Often the criminally overlooked trick in Christopher Nolan's repertoire - The Prestige is unfortunate to be the filling in a reboot Batman sandwich. People think of Batman Begins and then are immediately drawn to The Dark Knight, no mention of The Prestige in sight or sound. This is terribly unfortunate, as The Prestige is truly a fantastic piece of work.
Starring Christian Bale and Hugh Jackman as two rival magicians with a fixed obsession for 'perfection' in the world of stage magic, the two attempt to outwit and surpass one another at every opportunity. Instead of Batman vs. Wolverine, it's Robert Angier and Alfred Borden going head to head. No claws, although that is made up for with plenty of tricks sprawled across the film.
The Prestige is not to be taken lightly; the film itself is a long one. Running for just over two hours, I was at first a little apprehensive of whether or not a rivalry dripped in magic could last the runtime of the film. But any concerns were quickly put to bed. With Nolan at the helm there are more than enough twists and plot turns to keep you satisfied. The plot is especially rich in detail and on repeated viewings even the minute subtleties will reward you with a smile.
With the majority of the film relying on the performances of the two magnificent magicians to see you through, the performances from both actors has to be equally as strong. And both Christian Bale and Hugh Jackman prove their worth with this film. You may have a 'favourite' when watching the film, but one actor never eclipses the other. This could easily have been a problem, but fortunately it doesn't exist within The Prestige and instead of criticising casting we can praise it. A number of supporting actors and actresses join along the way and again they are fantastic. Michael Caine, Scarlett Johansson, Andy Serkis and even David Bowie as Nikola Tesla all play their parts to perfection. Speaking of Tesla, the scenes with Nikola are some of the most beautiful in the film. And that is high praise coming from a film bountiful of breathtaking cinematography.
A similar film was released alongside The Prestige in 2006, that being The Illusionist. The Illusionist was the film I watched first, and after the initial viewing thought it was okay. Nothing was painfully wrong with it, but The Prestige leaves it as a puff of smoke. The Illusionist was very CGI heavy, and although it had a great performance by Edward Norton acting as its backbone it lacked a certain something. And having watched The Prestige I have a slightly better understanding as to what it lacked - The tactile like nature of the magic.
In The Prestige there are a lot of close-up, intricate tricks alongside grand stage tricks with your traditional magic doors and boxes. You really get a strong sense that the actors went out of their way to actually learn a few things. There may indeed be a few moments were good ole' uncle special effects was called in, but there are also a handful of moments that look as though the actor real is performing the trick which is always good to think. I may be completely wrong with that assumption but a bit of whimsy never hurt anybody.
Although many will cite Batman Begins, The Dark Knight or even Memento as Christopher Nolan's best work, I believe The Prestige is more than able to stand proud amongst them.
When it comes to hammy renditions of old monster movies, you can bet your last silver bullet that Anthony Hopkins is somewhere to be found in the fray. For lest we forget his hilarious, intentionally OTT performance as Van Helsing in Bram Stoker's 'Dracula' (1992) and now he's back with a meaty supporting role alongside star Benicio Del Toro in 'The Wolfman'. A production with a history as troubled as its titular protagonist: the film underwent re-writes, re-shoots and even lost a director on the way (Mark 'One Hour Photo' Romanek quit after budget cuts and was soon replaced by Joe 'Jurassic Park 3' Johnston).
But despite the aforementioned delays and backstage shenanigans, this commendably dark and atmospheric take on the legendary creature of folklore is on a par with, and in many ways better than, Universal Studio's 1941 classic. In which the 'The Man of a Thousand Faces', Lon Chaney embarked upon a series of lycanthropic, moonlit misadventures.
The excellent Benicio Del Toro, like Chaney, has an impressive, almost instinctive, ability to immerse himself within any given role whilst still being recognisable to the audience. Here, Del Toro plays Lawrence Talbot; an American stage actor who returns to England circa 1891, upon the mysterious death of his brother (savaged and mauled by some...thing!). Talbot's menacing and remarkably upbeat father (an inimitable Anthony Hopkins) prowls around the eerie environs of Chatsworth House by candlelight, a well cast Emily Blunt makes for an appropriately distressed damsel whilst Hugo Weaving (alas not given much screen time) crops up as Inspector Abberline.
'The Wolfman' revels in its B-movie origins, doesn't seem to care for the structural conventions of modern, ADD appeasing cinema and is at its strongest when shooting on location. Cinematographer Shelly Johnson sets up some great shots of the Blackmoor woods and the foreboding, neo-Gothic façades of Victorian England. An element of narrative incoherence (e.g. editing / continuity flaws) spoils the fun somewhat, but it's a minor quibble in an otherwise enjoyable film. Wrongly marketed as a CGI spectacular, 'The Wolfman' owes more to Hammer Horror in its measured, slow burn approach, than the all out rampage seen in the trailers.
