Author Archives: Owun Birkett

Man of Steel teaser trailer

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Man of Steel was a huge hit at Comic-Con, even made a fanboy cry! So it would be no surprise that a teaser trailer for the film would be shown in-front of The Dark Knight Rises, as Nolan co-wrote the story of Steel but is also serving as the producer. So when I saw Warner Bros., Legendary Pictures and DC Comics logo shown in-front, my heart was beating that I finally get to see footage of the upcoming Superman movie.

 

The music is taken from The Lord of the Rings: The Fellowship of the Ring by Howard Shore (as Hans Zimmer hasn’t started composing music for the film yet), already setting the mood that the film may take with the new Superman movie. It shows Henry Cavill not as Superman but as Clark Kent, sporting a scruffy beard and looking to be traveling the world.* Though we do see shots of Kent farm, though as if this was a Terrence Malick film. We have a voice-over by Jonathan Kent (Kevin Costner)**, implying to be talking to Clark by saying what you’d expect he would say; that he would grow up to do great things. We see shots of a young Clark Kent running around in backyard, wearing a red cape that foreshadows on what will lead to the inevitable. We of course get the title cards, reading ‘From Zack Snyder – Director of Watchmen and 300‘ (luckily they didn’t list Sucker Punch and hope they continue to do so) and ‘And Producer Christopher Nolan – Director of The Dark Knight Trilogy‘. Finally, the last shot we all been waiting for; Superman himself. Though starts off with an aerial view of an unspecified location, then we see a small figure flying up to the sky. The camera zooms in and get a glimpse of Superman as he flies in an unimaginable speed!

 

That’s all that really is to say about the trailer, it really is the meaning of a teaser. I am interested where this Superman film will go but honestly, Superman is the complete opposite in tone to Batman. I am all for different approaches to characters, rather go to the same route to be safe but Christopher Nolan’s influence (for better or worse) is a bit much. I do hope it’s all part of starting really grim and eventually grows to being bright and uplifting as the story develops. We’ll just have to wait and see when it is released on 14th June, 2013.

 

* – It was nice to see a shot of Clark Kent trying to hitch a ride and the road was leading up to Whistler in British Columbia, Canada (probably a different location in the film but still cool nonetheless).

 

** – I have now just found out that there are two versions of the teaser trailer, same footage but two voice-overs. One I saw in front of Rises was with Jonathan Kent and the other is Jor-El’s voice (Russell Crowe) which you can see on Apple website (http://trailers.apple.com/trailers/wb/manofsteel/)

The Dark Knight Rises {Film Review}

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*WARNING! MAY CONTAIN SPOILERS!*

 

Since 2005, Christopher Nolan rebooted the Caped Crusader as we all thought he was long gone with Batman Begins. No one had expectations when the director of Memento was on-board but he delivered one of the biggest surprises and created a film that many other comic book hero films will try to imitate. Then he raised the expectations even higher with the announcement of a sequel and he delivered The Dark Knight in 2008. Continuing to bring maturity and intellectual story-telling but also made an impact to many filmmakers. Now Batman has risen from the darkness and finally has a new challenge, not only from new villains but also Christopher Nolan announcing it will be the conclusion to The Dark Knight Trilogy. Many argue there hasn’t yet been a great comic book hero trilogy and the third in the series always tends to not live up to its predecessors (X-Men, Spider-Man etc.) I can safely say this isn’t that case and will say early that this is the best comic book hero trilogy to date!

 

The story is set eight years after the events of The Dark Knight, Bruce Wayne hanging up his mantle as Batman and keeping away from the spot-light since. Until the terrorist known as Bane enters the stage and plans to bring destruction and chaos to Gotham City. Meanwhile, Bruce interacts with Selina Kyle (aka Catwoman, though never referenced by that name), a cat-burglar but an anti-hero who only helps her own (survival of the fittest). Bruce sees this as an opportunity to go back as the dark knight and come face-to-face with Bane but things go worse than expected (A LOT worse!).

