The Polar Express: Review of Snowpiercer

Snowpiercer

Director: Boon-Joon Ho

By Alex Watson

Everyone hates a morning commute to work on the train, we are all penned in like cattle and pay fares which are always steadily increasing. Well imagine if you will actually having to live on one! This week Korean director Boon Joon-Ho shows us a radical version of the future where such a life actually exists in his movie, Snowpiercer. After mass controversy about its US/Canadian release due to Harvey Weinstein insisting on constant edits, Joon-Ho’s vision has finally made it and the anticipation has been high. But will two hours stuck on a train really make for good viewing?

In the year 2031, the world has been a frozen wasteland due a horrific chemical experiment to stop Global Warming years before. The surviving humans are forced to live inside a large train called Snowpiercer. Each carriage is divided by class and ruled with an iron fist by President Mason (Tilda Swinton). The tail inhabitants led by Curtis (Chris Evans) and Edgar (Jamie Bell) are plotting a revolution to end the class rule and to do this, they will need to fight their way to the front and take the most sacred part- the engine!

Snowpiercer is a truly remarkable piece of work by Boon Joon-Ho and it has been worth every minute of its long delay. A visual masterpiece along with being an engaging thrill ride, early on the movie goes into overdrive and this exciting effect rarely drags. Despite the physical limitations, there are many heart stopping moments along the way and each carriage they make an assault on brings a newer and more dangerous challenge. such as the moment where our heroes stumble across an army of armed soldiers- cue bloody and limbs being shed as the cross a large bridge followed by a long black tunnel (also look out for the most bizarre New Year celebration you will ever see).

We are shown a future where hope is a dangerous thing and those who dare to dream are severely punished. There is an almost Stalinist type feel to early scenes where we the poor inhabitants crowded into cramp carriages living in squalid conditions. Class rule is one of the key elements of this movie and the message from Mason is “I belong to the front, you belong to the tail” Joon-Ho however doesn’t get lost in a political argument and instead gives us a simple but effective tale of people simply wanting to be free. The moment however, when the groups rescues junkie ‘Security Expert’ Namgoong Minsu (Song-Kang ho) this gives their effort massive (albeit drug related) shot in the arm.

Curtis is the default leader of the group but is nervous about doing so. But he beautifully sums up the struggles of the poor class in one wonderfully emotional monologue towards the films end and with one line “I know what people taste like and I know babies taste best.” suddenly his whole mentality devastatingly clicks into place. Such moments of simple humanity rarely exists in movies like these and this kind of thing elevates Snowpiercer above the norm.

Amidst the tension and continually building animosity between class, Joon-Ho finds moments of surreal yet hilarious humour. In one scene, our heroes visit a class room overseen by an overly peppy teacher (Alison Pill) who after showing a hammy propaganda film about unseen leader ‘Wilford’ she bursts into the zany sing-song ‘The Engine is Eternal’ which at the time will seem bizzare- but be prepared for a surprise afterwards!

But the real moment we are counting down to is the groups final confrontation with Wilford (Actor name to be withheld) and this doesn’t disappoint, because all the bitterness comes to fruition, particularly when we see just how his sacred engine is being run! But the end shot is the one that will stay with us as it suggests a beautiful new possibility for humanities future!

Chris Evans once more proves he is star material as Curtis, but this turn requires a lot more from his than usual and for once, Evans shows how diverse his range can be. This is one of the more emotionally complex performances he will show us and gives proof that this man is more than just Captain America. But its Tilda Swinton who perhaps steals the show as the Yorkshire accented leader Mason- almost unrecognizable underneath heavy make up- her buck toothed character is both gut wrenching but also great comic relief at the same point. 

Although it may have taken its time to reach North America, Snowpiercer is by far one of the most original and stunning concepts that 2014 will bring and offers a unique mix of playfulness, excitement and feeling. I have no doubt this will be among my top 10 list for the year! Just think about this movie on your next train commute.

