The darkness, the uncomfortable seat, the sticky floor, the smell of popcorn and the silver screen. A visit to the cinema is more than a night out. It’s an adventure, a nightmare, a good cry or a good laugh.
Conrad Faraj is the young director behind last year's 'The Shadow People', which I saw about a year ago. I ended that review with the words:
I'd like for Faraj to continue his work and show us what more he can do. Because this film, even though it's a little rough around the edges, shows a lot of promise.
Now it seems like I got my wish. Today Faraj released a poster for his latest film 'The Wind is Watching' just in time for the end of the world. The look is familiar and it reminds me very much of the images we saw in the campaign for 'The Dark Knight'. It's not a bad image to start from and it gives 'The Wind is Watching' a nice apocalyptic vibe.
Aside from the poster I also got to look at the trailer for 'The Wind is Watching'. It promises a dystopian thriller and much like 'The Shadow People' the film features a strong female protagonist. A young woman caught up in the midst of a Second Civil War in the United States of America. It's an interesting concept and the trailer certainly feels like a cross between 'The Hunger Games' and 'Children of Men'. I'm curious as to how our heroine factors into this world and what her story is. You can expect to be able to see the trailer for yourself pretty soon.
We've been waiting a long time for 'The Hobbit' to reach the silver screen. Ever since the release of 'The Return of the King' people have been dying to see more of Middle-Earth. From all of J.R.R. Tolkien's writings 'The Hobbit' was the most likely to be adapted. It chronicles the adventures of Bilbo Baggins and shows how the Ring of Power came into the hands of a Halfling.
Written well before 'The Lord of the Rings' this story is a lot more lighthearted. While the former book details a struggle against an immense evil in the form of Sauron, 'The Hobbit' features a less urgent conflict: A quest to reclaim the kingdom of Erebor which was taken by a dragon with a love for gold. A band of dwarves led by Thorin Oakenshield (Richard Armitage) believe they are destined to free their land from Smaug the dragon.
Bilbo Baggins enters the tale when the wise wizard Gandalf comes to him with a frightful proposition. He wishes for the hobbit to accompany him and thirteen dwarves on an adventure. For those who don't know, hobbits aren't adventuresome creatures. They prefer to live quiet and comfortable lives. However, after some convincing, curiosity gets the better of Bilbo and he's off on a dangerous journey. Their goal is to reach the Lonely Mountain and slay the dragon that hides there.
Tolkien managed to tell this story quickly and economically. Director Peter Jackson, on the other hand, thought he needed three movies. With 'The Lord of the Rings' this was understandable, such a dense story needed room to breathe. With 'The Hobbit' this decision might lead to Jackson's undoing. The plot isn't suited for such a luxurious treatment and would've been more resonant had it been told in one (or two relatively short) films.
The first chapter, 'An Unexpected Journey', feels like an extended cut. The entire first act is riddled with scenes that should have been removed. Many of these cover the same ground over and over and the film's pace suffers as a result. Some additions work wonderfully, like the prologue featuring the fall of Erebor at the claws of Smaug. Others, however, are so out of sync with the world Peter Jackson established in 'The Lord of the Rings' that you can't help but wonder what kind of mushrooms he was eating.
That's my main gripe with the entire film. The film lacks focus because of the addition of material which doesn't have a direct influence on the central story. I understand why Jackson wanted to include the rise of Sauron into these pictures, but it should've been more subtle. Now the film constantly cuts way from our heroes to bother us with plot points that don't come into play until 'The Lord of the Rings'. It takes the urgency away from Bilbo's quest.
As for poor Bilbo, his casting is a stroke of genius. Martin Freeman uses his comic sensibilities to great effect, bringing the ever so conservative hobbit to life. Ian McKellen must have been looking forward to these films as well. For his character, Gandalf the Grey, has a lot to do in 'The Unexpected Journey'. During this quest he's faced with the troubling appearance of a Necromancer in Middle-Earth. This mysterious figure proves to be an ancient evil seeking the power he once lost.
Then there's the company consisting out of an unwieldly number of dwarves. In this first story only a few of them get a real chance to shine. Thorin takes on a role not dissimilar from Aragorn in 'The Lord of the Rings', Balin (Ken Stott) is the kindly mentor and Bofur (James Nesbitt) the comic relief. The rest stumble along the sides of the frame without making an individual impression. But considering the crazy amount of characters this was very much expected. Luckily, the dwarves are easy to tell apart because of their distinctive looks.
