Director - Doug Liman
Starring - Tom Cruise, Emily Blunt
Take one part Groundhog Day, one part Matrix, even a pinch of G.I. Joe, and you end up with Tom Cruise's latest movie. But don't let the sound of this unique mash up fool you, this is an entertaining sci-fi, action movie.
For some reason, there are people in this world that do not like Tom Cruise. Actually, they detest him, believe him to be the spawn of Satan, etc, etc, etc... However, I have no problem with the diminutive super star. I actually enjoy his films; Mission Impossible, The Last Samurai and that cameo in Tropic Thunder. I like him and, in this film, I still like him. He is well suited as William Cage, a smooth talking mouth piece for the military who is 'drafted' into a fight against the Mimics, aliens who have invaded earth. The audience isn't told why they're here but, as a scene mid way through the film explains, it doesn't matter why they're here, they're here and that's all that matters. So there isn't any convoluted explanations to get in the way of the action.
Cruise is joined by Emily Blunt who is quite believable in her role as fellow soldier Rita, aka The Full Metal Bitch. Blunt obviously worked hard for this role and just the sight of her biceps made me want to weep into my bag of maltesers.
Together they share a secret; the ability to re-live the same day over and over again which could be the key to ending the alien invasion.
The two stars definitely share a chemistry, although at times you're not sure if it is romance or just comradery. There are also some real comedic moments; Tom Cruise can be a funny guy.
The film does well to keep interest considering how many times you see the same thing or have to guess if the scene is for the first time or a do-over. There were a couple of times when I thought 'enough already' and maybe the final part could have been brought forward by about 15 minutes but that might say more for my attention span than Liman's direction.
I have to say that there is something magical about seeing London on the big screen; the capital is displayed in all her glory at several points. It's nice to know that the aliens invade countries other than America every now and then.
This is based on the short novel 'All You Need is Kill' and I'm sure some fans of that will complain about Cruise's role in the film (much the same as when he took on the part of Jack Reacher). But for the uninitiated, such as myself, this movie is a fine enough reason to go to the cinema.
Rating - 7/10
Wednesday, 28 May 2014
Review: X-Men: Days of Future Past
Director - Bryan Singer
Starring - Hugh Jackman, James McAvoy, Michael Fassbender, Jennifer Lawrence, Patrick Stewart, Ian McKellen
X-Men is the oldest franchise that Marvel currently have in their ever expanding film universe. However it has been surpassed by the Avengers, both in their stand alone films and the juggernaut that was Avengers Assemble. Then Matthew Vaughn's prequel, X-Men: First Class (2011) shot some much needed life back into the series and things started to look up. But could the franchise keep it up?
Now Bryan Singer, director of the first two mutant films, is back and has the mammoth task of combining both sets of actors and giving us a film more credible and entertaining than the dismal X-Men: Last Stand (2006).
Without giving too much away, the plot revolves around Magneto and Professor X (McKellen and Stewart) sending Wolverine (Hugh Jackman) back in time to 1973 to see... Magneto and Professor X (Fassbender and McAvoy). Their mission is to change history and prevent the war that will wipe out mutant kind. And thus we go from old cast to new.
James McAvoy plays a broken Charles Xavier with raw anger and sadness, far removed from the all-knowing calm figure of Stewart. He is a joy to watch as he struggles with his power.
Fassbender is also a wonder, never overplaying a role that could have led to scenery chewing of the highest order. The chemistry between both actors is amazing, I just wish they had more time together.
Jennifer Lawrence has made the role of Mystique/Raven her own (Rebecca who??) She is sexy, sassy and focused but has not yet grown into her evil persona of the original films, which means we can truly love her (for now anyway).
And onto Jackman. You just have to look at the posters to see he is supposed to be the star of the film and there is no denying that he has been consistently good even as the films diminished in quality. While he does play an important role in the plot, he sometimes acts as merely a foil for the new cast but what a foil he is.
