Blade Runner 2049 (2017)

blade-runner-2049-poster

Well cor blimey, this film looks delicious up on the big screen. The visuals aren’t the only delights though; storytelling, acting, music and cinematography are all excellent features of this sci-fi sequel that in my tiny insignificant opinion may be just as good if not better than the original.

Possibly a first here as I won’t go into a usual plot summary paragraph because I feel that any info on what the story serves could be, if not a spoiler at least something that ruins the element of intrigue that you should enter this movie with. Suffice to say it’s 30 years after the setting of the first one and we follow K (Ryan Gosling) in dystopian LA following a case after discovering something potentially world changing at a farm.

Even though I hadn’t seen the 1982 movie at the time, once this film was announced with details of Denis Villeneuve attached I did squeal a little. This incredible visual and smart director gave me cause for excitement and he does indeed pull off an incredibly visual and smart film again. It’s a very intelligent movie with cause for thought and the whole dystopian set up like in the first one gives amazing room for creative space and design. Villeneuve keeps the tone similar but that doesn’t stop him from expanding on ideas and updating them to fit in the mould of what 2049 could bring.

A strong theme within both movies is the notion of identity. In a way I feel this thread is felt even more within this release thanks to the character of K and the freedom movement he is tracking. What makes us human and what does that mean are two powerful questions and they course throughout the film with constant but not overbearing presence. The whole hero idea is another one played with and K is an interesting character because he’s not exactly all out nice guy but that moral code sits within him. A film is always good or great I say when it leaves you thinking about what you’ve seen and immersing yourself into that world to think on possible answers.

Hans Zimmer and Benjamin Wallfisch have conducted a wonderful score that trickles along in the background adding suitable futuristic sounds and as Zimmer does best the rises and boom of music at times creates the tension within certain scenes. Better than the music though is the sublime work from director of photography Roger Deakins who deserves to finally win an Academy Award with the sheer beauty he gifted this movie. The lines and forms are stunning all the way through, for example the yellow shifting light and frames captured within Wallace’s headquarters are mesmerising.

I have to comment on the newer technological ideas implanted in the movie too; such as the memory maker aspect which was visually pleasing and a very neat idea. The ‘Her’ like sexual encounter with K and his girlfriend with help from someone else was another case of something visually different. A fight with the background holographic accompaniment of Elvis and some showgirls further boosts the creative visual flair.

This film may be a little long and at times the pacing, like in the original, feels at odds and can be a tad slow but the detective story-line and the stunning future world presented on a big screen makes this a science fiction movie to stand up on its own and not just as a follow up to the Ridley Scott outing. In fact because I got to see this in the cinema unlike the first one, that is possibly the reason I like this more, the atmosphere and scale of seeing it on the big screen is necessary for this movie.

7.5/10

Advertisements

Blade Runner (1982)

5ig0kdwz5kxr4phjycgyi5khczd-1

Forgive me Movie Community for I have sinned. Today was the 1st time I’d seen this film in almost 27 years of existence. A cult classic and movie continually hitting Top film lists and finally I have watched it…mostly in preparation for the new flick but also to try and rectify a big list of classics I’ve not yet seen.

As a group of ‘Replicants’ (extremely strong and equally intelligent synthetic humans) arrive to Earth, Deckard (Harrison Ford) takes one last job to track them down and kill them. Things don’t go so easy though as he comes across Rachael (Sean Young) and eventually comes face to face with Roy Batty (Rutger Hauer).

The genre of this movie is something I can wholeheartedly get behind, the slick neo-noir vision is indeed special even to this day, so I can only imagine how it may have looked back in the early 80’s. The combination of futuristic science fiction vibes with film noir is most definitely cool and provides a great backdrop for not only the look of the world being created but the rich story too.

Based off a book by Philip K. Dick, who’s adapted work is further seen currently on Channel 4 which I really want to see, this film written by David Peoples and Hampton Fancher almost effortlessly blends the sci-fi genre of fantastical worlds, gadgets and futuristic elements with the layered and more interesting aspects of noir; the femme fatale, the questionable detective hero and moody lighting and moodier characters.