That said, the Werewolf scenes, when they eventually arrive, are well shot and the creature looks as good as such a beast can on screen, thanks to monster movie legend Rick 'An American Werewolf In London' Baker. Johnston can't quite seem to decide on how he wants the Wolfman to move; for there're times when he's light on his feet like 'Van Helsing' and 'Underworld' and others when he's more like the Werewolves of 'Project Metal Beast', 'Dog Solders' and 'The Howling'. 'The Wolfman' has limited repeat viewing potential, but is still an entertaining, old school creature feature that rarely disappoints.
I watched this last night with nana and the kids with low expectations, and although the story is simple and full of cliché, it is extremely funny and had us all laughing uncontrollably. John Travolta is actually funnier than Williams in general, as his business partner and friend who is also a confirmed bachelor. Travolta's un-child friendly home is the setting for much of the action, as Williams is unable to take his kids to his apartment because there are 'no kids allowed'. Yes there are several metaphorical comparisons to dogs and kids, that usually tend to make me cringe, but they are not really overt. The end is utterly predictable to us old dogs but the kids really found the scenes at the bereavement party and the Zoo hilarious, and I have to admit - I did too! Great fun viewing for a rainy Sunday or Bank Holiday for all the family.
Verdict
Typical family comedy - with lots of very funny moments!
When I first heard there was a new Star Trek reboot I met it with a lethargic response. I had never really been interested in the original series of the show or the next generation episodes that followed later. I hadn't even watched any of the films from the series. But thankfully I was able to overcome my reluctance to watch Star Trek and was treated to a fantastic two hours or science fiction splendour.
Now I will warn any pre-existing Star Trek fans that my opinion may be significantly different to yours in regards to this film. And I am sympathetic to many responses of anger and annoyance from Star Trek fans. The new film essentially 'wipes' any pre-existing cannon the Star Trek series before it had left behind. As I mentioned at the beginning of the review, I had not been exposed to the lore of the Star Trek universe and as a result did not mind the plot that straddles this particular movie.
As with many science fiction films the plot is far more complex and intricate than the summary I am about to provide you with, so please do not let my impaired plot summary put you off the film. The film is centre on the characters of James T. Kirk and Spock before they unite on the USS Enterprise. Along the way they face a number of threats - Some trivial; such as needless bar-fights on earth, to formidable battles in space with the Romulan Nero. Both the plot and the performances of the film are quite exceptional, the highlight for me had to be Zachary Quinto's Spock. Widely known for his portrayal as Sylar in Heroes he never really grabbed me or impressed me to any degree as Sylar. However as Spock, Quinto shows that he is more than capable of pulling out an engaging and rewarding performance.
The downfall for many films is the length and boredom factor setting in. There are only so many rustling leaves and flowing shrubbery one man can sit, watch and take. More often than not you will glance a look at your watch or favoured sundial in an attempt to sense how long is left with a picture. With Star Trek there was none of that for me. Straight from the opening it had my full attention and never let go, there was no real downtime allowing for weariness to make an appearance. This is due in part to many things, the direction perhaps being the main. But I cannot leave the review without at least mentioning a few of the action set pieces.
Steering clear of spoilers, only a morsel of information will be shared. There is one scene that sticks out in my mind involving a space jump and a large drill. It may sound a little Scandinavian grunge music video to you, but trust me that scene is more than worth the purchase alone. Filled to the brim with suspense and ferocity it lives up to the cliché of edge of your seat entertainment.
I don't normally focus on bonus features or DVD extras with a release, which is probably wrong of me. But my ethos for film purchases is if the film is fantastic it needs to be picked up regardless of bare-bone features. The Star Trek blu-ray however deserves praise for both looking fantastic and being packed full of extras. From director commentaries, to deleted scenes and blooper reels they are all there on the second disk of three. The blu-ray even has a digital copy for the more active of film enthusiasts. I will admit that the white cover and black font leaves little to the imagination but just like a book don't judge the film by its cover. JJ Abrahams has truly laid himself a strong foundation in the Star Trek film franchise which hopefully will lead to even grander and greater things.
'Weeds' is a missed opportunity, a show with so much humour, intelligence, heart and creativity. The show goes from strength to strength in its ongoing season's but this is where it started. Deliciously dark and stupid at the same time, Mary-Louise Parker gives an outstanding and real performance as Nancy, the suburban widow who must deal with life after death and sell drugs in order to keep her family together, though she will learn it will only tear them apart. The show is clever, very addictive, includes a great ensemble and guest stars, filmed perfectly with brilliant humour and soundtrack and features so many twists and turns and raw emotion to make a show that is sadly under-looked in the UK. If you want something different from your typical American dramas and repetitive reality TV shows, then try 'Weeds' and get hooked!
