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Sunday, 10 December 2017

Movie Review - The Disaster Artist


Helmed by wannabe filmmaking genius Tommy Wiseau, 2003's The Room has now found itself widely considered the best bad movie of all time; it's nonsensical storytelling, atrocious script, and terrible acting have helped it develop a reputation that Wiseau perhaps may have wanted, albeit not quite for such reasons. It's this infamous nature that lead to co-star Gregg Sestero penning the widely acclaimed memoir The Disaster Artist in 2013, recounting his experience on the project, which now finds itself on the big screen at the hands of director/star James Franco.

The Disaster Artist revisits the making of Wiseau's (James Franco) personal masterpiece whilst also exploring the relationship between him and Sestero (Dave Franco) during it's development and production. From the moment they met to the premiere of the end product itself, the film takes us into one of the strangest filmmaking journeys of all time - a combination of genuine emotional integrity and of course a tonnage of comedy awaits during it; fans of The Room will find themselves particularly impressed at the care and attention used to recreate some of it's most iconic moments.


Perhaps the most notable pro at first glance is the performance of both the leading brothers. James Franco as Wiseau is undeniably going to annoy some, but it's simply because of how accurate he ends up being - Wiseau is a mysterious and very odd man, and Franco captures this perfectly with a performance that offers plenty of laughs. Wiseau's inept social and painfully bad directing skills are well recreated, as are his insane interactions with many of the supporting characters; it makes for some hilariously tense moments without a doubt. Dave Franco's performance as Gregg of course mustn't go unnoticed; there's depth to his character for sure, and the bond between him and Wiseau as their friendship takes a toll during the film's troubled production makes for some surprisingly heartfelt moments. We're certainly treated to much more than a comedic tribute to a superbly bad piece of cinema.

Then of course Seth Rogen's role as script supervisor Sandy Schklair, while not as memorable, still beautifully sums up the immense frustration many obviously felt as Wiseau's clueless direction took it's toll - a lineup of fine supporting actors also aid in recreating many of The Room's most infamous scenes, and their interactions with Wiseau as he continues to mess up his own ambitions are an unexpected joy to watch. It's this attention to detail that is beyond impressive, particularly when it comes to the overall accuracy of the set design, camera angles, you name it; it's all handled perfectly to tribute this atrocious masterpiece. Perhaps Franco's portrayal of some scenes is a little rusty, and the humour certainly gets repetitive now and then, but overall The Disaster Artist finds itself a film that offers audiences plenty to admire - laughs, tears, surprises, and interesting trivia brought to life from it's source material. Even if you're unfamiliar with the premise, it's certainly worth your time.

Tuesday, 21 November 2017

Movie Review - Justice League


With the MCU breaking numerous records with each release, other studios are determined to try and clone it's success with similar takes at shared franchises - perhaps the most notable rival is of course one DC Comics, also homing some of the most iconic superheroes in the modern world. Though it's critical and financial success has yet to replicate that of Marvel, the DC Universe now finds itself with perhaps it's largest release yet, bringing together some of it's most iconic heroes in an Avengers-esque adventure that's been met with mixed results by many - Justice League is certainly an enjoyable modern blockbuster, but as with most films in this evergrowing franchise, finds itself hindered by frustrating narrative hiccups.

Following the death of Superman (Henry Cavill), billionaire Bruce Wayne (Ben Affleck) seeks out a number of newly rising heroes to form a team dedicated to protecting the world from crime and injustice. His actions are further influenced by the sudden return of the sinister Steppenwolf (Ciarán Hinds), leader of the extraterrestrial Parademons, having made a sudden escape from his lengthy prison and soon given the chance to conquer all that surrounds him.


Justice League certainly puts it's gargantuan budget to good use with impressive results - nothing's truly innovative, but regardless, the costumes, set design, and visual effects are all well handled, integrating these heroes into the live action world without focusing too much on unnecessary realism, but also not making for any overly corny results; this field of aesthetics has arguably been the DC Universe's strongest aspect since it's debut. We're once again left with a highly refined superhero flick on a visual scale - and of course these renowned heroes are not brought to life just by impressive aesthetics but also a lineup of talented actors who all perform brilliantly. Whether it's Affleck as Batman or Gadot as Wonder Woman, or especially newcomers Jason Momoa as Aquaman and Ezra Miller as The Flash, this is a well chosen cast that fit their roles nicely but also clearly put a lot of effort into their performances, despite some evident setbacks.

