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Saturday, 6 January 2018

Most Anticipated Films of 2018

Another year, another lineup of films on the way - though I can't deny that trying to select my most anticipated films for the coming 12 months has been so much harder than ever before. Simply put, 2018 just doesn't have as many films that greatly interest me compared to previous years, so trying to select some that I was excited for was a tricky task.

But alas, I've finally found five that I am genuinely keen to check out upon release, so let's crack on and have a look over them...

#5 - Christopher Robin

No images yet released for this film...so I'll have to go with this for now.
With no trailers and barely any official images released, Christopher Robin is a film not yet well known to many, and I have to be honest and say I myself didn't know of it's existence until very recently. Of course there's nothing to really trigger my excitement at this rate, though I find myself strangely enticed to see how this one pans out - initially this seems like another live action remake of a Disney classic, though there's an interesting twist on the story that makes it much more than that at first glance.

Said twist now has Christopher Robin all grown up, with his childhood friends within the Hundred Acre Wood trying to find and help him regain his vivid imagination. Robin finds himself played by Ewan McGregor, while one Winnie the Pooh is voiced by the renowned Jim Cummings - the current voice of the character in many modern portrayals, and of course a huge contributor to many of Disney's works. Again, there's little promotional material around at this stage, but I'm still interested by this unique twist on the source material and am once again keen to see just how it turns out.

US Release: August 3
UK Release: August 17

#4 - Pacific Rim Uprising


An exciting creature feature that thankfully didn't take itself too seriously, Pacific Rim was certainly far from a narrative masterpiece, but also showed that blockbusters don't need to be full of excessive depth and complex themes to be an enjoyable watch - sometimes just a fun experience with some exciting set pieces and charming characters equates to something just as memorable. The film's less than remarkable box office earnings meant a sequel seemed unlikely at first, though fans can now be relieved to see one not far from release; Uprising jumps to a decade after the events of the first film, featuring a lineup of new characters as well some familiar faces and returning foes in the form of the monstrous Kaiju.

The trailers once again show that this will certainly be sporting more style than substance, but that's not a flaw providing the narrative is more than a rehash of the original; the visuals certainly look as impressive as ever, and once again look set to be brought to life through a number of thrilling action sequences. This all makes me continuously keen to check out the finished product, which thankfully isn't far from release.

UK + US Release: March 23

#3 - Mowgli


So soon after Disney's live action remake of The Jungle Book comes a second CGI-fuelled live action reimagining, though this time of course of Rudyard Kipling's original tale and not Disney's renowned musical. Motion capture master Andy Serkis leads the way as director and as the beloved Baloo, with an equally superb cast at his side including Christian Bale, Bennedict Cumberbatch, Tom Hollander, and Cate Blanchett. There's been little in the way of marketing yet with the release almost a year away, but I find myself highly intrigued to see more glimpses of what's to come, especially once again as it's adapted from the original story and not based on Disney's musical reimagining in any way. It'll take a lot to rival the effects of the 2016 film, but with Andy Serkis at the helm, I'm sure some impressive aesthetics are inevitable - let's hope a solid story is also.

UK + US Release: October 19

#2 - Incredibles 2


If you told fans of The Incredibles back in 2004 that they'd be waiting 14 years for a sequel, mayhem would certainly ensue; Incredibles 2 continues where the original left off, seeing the Parr family tackle a new villain known as the Underminer, a plot previously used in the video game sequel back in 2005. The most we've seen of this anticipated successor is a simple teaser hinting at Jack Jack's potentially larger role, exploring his newly developed powers seen towards the end of the original film, though otherwise things are under wraps for now - likely due to change soon as it's release edges closer and closer, however.

The Incredibles is not my favourite Pixar film, though it remains a winner in dozens of ways - the fact that Pixar have taken so long to get to work on this much needed sequel is a shame, but all is forgiven providing the finished film lives up to it's title.

