Elysium Review

In 2009 the South-African director Neil Blomkamp surprised audiences with 'District 9'. A landmark film in the science-fiction genre. Now it's four years later and again Blomkamp has crafted a futuristic action movie with a brain. The film is called 'Elysium' and it's a perfect companion piece for 'District 9'. 

'Elysium' paints a bleak future. You might think we have it bad right now but boy, wait until you get to 2154. Everywhere you look there's garbage and people living in squalor. There are law enforcing robots staring at you from every corner. And if you want a job you can go work at the factory. It's dangerous and monotonous but it does keep you off the street.

Your boss, though. He got a far better deal than you. That wealthy bastard gets to live on Elysium; a space station orbiting Earth. He's not alone up there. Nope, every rich son a bee lives in that artificial piece of heaven. It's awesome. There's no hunger or sickness and you'll never have to do any physical work ever! Obviously, the people who live on Earth feel a bit miffed by the fact they aren't allowed to live on Elysium.

Max is miffed too. Especially because he's only got five days to live after an accident at work. On Elysium he'd be cured in a second but on Earth he's a goner. So what would you do? Get you're irradiated ass to Elysium, of course! It isn't going to be an easy trip. For starters, the rich bastards don't take kindly to people coming for their home. Then there's the ruthless way they choose to do away with the people who try.

Matt Damon is Max. He's got the role of everyman down pat. It doesn't matter if he's working at a factory or kicking ass, he's entirely believable. Jodie Foster is rich bitch numero uno. She's not that threatening on her own but she does have a dog that bites. That dog is the ruthless Agent Kruger. It's a massively creepy role that should make Sharlto Copley into a household name (even though it's pretty difficult to pronounce). 

Neill Blomkamp has created an intelligent bit of sci-fi. There's enough action to satisfy your average moviegoer but it also provides some healthy food for thought. In many ways Blomkamp's films evoke the work of Paul Verhoeven. Both are masters at infusing their action films with a wealth of ideas. Like Verhoeven, Blomkamp also has a fondness for ickyness. The violence is graphic and disturbing but it's never glorified. 

On the contrary. Much like in 'District 9' the weapons are so brutally effective that using them could be considered cowardly. People are dismembered, decapitated and blown apart with only a slight squeeze of the trigger. But for all the violence and action, 'Elysium' never quite forgets what it's about. In its heart it's a movie about the ever growing divide between rich and poor. These days it is rare for a blockbuster to have not just a heart but a brain. And like any great science-fiction story, 'Elysium' is a compelling reflection on the human condition. 

The Wolverine Review

It was to be expected. Nothing can stop Hugh Jackman from returning as the bad-tempered mutant John Logan. Not even a piece of trash like 'X-Men Origins: Wolverine'. His second solo outing fares better. 'The Wolverine' is a likeable movie. James Mangold provides us with a fun ride with ample amounts of action and even some character work.

'The Wolverine' opens with a bang. Actually, it opens with second biggest bang in history; the detonation of a nuclear bomb at Nagasaki in 1945. Naturally, none other than Wolverine is there to witness the event as a prisoner of war. In an act of bravery he saves a Japanese officer from a fiery fate. And unbeknownst to Logan, young Yashida grows up to be the most powerful man in Japan.

So while Yashida lives it up, Wolverine lives like a vagabond. He has sworn off his violent ways because of his hand in Jean Grey's death. But he's haunted by visions of his former love none the same. But as we all know, a pacifistic Wolverine is boring so the filmmakers bring in Yukio (Rila Fukushima). She's also a mutant, gifted with the depressing power to foresee people's deaths. Her employer wishes to strike a deal with Logan. One that involves giving up his immortality. 

Obviously the employer turns out to be Yashida. Who, rather than dying of old age like a regular Joe, wants to extend his life by transferring Logan's healing ability to himself. The moment John refuses, shit hits the fan. Our beloved mutant is cast into a web of lies and once again he's forced to become The Wolverine. What follows is a fun but ultimately unremarkable piece of summer entertainment. 

Hugh Jackman is a permanent fixture in 'X-Men' universe, playing the character of Wolverine for sixth time. (He'll also be a part of next year's 'Days of Future Past') He's also the only one to get his own movie series. A strange thing because Wolverine is arguably the least interesting character in the franchise. Still, Jackman's charisma is there in abundance but it's all becoming a bit stale.

That's basically what the entire film feels like. There's nothing entirely bad about it but there isn't anything really good either. It's a generic movie. One that neither impresses nor offends. As hard as I try, I can find no fault with it. If you're looking for a good time, you can't go wrong with 'The Wolverine'. It's quality entertainment. But in all fairness, you'll forget you even saw it the moment you leave the theatre. 