David Mamet films can be a frustrating experience. As a writer, he has been responsible for several genuine modern classics as diverse as The Verdict, The Untouchables and Glengarry Glen Ross. But the films he has directed himself, while being meticulously crafted and still featuring the unmistakeably sharp writing and melodic dialogue, can nevertheless feel staged. It worked to the advantage of cool The Spanish Prisoner, but arguably to the detriment of amiable comedy State And Main. Redbelt mostly avoids this and so could be Mamet's most accomplished and satisfying work as a director.
It looks like a Martial Arts movie, but they are pure action flicks and Redbelt is a drama first, with a character based plot that occasionally feels like a Hitchcock thriller. It still has the action, but rather than being a set piece, the combat is concise and organic to the plot. It's really very clever because Mamet still builds those scenes through the characters with his usual skill and precision, reminiscent of classic Hollywood, but the choreography and editing is so smooth and dynamic, the film comes to life and avoids the occasional stiffness his work has. Fans of Hong Kong cinema will still enjoy the film, but might be confused by the lack of sound effects, never mind the higher standard of acting!
Chiwetel Ejiofor is perfectly cast as the thoughtful Mike Terry, the Jiu-Jitsu teacher with a code, not unlike a young Mr. Miyagi! His quiet, but firm presence sets the tone of the story and gives it personality. As does Emily Mortimer, who along with Max Martini and Tim Allen (in a rare straight role; he's wasted in comedy!) give solid support as the random figures that unwittingly conspire to undermine Mike's world. The real villains are Mamet regulars Joe Mantegna and Ricky Jay, along with John Machodo. Machado is a Jiu-Jitsu black belt and he isn't the only real expert in the film. If you know the world of Ultimate Fighting or Jiu-Jitsu, there are multiple cameos to spot (the Blu-Ray has substantial interviews and statistics) and they give the story legitimacy, especially in the finale set at the Ultimate Fighting contest, where Mike's training method is being used as a cheap stunt.
It is here, after a messy middle section, that Mamet really proves his skill and plays his ace. The film has turned into a sports tournament movie, like a grown-ups Karate Kid, and despite being theilling stuff, is in danger of suffering the clichés and predictability that genre can't avoid. Yet in the final act, a neat contrivance avoids the obvious, while still giving the viewer the exhilarating and emotional conclusion the story deserves. The brief end note is superb, as it sidesteps any form of exposition or epilogue (another Hitchcock trait wisely used). It's outrageously sentimental, but also underlines the way the story treats the sport with respect and relevance throughout.
It isn't perfect. The shifts in tone can be messy and there may be one too many threads running for too many characters (at least one seems lost by the third act and an important twist is glossed over), but the casts performance is engrossing and Mamet's direction has an assured quality. If you haven't been won over by his style before, this might be the one to do so.
Redbelt is very enjoyable. An unusual, optimistic and satisfying film with a lot of heart that deserves to be known better and it makes a nice companion piece to The Wrestler, though it pales against that films focused story of redemption. But the Blu-Ray is currently available for about £5, so you really can't go wrong!
A respected Jiu-Jitsu teacher (Chiwetel Ejiofor) has his life put into turmoil after his good nature is continually exploited. With mounting debts and his reputation on the line, he is forced to enter an Ultimate Fighting contest, the idea of which is against his peaceful nature.
The BBC often gets criticised in the press over a variety of different subjects. The main one that seems to follow wherever they go at the moment is the idea that the corporation is ageist. Now whether you accept that to be true or not is entirely up to yourself. However when the BBC does something 'right' such as producing a quality program such as Luther it should equally be as praised.
Luther stars Idris Elba; from The Wire fame in the lead role of Detective Chief Inspector John Luther. A remarkably talented individual, Luther is also plagued with an unsettled and arduous home life. His verbal arguments with his wife litter the series and produce some of the most harrowing scenes in the series. An intense character needs an intense performance, and Idris Elba accomplishes this. But for me he was not the standout performer in the series. No, that title goes to the intoxicating performance of Ruth Wilson as the character Alice Morgan.
Whoever cast Ruth Wilson deserves a huge amount of credit and perhaps a few extra coins from the licence fee. Ruth Wilson has a face almost manufactured for this exact part. Known primarily for her work on period dramas such as Jane Eyre, Luther sees a dramatic and chilling renewal of the range of Ms Wilson's acting talents. Without giving too much plot away, the character may not be as easy to read as you first think. When you first meet the character she is covered in blood, tears flowing down the side of her face. Surely she is the victim? As the story progresses however the character of Alice Morgan rapidly develops and you are left quickly asking yourself should I like her or should I approach her with an air of caution and hate. And all these ideas and considerations are down to both the quality of the writing and quality of the acting. But there is another element to Alice Morgan that really adds an extra dimension to her character and I warn you in advance that it may sound a little strange or silly, but that element is her face.