There’s only so much I can reveal the story but it is better to experience it on the big screen. Wally Pfister’s cinematography and Nathan Crowely’s production design really amps the scale, you feel the anarchy Bane delivers from the many set-pieces this film delivers (if you thought the hallway fight scene in Inception was mind-blowing, Nolan really tops that from the opening sequence which could mistake it as a Bond opening). Hans Zimmer’s music is a more bombastic score, further bringing the thundering emotion of Bane’s menacing speeches and actions. Everything about the production in this film is top-notch, do you expect anything less with a Christopher Nolan film? I will say the film is bold and daring to go to places most filmmakers would not even think twice on going, all credit goes to not only Chris Nolan but co-writers David S. Goyer and Jonathan Nolan. Though people will find obvious references to Occupy Wall Street, especially Bane’s motivation on punishing the wealthy and supporting the people (even releasing the prisoners of Gotham to have the city to their own will). The story really does come to full-circle, whatever happened in Begins or Knight comes to full affect in Rises. With all the gloom and doom in this film, Nolan doesn’t forget to bring some humour into this film as he had done from his previous films. The story’s events comes from these three Batman comic book story arcs; The Dark Knight Returns, Knightfall and No Man’s Land.

 

Christian Bale really does shine as he delves deeper to his emotional struggles in this movie, you can feel the suffering and pain he has to go through. Which makes his journey to rise from the ground and come out soaring! Like his father says to him in Batman Begins “why do we fall, Bruce? So that we can learn to pick ourselves up!”, a line that runs through his motivation to save the city and its citizens. Tom Hardy brings a brute menace to Bane and finally brings justice to the character that was ruined in Batman & Robin. He may have the muscles and brawn to show but it’s his tactical thinking that makes him even more threatening. He may lack the sinister edge of Heath Ledger’s Joker but that doesn’t detract the type of villainy he delivers. You honestly worry about Batman, as Bane just brushes off everything Batman throws at him from fists to various techs from his utility belt. Anne Hathaway is terrific as Selina Kyle / Catwoman, she has her own code which is she looks for her own self and doesn’t get involved with anyone else. Though the chemistry between Bruce and Selina is quite electric, both exchanging quips and sassy comebacks but it evolves to something more intimate. Seeing the both of them work together is probably my favourite scenes from the whole film and I honestly think (controversy incoming) Hathaway does portray Catwoman more faithfully than Michelle Pfeiffer did in Batman Returns. The rest of the supporting cast continue to bring the best of their characters; Michael Caine makes an emotionally strong performance as Alfred, fearing the loss of Bruce and not wanting to go through the pain again as he lost Bruce’s parents (a powerful scene where Alfred confesses to Bruce that he wished he never came back). Gary Oldman continues to be the best Jim Gordon, growing to stand being a strong character and is actually exciting he can take care of himself despite his age. Morgan Freeman is the ever charming Lucius Fox, he too continues to grow such a strong supporting character.

 

Is it perfect? No but neither was The Avengers and I enjoyed the hell out of it. The surprise twists won’t surprise most comic book fans but I also blame the media on releasing a few images online that really should have been left offline. Bruce’s reason on exiling himself from the world for such a long time because of the death of Rachel Dawes is a bit hard to swallow but is a minor nit-pick that doesn’t affect the overall film. Zimmer’s score is great to listen to and gets your adrenaline going but it is a bit too thundering at places (and sometimes partially hard to listen when characters are talking). I think many people (including the YouTube community) will start to make fun of Bane’s voice, though I never had a problem understanding him from trailers and didn’t have a problem understanding him in the film. The ending may split opinions, as some may find it being something really bold and broad but then leads to something completely different. Also a reference towards the character of John Blake felt a bit forced and didn’t work in my opinion.

 

As much I really do enjoy this Batman series immensely, I am glad Christopher Nolan has finished with the series and will be moving forward to make more films in the same vein as Memento or Inception where his strengths as a story-teller really does show! Though for now, he’ll be producing Zack Snyder’s Man of Steel in 2013 with Henry Cavill as Kal-El / Clark Kent / Superman.

 

Overall; this film is fantastic, a satisfying conclusion to The Dark Knight Trilogy. Despite the minor faults this movie has, it still delivers an epic blockbuster not only just from the scale but also in emotion. Thank you Mr. Nolan, you made an honourable farewell to one of the greatest iconic heroes of our time.

 

4 out of 5

The Amazing Spider-Man {Film Review}

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*WARNING! MAY CONTAIN SPOILERS!*

Five years since Spider-Man 3, the last of Sam Raimi’s Spider-Man trilogy and now we have The Amazing Spider-Man. The proposed new Spider-Man series that was originally going to be the fourth Spider-Man movie but both Sam Raimi and Tobey Maguire dropped out and Marvel decided to reboot it. We now have Andrew Garfield as Peter Parker / Spider-Man, Martin Sheen and Sally Field as Uncle Ben and Aunt May but we have now a few characters that were introduced in the previous movies; Emma Stone as Gwen Stacy, Denis Leary as Captain Stacy and Rhys Ifans as Dr. Curt Connors / The Lizard. The weird choice was giving Marc Webb the director’s chair, his only previous credits was 500 Days of Summer, he has dealt with drama and comedy but action was something he’s diving in first time.