The Woman in Black: Review of Maleficent

Maleficent

Director: Robert Stromberg

By Alex Watson

 

The tale of Sleeping Beauty has been told to us time and again and we all know the story of the Princess who falls into a deep sleep only to be woken by true love’s kiss. But this year, Disney bring us another spin on this tale aided by Angelina Jolie where are told to disregard to legend told and accept a new reality. Maleficent is one of the great villain’s of movie history, and her curse still sends ripples through the water when we watch the 1959 version. But director Robert Stromberg is here to show us that she was in fact a very different person in his movie, Maleficent.

Maleficent (Angelina Jolie) is a fairy who is charged with protecting her realm from human invasion. For years they have lived in harmony with the other side, but the balance is set to be tipped. One day Maleficent finds herself betrayed by her former lover Stefan (Sharlto Copley) who cuts off her wings to become successor to the human throne. To get even, she bestows a curse upon his first born child Aurora (Elle Fanning) that on her 16th birthday she will fall into a sleep ‘like death’ by pricking her finger a spinning wheel.

Robert Stromberg’s film looks the part and the effects for the most part look impressive, but it is a shame that the same cannot be said for the story of Maleficent itself. There is a fundamental confusion with the direction it is supposed be taking and this is not just a straight up account of the good fairy’s descent into darkness. It is implied throughout that Maleficent is essentially good and would not harm children, but this effect makes the tale loss any edge it may have gained from having a colder front. The film begins strongly enough as we see our lady making an ill advised choice to fall for Stefan, despite knowing the danger. When she is betrayed it is hard not to feel sorrow for her- and when she summons her evil and vindictive curse, secretly you smile as the score is tied!

The new spin on this tale works in some ways but not others, on the surface it appears to be a different view of this familiar tale, but you cannot help feeling this is a complete redirect. The middle sequence also feels too drawn out as we see Maleficent along with her faithful crow/ human Dival (Sam Riley) acting as surrogate parents to the child in the midst of three incompetent fairy nannies (Juno Temple, Lesley Manville and Imelda Staunton) and although this adds a more humane feel to the ruthless ice queen, it feels almost cringingly sappy. Also the ending will divide many as we see what the real ‘true love’s kiss’ really consisted off- prepared to shake your head as you view!

Also Maleficent suffers from a disappointing villain and some rather irritating side characters, King Stefan seems to do nothing except hang out his castle and sulk and lacks any kind of threat. Also we never really grow to love Aurora, purely for the fact that she is a naive, permanently smiling dimwit. All throughout she merrily wanders into the path of trouble believing it to be some kind of exciting adventure and a part of us wonders how on earth she survives the movie? Overall though, this picture smacks of sentimentality and director Stromberg, despite some interesting visuals only succeeds in melting the much needed ice.

Angelina Jolie looks the part of Maleficent and she tries her hardest to carry the role off, but she is given little to do other than wandering around darkened forests looking haunting. In a lot of ways it is criminal to waste an actress like Jolie in this role, because with the right direction she could have really brought this character to life. Talented South African actor Sharlto Copley however, is completely wasted in a one note role as King Stefan. Laced with a horrific Scottish accent, this normally capable actor is given little to work with and is confined mainly to his bedroom.

Elle Fanning is charming and ambient as Aurora, but is little else throughout and we never fully warm to this character despite the lurking threat to her life. A talented child actress, one day she will get a role worthy of her budding talents.

Although a misfire, Maleficent is certainly a pretty looking one and will be worth checking out to get your own opinion on. Though fair warning to Sleeping Beauty devotees, this may not be the picture you are expecting. Also count Angelina’s different looks, you will be able to count them on one hand!