Special mention goes to Nicholas Hoult's Beast who has grown as a character even if his screen time isn't extensive.
I couldn't write a review without mentioning Quicksilver. I admit that when I first read about the character being included I was sceptical. I truly believed that Singer only did it to piss off Whedon and the folks at the new Avengers film. But Evan Peters is a blast as the super speedy mutant who, despite his limited screen time, makes every scene he's in his own. His performance is an obvious contrast to the serious portrayal that Aaron Taylor Johnson will probably give in Age of Ultron (if the mid-credit scene in Captain America: The Winter Soldier is anything to go by). Also, there is a cheeky little nod to his parentage; brought a smile to my face.
The film itself is well paced... action and emotion in equal balance. The 131 minute run time passes by without feeling like it is starting to lag.
The mixture of high quality digital and grainy 1970s film is used to great effect.
As with most Marvel films, stay until the end of the credits for a peak into what lies ahead for X-Men.
There are a few niggles I have (at the beginning of the film Wolverine's claws are back to being made from adamantium which pretty much negates anything that happened in The Wolverine) but for the most part Singer brings back the familiar and fans can feel safe in his capable hands.
Rating - 8/10
Starring - Hugh Jackman, James McAvoy, Michael Fassbender, Jennifer Lawrence, Patrick Stewart, Ian McKellen
X-Men is the oldest franchise that Marvel currently have in their ever expanding film universe. However it has been surpassed by the Avengers, both in their stand alone films and the juggernaut that was Avengers Assemble. Then Matthew Vaughn's prequel, X-Men: First Class (2011) shot some much needed life back into the series and things started to look up. But could the franchise keep it up?
Now Bryan Singer, director of the first two mutant films, is back and has the mammoth task of combining both sets of actors and giving us a film more credible and entertaining than the dismal X-Men: Last Stand (2006).
Without giving too much away, the plot revolves around Magneto and Professor X (McKellen and Stewart) sending Wolverine (Hugh Jackman) back in time to 1973 to see... Magneto and Professor X (Fassbender and McAvoy). Their mission is to change history and prevent the war that will wipe out mutant kind. And thus we go from old cast to new.
James McAvoy plays a broken Charles Xavier with raw anger and sadness, far removed from the all-knowing calm figure of Stewart. He is a joy to watch as he struggles with his power.
Fassbender is also a wonder, never overplaying a role that could have led to scenery chewing of the highest order. The chemistry between both actors is amazing, I just wish they had more time together.
Jennifer Lawrence has made the role of Mystique/Raven her own (Rebecca who??) She is sexy, sassy and focused but has not yet grown into her evil persona of the original films, which means we can truly love her (for now anyway).
And onto Jackman. You just have to look at the posters to see he is supposed to be the star of the film and there is no denying that he has been consistently good even as the films diminished in quality. While he does play an important role in the plot, he sometimes acts as merely a foil for the new cast but what a foil he is.
Special mention goes to Nicholas Hoult's Beast who has grown as a character even if his screen time isn't extensive.
I couldn't write a review without mentioning Quicksilver. I admit that when I first read about the character being included I was sceptical. I truly believed that Singer only did it to piss off Whedon and the folks at the new Avengers film. But Evan Peters is a blast as the super speedy mutant who, despite his limited screen time, makes every scene he's in his own. His performance is an obvious contrast to the serious portrayal that Aaron Taylor Johnson will probably give in Age of Ultron (if the mid-credit scene in Captain America: The Winter Soldier is anything to go by). Also, there is a cheeky little nod to his parentage; brought a smile to my face.
The film itself is well paced... action and emotion in equal balance. The 131 minute run time passes by without feeling like it is starting to lag.
The mixture of high quality digital and grainy 1970s film is used to great effect.
As with most Marvel films, stay until the end of the credits for a peak into what lies ahead for X-Men.
There are a few niggles I have (at the beginning of the film Wolverine's claws are back to being made from adamantium which pretty much negates anything that happened in The Wolverine) but for the most part Singer brings back the familiar and fans can feel safe in his capable hands.