Pacific Rim Review

Every once in a while a movie comes along that raises the bar. That works on a scale that we've never seen before. The original 'King Kong' is one of those movies, 'Star Wars' is another. These are films that opened up lush new worlds and introduced us to legendary, yet human, characters. 'Pacific Rim' can proudly claim its place among these larger than life blockbusters. It's a film unlike any other, although it is firmly rooted in the most basic cinematic traditions.

'Pacific Rim' is the brainchild of screenwriter Travis Beacham and the Spanish director Guillermo del Toro. The latter is known for his distinctive visual style and love of weirdness. Together they created a future in which mankind is fighting for their right to exist. Against a race of enormous creatures that arrived on  Earth through an interdimensional portal located somewhere in the Pacific Ocean. These Kaiju challenge humanity's place as the dominant species on the planet.  

To stop them, mankind has united to create the Jaeger Program. The program involves the construction of giant machines capable of slaying the vicious Kaiju. But there's a catch. A pilot can not operate one of these oversized can openers alone. The load has to be shared between two pilots. They do this by establishing a neural link (otherwise known as the drift) between the pilots and the machine. The link creates a powerful bond between the subjects.

In the hands of a lesser director 'Pacific Rim' could've turned into a soulless monster akin to the 'Transformers' films. Instead Del Toro manages to tell a spectacular but still very human story. This is the way to make a blockbuster. It's not about the amazing special-effects, it's about the characters. Del Toro and Beacham know just how to put their focus on the human element. By doing this they make 'Pacific Rim' work as more than just a popcorn flick.

In a time where blockbusters grow increasingly convoluted and cynical, this film's simplicity and optimism are like a breath of fresh air. There's no silly detours or elaborate mysteries that never quite live up to their promise. Instead Del Toro gives us cool robots fighting weird monsters. The fight scenes themselves are beautifully shot and every punch feels real. There's a genuine sense of danger. You can't help but gasp at the way these titans go at it.

The cast is strong as well. Charlie Hunman is Raleigh; a former Jaeger pilot who lost his brother. Hunman offers us a broken yet charismatic hero who is reluctant to return to battle. Mako, his co-pilot of choice, has her own demons. Rinko Kikuchi, who plays Mako, creates the most interesting character in the film. Vulnerable but strong.

Charlie Day and Burn Gorman are best described as the RD-D2 and C3PO of 'Pacific Rim'. Their quarrels account for much of the humor in 'Pacific Rim'. They're an odd couple but extremely entertaining. On the opposite side is Idris Elba's Marshall Pentecost; a weathered Jaeger pilot. Elba's noble and haunted performance is at the core of the film. Of course, Guillermo del Toro's regular collaborator Ron Perlman also makes an entertaining appearance. This time as black marketeer who deals in Kaiju body parts.

Still, the Jaegers and the Kaiju are the main attractions. Both are brilliantly designed. Some of the Kaiju are absolutely nightmarish. Others are just plain cool. You can easily imagine the heated discussions between twelve-year-olds. Talking about the most destructive monsters or the most badass Jaegers.* Acting out imaginary fights between the film's heroes and monsters. 'Pacific Rim' is that kind of movie but on a scale you've never seen before. A movie you wish you had seen when you were twelve years old.


*The Kaiju that attacks Sydney is my personal favourite. Also, the Australian Jaeger kick all kinds of ass. 

Man of Steel Review

Theatres are awash with superhero movies these days. Batman, Spider-Man and The Avengers all had their go. It was only a matter of time before the one and only real superhero returned to the silver screen. Last time we saw him he was played by Brandon Routh in the unjustly maligned 'Superman Returns'. Now Henry Cavill dons the cape in 'Man of Steel'; a bold new take on the biggest hero of them all.

After struggling to reboot 'Superman' Warner Bros. decided to bring on board Christopher Nolan, whose 'Batman' films made a killing at the box office. The studio hoped Nolan would be able repeat his trick and make Superman cool again. They hired Zack Snyder, known for '300' and 'Watchmen', to direct. The approach would be as gritty and as realistic as possible. And thus, 'Man of Steel' was born.

The most striking aspect of this film is its exceptional cast. Henry Cavill had his work cut out for him. Christopher Reeve pretty much owned the role since 1978. Fortunately, Cavill makes for a good Superman despite lacking the Reeve's charisma. This time around Super's enduring love interest Lois Lane is played by Amy Adams. She's also a good choice but somehow there's a lack of chemistry between the two of them. You never feel quite convinced of the relationship between Lois and Clark.

The real power comes from the supporting actors. Russell Crowe and Kevin Costner in particular make a lasting impression as Superman's biological and adoptive father respectively. Both are most frequently seen in flashbacks and these moments are where 'Man of Steel' excells. By exploring various moments in Superman's past (both as Kryptonian born Kal-El and the All-American Clark Kent) the film manages to give the character some much needed depth.