A Man & His Dream: Review of Fitzcarraldo

Classic from the Vault

Fitzcarraldo (1982)

Director: Werner Herzog

By Alex Watson

 

The partnership between German Director Werner Herzog and his notoriously ill tempered star, Klaus Kinski frequently drove the two to boiling point. Anyone who has seen either Les Blank’s excellent documentary ‘The Burden of Dreams’ or Herzog’s Kinski tribute film ‘My Best Fiend’ will understand just heated things got! But together they always succeed in getting the best out of one another, and in a strange way they were perhaps the one ones who truly understood each other. Their greatest piece was hell on earth to shoot, but resulted in a career best for both in Fitzcarraldo. 

Brian Fitzgerald Sweeney, as known as Fitzcarraldo (Klaus Kinski) is an opera loving entrepreneur living in the Peruvian jungle and he longs to build an opera house to bring his love of this music to masses. Although his lover Molly (Claudia Cardinale) is a successful brothel owner, Fitzcarraldo has failed in many business ventures and to raise the funds he so badly needs to fund his opera house. For this he is forced to search for a rubber plant on the other side of the Amazon, which he must travel to by paddle steamer ship. One minor problem is that a mountain stands in his way- in an audacious attempt to succeed, Fitzcarraldo plans to drag the ship from one side of the mountain, to the other!

Fitzcarraldo is one of the finest Herzog’s pieces he has made in his fascinating career as it perfectly exemplifies the hope and desire of one man’s big dream. Despite his love and adoration of the fine arts, Sweeney is more of a dreamer than a businessman and is not completely likeable. Due to his numerous big failures, such as the Trans-Ardean Railway, he has become a recurring joke upon the bigwigs of Peru. Also his confrontational and smug attitude hasn’t won him many friends either. But this risky underdog story forces to us root for him and as his journey grows more perilous, our concern mounts even more.

The scenes in the jungle are the ones that really sparks Herzog’s movie into life because they capture the determination by Fitzcarraldo to make his plan succeed.  Although he is warned not to venture far into the jungle due to the dangerous natives, his desperation drowns out all words. However, he begins to achieve his plan by slightly dubious means as he meets an initially hostile group of Amazon Indians and convinces them to help him, buy pretending his a God! But through this series of lies, his plan begins to become a reality after watching this hazardous journey, your elation will probably match the level of the main characters. His plan may boarder on utter madness and there is a lingering sense of dread throughout that this will go wrong, but as the paddle steamer slowly creeps up hill, you pray with all your heart!

Production wise this movie has a legendary tale in its own right. The hostility between Herzog and Kinski grew to unbearable levels to the point where one of the Indian chiefs offered to assassinate him! Plus Herzog’s ambitious production management mirrored our hero’s crazy intentions.  But the end result cannot be argued with as Herzog magnificently brings some beautiful and iconic images to the screen, such as Fitzcarraldo playing a Caruso gramophone record to diffuse the tension with the natives. This kind of odd yet serene moments have become the directors trademark over the years and has stamped his mark over the European film scene.

He may have pushed just about everyone’s buttons, but Klaus Kinski single handledly carries Fitzcarraldo. His intense yet charming performance perfectly channels the protagonists fierce aspiration to succeed and not to be seen as a nobody. Kinski is an actor who is still gravely under appreciated due to his volatile off screen persona. But under Herzog, he found a partner who was able to channel his madness into something truly brilliant.

Fitzcarraldo is not a perfect movie by any means and to some it may seem like it wanders aimlessly. But I guarantee that the after effect will be a lasting one. Herzog and Kinski may have been an odd (and sometimes violent) couple but their careers wouldn’t have been the same without another.

Desert Rose: Review of Lawrence of Arabia

Classic from the Vault

Lawrence of Arabia (1962)

Director: David Lean

By Alex Watson

 

There are many reasons why David Lean’s 1962 movie, Lawrence of Arabia is rightly regarded as classic of cinema, but the real reason comes down to two key points. Number one, Lean himself, because no one could make lenghty epics as enthralling and spellbinding as he could and in the midst of the heat in the Arabic desert- another major hit was born! The second point was the casting of a then unknown Irish actor named Peter O’Toole who with great charm, courage and borderline insanity, made his impression on Hollywood and from there a legendary star would soon follow! Together these two made a movie that inspired many and was has been described by Steven Spielberg as a “Miracle of film!” a statement that perfectly describes Leans epic.