US Release: June 15
UK Release: July 13

#1 - Ralph Breaks the Internet: Wreck-It Ralph 2


Wreck-It Ralph certainly ranks as one of Disney's best efforts for me - clever game references aside, the film finds itself a witty and surprisingly heartfelt adventure with a universal appeal, and so a sequel was always desired. Much like other films on this list, it's hard to talk much about Wreck-It Ralph 2 when not a lot of promotional material is around at this stage, so I can only hope the upcoming trailers only improve my anticipation and that the end release itself is a sequel worthy of it's title. Well, a better title to be honest.

The internet is a dangerous place though, Ralph...what we certainly don't want is a film that dismisses it's story in favour of milking the barrage of pop culture references that such a premise has the potential for. The first film found a great balance, so let's hope such a trait is passed over.

US Release: November 21
UK Release: November 30


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Friday, 22 December 2017

Movie Review - Star Wars: The Last Jedi


Star Wars and it's modern reboot has been naught but a winner for Disney's newest moneymaking machine; 2015's The Force Awakens becomes the highest grossing film in North America and one of the highest globally, with 2016's Rogue One earning similar accolades on it's record breaking debut. Said hype remains intact as The Last Jedi sets more box office records after it's first weekend and looks poised to be another global blockbuster that'll outmatch most rivals - making it even more of a shame that the film's overall quality doesn't quite reach the unparalleled heights of it's box office receipts.

Continuing on from The Force Awakens with the First Order reigning over the Rebellion, The Last Jedi weaves together multiple plot threads throughout it's beefy 152 minute run time; Rey (Daisy Ridley) seeks out the legendary Luke Skywalker (Mark Hamill) for his assistance in fighting the First Order. At the same time, the Rebellion find themselves cornered by the enemy and forced to take desperate measures to fend off the threats that await - threats in the form of Kylo Ren (Adam Driver) and his own supreme leader Snoke (Andy Serkis). It's sort of hard to explain it all seeing as all these plot threads are interwoven without much care and focus.


Referring to this messy plot brings to mind the film's key issue - Rian Johnson's flimsy script which, despite a decent start and gripping finale, struggles to maintain a coherent structure throughout everything in between. The film switches between largely dull sequences with Rey and Luke as forced morals and bizarre tonal shifts come into play, as well as entertaining if overlong action sequences with protagonists Finn (John Boyega) and several newcomers alongside familiar faces. There's a lot of visual thrills in many of these action scenes, though many also drag and sometimes feel far too excessive and bloated.

Characters? Way too many, and the end result is a generally clumsy mishmash of people trying to hog the limelight. Scenes shared between Rey and Luke have the potential to be far more effective and engaging, but the aforementioned tonal shifts and poor pacing make them come and go with little impact - if anything cutting them down a bit would've made things less dull, despite Hamill's solid performance and some likeable humourous moments. When we zoom back to the struggling Rebellion lead by Princess Leai (Carrie Fisher), and then over to Finn and his sidekick Rose (Kelly Marie Tran), or perhaps the attempted development of abruptly rising villain Snoke, we've sometimes completely forgotten about the stuff seen in other scenes simply because the film asks us to focus on far too much at once.


But this is an entertaining movie at it's best, no doubt; again, it starts off with a brisk pace and some gripping action, all crafted through some stunning visual effects and helmed by a lineup of brilliant performances; the same and much more can be said for the film's climactic moments. It's here where the action evolves into something much more than noisy chaos without much purpose - it's consistently entertaining, with a number of twists and turns keeping us engaged beyond a bunch of explosions and stylistic lightsaber duels. It's these superbly crafted set pieces that makes the array of flaws all the more disappointing - with it's talented cast and superb aesthetics, The Last Jedi truly has the chance to be one of the best blockbusters of the year, but these perks are sadly dragged down by a weak script that suffers from a distinct lack of polish.

Tuesday, 19 December 2017

Best and Worst of 2017 - Worst Five Films


Business as usual - with the year reaching it's end, now's the time to look over the best and worst of the films I saw throughout 2017. Let's get the stinkers out of the way first...