This movie takes us back once again to the origins of Spider-Man, except it takes us to a different way that doesn’t all feel deja vu. We’re actually introduced to Peter’s parents, they leave him to his aunt and uncle. Though his parents die from a plane accident and Peter grows up during his childhood and teenage years orphaned. He eventually comes across his dad’s belongings in a briefcase, inside he finds some papers and a photo of his dad and Dr. Connors. So he goes to OsCorp (pretending to be one of the interns) and meets Dr. Connors. Though he goes off to a restricted area and eventually gets bitten by the inevitable spider. Thus slowly becoming the web-slinger we all know and love (cue montage on having some hijinks and learning some new acrobatic skills). Meanwhile, Peter solves the algorithm his dad started and shows it to Connors and that leads to Connors using that algorithm to create a serum to regenerate limbs.

The story works well for newcomers but also makes it fresh for those who are already familiar with the character (from comics, movies etc.). Andrew Garfield really does play the character well and gets the classic prankster Spider-Man some already know (the scene where he plays around with a car thief). It also displays Peter Parker’s smarts, where we get to see him creating the classic web-shooters (though how does he get a hold of those web cartridges?). What’s also great about Garfield’s portrayal is there is a difference between Peter Parker and Spider-Man; Peter Parker is more reserved but not afraid to stand up for himself, whilst Spider-Man is wacky and gets his enemies off-guard by making wise-cracks. Gwen Stacy finally gets more meat to the character, as she was poorly written in Spider-Man 3. Emma Stone plays the character strong willed and not being a damsel in distress (which is a nice change considering Mary Jane Watson kept getting saved in every movie). The chemistry between Garfield and Stone is actually really great, they couldn’t do better awkward hallway talk then they just did. This is all credit to director Marc Webb, as mentioned earlier, he succeeded on making the chemistry between Joseph Gordon-Levitt and Zooey Deschanel affecting and charming in 500 Days. Rhys Ifans does the character of Dr. Connors well but he really isn’t explored enough to really feel sorry for him and be the tragic character the movie is trying to imply. His character seemed to be side-lined, more focusing on Parker’s evolution on being Spider-Man and his relationship with Gwen. The supporting characters you know little to nothing about, except Martin Sheen and Sally Field play their characters respectively and actually make an impact. Aunt May is under-played and is actually better than Rosemary Harris’s version, you actually feel for her being overly protective for Peter.

The action sequences were very well done, it was very easy to watch and I wasn’t confused what was going on. The stand-out action scene was where Spider-Man and The Lizard are fighting in the High School (although it could’ve had some build-up) and features a great Stan Lee cameo (barely a surprise he has a cameo in the film). I was interested with the direction on having Spider-Man’s POV when he’s web-slinging. As much as the performances and chemistry between the characters were great, some of the technical aspects were a bit flat. The orchestral score by James Horner (Aliens, Titanic and Avatar) really is forgettable, especially when compared to Danny Elfman’s score from the first two Spider-Man movies. It all feels very generic and doesn’t really stand out from the other superhero movies. Even some scenes could work without music, such as Peter Parker finding his father’s briefcase or even when he’s humiliating Flash Thompson (who’s more fleshed out this time around than being the typical bully). The film also felt all too rushed, it did not feel like 2 hours and 17 minutes long. Usually that’s a good thing but this film could’ve been better being longer. Uncle Ben’s death felt too rushed, it didn’t all feel enough to let it all sink in.

Though some plot points and events that come off being ridiculous to the point on not being able to suspend your disbelief and not making much sense; the machine that shoots a chemical cloud that both Richard Parker and Dr. Connors was working on but was shut down because the military deemed it dangerous. So it was left at OsCorp behind a glass door? The police firing at Spider-Man, even though he was unarmed apart from having web-shooters? The most ridiculously laughable scene involved a bunch of crane operators helping Spider-Man to swing to OsCorp tower. I can honestly say that I already claim that scene to win The Most Cheesiest Scene of the Year! It’s almost as bad and cheesy as the citizens of New York throwing stuff at Green Goblin in Spider-Man and a forced 9/11 reference when one of the citizens says “you mess with Spidey, you mess with New York!”. A couple plot points are brought up and suddenly disappear, such as Peter Parker trying to find Uncle Ben’s killer. Is he going to eventually find him or has he just given up?