Not that far into the film I began questioning the central idea of clones and the Replicant possibility within the main character. I see now that it has been a topic of controversy for years. Not helping matters are the changes in various versions of this film that have been shown, released and updated. I watched the Final Cut and I must say that I did start thinking that Rick Deckard could very well be a copy and not human but I guess that interpretation idea makes for good conversations and a thinking piece.

Another controversy is my admittance that though I enjoyed the film and see it’s very very well made, I didn’t completely get behind the hype and amazement people have built it up to have over the years. It’s acted well in places, the music from Vangelis is stellar and the plot is interesting, quite complex and provoking but it felt like a lullaby in places and didn’t keep my interest as I wished it may have done. Perhaps I misunderstood it like people did upon it’s first release but the mystery of the narrative never gripped me and the pacing was slightly irritating.

Those are my only negatives, which I know could well have me shot. Aside from that I get that this film is a superb sci-fi and the ground-breaking hybrid and intelligent story-making on show is cause for this definitive status. I back that status and would recommend the film, I just wouldn’t put it on my Top 10 or Top 20 list of films. Forgive me again Movie Community.

7/10

 

La La Land (2017)

1

Well, not for a long while have I been eagerly anticipating a movie like the release of this musical drama. Add on top the record-breaking Golden Globes haul then you have a very excited chap. For the most part this film delivers, it’s stylish, fun, heartfelt but I don’t agree with all the souped up hype it’s received.

After a minor amount of road-rage where aspiring actress Mia (Emma Stone) and jazz musician Seb (Ryan Gosling) cross paths, they end up bumping into each other again and again which leads to a romance through the year. As they try following their dreams in LA it becomes a harder challenge to keep the love alive.

I have to say that I absolutely adored the first half or so of this film. It harks back to that classic glitz and glamour of Hollywood old with a neat dose of a modern touch thanks to the musical and confident direction from Damien Chazelle. Just from the sweeping opening on a Los Angeles highway to the delicate changes in lighting, the songs and story begin with a bang.

It helps that we get brilliant performances and a clear chemistry between the two main characters but also the style adds a neat note to the song-sheet that is this feature. There’s times that it looks and sounds like a studio set production and you’d expect Fred Astaire to come tap dancing in. The writing by Chazelle, is for the most part a well handled story that lends a two-sided coin to the LA lifestyle but with an obvious landing on dreams to follow and achieve.

As I sat in my seat I found myself hooked and smiling along to a wonderful series of scenes but then annoyingly, there came a specific moment where I even felt myself disengaging and from then on, the writing becomes very generic and almost cliched. It drifts into a romantic plot you’d expect to find in every other manically churned out rom-com. This frustrated me because I was expecting it to keep going with the gleeful whizz of CinemaScope delight but instead…it wains.

It is almost saved as we get a short burst of style near the end showing a quick run of events. So yes I agree it’s a fantastically well made and enchanting film, it deserved 3 perhaps 4 of the Globes it picked up out of 7. This is obviously, as I realised as they were winning, a case of the voters loving films that celebrate America or the US saving the day -(note Argo winning Best Picture)

Song wise, ‘Another of Day of Sun’ is jolly, sun-drenched and a perfect, literally perfect way to start a film of this genre. ‘City of Stars’ is sung well and has a melancholy yet magical sound but I don’t see how that gets the attention when Stone’s ‘Audition’ song is better performed and has better lyrics. Though it’s naff for jazz and a typical Top 40’s track, John Legend’s performance of ‘Start a Fire’ works well in showcasing the path Seb is taking away from his dream.

I’m not a total grouch because I did enjoy the majority of the film, I just don’t feel it should have broke GG records and I hope the Oscars gives some variety because ‘La La Land’ does swerve into a nearly boring not great second half.

7/10

2016 Top Ten

0

‘We are Number One.’…and two, three and four, five and so on. It’s belated but I’ve finally found time to notch up my favourite 10 movies from last year. Surprisingly this was easier because there weren’t too many great films released in 2016! You could say most were Rotten! Ahaha…moving quickly on then to number 10….