Rating - 8/10
Saturday, 17 May 2014
Review: Godzilla
Directed - Gareth Edwards
Starring - Bryan Cranston, Aaron Taylor-Johnson, Elizabeth Olsen, Ken Watanabe
In 1954 the Toho Film Company made a picture about a huge dinosaur-like monster that rampaged through Tokyo. It was only 93 minutes long but it spawned a legend that has lasted 60 years and 28 (Japanese) films. I am, of course, referring to the colossus that is Godzilla.
Fast forward to 2014 and the newest incarnation of the world's most famous kaiju. Godzilla is an icon and the director, Gareth Edwards, had a mammoth task to overcome; how to bring the monster into the 21st Century without angering the fans.
The film begins with some original opening credits; words are redacted before the viewers' eyes, leaving only the names of the cast. This plays out over footage, supposedly from the 1950s, showing radars, military personnel and, finally, a large nuclear explosion at Bikini Atoll (the first of many references to actual events and /or classic Godzilla movies ).
We jump to 1999 and meet Dr. Ichiro Serizawa (Ken Watanabe) who is investigating the skeleton of a large, prehistoric creature found in the Philippines. Then we zoom over to Japan where Joe Brody (Bryan Cranston) is concerned about the nuclear plant where he works. Disaster obviously ensues and what follows is a sequence reminiscent of the Fukushima disaster which occurred only a few years ago.
And now we are up to date. Joe's son, Ford, played by Aaron Taylor-Johnson, is happily living in San Francisco with his wife (Elizabeth Olsen) and young son.
At this point I would like to say that I was slightly disturbed at watching these two young actors playing lovers as, in my head, they are the Maximoff siblings (I know, I know, it's not real but I can still have my opinion).
Father and son are eventually reunited and that's where the action really begins.
Cranston is brilliant as a father who feels like he has lost it all; both traumatised and unhinged in equal measure. Watanabe is the yin to Cranston's yang; calm and collected to a point where some of his dialogue is barely above a whisper.
The younger actors; Taylor-Johnson and Olsen, are not as strong in their roles. Olsen is not given much to do except cry and run. In fact, one downside of this movie is that there is a distinct lack of strong female characters.
Taylor-Johnson has a larger part to play but he doesn't quite fulfil the leading man role. He isn't entirely convincing as an action star but neither plausible as desperate family man. Aaron Taylor-Johnson is a good actor but he wasn't given enough to work with. The script is basic with Cranston's impassioned ranting (heard in the trailer) as the only stand out part.
But to most, it isn't the human cast that people care about. Does the 2014 version of Godzilla make the grade? In short, yes. He bears a resemblance to the original creature but without the look of a rubber suit. You could believe that there is a dinosaur-like monster out there. As you have probably gathered from the many trailers, Godzilla isn't the only kaiju in the movie but I will leave what they are, and why they are there, as a surprise.
And then there is THAT roar. Spine tingling with a bass deep enough to turn your internal organs to mush, perfect.
At several points in the film, just as the audience thinks it might be treated to a monster smackdown, the focus is always pulled back to the less interesting human story. However, the final battle is worth waiting for, if not a little short. Gareth Edwards has held enough back for the inevitable sequel (pending box office results).
There are small niggles here and there but I was always a fan of the King of Monsters (another classic reference) and there is enough here to remind us of the creature we fell in love with.
Bonus points if you spot the reference to another kaiju which appears in the first half of the film.
Rating - 7/10
Starring - Bryan Cranston, Aaron Taylor-Johnson, Elizabeth Olsen, Ken Watanabe
In 1954 the Toho Film Company made a picture about a huge dinosaur-like monster that rampaged through Tokyo. It was only 93 minutes long but it spawned a legend that has lasted 60 years and 28 (Japanese) films. I am, of course, referring to the colossus that is Godzilla.