Overall; it is an enjoyable start to the new Spider-Man series and really am interested where they will go from there. Great performances from the cast but it all feels a bit underwhelming from the plot feeling rushed and the incredibly bad cheesy moment. More like The Average Spider-Man.

3 out of 5

Prometheus {Film Review}

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*WARNING! MAY CONTAIN SPOILERS*

 

It has been nearly 33 years since Ridley Scott came to the spot-light and scared audiences worldwide with Alien (1979). It was a science fiction/horror film that felt real; in-terms of the characters who were portrayed by Sigourney Weaver, Tom Skerritt, John Hurt, Ian Holm etc. The film was the complete opposite to Star Wars (1977), it was dark and grimy (Ridley Scott used The Texas Chain Saw Massacre as an influence on how he wanted to treat the film). Now Sir Ridley returns to sci-fi in 2012 with Prometheus.

The story is about two scientists, Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green), who go off on an expedition (the ship called Prometheus) to discover the creation of mankind, lead by Meredith Vickers (Charlize Theron) who represents Weyland Corp. Once they arrive on the distant planet, they soon discover a dark secret and everything soon goes downhill. It has been known as the Alien prequel but Ridley Scott decided to make it into an original science fiction film during pre-production. It does feature what we all know about the Alien franchise; derelict ship, android and Weyland Corp. but that’s where all ties from Alien stop. The story is very similar to H.P. Lovecraft’s At The Mountains of Madness (1936), in terms with its premise and twist. The film deals with the themes of creation and faith, though this is a story that has been itching Ridley since 1979; the origins of the Space Jockey. Whilst the themes are executed very well and the opening scene certainly delivers a bizarre but beautiful glimpse of what could be viewed as the creation of life.

Noomi Rapace, from Millennium trilogy fame as Lisbeth Salander, plays an interesting character that you follow and really get involved with. You feel her struggle as her faith is challenged when she slowly discovers about our creators (or engineers as they’re called) and wanting to find out why they created us. It certainly is a nice change that both Scott and Rapace didn’t try to create another Ripley and made sure the character stood out. Charlize Theron plays Meredith as cold as you expect when a Weyland employee is involved. She plays the character as very calculative, dry but also very straight-forward as you’d expect someone who’s company is funding a trillion dollar expedition. The standout performance in this film (and has everyone talking about) is Michael Fassbender as David the android and he steals every scene he’s in. His presence is captivating and makes you equally as fascinated and curious with the Space Jockeys as he is. The scene where he’s walking around and monitoring the ship and crew is probably my favourite scene in the whole movie, where there is barely any dialogue involved except where he watches Peter O’Toole in Lawrence of Arabia (1962).

This film is definitely going to get technical awards, especially for Production Design, Costume Design, Visual Effects and Sound. The whole film is exceptionally well made and it definitely shows where the money went and a lot of effort was put to make the best-looking science fiction film. The cinematography is absolutely gorgeous; every frame is beautifully lit and shot. Ridley Scott’s eye to detail on every part of the production is mind-blowing. Even where there were scenes were live actors were interacting with digital creatures looked seamless. Ridley shot the film in 3D and this film features the best use of 3D (along with Hugo, TRON: Legacy and Avatar). The common problem with 3D films is when a scene is dark, you’re focusing on the 3D than the scene itself and becomes incredibly distracting. This film, however, did not have those issues and would even recommend on seeing this film in 3D.

As much there were positive aspects in this film, it is not perfect unfortunately. Most of the supporting characters were not all memorable, especially anyone that wasn’t put top billing. They were all basically meat waiting to be put into the grinder and that’s where there’s the lack of tension/suspense. Unlike Alien where you got to know all the crew members and you actually cared for most of them whether they will die or not. The scene where Dallas (Tom Skerritt) goes through the ventilation shafts to find the xenomorph was one of the most frightening experiences I’ve had in film. Here, most of the scares are jump-scares, that’s a cliché the majority of horrors fall onto and it doesn’t work. It’s the anticipation of the horror; the tension building up and thus makes it scary. So when you see characters that are getting killed off when you barely had time to get to know them, you’re asking yourself “who cares?” The pacing and story is a bit muddled once the Prometheus crew lands on the planet and start discovering the Space Jockey’s ship. It all feels too quick and things start happening before the next set piece begins. I cannot help but feel there’s an extended version somewhere in the cutting room floor. It also leaves a few questions unanswered and I can see why some people may find that incredibly frustrating and especially so when it leaves it open for a sequel (or sequel-baiting). Some of the crew members weren’t entirely smart, they in fact made some pretty stupid decisions. For example; Rafe Spall’s character sees a snake like alien creature, his first instinct to do is slowly approach it and touch it whilst this creature makes a snarling hissing sound. That’s like going up to try touch a rattlesnake, even when it’s rattling its tail and hissing at you at the same time. Also the surgical pod in Meredith Vickers’ room didn’t make much sense, as it can only operate on male patients (why couldn’t it be able to operate on both sexes?). The music by Marc Streitenfeld (American Gangster and Robin Hood) is good but not as memorable compared to Jerry Goldsmith’s score for Alien. Where most of his tracks in the film work (the opening scene), some scenes I felt that could have been a lot stronger without it (David monitoring the ship).