'An Unexpected Journey' features a beautiful presentation of Middle-Earth. Taking place before the shadow of Sauron falls falls over this world, it has never looked this colourful or fantastic. The design of the characters is also wonderful. The dwarves look great and the numerous other creatures are designed with a tremendous eye for detail. Gollum (Andy Serkis), especially, has never looked this good. The performance capture technology has taken great strides since the earlier films.
Aside from some missteps 'An Unexpected Journey' is a welcome return to the world of Tolkien. And I'm very much looking forward to 'The Desolation of Smaug' and 'There and Back Again'. There's less doom and gloom than in 'The Lord of the Rings', instead 'The Hobbit' has fun with the fantastic elements of Middle-Earth. The tone of the entire film could best be described as playful. For instance, there's a wizard named Radagast (Sylvester McCoy) who speeds through this movie on a sled pulled by bunnies. I can't say it works but it's the one image I took away from this movie. A vagrant Santa Claus outrunning orcs on a sled pulled by Easter Bunnies.
Time travel has always been an enticing concept for filmmakers. George Pal showed us the year 802.701 in 'The Time Machine', Robert Zemeckis took us on three trips in a time machine with the 'Back to the Future' movies and on the small screen Doctor Who travels through time on a weekly basis. Popular culture is saturated with time travel and why not? How cool would it be to meet your grandparents when they were kids or to see beyond years and into the future?
Unfortunately, the concept is rarely used intelligently. The implications of time travel are tremendous and it's high time for filmmakers to learn they can exploit them to create dense and intricate stories. 'Looper' is one of those films. Aside from being an excellent action film it is also a very smart science-fiction story. It handles the time travel paradoxes in an interesting and entertaining way. That's why it's one of the year's best movies.
In 2074 time travel will have been invented. The technology is immediately outlawed but the mob uses it to get rid of people. They are put into a time machine and blasted thirty years back in time. Upon arrival a hired gun kills them and destroys their bodies. The mercenaries are known as Loopers, they get good money for their work but it comes at a price. Sooner or later their older selves will come through that portal and the looper will have to kill him(self). It's called 'closing the loop'.
For Joe (Joseph Gordon-Levitt) the loop is about to close. However his older self (Bruce Willis) is a wily one and escapes. The mob doesn't take kindly to this and set their dogs on both Joes. Now Young Joe will have to find Old Joe in order to save himself and his future. There are some other twists and turns which I won't spoil.,what I can say is that the story moves quickly and includes some very enjoyable surprises.
Director Rian Johnson doesn't think of time travel paradoxes as bothersome. Instead he integrates these technicalities into the plot. What we get is a movie that's totally unpredictable but when we come to the conclusion we wouldn't want it to end any other way. Sure, after some thinking, little parts of the film don't quite seem to make sense but that's part of the fun. 'Looper' is a movie that will ignite discussions about the possibilties and impossibilities of time travel..
Joseph Gordon-Levitt's transformation into a young Bruce Willis is also worthy to be talked about. His make-up isn't a complete success but the way Levitt copies Willis his mannerisms is uncanny. It's not the make-up but the acting that sells this very important part of the plot. Bruce Willis himself is also terrific. I can't imagine a better candidate for this particular role. It's also one of his most memorable performances in a very long time. He brings out the utter desperation of a character who only wants to return to his life.
To me 'Looper' is nothing short of genius. The story might seem gimmicky at first but it manages to convince you before knocking you on your skeptical ass. This is a movie with a lot of smarts and enough energy to make it all seem effortless. It's not afraid to go to dark places or to have the most famous actor in its cast do some seriously despicable stuff. 'Looper' is a great film and a breath of fresh air for fans of intelligent science-fiction.
After 'Vincent', 'The Nightmare Before Christmas' and 'Corpse Bride'Tim Burton returns to stop-motion. Based on a live-action short film he directed in 1984, 'Frankenweenie' tells the story of young Victor who succeeds at reviving his dead dog Sparky. The movie is shot in black and white and contains many nods to old-school horror flicks from Universal and Hammer.
Burton's unique visual style has always been perfect for stop-motion animation. His production 'The Nightmare Before Christmas' is still one of best films of that kind. The surreal look of Burton's vision combined with the somewhat creepy feel of stop-motion work wonders together. And with its bizarre subject matter 'Frankenweenie' walks the line between lightweight horror and comedy.
Unlike his previous live-action movies, 'Alice In Wonderland' and 'Dark Shadows', 'Frankenweenie' feels fresh. For the first time since 'Sleepy Hollow' Burton seems to be in his element. He and his animators are having fun playing with Victor's world, which appears to be a cross between 1950's suburbia and a misty Dutch town from the late 1800's.