Fast forward to 2014 and the newest incarnation of the world's most famous kaiju. Godzilla is an icon and the director, Gareth Edwards, had a mammoth task to overcome; how to bring the monster into the 21st Century without angering the fans.
The film begins with some original opening credits; words are redacted before the viewers' eyes, leaving only the names of the cast. This plays out over footage, supposedly from the 1950s, showing radars, military personnel and, finally, a large nuclear explosion at Bikini Atoll (the first of many references to actual events and /or classic Godzilla movies ).
We jump to 1999 and meet Dr. Ichiro Serizawa (Ken Watanabe) who is investigating the skeleton of a large, prehistoric creature found in the Philippines. Then we zoom over to Japan where Joe Brody (Bryan Cranston) is concerned about the nuclear plant where he works. Disaster obviously ensues and what follows is a sequence reminiscent of the Fukushima disaster which occurred only a few years ago.
And now we are up to date. Joe's son, Ford, played by Aaron Taylor-Johnson, is happily living in San Francisco with his wife (Elizabeth Olsen) and young son.
At this point I would like to say that I was slightly disturbed at watching these two young actors playing lovers as, in my head, they are the Maximoff siblings (I know, I know, it's not real but I can still have my opinion).
Father and son are eventually reunited and that's where the action really begins.
Cranston is brilliant as a father who feels like he has lost it all; both traumatised and unhinged in equal measure. Watanabe is the yin to Cranston's yang; calm and collected to a point where some of his dialogue is barely above a whisper.
The younger actors; Taylor-Johnson and Olsen, are not as strong in their roles. Olsen is not given much to do except cry and run. In fact, one downside of this movie is that there is a distinct lack of strong female characters.
Taylor-Johnson has a larger part to play but he doesn't quite fulfil the leading man role. He isn't entirely convincing as an action star but neither plausible as desperate family man. Aaron Taylor-Johnson is a good actor but he wasn't given enough to work with. The script is basic with Cranston's impassioned ranting (heard in the trailer) as the only stand out part.
But to most, it isn't the human cast that people care about. Does the 2014 version of Godzilla make the grade? In short, yes. He bears a resemblance to the original creature but without the look of a rubber suit. You could believe that there is a dinosaur-like monster out there. As you have probably gathered from the many trailers, Godzilla isn't the only kaiju in the movie but I will leave what they are, and why they are there, as a surprise.
And then there is THAT roar. Spine tingling with a bass deep enough to turn your internal organs to mush, perfect.
At several points in the film, just as the audience thinks it might be treated to a monster smackdown, the focus is always pulled back to the less interesting human story. However, the final battle is worth waiting for, if not a little short. Gareth Edwards has held enough back for the inevitable sequel (pending box office results).
There are small niggles here and there but I was always a fan of the King of Monsters (another classic reference) and there is enough here to remind us of the creature we fell in love with.
Bonus points if you spot the reference to another kaiju which appears in the first half of the film.
Rating - 7/10
Sunday, 11 May 2014
DVD Review - The Grandmaster
Director - Kar Wai Wong
Starring - Tony Chiu Wai Leung, Ziyi Zhang
The Grandmaster is a film about Ip Man, a master of Wing Chun and the teacher of one of the world's greatest and best known martial artists, Bruce Lee. However, do not expect to see Mr Lee, there is only the merest mention of his name in the final moments of the film.
Also, do not expect a movie chock full of action; although there are obviously fight scenes, most are short, bloodless and at times just there to showcase the amazing martial arts styles.
There has been a previous film about Ip Man, entitled, surprisingly, Ip Man (2008) and starring Donnie Yen. Where that film was more action (presumably to capitalise on Yen's ability), this is more subdued and reflects on the history of not only Ip Man, but the essence of Kung Fu, in particular the style of Wing Chun. The script is littered with wise sayings and philosophical teachings giving the impression that The Grandmaster wants to delve behind the fighting and be driven by the characters.