#5 - Kong: Skull Island


Shared universes are all over the film industry since the MCU took off, and one of the most recent is the...MonsterVerse? Whatever. The series began with 2014's Godzilla, and continues with King Kong's rebooted motion picture debut - one that was welcomed by most, but often had me bored beyond all measure. Kong: Skull Island is largely burdened by sluggish pacing and a lack of focus on many of it's key characters; instead more effort goes into showing off it's admittedly impressive special effects and fairly entertaining if repetitive set pieces. Kong himself pops up now and again to have bustups with the hideous creatures that lurk around the eponymous hellhole, and despite his presence always being fairly enjoyable, he's sadly put on the back burner for the most part in favour of our boring human protagonists.

The film as a whole is far from offensively bad, but just ends up being uninteresting, samey, and riddled with clichés.

#4 - The Mummy


Shared universes are becoming...hang on, I've said this before. Christ know how many times, so I guess there's no need to hammer this rubbish in anymore; alas, The Mummy finds itself as not just a remake of a beloved (if already mediocre) fantasy flick, but the start of a new shared universe combining all sorts of horror characters into some strange, desperate ensemble. Things have certainly got off to a bumpy start to say the least - while The Mummy starts off quite decent, it quickly sinks into something both boring and contrived, soon obsessed with set pieces that aim to be chilling yet end up being unfocused nonsense as the characters confront a number of scary situations with daft one liners or a bizarre sense of humour. You're never sure what vibe the film is going for, and thus it ends up being a cheesy and poorly directed mess, only redeemed in areas by some decent performances and special effects.

#3 - Pirates of the Caribbean: Dead Men Tell No Tales


I've always been a fan of the Pirates series - even the lesser praised Dead Man's Chest and At World's End won me over despite their many flaws, though I couldn't quite force my biased love to get me into On Stranger Tides as much. It was then the series coming to a closure seemed like the best option; though perhaps we must remember that with such larger franchises the interest is purely on profits and not so much on engaging storytelling.

Dead Men Tell No Tales adopts many of the common flaws of the franchise and worsens them even further - once again we're bombarded with a flurry of noisy action sequences that string together an underwritten, virtually non existent storyline. Perhaps the film's only compelling factor is the dedicated performance of Javier Bardem who helps make villain Salazar an interesting foe despite his weak characterisation. But what about the iconic Johnny Depp? Once again his wit and charm is long gone, leaving Jack Sparrow naught but an irritating comic relief forced into a lead protagonist role.

With $794 million in global earnings, down from over $1 billion with On Stranger Tides, it's apparent the series isn't the highlight it once was - and yet, it seems more sequels are inevitable at this stage. Sigh...

#2 - Transformers: The Last Knight


A decade ago Michael Bay's infamous Transformers series began with a decent albeit forgettable action flick, and from there became a shitty film making machine of sorts. As each sequel arrived, things got worse and worse, to the point where we could only wonder how such garbage was earning such promising profits for the studio. It seems this tradition, however, may now finally be coming to an end; with just $605 million in global earnings, The Last Knight is by far the lowest grossing of the franchise and was considered quite the disappointment financially. A sequel and Bumblebee spinoff are planned, so one can only hope that is where it finally comes to a close. At least until it's rebooted.

Oh, this film? Well, of course it sucks, and of course it contains all of Bay's iconic trademarks: repetitive, bloated action scenes, narrow minded rude humour, stereotyped characters, and a thinly written story. Yeah, the visuals are good, but that doesn't make it worth watching whatsoever.

#1 - The Emoji Movie


Perhaps many saw this coming - and perhaps many will agree. The Emoji Movie was met with naught but contempt and confusion from the minute it was announced, with backlash largely aimed, of course, at it's incredibly daft premise. Said premise really doesn't have much potential outside of the occasional amusing gag, so developing it into a good 90 minute animated feature is a task that perhaps not even the greatest of filmmakers could succeed in.

Sure enough, the end result is a film that has little to no story behind it, and ends up being a ridiculous array of unfunny pop culture jokes spat out by consistently irritating characters. Colourful visuals and rare laughs aside, The Emoji Movie simply becomes the prime example of what goes wrong when film studios milk pop culture trends a little too much.

Sometimes Hollywood just confuses me...

Thanks for reading!

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.