'Frankenweenie' is visually appealing. The sets are beautifully designed and some characters look genuinely creepy. The animation itself is noticeably crude, especially when compared to this year's 'ParaNorman' which was made in a similar fashion. The crudeness appears to be on purpose. There's little polish here, when a cat moves its head you can see its fur move as the animator make his frame per frame adjustments. This gives life to the characters and lends a great deal of authenticity to the film.
Danny Elfman is back with his unique brand of fairy tale music. Drawing heavily from earlier collaborations with Tim Burton, more than once Elfman's score reminded me of 'Edward Scissorhands'. His dark but playful music amplifies the film's gloomy atmosphere.
The story deals with one of life's more serious and final problems: death. It's a heavy subject to handle, especially in a medium that will appeal to a lot of children. Fortunately, Burton keeps the film from getting lost in dark territory. Unlike Mary Shelley's original novel 'Frankenstein' we're not faced with the existential dilemma that arises when you bring life to what was once dead.
'Frankenweenie' is sure to be a treat for all fans of classic horror. Whether you're a Universal Horror enthusiast or a Hammer Horror lover you'll eat this up. This film's science teacher looks and sounds like Vincent Price, Christopher Lee makes an appearence in his most famous role and the finale takes place in a burning windmill. Sparky's love interest even sports the iconic hair cut from James Whale's 'The Bride of Frankenstein'.
'Frankenweenie' feels like its Tim Burton's comeback. He's returned from the commercial direction his later movies have followed. His recent career appeared to be marred by a profound lack of interest. 'Dark Shadows' featured hints of Burton's former glory but 'Frankenweenie' sees him reaching back and recapturing that unique and entertaining spirit.
This might sound like high praise but 'Skyfall' is pure quality. Mendes' character-driven approach breathes new life into a franchise which has known many up and downs. It also gives Craig the opportunity to portray Bond as a real person instead of the cartoony gentleman spy whom we've seen in many other installments.
The story also has weight to it. The whole thing revolves around M, whose actions as head of MI6 are called into question when the secret identities of spies all over the globe are stolen. Someone, somewhere, has it out for her. Meanwhile, 007 is presumed dead after a mission to recover the identies goes awry. He returns from the shadows in order to save M from being discharged by the British Prime-Minister and to hunt down the man behind this evil plot.
The villain, Raoul Silva, reveals himself to be an ex-MI6 agent with a grudge against M. He tries everything within his power to put an end to her career and, ultimately, her life. Javier Bardem plays Silva with a psychotic sense of humor. His twisted obsession with M is one of the film's high points and makes Bardem's antagonist truly memorable.
Aside from Craig and the entertaining villain this movie belongs entirely to Judi Dench. She's the ultimate Bond Girl and does a great job portraying a conflicted M. She's horrified at the lengths that Silva goes to in order to harm her but somehow she feels that she might deserve everything that's coming her way. This performance is yet another reason why 'Skyfall' manages to make a huge impact.
The action is also top notch. While 'Quantum of Solace' was made incromprehensible by the insane amount of shaky cam the action in this film is astounding. There's some spectacular scenes featuring some gorgeous cinematography. It might not be the absolute best Bond film but it's surely the most beautiful in the whole franchise.
As is tradition in the James Bond franchise 'Skyfall' has its own theme. This time Adele's voice is heard over the opening credits and it's an impressive song. It's been a while since we've heard a good theme for one of these movies. Adele manages to convey the gloomy feel of the film perfectly, setting the tone for the entire film.
If there's one thing I'm kind of divided on it's the obvious nods to previous Bond films. In celebration of Bond's 50th anniversary 'Skyfall' is sprinkled with little references. Some are fun; like the introduction of Ms. Moneypenny and Q, while others seem a bit too on the nose. The appearance of the Ashton Martin DB5 from 'Goldfinger', complete with all the gadgets from that film, is a little distracting. It's not enough to pull you out off the movie but it seems excessive.
As the movie ends and the credits begin to role the film assures us that Bond will be back. And I'm not complaining. With 'Skyfall' Daniel Craig has gotten the film that he deserves. He got to shine as the legendary British hero and fulfilled the promises he made with 'Casino Royale'. It's one of the most entertaining films of the year and one of the best Bond movies I've ever had the pleasure to experience.
Oliver Stone has a flair for the controversial. Whether it was the embellished truth behind a presidential assassination in 'JFK' or the hyper violent portrayal of two mass murderers in 'Natural Born Killers'. In recent years Stone's films seem to be less harsh. Which was never more apparent than with 'W.', which went suprisingly soft on its main character George W. Bush.
