A reworking of the Frankenstein story with Dr Frankenstein now a pair of research scientists, the old castle a high tech lab and the multiple body part monster now a mixed gene mutating creation.
The monster, Dren, is a superbly realised creature, morphing over the course of the film from little more than a bare chicken monster, through young child to all too adult woman with tail and wings. Yet while the film invites sympathy for this self aware lab-experiment she never loses the menace that leaves you wondering whether she or the doctors are the bigger threat.
There are some good moments of drama, a smattering of laughs (not always intended) and the odd horrifying moment. I was entertained but in spite of some nice ideas it felt derivative while trying not to be. I love good B-movies that embrace being derivative. Slither a few years ago a good example. Splice seemed to be a bit stuck between playing it straight and mixing in a bit of willful sillyness.
Tuesday, 27 July 2010
Tuesday, 29 June 2010
4 Lions
Chris Morris, writer for The Day Today and Brass Eye turns his attention to suicide bombing in his feature film debut. A move which has courted the controversy often associated with his output.
Typically, the film questions our views and assumptions about suicide bombers. The prejudices and injustice within society that might anger those more likely to be persuaded by jihad. What security is offered by our security forces and what is the cost? These questions and many more are raised in an engaging and sometimes emotional film.
It is also very funny. All but one of the terrorist cell are buffoons. They lark and pratfall about, constantly bickering with no real understanding of the faith they profess to follow. Many have failed to see the humour or contend that to laugh you must wilfully find it funny at the expense of the underlying messages. I would say it is perfectly possible to be moved while laughing and to laugh at the rediculous is not to miss the serious point being raised.
If you didn't like Brass Eye or The Day Today this won't be for you but this is right up in my favourite films of the year and I expect it will stay there. Funny, moving, engaging. I should have written the review before it left cinemas.
Typically, the film questions our views and assumptions about suicide bombers. The prejudices and injustice within society that might anger those more likely to be persuaded by jihad. What security is offered by our security forces and what is the cost? These questions and many more are raised in an engaging and sometimes emotional film.
It is also very funny. All but one of the terrorist cell are buffoons. They lark and pratfall about, constantly bickering with no real understanding of the faith they profess to follow. Many have failed to see the humour or contend that to laugh you must wilfully find it funny at the expense of the underlying messages. I would say it is perfectly possible to be moved while laughing and to laugh at the rediculous is not to miss the serious point being raised.
If you didn't like Brass Eye or The Day Today this won't be for you but this is right up in my favourite films of the year and I expect it will stay there. Funny, moving, engaging. I should have written the review before it left cinemas.
Tuesday, 15 June 2010
The Losers
A bunch of special ops soldiers working for the CIA are framed during an operation. Stranded in South America they are offered assistance in reclaming their lives by a sultry femme fatale.
If this sounds like the opening spiel for the A-team you pretty much know what's going on here. This tries to update the much loved 80s show by adding some grit and modern sleekness but it falls short.
There's just enough witty repartee to entertain but not enough to make me care about the characters. They only shoot bad guys. Innocent parties in the way get tranquliser darts which seems cliched. The action is fun but mostly unspectacular.
The Losers are diverting, not dreadful but they could have been better than that. Guess I'll just have to wait for the real A-Team.
If this sounds like the opening spiel for the A-team you pretty much know what's going on here. This tries to update the much loved 80s show by adding some grit and modern sleekness but it falls short.
There's just enough witty repartee to entertain but not enough to make me care about the characters. They only shoot bad guys. Innocent parties in the way get tranquliser darts which seems cliched. The action is fun but mostly unspectacular.
The Losers are diverting, not dreadful but they could have been better than that. Guess I'll just have to wait for the real A-Team.
Friday, 28 May 2010
Iron Man 2
There isn't really any need for a plot summary of a comic book sequel. New, stronger, more able opponent causes mayhem. Hero takes journey of self discovery. Bigger stuff explodes/implodes more often than before. People cheer. End credits roll.
Importantly, director John Favreau hasn't messed with the formula of the first installment which so entertained. Keeping a lighter tone and allowing the excellent Downey Jr plenty of banter the focus is on entertaining.
Where I worried that a much larger cast would lead to too many story lines, many of them are kept to supporting roles to keep the admittedly baggy plot muddling along. Alongside Downey Jr and Paltrow are now Scarlett Johanssen, Sam Rockwell, Samuel L Jackson, Don Cheadle and Mickey Rourke.
If you didn't like the first one this will be a waste of time. If you did, this will be a welcome return to a comicbookland where there doesn't need to be a lot of Emo angst to justify the hero's journey.
Importantly, director John Favreau hasn't messed with the formula of the first installment which so entertained. Keeping a lighter tone and allowing the excellent Downey Jr plenty of banter the focus is on entertaining.
Where I worried that a much larger cast would lead to too many story lines, many of them are kept to supporting roles to keep the admittedly baggy plot muddling along. Alongside Downey Jr and Paltrow are now Scarlett Johanssen, Sam Rockwell, Samuel L Jackson, Don Cheadle and Mickey Rourke.
If you didn't like the first one this will be a waste of time. If you did, this will be a welcome return to a comicbookland where there doesn't need to be a lot of Emo angst to justify the hero's journey.