Setbacks? Well, of course this ensemble hasn't quite been released at the same pace as The Avengers - by then each leading MCU hero had their own movie and so were introduced with slightly more depth, which isn't the case with DC's similar take on the concept. Consequently, some awkward integration of necessary backstory for heroes viewers may be unfamiliar with is inevitable; thus a number of plot threads are mixed together which leads to occasionally messy results. Many characters find themselves weakly developed, and despite a fairly intimidating performance by Hinds, the villain Steppenwolf ends up rather bland and forgettable. It's this lesser attention to storytelling that makes Justice League such a major disappointment for many - a potentially powerful narrative is sacrificed for a stronger focus on visual appeal, and the story we're left with, while certainly enjoyable at times, isn't as memorable as one would hope. The finished product certainly remains an entertaining (and somewhat underrated) superhero adventure, with a solid blend of humour and genuine thrills, not to mention some superb set pieces; it's just a shame how there was clearly potential for it to be so much more.

Tuesday, 14 November 2017

Movie Review - Paddington 2


Since his literary debut in 1958, Paddington Bear has remained one of the most beloved children's characters in British culture - and his fame accelerated even more with his first big screen appearance back in 2014. Paddington was both a funny and heartfelt family adventure that ranks as one of my favourite British films for sure, and with it achieving similarly renowned success from a critical and commercial standpoint, a sequel was certainly anything but obvious.

Now settled in with the Brown family, Paddington Bear (Ben Wishaw) arranges plans for a surprise gift for his aunt Lucy's (Imelda Staunton) upcoming 100th birthday: an expensive antique pop-up book featuring all of London's most iconic landmarks. After working and saving hard, his goals are abruptly shattered when the book is stolen by an unknown thief, with the blame landing on Paddington himself as he is locked away in an unwelcoming prison. Determined to clear his name, Paddington seeks aid from all those around him to track down the real culprit and ensure he doesn't spend the remainder of his days behind bars; or leave Lucy bitterly disappointed on such a special occasion.


Just as before, the most noticeable thing at first glance are the effects: Paddington 2 renders and animates the titular star just as beautifully as the original did, no questions asked. Realism aside, what really deserves acclaim is how much personality is injected into his every movement - you'll certainly never feel like you're staring at CGI, an achievement many films with much higher budgets often struggle to nail. As a character he is as loveable as before, adopting the same polite persona whilst never avoiding the usual goofy antics; funny as ever, not once do they feel over the top, and the overall humour is approachable for a widespread family audience, leaving no viewers alienated, and all these perks are bolstered even further by another fantastic vocal performance by Ben Wishaw.

The supporting characters remain just as admiring: Sally Hawkins and Hughe Bonneville flawlessly lead the Brown family as they find themselves involved in many funny yet exciting antics alongside Paddington himself, whilst newcomers Hugh Grant and Brendan Gleeson to name a few are consistently fun to watch whenever on screen, not just because of the refined performances but also the witty characters they portray. They all deliver plenty of laughs whilst still holding their strong narrative importance, and it's this stellar cast of characters and performers that also makes Paddington 2 such an entertaining story from start to finish.


But it's not just there to make you chuckle - as with the previous film, there is plenty of emotional depth to this heartwarming narrative. It's never pretentious or overstuffed, instead the many tender moments turn out wonderfully touching and may even feel like you're near some onions now and then. Things also come to an end with a surprisingly gripping climax, though once again thankfully not one trying to take itself too seriously or shoehorn in any tired Hollywood clichés - if anything it's another key moment where the film's impressive visual effects are most evident. All this equates to what is undeniably an even better experience than the original, and that's truly a compliment through and through.

Saturday, 11 November 2017

Movie Review - Murder on the Orient Express


What is arguably Agatha Christie's most famous tale returns to the big screen once again, helmed by director and star Kenneth Branagh, with some stylish modern production values and an undeniably impressive cast. The core story remains largely unchanged - the greatest detective of all time Hercule Poirot (Branagh) finds himself forced to resolve the unprecedented killing on the luxurious Orient Express. The suspect is left amongst the many passengers, forcing Poirot to locate the culprit before they can strike again.