…but quickly before that, here’s a few films that almost made the grade…The Neon Demon, Deadpool, The Witch, Moana, The Invitation, Captain America: Civil War, Eddie the Eagle, Midnight Special, The Girl with all the Gifts, The Danish Girl, Popstar: Never Stop Never Stopping then The Little Prince and Hush would have been on the list but didn’t gain theatrical releases so sadly, I didn’t include them.

So, in at ten –

10) GREEN ROOM…AND NOCTURNAL ANIMALS

gr_webnocturnal-animals-poster

Enter the Green Room, a nightmarish small space in a neo-Nazi skinhead filled club. This movie brilliantly delivers on unsettling tension and dark turns as a band are menaced and killed. Full Review. Similarly, Tom Ford’s stylish Nocturnal Animals gives tension to the nth degree, the gritty story-within-a-story standing out as the best thing.

9) THE JUNGLE BOOK

MV5BMTc3NTUzNTI4MV5BMl5BanBnXkFtZTgwNjU0NjU5NzE@._V1__SX1303_SY591_

I don’t dislike the original Walt cartoon from yesteryear, but The Jungle Book isn’t my go to animation from them…so I was pleasantly surprised by this movie which looks incredible, the CGI landscape and animals are epic, Sethi as Mowgli blends into the darkly presented story very well and it zips along nicely as a well modernised tale. You wanna read my review-oo-oo? I know you do-oo-oo. Jungle Book

8) ARRIVAL

arrival

Clever, gorgeous, intellectual, timey-wimey, language and love co-exist but with aliens. The story is always engaging, Adams’ performance is natural and affecting in her story that just happens to feature hovering space crafts and circular lingo. Arrive at my review.

7) ZOOTROPOLIS

zootropolisposter

 

 

 

 

 

 

 

 

 

 

 

Fun but also incredibly on point about the very real politics of stero-typing and racial prejudice, this fluffy family flick is more in depth and smartly told than you’d think. Don’t be a sloth, quickly click on my review for Zootropolis.

6) 10 CLOVERFIELD LANE

10cl_poster

Dropped on us from nowhere, the Cloverfield world is expanded with this shift of genre as we get a claustrophobic thriller centered on relationships, mystery and danger instead of the found footage device. It was such a surprise and a fantastic film to boot. Tension kicks into overdrive, music is used so well and Goodman is a scary monster. Cloverfield

5) KUBO AND THE TWO STRINGS

kubo-and-the-two-strings-poster-the-far-lands

Laika have done it again by golly! This is such a rich and awesome stop-motion fantasy that goes over some very interesting and cultural textures whilst still featuring the humour and charm you’d expect. I want to see it again to just admire the work put into making this beautiful film. Kubo.

4) VICTORIA

victoria-2015-film-images-d5227678-4448-4955-a14f-11ae2f16d3d

I am so so…so glad that I got to see this film. It isn’t just the sheer marvelling feature of shooting the entire movie in one-take but the performances are fascinating and believable, the story is engaging and you connect to the world as Victoria becomes involved more and more.

Well….we’ve reached the golden trio, the three musketeers, the tricycle of brilliance from last year. What’s in at number 3 then??

 

3) SING STREET

singstreet

Ah, what a charming and musically gorgeous film. The coming of age story is fun in itself but added with 80’s nostalgia, humour and songs, Sing Street becomes a movie to feel happy watching. I re-watched it recently and still found myself adoring every moment.

2) HUNT FOR THE WILDERPEOPLE

huntforthewilderpeopleposter

Ricky Baker. Ricky Baker. A hero for the ages. This is a gem of a film with bittersweet moments, heartfelt tenderness, sharp comedy, coming of age and bonding adventures, randomness, lush locations and the ever reliable brilliance of Taika Waititi behind it all. Hunt the Wilderpeople down now…it’s so worth it if you haven’t seen it.

It’s here, Bully’s special prize. Iiiiiiin 1 –

 

 

1) THE HATEFUL EIGHT

hateful-eight-film-poster-characters-cast

It had to be, as a Tarantino fan there was almost no question that this movie would hit the heights but it’d still have to be a good film and gladly it is. Three acts that all soar with incredible cinematic talent both behind and in front of the camera. Morricone on board for the score ensures the sound is perfect. Seeing it in 70mm also helped elevate the special sweeping look of this western blood soaked Quentin extravaganza. Dialogue, violence, humour and details are as crisp as ever and I loved every second. 8

Til next year…maybe…let’s see what 2017 has to give us hey?!