Another high point is the film's villain. General Zod, played by Michael Shannon, is a classic bad guy. Like Superman, Zod is a survivor of the planet Krypton. He is determined to save the legacy of his people by taking over Earth. Shannon imbues his character with a maniacal intensity, this is one guy you don't want to piss off.

'Man of Steel' is filled with many superpowered fight scenes. So many in fact that you'll leave the theatre feeling as if you've been on Space Mountain one too many times. It's too bad because the wow factor wears off fairly fast. After the first two confrontations you get kind of tired and everything starts to feel and look like a cheap video game. The action is definitely the film's biggest weaknesses. It's so chaotic that it's easy to get lost in the mayhem.

It's hard to say if 'Man of Steel' will have the same impact on popular culture as Richard Donner's early  films. It certainly isn't as iconic. A good example is Hans Zimmer's musical approach to Superman. The German composer uses his familiar industrial techniques and creates a dense wall of sound. Never is this score as instantly identifiable as John Williams his orirginal fanfare. The sense of adventure is certainly lost in Zimmer's interpretation and the movie suffers accordingly. Williams made Superman fly, Zimmer makes him lumber along.

Not that Cavill's Superman deserves much fanfare because he's particularly bad at his job. During his scuffles with Zod and his cronies Supes is indirectly responsible for an uncomfortable amount of death and destruction. To add insult to injury the characters don't seem to care about the tremendous loss of life all around them. Superman and Lois even find time for some smooching during the film's finale, because there's nothing as romantic as making out in the middle of a mass grave.

Aside from these complaints 'Man of Steel' is a successful reboot that is sure to strike a chord with audiences. An action-packed and surprisingly personal take on the most famous of all superheroes. Hopefully, some of the issues of this movie will be addressed in the sequel. (Especially the aftermath of Superman's actions, that part still doesn't sit well with me.) All in all, Zack Snyder delivered the goods and successfully reintroduced Superman to audiences worldwide.

Exclusive Early Review of A REPRISE

Lucky me! I was recently contacted by the American director Conrad Faraj. He's behind last year's 'The Shadow People' and the upcoming sci-fi thriller 'The Wind is Watching'. To my surprise the young filmmaker allowed me to be one of the first to see his latest short film 'A Reprise'.

'A Reprise' is an atmospheric film about a young man and his inability to interact with the opposite sex. A prisoner of his emotions, he tries to find a way to reach out to a girl he meets in a diner. The way Faraj finds his way around this story is sort of dreamlike. The cinematography and the music transform this above average short film into a stirring mood piece. 

Within eight minutes Faraj manages to impress upon us the troubled emotions of the main character. You can see he's growing as a filmmaker. As a result 'A Reprise' has a bigger impact than his earlier work 'The Shadow People'. This short film has me excited about Conrad Faraj's next project. 

Star Trek Into Darkness Review

The latest instalment in the long-running 'Star Trek' franchise has arrived. And much like its predecessor it's a disarming and solid sci-fi adventure. The polar opposite of 'Star Trek: The Motion Picture'. Director JJ Abrams once again uses the charms of his cast to great effect. This, mixed with great special effects, fast-paced action and a dazzling score make 'Star Trek Into Darkness' another winner for the new crew.

The first film chronicled the devastation caused by a time traveling villain. His actions led to the death of Kirk's father and the destruction of Spock's home planet. In this sequel we realize that these events have changed the nature of the 'Star Trek' universe. Gone is the optimistic urge to explore new galaxies. The change has brought Kirk and Spock's world closer to our own. Dominated by the fear of the unknown threats that lurk in the darkest corners of space.

It's all the more ironic that the villain of 'Into Darkness' comes from Earth. John Harrison is an enemy from within. A Starfleet agent turned terrorist. He bombs the heart of London and kills many high ranking officers in an attack on Starfleet HQ. Among the dead is Kirk's surrogate father Admiral Pike. Like any warmblooded human Kirk seeks revenge. With the blessing of Admiral Marcus (Peter ''RoboCop'' Weller) the young captain embarks on a manhunt.

The crew of the starship Enterprise is divided by the idea of killing a man without a trial. The issue is compounded by the arrival of 72 high tech torpedoes on board the ship, weapons developed by the fugitive himself. The game is set for a climactic confrontation with Harrison. But as you may have guessed, not all is what it seems. In their attempt to bring Harrison to justice the crew of the Enterprise is tested. Made to doubt their believes and the nature of their mission.

As anyone can see, the story reflects the world we live in today. A world in which fear still has a huge role. The way 'Into Darkness' explores the consequences of the previous film feels genuine and real. Fortunately, the movie doesn't dwell on these issues. It never forgets to have fun. The interactions between the main cast members are lighthearted but sincere. The use of warmth and humour makes some of the emotional blows all the more real.