Once again this latest adaptation of Christie's renowned novel doesn't take many liberties with the main plot - such a treasured tale perhaps shouldn't be excessively toyed with, though this will undeniably be a slight downside to some as it leaves little room for surprises. The tension is generally well handled and the revelations as the plot moves forward fairly exciting and enjoyable, though what's a shame is perhaps the inconsistent pacing which can affect the atmosphere the story holds as it begins to unfold toward it's more climactic moments. Some segments also feel undeniably quite boring, making you think the runtime they eat up could've been used toward scenes that are a bit more engaging and influential to the overall plot.


But now I'm making the film seem like a real downer - Orient Express is still an entertaining thriller, supported once again by some rich production values and an undeniably stellar cast, even if some of the more talented members feel slightly underused at times. The cinematography, lighting, set design, it's all beautiful to look at and captures the time period as well as the atmosphere perfectly; this is especially apparent during the film's more eerie moments. The obvious CGI shots of the train racing along the rails during rough terrains do feel a little phoned in, however - of course computer imagery is the main way such shots would be done, though the abruptly epic presentation and thunderous sound design can make them contrast oddly with the rest of the film.

Branagh delivers a superb performance as the lead detective Poirot, capturing the character's witty sense of humour and balancing it nicely with his more serious side when delving into the depths of this sinister crime. The rest of the cast, while not as consistent, also perform strongly - Josh Gad, Willem Dafoe, Derek Jacobi, Penélope Cruz, as well as Johnny Depp as the murder victim himself. Depp's role is of course not very lengthy considering his early sign off, but the performance he does deliver is solid enough for what the character is. What weakens much of the effort provided by this fab cast is the lack of development toward the characters they play - even Poirot himself doesn't feel as interesting as you might wish he was despite Branagh's polished performance, and this flaw is even more applicable for some of the supporting roles. Murder on the Orient Express delivers tender emotions alongside some engrossing thrills, all presented with some lovely aesthetic design; and while it's plot development and pacing is not as refined, the end product is an entertaining adaptation of the renowned mystery.

Sunday, 5 November 2017

Movie Review - Pokémon the Movie: I Choose You!


It's my honest opinion that none of the Pokémon movies I've seen excel in terms of overall quality; to be fair, these are hardly attempts to earn a spot in the National Film Registry, but even with that in mind the lacklustre animation and dull storylines of most installments render them far from memorable. So with that said, it's even more pleasant to see a slight change in form for the series as a whole - this year's I Choose You is far from a masterpiece, but it's without a doubt a fairly fun animated flick to potentially appeal to now adult nostalgic fans as well as young newcomers.

I Choose You finds itself as a retelling of Ash Ketchum's journey from Pallet Town to become the greatest Pokémon Master, joined by his initially hostile sidekick Pikachu. When their journey's rough start leads to them witnessing the legendary Ho-Oh and garnering one of it's magical rainbow feathers, Ash finds himself as the chosen one for a renowned mission to uncover more about Ho-Oh and the secrets behind it's inception.


You don't go into a film like this with epic expectations, and that's a fitting mindset - it doesn't attempt to be an emotionally powerful, poetic tale, which certainly benefits it's overall quality. It's laid back if still rusty storytelling leads to an appropriately fun and chilled viewing that kids will certainly enjoy, even if adults outside of the fanbase may not be as consistently engaged. What's pleasant to see at first glance is some fairly impressive animation - it's not without awkward integrations of cheap looking CGI but thankfully this doesn't ruin the overall aesthetic approach; the art direction is pleasant, and everything is nicely drawn throughout. The English cast is largely composed of existing voice actors from the television series, and while the performances are similarly cheesy, there's certainly nothing offensively bad about them overall.

Where I Choose You admittedly slips up is of course the story - as a reboot of the early episodes of the original series, the plot certainly (and somehow) crams far too much into it's near 100 minute runtime, and the end result is a lack of focus during many key scenes and some very rushed moments that consequently lose their attempted emotional appeal. Once again, you don't expect this film to be an Oscar winning drama of sorts, though it would help if some moments weren't blatantly glossed over - perhaps their absence would actually benefit the overall story and pacing even more. The flaws don't end there: the characters aren't overly memorable, there's plenty of corny (though still somewhat funny) moments, and the script enjoys some awkward contrivances and abrupt twists, but as a fun and approachable animated effort, I Choose You generally succeeds in most aspects.