Overall; an interesting science fiction film, that deals with themes that are bold and quite daring with the story and scope. I give Scott and his production team +A for delivering a beautiful looking film. Although it’s a film that has quite a few flaws and hoping there will be an extended director’s cut in the works!

3 out of 5

The Girl With The Dragon Tattoo (2011) {Film Review}

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*WARNING – MAY CONTAIN SPOILERS!*

“The Feel Bad Movie Of Christmas” One of many taglines given during this holiday season, though not a very festive movie at all! David Fincher makes a return to investigative thrillers and making a controversial decision by remaking Steig Larsson’s original best selling book on which a Swedish TV/ Movie was made only two years earlier. Many were already skeptical and assuming it would be set in the United States and the featured sexualised violence would be softened. More talented cast and crew were brought aboard the project encouraging the public to take it more seriously.

The story is of the journalist Mikael Blomkvist (Daniel Craig), who has been disgraced after filing a report on his opponent Wennerström. He gets called in to investigate a missing person report for Henrik Vanger (Christopher Plummer), even though this person has been missing for forty years. Blomkvist eventually teams up with computer hacker Lisbeth Salander (Rooney Mara).

The film is phenomenally well made, all down to the casting, cinematography, writing and direction. David Fincher was born to make these kinds of films, this film all smells familiar from his previous work (Se7en, Fight Club, Zodiac and even The Social Network). Jeff Cronenworth brings an icy cold presence to the Swedish landscapes but he also creates so arresting cinematography that takes your breath away at times. Trent Reznor & Atticus Ross make another hit on their fantastic score, still containing conventional and electronic musical notes that we heard from their score for The Social Network but Dragon Tattoo‘s score delves deep into Lisbeth Salander’s psyche and probably the only thing that shows any sign of humanity within Lisbeth. The editing from both Kirk Baxter and Angus Wall is fast and fluid. The 158 minute running time may put some viewers off but the story goes by before you could even check the time on your watch. The difference between Fincher’s Dragon Tattoo and Niels Arden Oplev’s original is 2011 version is a more cinematic aroma to it (in terms of its direction and production value behind it).

Daniel Craig suits the character of Mikael Blomkvist. It is hard at times to look past Craig as 007 but he shows he can be just as clumsy as we all would be. His dress sense isn’t as elegant as Bond and sometimes has his glasses hanging underneath his chin while he is putting the clues together. Though the driving force of the Millennium trilogy (both from the novels and the films) is Lisbeth Salander, played previously by Noomi Rapace and now played by Rooney Mara. Mara worked with Fincher in a small role as Mark Zuckerberg’s fictional ex-girlfriend in The Social Network and it is not a surprise why Fincher chose her over the likes of Carey Mulligan, Scarlett Johansson, Keira Knightley and even Kristen Stewart. She looks childlike, almost alien from the bleached eyebrows and jet black hair-style. We find it hard to imagine at first glance that such an intelligent loner can handle herself but when she does get her vengeance back (being raped by her guardian, Bjurman (Yorick van Wageningen)), she rises up like a phoenix and we root for her. The difference in direction is the scene where Lisbeth tells Mikael her childhood isn’t done by flashbacks as the original did but keeps focused on Lisbeth telling the story. It is just as emotional and affective without any flashbacks and I prefer Fincher’s simple direction with Lisbeth’s back-story.

For those who have read the novel or 2009 original, it won’t come as a surprise to the reveal. Steven Zaillian (previous credits include Schindler’s List, American Gangster and co-wrote Moneyball along with Aaron Sorkin) adapts the novel very well but brings a few touches that stands apart from the original and doesn’t entirely fall onto the feeling of deja vu. The story itself, written by the late Stieg Larsson, isn’t a masterpiece and it is your basic ‘whodunit’ mystery thriller (though in the hands of Fincher, he creates something as exciting and fresh). Both Zaillian and Fincher both stated they wanted to make an adult thriller from the very start and this really isn’t something a PG-13 rated audience should watch. The as mentioned rape and torture scenes are really hard to watch and Fincher puts the subject matter up-front.