A Monster Calls (2017)

monster_calls_ver2

Thematically powerful with a strong emotional message, this is not a typical fantasy film. It’s better than that, cleverly balancing a talking tree with stunning animation sequences whilst retaining the necessary coming of age narrative.

Artistic Conor O’Malley (Lewis MacDougall) tries coping with his terminally ill mum Lizzie (Felicity Jones), being beaten up at school and now a huge yew tree (voiced by Liam Neeson) is arriving at specific times to deliver three stories to him. These tales may eventually help Conor in revealing his own truth and understanding more.

Patrick Ness’ novel written from an idea by Siobhan Dowd who died of cancer before completing the book, is a fabulously rich story with a central tug of grief that is handled very well. Ness who also wrote this screenplay ensures the interpretation of the Monster’s stories are clear enough to transfer to Conor’s real life. It’s just a really smartly told plot that keeps you interested and attached.

The water colour animations that arrive with each story are creative, bold and quite dark too. This weaving of human complexity within these sequences are engaging and lifts the film even higher. The CGI and mo-cap of the tree monster is great also, thin branches or wisps of wood curling round items add to the fantastical element, he’s an interesting coach for Conor, looking brutish and menacing but having a kind heart within his trunk.

I’ll openly admit that I found the movie emotional, it never reached that overly sentimental try-hard point. Yes it does go towards that area but the way director and writer handle the subject matter keeps it from being soppy drivel. I will also go further to say that I cried from watching this movie, the film is very affecting because you get wrapped up in the vivid world and it’s certainly a more adult feature than you’d think.

Felicity Jones is gripping during the movie, her condition gets bleak and she becomes a paler gaunter figure but still keeps hold of a hopeful glint in her eye, making her a likeable and strong mother figure. Sigourney Weaver like the witch in the first tale is a see-saw of characteristics but one, ultimately that you know will be good. Liam Neeson’s work playing the booming monster is perfectly cast and he adds gravely gravitas to the part. The show is truly Lewis MacDougall’s though as he carries fear, courage, sadness, confusion and anger through the entire picture with spellbinding conviction.

Only the very ending featuring a book felt like a twee moment, aside from that this is a movie to kick off 2017 in fantastic fashion. The emotional vein running through the story is constant, touching and intelligent.

7.5/10

Passengers (2016)

passengers

‘There’s a reason they woke up early’, so the tagline for this movie goes, as it turns out it’s not a very interesting or even great one. The only great thing the film has going for it is the fun chemistry between its leads and a superbly glossy style for the ship where the action takes place.

Avalon; a spaceship, is travelling to Homestead II, a planet for people to live on. The course will take 90 years but suddenly passenger Jim Preston (Chris Pratt) awakes from his hibernation pod and finds himself alone. Preston’s only company is a barman android named Arthur (Michael Sheen). Later down the line, writer Aurora Lane (Jennifer Lawrence) is awoken and with Jim they try to solve the ship’s mystery whilst also falling for each other.

For the positives of this movie, the spaceship has a cool and incredibly sleek design. It’s clear the makers of the film have taken time to think about how certain rooms and items should appear. Avalon is a rotating craft and on the inside, modern technology is advanced with rooms aboard boasting entertainment to rival cruise liners. The connection between Jim and Aurora grows nicely and is believable consistently as they spend more time together. Gravity falls, machines fail and threat does come into play for moments which is good to see but that doesn’t outweigh the rubbish plot.

It’s a shame the story increases in it’s ridiculousness because for the portions of the movie where Pratt is by himself the movie is strong. It of course never reaches that amazing solitary ‘Moon’ vibe of Rockwell/Jones but it gets close and has a neat cold vibe about it as we see him struggle. Sadly as the sci-fi dwindles and the romance takes over it feels like ‘Titanic’ in space, also plot points that create dramatic changes are executed in the most expositional way.