In Tony Leung the film has a strong lead. He exudes charm and is convincing in his role as a Wing Chun master (Leung is better known for his dark and brooding roles in films such as Infernal Affairs and In the Mood for Love). He stars alongside Ziyi Zhang as Gong Er, the daughter of another Grandmaster who has a love/hate relationship with Leung's Ip Man. Zhang is beautiful and graceful, the perfect ice maiden. However it is this very quality that sometimes makes it hard for the audience to fully sympathise with her character; her facial expressions rarely go beyond a steely stare. Given she is part of the film's more sentimental storylines, it is hard for the viewer to truly understand what is going on, especially in the dialogue free parts.
Unlike the previously mentioned Ip Man, this film spans a much longer time-line, from 1936 China to Hong Kong in the 50s. The Second Sino-Japanese War, which is central to Yen's film, is a small section which is only there to show us why Ip Man leaves China in the first place. Indeed large blocks of text flash up thorough out the picture to give us information and remind the audience that this all really happened.
The film is beautifully shot; Kar Wai Wong uses the elements to dazzling effect. Snow, rain, blossom, steam... all are used to create a wondrous sight and visually stunning pieces (the sequence at the train station is a perfect example). The white plains of Northern China, described as harsh by characters, are nothing short of breath taking under his direction.
If you want a film that gives us an Ip Man of action, then I highly recommend Donnie Yen's 2008 movie. However if you prefer a more character driven and thoughtful piece, then this will be more than satisfying.
Rating - 7/10
Starring - Tony Chiu Wai Leung, Ziyi Zhang
The Grandmaster is a film about Ip Man, a master of Wing Chun and the teacher of one of the world's greatest and best known martial artists, Bruce Lee. However, do not expect to see Mr Lee, there is only the merest mention of his name in the final moments of the film.
Also, do not expect a movie chock full of action; although there are obviously fight scenes, most are short, bloodless and at times just there to showcase the amazing martial arts styles.
There has been a previous film about Ip Man, entitled, surprisingly, Ip Man (2008) and starring Donnie Yen. Where that film was more action (presumably to capitalise on Yen's ability), this is more subdued and reflects on the history of not only Ip Man, but the essence of Kung Fu, in particular the style of Wing Chun. The script is littered with wise sayings and philosophical teachings giving the impression that The Grandmaster wants to delve behind the fighting and be driven by the characters.
In Tony Leung the film has a strong lead. He exudes charm and is convincing in his role as a Wing Chun master (Leung is better known for his dark and brooding roles in films such as Infernal Affairs and In the Mood for Love). He stars alongside Ziyi Zhang as Gong Er, the daughter of another Grandmaster who has a love/hate relationship with Leung's Ip Man. Zhang is beautiful and graceful, the perfect ice maiden. However it is this very quality that sometimes makes it hard for the audience to fully sympathise with her character; her facial expressions rarely go beyond a steely stare. Given she is part of the film's more sentimental storylines, it is hard for the viewer to truly understand what is going on, especially in the dialogue free parts.
Unlike the previously mentioned Ip Man, this film spans a much longer time-line, from 1936 China to Hong Kong in the 50s. The Second Sino-Japanese War, which is central to Yen's film, is a small section which is only there to show us why Ip Man leaves China in the first place. Indeed large blocks of text flash up thorough out the picture to give us information and remind the audience that this all really happened.
The film is beautifully shot; Kar Wai Wong uses the elements to dazzling effect. Snow, rain, blossom, steam... all are used to create a wondrous sight and visually stunning pieces (the sequence at the train station is a perfect example). The white plains of Northern China, described as harsh by characters, are nothing short of breath taking under his direction.
If you want a film that gives us an Ip Man of action, then I highly recommend Donnie Yen's 2008 movie. However if you prefer a more character driven and thoughtful piece, then this will be more than satisfying.
Rating - 7/10
Thursday, 8 May 2014
Let's talk about film.