Overall; an intelligent dark thriller that is immensely entertaining and all credit goes to David Fincher and his incredibly talented crew. Rooney Mara makes a career making performance and I am looking forward to seeing the rest of this new Millennium trilogy.

5 out of 5!

Top Best and Worst Films of 2011

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We all had our fair share on films that made us smile and made us frown. To celebrate my recent Writer of the Year award and a step to a new year, I will reveal my list of best of worst films of 2011. I, however, did not get the luxury to see some of the films I would have liked to have seen (Tinker Tailor Soldier Spy, The Artist, Melancholia etc.) and this will be a mix of UK and North American release dates.

*BEST*

1) Drive – Nicolas Winding-Refn crafts an artistically pulpy film noir that delivers heart-stopping tension but also brings some humanity to the story. Ryan Gosling is compelling as the nameless driver but it is Albert Brooks that steals the spot-light as the menacing Bernie Ross. The car chases (especially the pre-credits sequence) are brilliantly shot and the editing is fluid. The cinematography brings the darkness to the Los Angeles glamour that we all have been acquainted to from many films set in the City of Angels.

2) The Girl With The Dragon Tattoo – The thought on making an English version of the novel when there’s already a Swedish TV/Movie made two years ago made us all cry in outrage. Then David Fincher came along and proved the nay-sayers wrong! Even if you’ve already read the novel or seen the 2009 foreign film, Fincher still delivers a dark and intense thriller. Rooney Mara makes a career-making turn as Lisbeth Salander and I honestly prefer her take on the character than Noomi Rapace’s (not saying Rapace’s was bad, just prefered Mara’s a bit more)

3) Black Swan – It is essentially Darren Aronofsky’s Swan Lake, though it’s about a ballerina (Natalie Portman) who gets chosen to play the lead of the new version of Swan Lake. The sense of paranoia from the cinematography, visual effects and even from Portman’s Oscar-winning performance is executed brilliantly. You really feel you are descending into madness, blurring the fine line between reality and fantasy. It’s also a body horror film, as Portman’s character slowly becomes the Black Swan. It was seriously a dark start for 2011 but it got me hooked till its perfect finale.

4) War Horse – Spielberg never ceases to amaze with his filmmaking skills (okay, Kingdom of the Crystal Skull aside). The trailer for this film came off (for me anyways) as a parody, so it’s incredible that a filmmaker like Spielberg was able to make that work! The ensemble British cast is astounding, from the likes of David Thewlis, Benedict Cumberbatch, Tom Hiddleston, Emily Watson, Paul Mullan and Liam Cunningham. The score by John Williams is one of the best he’s done since Munich and the cinematography by Janusz Kaminski (Schindler’s List and Saving Private Ryan) is breathtaking.

5) The Tree of Life – The biggest Marmite movie you’ll come across; you’ll either love it or you hate it! I, however, loved it and found it incredibly intriguing and ambitious. The film’s story is driven thematically and visually, being an expressionistic piece of work. Brad Pitt delivers one of his best performances in his career (along with Moneyball and The Assassination of Jesse James). A personal film that asks universal questions and it is such a beautiful and majestic piece of filmmaking.

*Honourable mention; Hugo*

*WORST*

1) Transformers: Dark of the Moon – Second highest grossing film of 2011 (behind Harry Potter and the Deathly Hallows Part 2) but it comes up to my list as the most unbearable film to watch of 2011. The human characters are ungodly annoying, Shia LaBeouf has nothing we could relate to and constantly screams more in this film than the two previous films combined! The new girl in the block, Rosie Huntington-Whiteley, is completely emotionless and nothing more to show than her looks. The action sequences are better executed this time around but the Transformers gets shoved aside in favour for the human characters. The film is also way too long, the rest of the film is just filled with filler and characters that don’t need to be in the film (i.e. Sam’s parents). Michael Bay said he didn’t care for Transformers before he made the first film and it still shows he’s not suited for this film.