T.E Lawrence (Peter O’Toole) is a misfit British Army Lieutenant stationed in Cairo during WW1, frowned upon by his superiors for his odd personality, Lawrence is continually frustrated at being left on the sidelines drawing maps. Finally he gets an assignment in the Arabic desert as an observer. Soon he will become a legendary figure to the masses as he leaders them in a revolt against the invading Turkish Army and becomes involved with Prince Faisal (Alec Guiness), the murderous tribal leader Auda abu Tayi (Anthony Quinn) and the mysterious Sherif Ali (Omar Sharif).

Winner of over seven Oscars in 1962, Lawrence of Arabia is an effort that even today stands up well as an exciting and valorous war movie and perfectly encapsulates the mystery surrounding Lawrence and his adventures. From a early point when he is sulkily confined to his Cairo basement, we witness that Lawrence is no ordinary man and his due his difficult persona, his General sends him on his adventure purely to be rid of him! Whilst in the desert, every success he garners sees his confidence grow to the point where he develops an almost god like complex- where in reality, he has become no better than the cut throats he looks down upon. Lean and writer Robert Bolt give Lawrence a convulted psychological edge which heightens his character and make his increasing relish commiting his various killings all the more disturbing!

But it’s not just the characterisation that is the star of this piece, the surrounding and isolated desert along with Lean’s breathless execution of the battle scenes make this film thrilling, particular the daring desert attack on the heavily fortified town of Aqaba.  Cinematographer John Box also stakes his own claim with a variety of stunning shots, including now infamous entrace of Sherif Ali, who makes slowly creeps onto the screen from heat haze in the desert. However, it is the final mass slaughter scene that leaving the lasting impression as Lawrence and the Arabic warriors brutally murder retreating Turkish soldiers.  We witness Lawrence’s eyes lit with barberous glee and screaming his famous line “NO PRISONERS!” and our hearts go cold as we see them hurtling towards their prey at a furious rate. But this act will serve as wake up call for the great man and as we see him sat blood stained and traumatised about the bodies lying around him, he has learned that being a god comes at a heavy price!

Faith and courage are two prominent features of Lawrence of Arabia and in two key sequences, Lawrence learns that not everything can be written off so easily- during their treacherous desert crossing- his friend Gasim has been separated from the main group and Lawrence rides off to rescue him and is dismissed by Ali as basically commiting suicide. But when makes his unexpected return to an astounded group, he heroically declares “Nothing is written” and this becomes a key metaphor for the later events.

Peter O’Toole shines in the role that defined his career, clad all in white, O’Toole magnificent performance brings an icon to life. In his quieter moments though, he is equally mesmerising, particularly during his painful confession to General Allenby (Jack Hawkins) that he enjoyed committing his acts. From there O’Toole springboarded onto the big stage and after his sad passing early this year, we have lost one of the all time greats. Albert Finney and Marlon Brando both passed on this role, but you cannot imagine anyone but O’Toole standing above the train carriage!

In the supporting ranks there are number of fine performances and the Oscar nominated Omar Sherif matches O’Toole with a enigmatic turn that draws us to him straight away after he noted entrance. Alec Guiness also does well as the conflicted peacemaker Prince Faisal, a man who wants desperately for his land to return to normal, but isn’t above waving a sabre during an airborne attack urging his people to “Stand and fight!”

Lawrence of Arabia may be a film that is long in running time, but every minute of this journey is something truly remarkable and once seen it is never forgotten. It is easy to see just why this piece has acted as an inspiration to so many directors- Spielberg was dead on with calling this a miracle.