It has been brought to my attention that, unless you have a gmail (google) account, you cannot comment on the blog. Therefore I have a Facebook page set up to give people a chance to talk about the blog, or indeed just talk about film/television in general. So, whether you love a bit of action, are mad about horror or just want to talk about what is coming up at the local cinema, my Facebook page is the place go.
FACEBOOK: Silverscreen Snob
TWITTER: @Silverscreensno
Sunday, 4 May 2014
DVD Review: Zero Dark Thirty
Director - Kathryn Bigelow
Starring - Jessica Chastain, Jason Clarke
So, I realise I'm late to the party in regards to this film but better late than never, right?
On the surface of it, you can be forgiven for automatically comparing Zero Dark Thirty to Bigelow's other 'war' film, The Hurt Locker; you could be forgiven but you would be entirely wrong! The two films are completely different yet both are equally compelling, just for contrasting reasons.
The movie starts with audio only; calls between victims and the emergency services during the 2001 attack on the World Trade Center. It's heartbreaking and horrifying without actually showing you anything. From here we jump two years and we are introduced to Jessica Chastain's character, Maya. Bigelow and writer, Mark Boal, give the audience a strong female character; a single minded woman who stops at nothing until she gets what she wants. Chastain's portrayal is a marvel; from her first 'interrogation' to the final moments, Maya's growth as a character, in strength and resolve, is utterly convincing. The only downside is that the audience never gets beneath the surface. Bigelow sacrifices who Maya is for what she does. However Jessica Chastain is so powerful in her role that the viewer will follow her story anyway without question.
The death of Bin Laden is almost always told as the story of the brave men who stormed his compound, yet we don't get to meet this group until two hours into the film. This film isn't about these people, it's about what went on behind the scenes to allow such a mission to take place; the many layers of bureaucracy and years of research Maya and company endure just to get a meeting with the Director of the C.I.A (played by James Gandolfini).
Some of the torture scenes make for uncomfortable viewing no matter what your opinion of it's usage. Bigelow pulls no punches in her direction and creates a visually beautiful film amid harsh environments.
The final half hour of the film, the storming of Bin Laden's refuge which is shot almost in real time, is fascinating as the director switches between night vision goggles and the drab natural light of the compound, drawing the audience in and creating a tense final scene (despite the fact that we all know the ending of this story).
Starring - Jessica Chastain, Jason Clarke
So, I realise I'm late to the party in regards to this film but better late than never, right?
On the surface of it, you can be forgiven for automatically comparing Zero Dark Thirty to Bigelow's other 'war' film, The Hurt Locker; you could be forgiven but you would be entirely wrong! The two films are completely different yet both are equally compelling, just for contrasting reasons.
The movie starts with audio only; calls between victims and the emergency services during the 2001 attack on the World Trade Center. It's heartbreaking and horrifying without actually showing you anything. From here we jump two years and we are introduced to Jessica Chastain's character, Maya. Bigelow and writer, Mark Boal, give the audience a strong female character; a single minded woman who stops at nothing until she gets what she wants. Chastain's portrayal is a marvel; from her first 'interrogation' to the final moments, Maya's growth as a character, in strength and resolve, is utterly convincing. The only downside is that the audience never gets beneath the surface. Bigelow sacrifices who Maya is for what she does. However Jessica Chastain is so powerful in her role that the viewer will follow her story anyway without question.
The death of Bin Laden is almost always told as the story of the brave men who stormed his compound, yet we don't get to meet this group until two hours into the film. This film isn't about these people, it's about what went on behind the scenes to allow such a mission to take place; the many layers of bureaucracy and years of research Maya and company endure just to get a meeting with the Director of the C.I.A (played by James Gandolfini).
Some of the torture scenes make for uncomfortable viewing no matter what your opinion of it's usage. Bigelow pulls no punches in her direction and creates a visually beautiful film amid harsh environments.
The final half hour of the film, the storming of Bin Laden's refuge which is shot almost in real time, is fascinating as the director switches between night vision goggles and the drab natural light of the compound, drawing the audience in and creating a tense final scene (despite the fact that we all know the ending of this story).
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