2) Sucker Punch – This is an unfortunate case where you give too much money and creative freedom to a film director that’s all about style and no substance. The problem is, it tries to bring a message and empower women but there’s nothing to it to get and the women are no way represented in a positive note by wearing corsets and fish nets. The film is completely incoherent (both in story and style), the action sequences have no purpose but to be there and non of our heroines have any characteristics to make them any different from another. It is a complete mess of a film and hopefully Man of Steel will bring Snyder’s reputation back.

3) Green Lantern – Talk about being hugely disappointing. The marketing for this film was far superior than the final product (I have seen an Extended Cut version was released but heard it barely made any improvements). This really could’ve set a new movie franchise for Warner Bros./DC Comics; you had a director that’s competent in action and drama (both GoldenEye and Casino Royale are proof of that) and Ryan Reynolds being the likable cocky hero. This could’ve been as exciting and epic like Star Wars but the script and creative decisions got lost in the abyss. The film looks and feels so lifeless and artificial, you cannot help but feel underwhelmed this could’ve been a great film if more time and effort was put into it. The ending teased with a sequel baiting scene but this bombed at the box-office (even though Warner Bros. were convinced it would be a success that they green-lit a sequel. . . . Beware Green Lantern’s light? I think he should beware of our expectations).

*Dishonourable mention; Cowboys & Aliens*

*BEST BLOCKBUSTER*

X-Men: First Class – The X-Men franchise nearly had the last nail to its coffin, after the dull X-Men: The Last Stand and the terrible X-Men Origins: Wolverine. Matthew Vaughn, after his huge success with Kick-Ass, comes along and tells the story of the complicated friendship between Charles Xavier (James McAvoy) and Erik Lensherr (Michael Fassbender) and the origins of X-Men. The film is the best of the series, creating a huge sense of fun but not having the spectacle get in the way of character development (especially between the two leads). Both McAvoy and Fassbender are incredibly engaging from the start, though the project started on being another origin story but solely about Lensherr’s past and eventually becoming Magneto. Although the thing that brings the film down is January Jones as Emma Frost (strong contender for Razzie nomination) but that didn’t stop me from enjoying the hell out of this film.

*BEST TRAILER*

There was some huge decision making for which trailer would win this particular award, so it wasn’t easy to choose from previews of what is about to come in 2012. As much as the latest trailers for The Dark Knight Rises, The Avengers The Hobbit: An Unexpected Journey were hugely exciting but I would go for Ridley Scott’s, Prometheus. All to do with Ridley Scott returning to the genre that got him on the Hollywood map (Alien and Blade Runner) and the fact it looks spectacular. Being an Alien prequel but not featuring any xenomorphs that we all know an love. Though it does show snippets of the origins of the derelict ship featured in the first film (and second film if you watch Special Edition version of Aliens). Also the cast looks fantastic, ranging from Noomi Rapace, Charlize Theron, Michael Fassbender, Guy Pearce and Idris Elba. The trailer even pays homage to the trailer of Alien (the title slowly fading in and the eerie sound effect that rings through-out the trailer).

The Hobbit: An Unexpected Journey trailer

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It has been eight years since we saw the end of Frodo’s journey to destroy the one ring in Mordor and bringing Sauron’s reign in Middle-Earth to an close. Now Peter Jackson is back and this time, telling a story from a different Baggins; Bilbo Baggins (played by Martin Freeman).

This honestly came as a surprise, as I thought to believe they were still shooting and would be too busy to release a trailer not for another month! Maybe Peter Jackson decided to release his Christmas present to audiences around the world. If that’s the case, then I say “thank you, Mr. Jackson!”

It starts off Bilbo (played by Ian Holm, returning as old version of our protagonist), telling Frodo that he hasn’t exactly told the whole story. As traditional hobbit behavior, Bilbo has no interest in having adventures but unfortunately has no choice when Gandalf (Sir Ian McKellan once again back for the prequel) appears. Though he doesn’t come alone, he introduces the thirteen dwarves; (deep breath!) Fili, Kili, Oin, Gloin, Dwalin, Balin, Bifur, Bofur, Bombur, Dori, Nori, Ori, and Thorin Oakenshield. You’ll notice that Balin was mentioned in The Fellowship of the Ring in the mines of Moria, whose dead carcass was on top of a tomb. Also Gloin was mentioned in the same film, he’s father of Gimli (played by John Ryhs-Davies).

Then the dwarves begin to sing a song and really sets the tone that Jackson knows best when bringing drama. We get glimpses of Gandalf traveling to various ruins, Bilbo first seeing the shards of Narsil (the sword Isildur used to defeat Sauron and Aragorn would eventually wield in The Return of the King) and Cate Blanchett returns as Galadriel. Then Howard Shore’s majestic score kicks in but the theme is entirely new and all the better for it! Finally we see Jackson continue his action chomps with a few fight sequences with the famous scene between the dwarves and trolls.