Now before brandishing the proverbial verbal pitchforks let me clarify my point. Ruth Wilson possesses an optical illusion like face. We have all seen the image that looked at in certain ways can way be interpreted as either a beautiful young women or an old witch. By no means am I saying that Ruth Wilson looks like an old witch, far from it, she is a lovely actress. But at certain times in the series you look at her face in the close-up and you see an angelic cherub like face, but on other occasions her face reveals a devilish type figure. It was incredibly intriguing juxtaposition that occurred throughout the series and one that may not have been replicated had another actress been chosen.
American television series often overshadow the programmes that are coming out of Britain with their huge budgets and epic time spans. Luther is more than able to holds its own in just six episodes. It creates a sense of eagerness that many American shows fail to achieve in their 24 episode span. I will admit though that for me the first half of the series holds the strongest episodes. The episodes never reach a level of inadequacy; it's just that for me the strongest viewing can be found in the first three episodes.
What did surprise me about the series is just how dark the whole tone of the show was. There are a number of very harrowing scenes that really are quite startling. Again without revealing too much information for potential DVD buyers out there, there is a fair amount of blood to be found in each episode. When dealing with murder cases and investigations I suppose this shouldn't be too surprising, but being a BBC programme I wasn't expecting it. More known for family friendly programming, the closest we usually get to blood was a red sequin or the green blood of a Sontaran. But in Luther the blood is there for all to see, and in episode three it perhaps reaches its most dark and harrowing plateau.
A few minor niggles exist within Luther. There are a dose of clichés sprinkled in the series which could perhaps been avoided, but I can look past those as I got a great deal of enjoyment out of the series. The writing, acting, direction is all strong in the Luther series and deserves at least one chance to grab your attention. The first episode may still lurk online on the favoured iPlayer if you wish to watch the first episode to see if it does indeed interest you, but with fleeting appearances from The Doctor, Luther should already be added to your wish-list...
Maths problems mixed together with some Spanish sounds as interesting and exciting as sending a text to someone sitting in the same room as you. However, directors Luis Piedrahita and Rodrigo Sopeña manage the unthinkable and combine both to create a suspense filled ninety minutes.
Plot as always in a few words as possible - A group of individuals are invited to a house to tackle a great enigma. No Irishman, Englishman or Scotsman in site. Rather three mathematicians and an inventor are the characters of this teasing thriller. The plot still doesn't sound too inviting as of yet, but when the guests arrive they are treated to a lovely meal. Again nothing out of the ordinary, but as the night develops the puzzles begin to arrive. And arrive they do, hand in hand with danger. The group must solve puzzles given by the host, as the walls that surround them quite literally begin to close in.
Acting as an almost intelligent and gore free Saw-like experience Fermat's Room is a slow burner of a movie. The first chunk of the movie is dedicated to the group arriving at the riddle infested home, which is understandable. No major problem there, but it would have been nice to arrive at the destination slightly earlier in the films duration. The acting is more than acceptable, and the majority of films that star Federico Luppi are usually more than worth your time. Fermat's Room is no exception.
It isn't a masterpiece or flawless by any means; there are a few little kinks here and there that are ever so slightly bothersome. But for the most part Fermat's Room is an involving and engaging film. It is filled with a number of thought provoking puzzles, which you could if you wish attempt to solve alongside the characters in the film as you are watching. Or you could just sit back and let the characters sweat it out in the confined space, probably the easier and stress free option. For a little under a fiver, Fermat's Room comes as an easy recommendation. It may not pack a cinema shattering punch of profoundness, but it will have you brain working and your eyes glued to the screen for its duration.
And in the end if you don't like it there are always other options available to you. You could do the obvious and resell or re-gift to someone that has a tweed jacket in their wardrobe. Or if worst comes to worst you could use it as a ruler or a counter balance in measuring wheat. Whatever you choose to do with it, Fermat's Room is worth a buy...
Let me say from the outset that even I - as a self-confessed aficionado of music - was unprepared for the sheer volume of songs in this movie. That said, everyone acquitted themselves well, and yes - at times, Johnny Depp did produce shades of Bowie in his voice. For me, Helena Bonham-Carter was equally as good as Depp, if not the best thing in this movie. She seems to have come a long way in her range of characters since hooking up with Mr. Burton. Both leads clearly enjoyed themselves in what turned out to be a memorable and thought provoking film. People have said that this is a musical, but I actually felt that it was verging on opera. A couple of beautifully delicious twists at the end made for an experience as memorable as one of Mrs Lovatt's world-famous pies.
Deliciously grim!