For the first film Abrams assembled a great cast to play these iconic characters. Chris Pine plays up the arrogance without losing even an inch of likeability. Zachary Quinto seems more comfortable as the emotionless Spock than in the previous film. Karl Urban, Zoe Saldana, John Cho, Anton Yelchin and Simon Pegg are wonderful even though they have limited screentime. But the real revelation is Benedict Cumberbatch as Harrison. Underneath his calm and intelligent demeanor hides an exceptionally brutal villain.

There's one thing that will have many Trekkies foaming at the mouth. It's the way 'Into Darkness' mirrors the first 'Star Trek' sequel 'The Wrath of Khan'. Personally, I'm okay with it. Mainly because this movie is just so damn entertaining. Had the rest of the film not been so good I might have felt offended. However the way Abrams uses these borrowed elements makes some sense. They never stick out or feel ingenuous. However 'Into Darkness' is not as emotionally powerful as 'Wrath of Khan'.

Even though it is a straight out popcorn flick 'Into Darkness' manages to adhere to the tradition of the best 'Star Trek' films. There's still some intelligent ideas scattered throughout all the explosions, space battles and gun fights. Also, the interactions between the cast are a delight. All of them are slowly growing into their roles. This is a bunch of people you like to spend time with. That's why I already found myself anxiously awaiting the sequel from the moment I stepped out of the theatre. That's always a good sign. 

Jurassic Park 3D Review

It's been twenty years since Steven Spielberg released his dinosaurs upon the world. 'Jurassic Park' went on to become one of the greatest smash hits of all time. Audiences marvelled at prehistoric giants, resurrected by the latest filmmaking innovations. Now, the dinosaurs have returned to theatres all over the world. And Spielberg shows, once again, what a real blockbuster looks like.

Unlike the films I normally review, this is one that's been out there for a while. It is one of those movies I grew up with. 'Jurassic Park' has been in my life for so long that I can't even remember my first time watching it. And while nothing is as exciting as seeing a great movie for the first time, there's something grand in returning to a film you're intimately familiar with. 

That's exactly why I'm a huge supporter of re-releases like this one. Yes, they've added 3D and no, it doesn't really add anything. But as much as I loathe the 3D medium I'll never pass up on seeing a great film on the big screen. Unfortunately, it's a tradition that's far more prevalent in the United States than in Europe, or at least the part of Europe I reside in. What's wonderful about these re-releases is that it gives us a chance to share in our love for a film years after it's initial run. It's truly a celebration.

'Jurassic Park' started life as a best-selling novel by Michael Crichton. The writer drew upon speculation within the scientific community. The idea was that it would be possible to extract dinosaur DNA from musketoes trapped in amber. It's pretty much impossible of course, but it's as good an explanation as any. In a fine example of self-plagiarism Crichton placed the dinosaurs in a theme park; a setting similar to his own film 'West World'. 

The novel is noticeably darker than the film. Focusing more on the inherent dangers of wielding genetic power than the wonder of resurrecting an extinct species. This is why I prefer the film to the novel. While both are perfectly good stories, Spielberg's film releases itself from the cynisism of the source material. This change is most apparent in the character of John Hammond, played in the movie by Richard Attenborough. Crichton's Hammond only wants to get rich, while Spielberg's version comes off like Walt Disney's slightly disturbed brother. 

This optimistic approach means that we're allowed to experience the wonder of Hammond's creation. The moment we see our first dinosaur (a Brachiosaurus that's almost too big for the screen) is simply magical. It's a moment of cinematic beauty made possible through Spielberg's use of all his tools. There's the human element, the actors, and the visual effects and the wonderful musical score by John Williams. The combination of these elements creates a genuine moment of wonder. 

What's even more commendable is how the film switches from wonder to fear. 'Jurassic Park' isn't afraid to get scary. (Hell, it's not even afraid to get funny. Wayne Knight's run in with a Dilophosaurus never fails to make me chuckle.) The first T-Rex attack sequence is a revelation for someone who is used to seeing the film on a small screen. And it's not just the images. The cheap cinema seats were literally trembling at the sound of his roar. Even the shrieks of the frightfully intelligent Velociraptors seemed to cut right through you.

After twenty years the film hasn't lost much of its impact. You'd expect that the special-effects, which were revolutionary at the time of release, would look dated. Strangely enough, that's not the case. The computer generated creatures are still stunning. Which might be due to Spielberg's sparse use of CGI and the combination with Stan Winston's animatronics. Many modern filmmakers could learn a thing or two from 'Jurassic Park' and its use of computer generated imagery.

When you get right down to it 'Jurassic Park' is a perfect blockbuster. An entertainment machine. It's an example of a skilful director using all his tools to create wonder and excitement out of thin air. The film is one of the hallmarks of Steven Spielberg's career. It might not be as brutally effective as 'Jaws' or as transporting as 'Close Encounters of the Third Kind'. But it is still one of the most memorable movies in this director's long and diverse filmography.