 

 

Some Memories Are Best Forgotten: Review of Wild Strawberries

Classic from the Vault 

Wild Strawberries (1957)

Director: Ingmar Bergman

By Alex Watson

The cinema of Ingmar Bergman has brought us some of the most iconic imagery of world cinema, such as his often copied chess game between Death and The Knight in The Seventh Seal and his bizarre yet utterly captivating opening sequence to his twisted masterpiece, Persona. But there was one movie he made that was memorable for another reason altogether. His picture Wild Strawberries brought about the tale of one man’s recalling the past and the end result was of heart shattering brilliance and exhibited an emotional depth rarely captured on film!

Grouchy old Professor Isak Borg (Victor Sjostrom) has lived a life with many regrets, all except his work. He is due to receive an honorary degree from Lund University, where he originally graduated. Reluctantly he brings along his daughter in law Marianne (Ingrid Thulin) who has little respect for him or his son who she is married to. As the long journey progresses, Isak is forced to confront life, death and the past events that have shaped him and as he and Ingrid travel they meet young hitch-hiker Sara (Bibi Andersson) who reminds of a past love. Eventually Isak will come face to face with his demons and find peace in the strangest of circumstances.

Wild Strawberries is a true Bergman classic in every sense and aided by Gunnar Fischer’s stunning photography, this one of the most poignant and cordial road movies ever made. Emotional we are taken on a real roller-coaster as Isak one by one encounters events that trigger past memories. The notion of death hovers over the picture and in the very beginning a quintessential Bergman image is born. In a dream sequence, Isak dreams of a coffin falling off a horse drawn carriage and as he looks closer, he realizes it is himself inside it! This well known event serves a catalyst for later events and ultimate triggers Isak to confront the emptiness in his life and gain closure.

As a protagonist, the old professor isn’t likeable to begin with due to his egotistical and sour nature. His life is filled with painful memories and his own son rarely speaks to him, the award he is receiving is the only pleasure he has to look forward to. But along the journey, we start to warm to this man and realize he may be worthy of redemption. One of the stories key elements comes from the various characters who are picked up by the pair- Sara and her two male travelling companions who are both in love with her prompt Isak to reminisce about his own cousin Sara (also Andersson) who was also his fiancée and how he lost her to his his brother. The married couple the Almann’s, who trade such horrible and venomous insults that Marianne throws them out the car, mirror Isaks unhappy and hateful marriage- and no doubt serve as indicator of events for Marianne’s own struggling marriage to his son Evald!

A final test of character for Isak comes when in a dream, he is forced witness haunting events from his past such as his wife’s affairs which cause him great anguish to view but may just explain why he has become such an aloof and bitter character in later life. But as he faces his buried scars, Isak gains a crucial self acceptance and finally seems to let go of the bottled hate inside himself and this makes way to an inner peace. The final scene set to a beautiful seaside picnic demonstrates how far he has come and as we view his face shines with happiness, it is assured our own face will have a smile equally wide!

The late Victor Sjostrom gives a performance of high quality and the well regarded former expressionist actor initially gives Isak and icy chill to begin with but as the movie emotional content increases, so does his performance and Sjostrom gives the man a great sense of warmth and character which endear him to the audience. Sjostrom was dying of cancer as this film was made, so lord only knows how close to home this piece may have struck! As the cheeky young Hitcher Sara, Bergman regular Bibi Andersson is utterly charming and we can see exactly what the two young men and the young Isak are drawn to and we only we wish there one like her in our lives! Also look for Max Von Sydow in an early role as a gas station attendant.

Winner of the Golden Bear at the Berlin Film Festival, Wild Strawberries is a film that is worth discovering and will no doubt make you think back to the events of your youth that still plague you. The Swedish director is one of the most important people in cinematic history and although his pieces may seem dated now, their content is still as mesmerising as before!