For me, this was an interesting film from two points of view; firstly the love triangle that complicates Bella's life further. As an added 'bonus feature', most female viewers will, I'm sure, be interested in the sudden rites of passage of Jacob and his subsequent rippling 6 pack. The second interesting aspect is the introduction of the Volturi and this is possibly where the film falls foul of some miscasting (anyone who has read the books would attest to this). Michael Sheen is a fine actor but Aro he aint! Ditto for Dakota Fanning and her portrayal of Jane. Overall this picture is different in tone, but that's to be expected as it directed by a different person. You definitely get the feeling of progression from the first film and, as usual, the soundtrack does not disappoint. The three main players are excellent and are ably supported by the actors who play 'Roberts' family i.e. the Cullens. Jackson Rathbone brings a nice, eerie quality to the part of Jasper, who has that same kind of childlike / tragicomic presence that Johnny Depp brought to the part of Edward Scissorhands. An enjoyable way to pass a couple of hours...
Building on the momentum of Twilight, this second instalment ventures a little deeper into adult territory and sets the scene for Eclipse.
I highly recommend this DVD for anyone who is a huge comedy fanatic like myself. I see a lot of stand-up comedians and I can honestly say that Ross Noble is one of the, if not THE, best. His hyperactivity, imagination and just plain randomness make's for such a good show you won't believe that your body can produce so much laughter. If the venues he performed in were open 24 hours a day, 7 days a week, you can bet your life that you would still be watching Ross a week after you sat down, and he would still be talking about a balloon he mentioned as soon as he came on stage, and you'll still love it! Buy this DVD, enjoy it, and look out for me if the Carlisle gig is included, I am texting man.
A very good film which places the emphasis on those who are usaully hidden away from the screen
A good educational tool as well.
Prepare for a time based review trifecta, triad or any other word for a group of three beginning with "t". First up is a time travelling head twister from Spain - Timecrimes or Los Cronocrímenes as it is called in its native tongue. Filmed on a low-budget director Nacho Vigalondo crafts out an engrossing thriller with the ninety minutes he has available to him.
Apologies in advance for the oxymoron use here, but the plot of Timecrimes is simply intricate. Now the device of time travel isn't new to film. Most of us have seen it used to some extent before. Whether it is in the classic Back to the Future series, where it is used quite jovially or to the mind boggling extent in a film such as Primer. Time travel has even seeped into our television series. Shows such as the recently concluded Lost have used it as a narrative device. And I am quite glad that time travel is getting its moment in the spotlight. Time travel has always fascinated me, and in Timecrimes it is used effectively on a smallish scale to tell an engrossing story.
Right off the bat, when watching Timecrimes you will begin to notice the limited locations and the non-appearance of a major 'star'. But that is to be expected with a film of this budget. Don't let such nuances put you off, as the performance from the main actor and the limited locations are not to the films detriment.
You have Hector, his country house and the surrounding wooded area. And for your trip; apologies trips, throughout the movie that is pretty much your lot. However, Karra Elejade as Hector is more the competent in the protagonist role, and the lack of locations is quickly forgotten when the plot unfolds relatively quickly. If this film plodded along in an attempt to reach the two hour mark and in doing so resorted to ridiculous plot points along the way then it would not be receiving a favourable grade from me. Thankfully Timecrimes doesn't overstay its welcome, and goes along a fairly intelligent route with its tackling of time travel. There is however a moment in a film that seems to pop its ugly head up in the majority of time travel films nowadays; and that is the 'scientific' explanation. In this films case it is with the infamous squiggly line with a few crosses darted about it. Don't worry, that last sentence will all become clear when watching the film. That is indeed if you choose to pick the film up. But I would suggest a click purchase for a copy of Timecrimes as it is more than worth your time, pardon the poorly attempted pun.
Ashton Kutcher probably best known for his roles in a relentless string of romantic comedies, or his celebrity pranks or even his marriage to Demi Moore produces a convincing performance as Evan Trebon in this mind churning thriller.
Part two of the time paradoxical reviews, it should be no surprise to here that the there may be some time travel in The Butterfly Effect. But rather than the stereotypical or traditional time machine, the time travel occurs more 'organically' so to speak in The Butterfly Effect.
Ashton Kutcher's character experiences sporadic blackouts throughout his childhood and his adult life. He has managed to amass a collection of personal journals over the years. He discovers in his late teens/early twenties that by reading these journals he has the ability to travel back in time to that specific date in the diary.
Taking its name from the metaphor, the film attempts to reflect said metaphor in the film. And for the most part it does a pretty nice job in doing so. The metaphor in its simplest form, suggests the idea that if one were to go back in time in an attempt to make a small change this in turn could have a large, perhaps catastrophic, affect on the present. So in attempt to stay away from the dark and grand ideas one may have if such a time travelling device existed consider this example - You change your route to work one day because on that day you had an accident. Now this may seem a pretty uneventful change in the grand scheme of the world. You aren't exactly saving a life, or stopping a natural disaster. However this little action could have a damaging domino effect. Instead of you getting into the accident, somebody else does and this results in a spiralling chain of events for the individual that alter their timeline. They may have been a successful architect in the past, but with time being altered they are now a librarian.