Not only these moments annoyed me in how the writers got the story to move forwards but there were no twists which I expected and the actual thing that caused early rising from hibernation was nowhere near a revelation as it could…should have been. That could have been a clever and possibly dark idea played with but they never tread down that path, even ‘Wall-E’ is a darker comment on society than this is.

Chris Pratt is engaging and manages to submerge his usual Pratt shtick as the cabin-fever sets in. Jennifer Lawrence is a glowing presence as she steps into the story and breaks down with suitable emotion upon realising why she’s there. Together as a couple of love struck space travellers they work well and a spark is clear. Michael Sheen plays a near emotionless character to convincing standards with ever present glossy eyes and almost creepy smile adding to his role.

This film gets more dumb as it continues and makes you forget the nice intense moments that it started with. Aside from a captivating pairing of actors this is a creepily played out love story that doesn’t know how to stop.

5.5/10

 

Rogue One (2016)

rogueone_onesheeta

Jumping into hyperspace is this Star Wars story, slotting before ‘A New Hope’, it’s a fantastically expansive kick-start to the Lucasfilm and Disney anthology series, with the overall feel of this operatic space blockbuster being somewhat different to what has come before.

After being freed by Rebel Alliance officer Cassian (Diego Luna), Jyn Erso (Felicity Jones) comes to realise her father Galen (Mads Mikkelsen) has been building a powerful weapon for the Imperial Army. Hoping to find some plans to destroy the Death Star, Jyn leads a troop of fighters to do just that and avoid the evil grasp of Orson Krennic (Ben Mendelsohn).

A film such as this is obviously going to arrive with trumpets tooting and hype at an all time peak, so it’s always a task to live up to expectations. Mostly, this movie does succeed if not having a few minor weaknesses. The detail and visual splendour of every planet alone is enough to delight and even more so when seen on the IMAX screen. The new characters are engaging enough to take us on this rebel journey and they’re written with that classic Star Wars code of either bad or good to fit this standalone story snugly with the other movies.

What works so nicely and what I liked the most wasn’t just the impressive scale of the hero’s mission but the attempt at a different tone set up here. It’s not exactly darker but threat is certainly on the line and with everyone’s favourite masked baddie back again it’s clear that the good guys need to watch out. The narrative we receive is unique enough in not tripping fully down nostalgia lane and it has us thrown into a murkier spy-like sci-fi with lives very much on the line.

It’s a simple focused story which is why it’s easy to follow this film and immerse yourself amongst the new creatures, wonderful Michael Giacchino score and fan pleasing links to the Star Wars galaxy. Gareth Edwards directs confidently and with his team the structure of the movie is sound, it all works well, maybe too well because there’s times when the movie feels safe even when it’s treading down an unexplored road of danger and rebellion.

For me at least, the ending is orchestrated greatly, sky fights and ground battles combine in harmony but there comes a time when casualties of war become commonplace and drastically lose impact. Also a near end deus ex machina is totally cliched and felt lazy. Everything just comes to a head, it’s like they tried set up but it didn’t quite work and thinking on it the simple story is non-daring and tightropes the line of being not Star Wars but yet a thoroughly Star Wars picture.

Felicity Jones is brilliant in this, she portrays a gritty determination and hopeful look for a better Empire. The wavering teary eyes give great character emotion and then she can do steely Lara Croft action or engaging empathising smiles to round Jyn Erso as a cool addition to the Wars World. Ben Mendelsohn does a fine job in almost stealing the show, snarls and calm villainous stares make him a marvellous antagonist. Forest Whitaker is a believable guardian yet with a shaky moral core being good yet having a mean streak for intruders. Diego Luna pairs nicely with Jones, the writing of an affection is lame but he’s a rough and ready soldier and a capable male lead. It’s great to hear James Earl Jones voicing Vader once more and trust me, Darth does force choke his way to bad-assery during the film.

Mostly, Rogue One is an entertaining change to the galaxy we know, as it tries to conjure up something a bit different which is almost 100% successful and aside from a couple of near-end niggles, this is a movie to excite all ages and comfort you whilst blasting you with new faces and new worlds.

7.5/10