Breaking Away: Review of The Secret Life of Walter Mitty

The Secret Life of Walter Mitty

Director: Ben Stiller

By Alex Watson

Ben Stiller is a man who can be very funny when he wants to be, but other times him, and his now infamous angry outbursts, do not quite hit the mark. But one thing has always been clear with Stiller, he has far more to offer than he lets on and this year we could finally see a whole new side of him as he tackles what is perhaps his most ambitious effort yet, The Secret Life of Walter Mitty. Here we may well could meet a far more restrained and emotionally charged Stiller- but will this alienate his true fans?

Walter Mitty is a man who simply- just exists and is seemingly scared of truly embracing life, standing up to his new jerk boss Ted Hendricks (Adam Scott) and making a move on new accounts girl Cheryl (Kristen Wiig). His job at the legendary Life Magazine is now under threat due to downsizing and it doesn’t help that he has now lost a vital photo sent for the final issue from famous photographer Sean O’Connell (Sean Penn). His only option now is to find the photo- for this he will set off on a whirlwind adventure to find a picture that could be anywhere!

The Secret Life of Walter Mitty is undoubtedly a career high for Ben Stiller and here he reveals what he is truly capable of bringing to us. Walter is a very blank canvass and Stiller uses this to full effect and gives us a compelling look at a man who is trying to find his own identity. To the untrained eye, he is your average (and very dull) forty year old who just stares blankly- but Walter’s life in his head sees him as a man who leaps from rooftops or fights baddie whilst falling. His early scenes as he fantasizes provide some laughs, but luckily Stiller never once lets the film stray into more comedic territory.

Many may feel that some elements of this movie are perhaps too fetched, particularly his spontaneous decision to fly to Greenland to find Sean and his resulting mishaps such as dropping from a helicopter into shark infested waters or getting numerous funny phones calls midway up the Himalayas from an eharmony agent (Patton Oswalt) . But if you suspend your disbelief and go with the ride, then it will prove to be a wonderful experience! Because Walter’s journey that is assured to bring smiles, because his eyes never leave the prize he is seeking and he is well aware that this adventure for the photo will not change his job, but will give him a better idea of himself and open his eyes to the world!

But the most refreshing element of The Secret Life of Walter Mitty is the mature approach to emotion demonstrated by Ben Stiller and through his excellent direction (and aided by Stuart Dryburgh’s beautiful cinematography) he captures some beautiful moments on screen. One scene that is lovely in its simplicity is when Walter by coincidence meets Sean midway up a mountain and together the two watch a snow leopard creep onto a ledge- no picture is taken and we just enjoy ‘the moment’. This gives new life to the concept to phrase looking but seeing and in an age of Instagram and ‘selfies’ we learn to look closer at the pictures we see.

This being his first big movie effort, Stiller is more than up to the task of holding things together and he demonstrates a gentleness of storytelling that he has never been shown and as Walter’s journey is carried out, we feel lifted and probably have the urge to hop on the first plane we can find and think about the consequences later. Also, his romantic side story featuring Cheryl is one that is potent throughout and thankfully avoids any type of Schmaltzy sentiment and keeps thing on the right side of mushy.

Ben Stiller also rings in a best performance to boot as well- Jim Carrey, Sasha Baron Cohen and Owen Wilson were all announced in the main role previously, but you couldn’t have chosen better than Stiller who shows what an accomplished actor he could potentially be away from his comedic chops! Sean Penn also provides a very brief, but extremely memorable cameo appearance as the mysterious Sean O’ Connell, and his one scene has a very magic feel to it.

As the closest thing to the villain, Adam Scott makes a memorably revolting boss and throughout he continually mocks Walter citing him as a ‘Dream Machine’. Anyone stuck in the corporate world can probably relate to this and Scott carries it off with relish! Kristen Wiig also excels as the lovely Cheryl and, like her director, she could prove to be a great straight actress in future!

The Secret Life of Walter Mitty is a movie that will most likely divide people on whether it is as good as the campaign suggested, all I can say is go and find out for yourself and along the way lose yourself in this journey. If you do you will be rewarded with one the most wholehearted movies of 2013!