The Ghost
Not in fact a spooky horror film but instead a slow burning thriller with Ewan McGreggor taking up the ghost writing duties of Pierce Brosnan's former prime minister Adam Lang after the previous incumbent mysteriously falls off a boat.
The script is tight, wasting few words. Almost everything said seems to carry relevance. When combined with the slow pace of events unfolding largely in a single isolated house this gives the film a sense of foreboding that should keep the heart if not racing, then at least trotting while the mind is occupied second guessing the outcome.
Brosnan's imbued his PM with just the right blend of charm, smarm and hubris, convincing as a thinly veiled copy of Blair. McGregor plays his part well once you get around his strange accent and they ably supported by the excellent Olivia Williams as an undrappreciated wife.
With little by way of actual action, this won't be to everyone's taste but those who enjoy a more Hitchcockian yarn should be engaged.
The script is tight, wasting few words. Almost everything said seems to carry relevance. When combined with the slow pace of events unfolding largely in a single isolated house this gives the film a sense of foreboding that should keep the heart if not racing, then at least trotting while the mind is occupied second guessing the outcome.
Brosnan's imbued his PM with just the right blend of charm, smarm and hubris, convincing as a thinly veiled copy of Blair. McGregor plays his part well once you get around his strange accent and they ably supported by the excellent Olivia Williams as an undrappreciated wife.
With little by way of actual action, this won't be to everyone's taste but those who enjoy a more Hitchcockian yarn should be engaged.
Thursday, 15 April 2010
Kick Ass
Regular school kid Dave determines he should change the world for the better by mimicking the superheroes from his comic books. A gangster decides he is responsible for the actions carried out by Big Daddy, a real but secret superhero.
This is a parody of superhero films in the same vein as Shaun of the Dead and Hot Fuzz. It has affection for the material, some riveting fight scenes better than a lot of big budget affairs but has a good laugh poking fun at how patently ridiculous it all is.
It also has controversy in the form of an 11 year old girl who uses the C word which has scandalised the Daily Mail. The context of her character is a girl, older than her years, brought up by an angry nutter of a dad. It is clear at all times that it is fantasy. The juxtaposition of a "defenceless" young girl and the gangsters she fights lends a humour always found when little meets large. In this context, a single use of the c word is really not as shocking as it might sound.
Neither Hit Girl, nor the violence is sexualised as the Mail claims. And while the violence is glorified in balletic fight scenes, the real consequnces of it are also clearly demonstrated in others, something few action films bother with making this film considerably more balanced than other less controversial but more violent films.
But while there is much to debate about violence in cinema and role models for young people that isn't the point of this film. It's an inventive action film shot through with humour for people who want a bit of entertainment. In other words it's kick ass.
This is a parody of superhero films in the same vein as Shaun of the Dead and Hot Fuzz. It has affection for the material, some riveting fight scenes better than a lot of big budget affairs but has a good laugh poking fun at how patently ridiculous it all is.
It also has controversy in the form of an 11 year old girl who uses the C word which has scandalised the Daily Mail. The context of her character is a girl, older than her years, brought up by an angry nutter of a dad. It is clear at all times that it is fantasy. The juxtaposition of a "defenceless" young girl and the gangsters she fights lends a humour always found when little meets large. In this context, a single use of the c word is really not as shocking as it might sound.
Neither Hit Girl, nor the violence is sexualised as the Mail claims. And while the violence is glorified in balletic fight scenes, the real consequnces of it are also clearly demonstrated in others, something few action films bother with making this film considerably more balanced than other less controversial but more violent films.
But while there is much to debate about violence in cinema and role models for young people that isn't the point of this film. It's an inventive action film shot through with humour for people who want a bit of entertainment. In other words it's kick ass.
Wednesday, 14 April 2010
The Girl With Dragon Tattoo
Convicted and soon to be jailed journalist Mikael is commisioned by an old man to dig around an old murder case and see what he can find. Joined by abused parolee and hacker Lisbeth they uncover a much wider more brutal series of murders.
The strength of the film is it's characters and the time given for them to develop. With the notable exception of a sadist who you wouldn't want to see more of, time is allowed between plot points to draw them out. Seemingly irrelevant events lend undestanding of motivations at key points in the finale.
The pacing is unusual for a film, more closely resembling a feature length Wallander than a thriller. Over half the film has passed before Lisbeth and Mikael actually meet It is long and there's little particularly cinematic about it but it's engrossing if you're willing to give it the time.
A final warning is that the content is tough going at times. There are 2 very graphic sexual assaults depicted in particular that may be mire than you can stomach. The translation of the original Swedish title The Men Who Hate Women is an accurate summary.
The strength of the film is it's characters and the time given for them to develop. With the notable exception of a sadist who you wouldn't want to see more of, time is allowed between plot points to draw them out. Seemingly irrelevant events lend undestanding of motivations at key points in the finale.
The pacing is unusual for a film, more closely resembling a feature length Wallander than a thriller. Over half the film has passed before Lisbeth and Mikael actually meet It is long and there's little particularly cinematic about it but it's engrossing if you're willing to give it the time.
A final warning is that the content is tough going at times. There are 2 very graphic sexual assaults depicted in particular that may be mire than you can stomach. The translation of the original Swedish title The Men Who Hate Women is an accurate summary.
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