The ending is very fitting and makes links to The Lord of the Rings trilogy, Bilbo asking “can you promise I will come back?” and which Gandalf responds quite bluntly but honestly “no and if you do, you will not be the same!” Finally we see Andy Serkis as Gollum in the shadows, crawling sinisterly above our hero.

The movie is a complete reminder on how much The Lord of the Rings has played a huge part in our culture and the way the film industry have viewed on fantasy films (look at Harry Potter series and tell me it doesn’t have some LOTR influence)

Unfortunately, we all will have to wait till December 14th, 2012 to get our tickets back to the world of Tolkien.

Hugo {Film Review}

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Martin Scorsese doesn’t shy away on his love and passion for film history and filmmaking itself. He makes subtle homages to silent era films through-out his films (especially the shot of Joe Pesci shooting a gun at the camera in the end of GoodFellas is referencing to The Great Train Robbery (1903). So viewing this film, it doesn’t come as a surprise why Scorsese wanted to make this film. It is based on a children’s book The Invention of Hugo Cabret by Brian Selznick.

It tells of an orphan named Hugo Cabret (Asa Butterfield) who lives in a train station in Paris in 1930s, he encounters George Méliès (Ben Kingsley) at a toy shop. Whilst living in the train station, Hugo is busy fixing an automaton. A mechanical man that was found by his father (Jude Law), determined to get it fixed since his father died from a fire at the museum where he worked. Constantly avoiding the station’s inspector (Sacha Baron Cohen), he also meets George’s goddaughter, Isabelle (Chloë Grace Moretz). Hugo notices a heart shaped key on Isabelle’s necklace, being a vital piece of the puzzle on fixing the automaton.

The story is a fantastical adventure and it is as exciting and magical as Pixar would make it if this was an animated film. The production design by Dante Ferreti (previous credits; Interview With The Vampire, Gangs of New York and The Aviator) continues to make some wonderful sets, especially the clock tower that Hugo often visits from time to time. It all feels authentic but also keeping with the fantasy story. Robert Richardson’s cinematography is gorgeous, making the setting of Paris as bright and glorious (which helps with the 3D). The writing from John Logan (Gladiator, The Aviator and Sweeney Todd: The Demon Barber of Fleet Street) is very well written, brilliant direction from Scorsese on starting the film with little to no dialogue. There was no need of an opening narration, a case and point on the meaning ‘show don’t tell’. The leading child actor, Butterfield, does hold the film on his own and makes a convincing and likable hero (“we’ll get into trouble” says Isabelle as Hugo pick locks a door “that’s how you know it’s an adventure!”) Moretz has already established from Kick-Ass how talented of an actress she already is and does the English accent spot-on! Sacha Baron Cohen (well-known as Ali G, Borat and Bruno in The Ali G Show) plays the Inspector as a comical villain and does comedy very well as he doesn’t play the character with any French stereotypical traits. His only purpose to uphold the law and capture any orphans in the station (being just as heartless as any mechanical object) but slowly showing feelings for the Lisette (Emily Mortimer)Ben Kingsley as the famous George Méliès makes one of his best performances. You feel for his sadness, that time can be a gift but also a curse. A magician on-stage and behind the camera, where he tells a young boy that this is where dreams get made! Believing there is no such thing as a happy ending. Though Hugo, as he fixes his automaton, attempts to fix George’s life. Which the film asks a question; what is our purpose in life? What happens when we’re made redundant? That’s a question Hugo constantly wants to find out and believing the automaton is the key to the memory of his father.

The thing that amazes me from this film is Scorsese’s eye on historical accuracy, not just from the setting or costumes but of film history itself. Featuring classic silent films; L’arrivée d’un train en gare de La Ciotat/The Arrival of a Train at La Ciotat Station and La Sortie des usines Lumière à Lyon/Workers Leaving The Lumière Factory in Lyon by Lumière brothers (who invented the cinematograph). Seeing a reconstruction of George Méliès’ films being made honestly brought a tear to my eye, it really is a film lover’s dream. This, without a doubt, will be used as a case-study for Film Studies courses in the future.

Overall; a phenomenal piece of filmmaking! Scorsese really does delve into the fantasy of the story but also celebrating film itself. As George Méliès says at the end of the film; “let us all dream!” You have certainly delivered a wonderful dream, Mr. Scorsese!

5 out of 5!