Now The Butterfly Effect is a lot more exciting than that example given; there is no architect to librarian or lawyer to bin-man transitions in the film. There are however a number of thought provoking alterations in the film that will have your gripped and thinking in equal measure. Touching the two hour mark however, the film does begin to wear the idea a little thin at times. You go through the transition of being greatly interested in the initial idea to a level of uninterested disappointment, thankfully though the first half of the film is strong enough to see your patience through the film. I only just discovered that two unrelated sequels exists for The Butterfly Effect. Having not seen either of these sequels I can only make an educated guess as to whether or not they will be any good. I am leaning more towards the answer of no, but I may indeed be wrong in that guess. Please feel free to post a review of either of the sequels if they are indeed worth seeking out.
Enough talk about the sequels, this review exists to reveal if The Butterfly Effect is worth picking up or not. And due to it being relatively cheap now that would be a yes, two thumbs up or some sprinkled stars, whatever review abridgement you prefer. It's not the best time travel film you will ever see, but it is certainly not the worst - looking at you A Sound of Thunder...
Number three in the time based review triangle - Triangle. Now this film is allows for a nice comparison with Timecrimes I reviewed slightly earlier. And without wasting too much of your time, I will mention that I preferred Timecrimes to Triangle. The stars above the words probably gave it away, but here are the reasons why.
Both films have differing plots, but both deal with a similar sort of idea/theme. Going any further into the plot of Triangle will completely spoil anyone's first time experience watching Triangle. Go onto Triangle with a blank slate, with the line - "Something strange is going to happen" and you will be alright. Go into it with the plot completely destroyed and there really is no point watching. And watching Triangle after watching Timecrimes or vice versa will definitely have a bearing on which one you prefer or which one you like or dislike. As said at the beginning of the review Timecrimes beats Triangle to my preference post.
Coming out in 2009, Triangle follows Timecrimes having been released in 2007. Although it doesn't completely copy Timecrimes, Triangle certainly borrows a number of elements from it. The bandaged weapon wielding figure for one, but it is unfair to say that the two are carbon copies of one another because they are not. The budget of Triangle is far greater to that of Timecrimes and that is one of the problems that harm the film in my opinion.
A greater budget doesn't necessary mean a greater film. The visuals should be grander, and the overall production values should be greater with Triangle and they are. But, some of the special effects just don't look too great at all. The ominous storm in the film looks slightly ropey, and a couple of shots of the foreboding ship don't impress as they should. The certainly don't blow any of the visuals in Timecrimes out of the water, or the stormy sea for that matter. The supporting cast as well aren't that impressive either. Melissa George as the lead Jess is completely fine, but the rest of the cast don't quite match up. The acting isn't atrocious by any means, but the wavering performances don't benefit at all from the weak characters.
A number of stereotypes can be found in Triangle. You undoubtedly have the heroic muscular ridden male chucked together with the ditzy female that likes to express herself through moans rather than song. On top of that I didn't really mind if they meet the dreaded finger of death or not. Characters should be engrossing and likeable; you should care how they end up. And out of the group in Triangle only one really deserves your attention that being Mellissa George's Jess. I don' think this would have been a problem if the budget for Triangle was smaller than what it was. The writer/director would have to of adapted his script to fit budget constrictions. And this in turn would have resulted in an altogether tighter script with a small pairing of likeable characters, rather than a disjointed film crammed to the bowel with annoy characters with only one glimmer of light in Melissa George.
But one thing that does work in its benefit is the darkness to be found in Triangle. I am not talking about the lighting her rather the tone of the film. Don't let the flippant title fool you. There really is a dark heart to be found in Triangle and that separates it from Timecrimes. Although there are darkly images within Timecrimes, they don't really compare to the macabre and bleak message that bids you farewell in Triangle.
Ultimately, both Triangle and Timecrimes should be given equal consideration when debating on what film to watch next. Having not watched them back-to-back I cannot say for certain if this is beneficial or not but it would certainly be an interesting experience. Being roughly priced around the same mark, it wouldn't be the worst investment to pick both up for a thought provoking evening. Add Fermat's Room to the equation and you really have yourself an event...
This film is a must see family comedy! It has Eddie Murphy at his best!!! This is a five star film that Eddie Murphy plays as THREE hilarious characters.