Off To See The Wizard: Review of Oz: The Great and Powerful

Oz: The Great and Powerful

Director: Sam Raimi

By Alex Watson

 

Victor Fleming’s The Wizard of Oz is among many people’s favourite films and even today in the wake of its slightly aged effects, the magic has still yet to die. But everyone asks how did the aforementioned wizard come to be? This year Sam Raimi will provide us with all the answers we need as we return to the Land of Oz and we learn just how the man behind the curtain ended up crossing paths with three witches in Oz: The Great and Powerful. Just don’t expect Dorothy to appear in this version.

In 1905, Oscar Diggs (James Franco) is arrogant but struggling circus magician who while escaping a potential beating from a circus strongman, is transported to the Land of Oz. Upon his arrival he comes across witches Theodora (Mila Kunis) and her sister Evanora (Rachel Weisz) who believe him to be a wizard whose return to save them was predicted by their father. To prove him worthy the sisters send him on a dangerous quest to kill a wicked witch. But along the way he will meet Glinda the Good (Michelle Williams) and her band of lovable folks and he will learn how to become a true wizard to save the realm!

Oz: The Great and Powerful is a film which thankfully doesn’t try to match its predecessor and instead Raimi gives us another view of the Emerald city which has a darker touch to it. The beginning sequence has a nod to Fleming’s original as it is shot in black and white and as we enter Oz, the colour flourishes on screen and the moment where Diggs discovers this strange land provides some lush imagery on screen. There is also a technical impressive finale as Oz uses his special effect knowledge to good use to attempt to reclaim emerald city from the witches. There are also other subtle nods to the past such as a cowardly lion, scarecrows and of course the infamous flying monkeys.

But what of the man himself- as we first meet Oscar Diggs he isn’t easy to warm because he is very self centred and a self confessed con man. When he first arrives in Oz, his nickname just happens to share the same name as the land he has stumbled into and his eyes go as wide as flying saucers as he see the riches that come with being a wizard! At this moment he happily plays along and pretends to be their saviour- but the moment he learns of the dangers involved he almost legs it immediately! But his transition from being a callous imposter to finally using his trickery to become ‘The Wizard of Oz’ is one of the films smoother aspects and a winning character is born as a result.

The witches’ story in Oz: The Great and Powerful is one that doesn’t quite grab at us like it should and although the origins of the Wicked Witch of the West are there for all to see, it lacks the bite that would expect to come with it. Because of this we are left without a truly memorable villain for the people of Oz to square off against, hopefully this minor issue will be resolved in any potential sequels that may follow.

James Franco’s easy charm helps push Oz: The Great and Powerful along and he is able to turn around what is a potentially loathsome fraudster to being a character who becomes a true leader and genuinely wins the trust he’s conned people into having. Franco ascent in the acting world continues to interest and he is fast becoming a reliable star actor.

As the witches, only Mila Kunis scores highly with her delightful portrayal of wickedness and the transition of Theodora from being a pretty lady to something a hell of a lot scarier is a moment that will stick firmly in our minds.  Rachel Weisz looks the part of evil green gowned Evanora but she lacks the frosty chill that comes with this kind of role and surprisingly for her she falls rather flat and lets down what could have been a marvellous villainess. Michelle Williams glows on screen as white witch Glinda the Good, but although she is lovely she doesn’t quite have the sparkle to stand out on screen.

Although it hasn’t quite turned out to be the memorable film we hoped it would, Oz: The Great and Powerful is still an enjoyable couple of hours and will no doubt satisfy many Oz fanatics. It is great to see Raimi back again on screen as we are reminded what a technical master he can be and even more thankfully- there was no web slinger in sight!

