. Writing this review moments after viewing the movie I find I must refrain from the over-arching compulsion to use vocabulary such as ‘kick-ass’ and ‘awesome’ to sum up a film that has not only pushed the boundaries of existing genre conventions, but has created it’s own category entirely. This energetic and insanely enthusiastic comic book adaptation has ambition and gusto in bucket loads from the get go. The story is simple: 22 year old mild mannered musician Scott Pilgrim falls in love with flame haired sarcastic temptress Ramona Flowers, but soon discovers that she carries with her some pretty hefty baggage. Ramona’s past comes back to haunt her in the form of seven ‘evil exes’. Scott must defeat each and every one of these foes to win Ramona’s heart. Sound a little far fetched? I must have forgotten to mention, Scott lives in a world where the physical boundaries echo that of your average video game. From the opening scene, the film firmly establishes itself in this computer generated microcosm, allowing the audience to feel as if they are watching a vintage Nintendo platformer; turning characters into players and the screen into a console. Gamers the world over will recognize and appreciate the level of effort involved in maintaining this level of video game detail in each and every scene. Pilgrim’s weird and wonderful computer-driven world has every element of your standard game: different levels, tokens, power-ups, combat bonuses and even each conquered foe bursting into rewarding gold coins upon defeat. Teaming a grunge rock score with fast paced comic book style editing, Scott Pilgrim vs The World is your ultimate geek-fest turned ‘super cool’. Each character is introduced with a text box appearing on screen, detailing their name, age and ranking. This spells just the beginning of a host of visual spectacles detaching the viewer from any sort of semblance of normality as we know it. Instead of following in the footsteps of time honoured Hollywood tradition, Scott Pilgrim brings a cartoonish edge to the big screen, firmly slapping the collective face of the audience in every cell and frame, breaking out of the bubble of film realism in favour of an incredibly daring and original approach to cinematography and post-production. We are taken on an action-packed journey following Scott’s romantic endeavor to get the girl. Jumping from location to location in a palpably dreamlike manner, opening doors to rooms that were once not there in a progressively swift and free-flowing fashion gives the film an interesting rhythm that is both fluid and stilted.

As each new evil ex crashes onto our screens, they become opponents in KO style combat. These fight mode scenes and the characters featured in them will of course seem entirely melodramatic and farcical if you choose to ignore the world in which they have been created. It must be said that the first time one of these sword-wealding maniacs bursts into frame they do indeed seem completely out of place, even in a world of make-believe such as this. (OK, granted the singing emo wizard pirate guy and his demon chick army was a little OTT) However, with six more to come, these events become absolute commonplace in a rather surreal environment. Instead, what you’ll find more alarming if the fact that wimpy Canadian Michael Cera actually manages to hold his own in brutal hand to hand combat!(Think Street Fighter meets Pokemon) Every teenagers dream, these fight scenes reflect more likely how well Scott would play them. The biggest hint of this imaginative mind-play being his immense capacity to survive being hurled through various brick walls and then proceeding to get right back up again and play some ‘gnarly’ riffs on his bass guitar. One can indeed entertain the thought that a large portion of the films plotline is occurring within the protagonists mind.

What makes all of this nonsense work, it the fact the film is incredibly self- aware. The script is expertly woven with tongue-in-cheek indications of the writer’s reflexivity. When bleeping out one characters swear words with a censorship box, Cera asks; ‘How are you doing that with your mouth?’.

Credit where credit’s due, Michael Cera demonstrates his trademark comic timing with minimalistic sarcasm and delivers every line with charming naivety. Cera lends to the phrase ‘The Meek will Inherit the Earth’ a poetic validity in his performance, creating a lovable yet nerdish and goofy protagonist who spends the majority of the film kicking some evil butt.

Overall I would say this is an incredibly creative film that re-establishes the point of absurdity. If you can see the dramatics of the constant evil glares and whiplash-inducing head turns as humorous rather than serious and really immerse yourself in this brave new world, you really will get a lot of enjoyment out of it. Scott pilgrim has just the right amount of randomness mixed with recognizable references to popular culture that audiences will no doubt appreciate from even before the film begins. I was pleasantly surprised to see the internationally familiar Universal Pictures logo hijacked and replaced by dodgy graphics and Super Mario style effect on it’s booming theme music. This let me know I was in for something special; something different. Not just your average regurgitated three-act structure, Scott Pilgrim should be celebrated for innovative and productive film-making. In an otherwise dreary world, that has arguably begun to grow a little bored of cinematic convention and predicable storylines, these tiny intricate touches serve to render this film an absolute breath of fresh air.

Review by Dale Barnett