Murphy starts as a nice sweet gentle guy called Norbit. He had some ups and downs but at the end he finally got a second chance at love with his childhood crush Kate (Thandie Newton). But there is an obstacle in his way! A VERY BIG obstacle... Rasputia (Eddie Murphy. She's jealous mean and wants him all to herself. Norbit still tries to win Kate's heart though even with Rasputia in his way! This definitely is as described: Hysterically Funny! One incredible scene is Rasputia at a slide in a water park... You never know what might happen!
This film is packed with other HOLLYWOOD stars such as: Cuba Gooding Jr. , Marlon Wayans, Eddie Griffin and many more!
This is once in a lifetime humour, all in one DVD! Norbit is one heck of a film and I love it!
Although not the best of John Carney's work, On the Edge is a film that you should allow your eyes to see for ninety or so minutes. It has a few problems here and there but if you look past those with a little grit of the teeth then On the Edge is a very enjoyable watch.
Starring Cillian Murphy as the troubled Jonathan Breech, On the Edge looks to pack a lot into its opening act. The drug use, theft, joyriding and a near death experience boxes have all been ticked, but surprisingly this isn't too overwhelming. Not too much plot given away here I am sure you will agree, but the plot isn't really this films main selling point in my eyes. What is its selling point is the strong performance from Cillian Murphy.
I have seen Murphy in a number of roles now and he has impressed me greatly, from his role in 28 Days Later to his brief flashes as the Scarecrow in the Nolan Batman reboots. Murphy is a performer that has my invested interest, and as On the Edge lies just at the beginning of his blossoming career it interesting to see his development.
For the most part this quality is reflected through the whole supporting cast. Jonathan Jackson an American by birth puts on a very convincing Belfast accent in his role as Toby and should rightfully be applauded for it. However a problem lies in this supporting cast area with the character of Rachel. Tricia Vessey is the actress that takes the helm of this love interest role and she produces a very uneven performance. Now I am not 100% sure if this down purely to the acting ability of Vessey or if it is down to a flimsy script. Watching the film you are supposed to be intrigued by this enigmatic figure. As the film progresses the enigma unravels to reveal a frail and damaged individual; an individual as a result that should ultimately be liked. Bringing the second however into the review the character doesn't quite unfold like that. There are brief moments where you do indeed go along with this idea of Rachel as the likeable and sympathetic beauty. But this is clattered against moments of annoyance and periods of time filled with aversion for the Rachel character. But John Carney covers this blip with a fantastic soundtrack, although it is a little ham fisted at times - "Is She Weird?" by The Pixies for example. Three guesses as to the meaning behind the combination between song and scene.
The end just like the beginning of the film attempts to cram a lot in and comes of slightly disjointed. It is to an extent ambiguous which I often enjoy with film conclusions, but with On the Edge the ending just comes across as slightly lacking. Like a sail boat with no wind. But for the gift of Once I shall forgive you Mr Carney for these nagging inconveniences.
For a little under three gold coins and a couple of magic beans you can pick yourself up a copy of On the Edge. As I said right at the beginning of this ambling babble of a review, On the Edge is not John Carney's best work. Once has that sewn up for the moment, but it is nice taster for the talent John Carney possesses. On the Edge is the passable prawn cocktail, Once is the hearty beef stew (or favourable salad for our vegetarians friends) and as of yet Carney is still to make his sticky toffee pudding.
A guilty pleasure filled with stunningly melancholic coats and a chiselled performance from the granite like Christian Bale, Equilibrium is a film often harshly forgotten by many. But I have a very good idea why this may be the case.
The film stars Christian Bale as John Preston a high ranking cleric in a dystopian future devoid of emotion. Emotions themselves have been made illegal and they are suppressed by daily doses of drugs. An interesting idea coupled together with the most intriguing cinematic future - Dystopian, has my ears prick up and my eyes light up. However the pacing of the film slowly extinguishes the brightness of the eyes and the enthusiasm of the ears.
My poor excuse of a beard grew into a beautiful and luscious mane of a beard during the first forty or so minutes of the film. There is a lot of dialogue with the opening of the film and it results in nothing really happening. When the palette for the film is understandable black and white you are at a lost as to what visual you should reward your eyes with. But thankfully the film begins to pick up a bit of steam as the sense deviants begin to emerge and bleed into the plot. I don't believe they are officially called sense deviants in the film, but deviant has a v in it and I will stick with it for this review. Now as this conflict develops, Preston begins to question his own thoughts and morals, he may even stop taking his prescribed Prozium and experience emotion. I think the answer to that is known, but it is the journey in which the film takes that is the most interesting and entertaining thing.
As I have said before, the beginning of the film is plodding, but if patient enough you will be rewarded with some brilliant action set pieces. There have been a numerous videos posted online showing the Gun Kata; the fictional gun fighting martial art of the film in action. Watching it is quite a sight to behold. They explain in the film that the reason for practicing Gun Kata is that it allows the gun to be used to its fullest and most effective potential - Less bullets are used, the trajectory of each bullet is precise, etc, etc. This is all shown to the viewer on what appears to be an iPad with an assortment of scientific dimensions and drawings. Now I am no expert, but I think Gun Kata may not be the most scientific sound or grounded martial art in film but it certainly looks fantastic.