With 'Savages' the veteran director returns to his violent sensibilities. Revolving around two succesful pot growers who are forced to strike a deal with a Mexican drug cartel. When Ben and Chon want out the Mexicans, led by Elena, kidnap the love of both their lives O. The dealers are forced to put aside their principles and do everything to get O out of the hands of the cartel.
The best performance in the film belongs to Benicio Del Toro, whose character Lado is the biggest son of a bitch you'll see in any movie this year. He's an overweight pervert with a pornstache and the worst case of eighties hair you've ever seen. He shoots and tortures for fun and he'll betray anyone if it means he'll do better business. Del Toro dissappears into his role and gives us one hell of a creepy bastard.
John Travolta delivers another enjoyable performance as the corrupt DEA agent Dennis. He weasels his way in and out of partnerships with Elena, Lado and Ben and Chon. The latter two are played rather well by Aaron Taylor-Johnson and Taylor Kitsch. They manage to hold on to our sympathies even though they commit some gruesome acts in order to save their girl. Blake Lively's O on the other hand seems a little detached from reality, which might or might not be due to years of drug use.
Salma Hayek succesfully walks the line between tragedy and villainy. Elena's a widow who inhereted her husband's drug empire. She's lost many of her children and tries to keep the remaining two out of harm's way. This is the weak spot which Ben and Chon so cleverly and ruthlessly exploit. Elena's reaction is desperate but human, which paints a fair but still pretty grim picture of humanity.
'Savages' is not for the faint of heart. As the title suggests there are some savage acts committed in this movie. There's one scene in particular which had this reviewer turning away from the screen, if only for a brief moment. It features a man being whipped mercilessly, not one part of his body is spared, not even his eyes. There's more moments of violence like this but none of them are so grueling.
Delicious is Oliver Stone's filmmaking prowess. His clever editing and use of sound and music is a wonder to behold. Like his acclaimed work on 'JFK' and 'Nixon' he blends a documentary style with the traditional way of Hollywood storytelling. This approach continues to serve Stone well and the movie runs at a breakneck speed while still being easy to follow. In short, 'Savages' is a return to form for Oliver Stone.
'Family Guy' creator Seth McFarlane has a movie. It's called 'Ted' and it's about a deadbeat car salesman who lives with his girlfriend and his talking teddy bear. The situation is familiar and the comedy is very similar to the aforementioned show as well as 'American Dad' and 'The Cleveland Show'.
The film stars Mark Wahlberg as the sympathetic loser John Bennet and Mila Kunis as his girlfriend Lori. McFarlane uses his remarkable voice to bring to life the titular character Ted. The film starts off strong and sweet with young Johnny growing up as a shy and lonely kid. His inability to make friends forces him to wish for a best friend. The narrator (Patrick Stewart) reminds us that nothing is more powerful than a boy's wish so Ted comes to life, scaring the shit out of John's parents.
Much like Macaulay Culkin the bear enjoys a brief but intense period of fame. But when the years finally catch up with him he's a drunk, drug-addicted, swearing teddy bear with an unhealthy adoration for the movie 'Flash Gordon'. Johnny and Ted waste their lives watching television and cracking rude jokes. Lori, the only grown-up in the entire movie, feels John is wasting his potential. In true Hollywood fashion she makes him decide; live a forfilling life with her or an unfilling one with Ted.
This is a well-explored story in many romantic comedies over the last few years. Logically, it's not the most interesting part of this film. The character Ted is the main attraction and he doesn't dissapoint. McFarlane makes him crude but equally endearing. His relationship with John feels genuine, quite an accomplishment for a CGI teddy bear.
The humor is truly that of McFarlane. If you like 'Family Guy', warts and all, chances are you like 'Ted'. It does suffer from the fact that it's a live-action feature. Some jokes would work a lot better in an animated medium like 'Family Guy' but don't really hit the right tone for live-action. There's only a few of these misses and the amount of succesful gags almost make you forget about them.
There's also an entertaining sub-plot about an obsessive fan (Giovanni Ribisi) and his overweight son. Both of them are screwed up in a fun way and try to kidnap their biggest idol. This part of the movie doesn't get as much attention as the troubled relationship between Lori, Johnny and Ted making it feel like padding. It might have worked better if it had been integrated more organically into the story.
What makes 'Ted' memorable is its good natured tone. There's lots of cracks at ethnicities, sex, diseases, the mentally handicapped, 9/11, the physically handicapped, prostitution and religion but at its heart the film is quite sweet. With its music (obviously inspired by John Williams) and its romantic/bromantic sensibilities the film is not only funny but also heartfelt.