A true ambassador of style over substance, Equilibrium also boasts a strong supporting cast. From Sean Bean, to the always fantastic Emily Watson everyone does a great job of conveying emotion without emotion if that makes any sense. It is a bit of a paradox and probably why the film rubbed many critics up the wrong way, but it's a film; there has got to be some limitations. Although there is probably too many liberties taken with the plot and acting that will in turn spoil the evening of the most stubborn of pedants. But for those willing to let the film flow will have a fun and enjoyable time with the film.
With Father's Day coming up and a fiver in your virtual pocket, Equilibrium is not a bad film to pick up for the gift giving process. It has some guns and some beautifully coats being showcased, it is also not followed by films Reloaded and Revolutions, so what's not to like for your doting dad?
Now there are those movies that can be watched and appreciated as a piece of art; films with many levels which can be explored in depth if a viewer chooses to do so. Then they are those throwaway films that just wash over you, acting almost as a high budget and highly produced screensaver. You watch it and enjoy it but there really is nothing important of note about the film. And this sentiment reflects quite nicely how I feel about Employee of the Month.
Employee of the Month could no doubt be classified as predictable, as it is filled with a number of the traditional romantic comedy clichés, but ultimately it is enjoyable. It markets itself as a comedy, and for some it probably will be, but personally speaking it produced a few chuckles rather than the illusive belly laugh for me.
The plot is a simple one revolving around a battle of affectionate in a local Super Club. Zack Bradley played by comedian Dane Cook, has worked monotonously for years as a box boy. He looks on in delight as new cashier Amy joins the store, played by the lovely Jessica Simpson. However the arrival of Amy isn't only picked up on by Zack, his 'rival' so to speak; the 17 time Employee of the Month Vince Downey (Dax Shepard) has his sights set on Amy also. Now that is an incredibly basic plot summed up in 86 words or so, but I guarantee that you; the intelligent film watcher that you are has a pretty good idea where this film will end up. Now this is not necessary a bad thing, perhaps more of an okay thing. And okay is the pivotal word of the review. The film is just okay. The performances from Dane Cook and Jessica Simpson are okay, some of the jokes are okay, and the plot is okay and in the end it just makes you feel okay. This once again is no bad thing for a film that doesn't claim to be a monumental feat in filmmaking. There are many more topics I could explore in the review such as the directing or the supporting cast but the only word that my feeble mind would be able to come up with is okay...
A few parting words as always - I wouldn't suggest buying Employee of the Month, as I don't think it is worth too much of your time. Inevitably Employee of the Month will crop up on a 'free' channel somewhere, most likely the channel that rhymes with Film Boar. And when indeed it does appear I would suggest watching it then. Leave it on in the background as you type away on the keyboard or dust the curtains, as it is definitely a better alternative to street noise.
Mel Gibson returns, though in a way, he never really left. Gibson, last seen on screen in 'The Singing Detective' (2003) has spent the better half of a decade as producer / director on epic, controversial classics 'Apocalytpo' (2006) and 'The Passion Of The Christ' (2004). 'Edge Of Darkness', adapted and updated from the 1985 miniseries, is a sombre but often stunning political drama with great performances all round. Mel Gibson goes into the well once more as a grieving father / committed policeman determined to find those who murdered his daughter: a corporate whistleblower working for a shadowy government agency allegedly producing nuclear WMD.
Similar in tone to 'Ransom', 'Payback' and 'The Constant Gardener', 'Edge Of Darkness' tends to rely upon certain narrative conventions but goes beyond the limitations of a standard police procedural by allowing us to spend time with the characters. Our protagonist subtly subverts the genre through personified memories, flashbacks and even converses with his late daughter in a brief but remarkable use of time-lapse voiceover. Assassinations, take-downs and executions are captured by director Martin Campbell ('Goldeneye') in short, effectively brutal, bursts of calculated violence; there's little in the way of pulse pounding action but an overarching conflict between industrialized detachment and individual concern. It is, in many ways, man against machine; another chapter in the long war between people and greed driven banality. Ray Winstone co-stars as a disillusioned hit man in a somewhat undemanding role that appears to be going nowhere until a hinted at, but nonetheless unexpected, crowd-pleasing twist.
In a world saturated with comic book movies, TV show adaptations and films based on toy lines, it's refreshing to see an honest-to-goodness, no-frills conspiracy drama that gets down to brass tacks and delivers the goods. 'Edge Of Darkness' takes no prisoners but definitely deserves to capture an audience.
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