A History of Crossing Paths: Review of Cloud Atlas

Cloud Atlas

Directors: Andy Wachowski, Tom Twyker and Lana Wachowski

By Alex Watson

The Wachowski’s are a movie making duo who have been ducking in and out of our radar in the few years- after capturing everyone’s attention with The Matrix, the sequels that followed were something of a misfire and even though they have since returned to our screens with Speed Racer and Ninja Assassin, they have yet to reinstate the cult appeal that was originally earned. Their new effort Cloud Atlas is their most ambitious yet and with the help of German director, Tom Twyker they have come up with a premise that is truly mind twisting! Is this the glorious return of the former brothers? Or is their comeback still a long way off?

In this story we are given six intertwining tales, each which helps propel the story forward- including a young lawyer Adam Ewing (Jim Sturgess) in the 19^th century Pacific, a young woman Sonmi 451 (Doona Bae) in futuristic Korea, a bi-sexual young composer Robert (Ben Whishaw) living in pre war Edinburgh,  woman reporter Luisa Rey(Halle Berry) battling a corporation 1970’s San Francisco, a tribal man (Tom Hanks) living in a dystopian island to finally an old book publisher Timothy (Jim Broadbent) living in modern day Britain. Each story presented will have a profound effect on the one that follows it!

So what exactly is Cloud Atlas all about? The answer here is one I cannot possibly describe in this review and it will take seeing this film up close and personal to truly understand its meaning. The constant overlapping narrative will probably confuse many at first – but if you stick with it then you are rewarded with a tale that is truly uplifting, magical and provides an interesting commentary of humanities constant need to start over and learn from past mistakes made!

The six stories presented our all interesting in their own right and throughout this film as the layers are peeled away; the dots begin to get joined. Each tale draws us in new and interesting ways, for instance the Luisa Rey is the most suspenseful of all them because she constantly dodges bullet and villainous Hugo Weaving to allow a horrible truth to be told, the tale of Robert attempting become the new muse of a distinguished composer gives the movie its tragic feel as his efforts will become to a bittersweet conclusion, while Timothy’s unfortunate escapades being locked in a nursing home gives Cloud Atlas its comic touch!

It’s hard to truly sum up all parts without going into tremendous detail and this is one the clever facts by the main directing trio because between the three of them they have created a film that goes against the modern linear narrative and instead challenges the audience to think ahead of the game and piece together these six seemingly random stories. Another immense task is keeping up with the variety of roles each character is required to play and we see some interesting choices such as an Irish and Scottish Tom Hanks and a Korean Halle Berry.

Thankfully the multi-talented cast is more than up for the task and each rings some fascinating performances with as usual Tom Hanks leading the way and although his Celtic accents need a great deal of work, his presence still cannot be denied and Hanks again proves his versatility. Halle Berry, Jim Sturgess Hugo Weaving (who makes for a convincing lady nurse in one segment) and Jim Broadbent are all equally excellent in their varying roles and each one does a magnificent job of keeping each role fresh and surprising to  keep the story following. Hugh Grant also crops up in a variety of villainous parts and this may just make for some of his greatest work and it is interesting to see what Grant is capable of when shifted away from his usual rom-com format!

But it’s Korean actress Doona Bae who makes the biggest impression as Sonmi 451, a clone who is gradually learning to become human, through Bae’s gentleness and warmth this one section that wins our hearts as she will play a vital role for the future of humanity!

Cloud Atlas is probably going to be one of the most thought provoking films of 2013 and is proof that Wachowski’s have life left in them. This film may have tanked at the US Box Office and it is easy to see why because the story is a tricky one to buy! But it also makes for an enchanting journey which will have us asking all kind of different question as we exit during the credits! But if you ever thought that some random person’s life could never affect yours? Best to think again!

A Life Less Ordinary: Review of Life of Pi

Life of Pi

Director: Ang Lee

By Alex Watson

 

Yann Martel’s novel Life of Pi is one of the truly great twenty-first century novels. It’s unbelievable and heart warming story is one that grabs hold of us and refuses to let go, for his efforts Martell was deservedly given the Booker Prize in 2001. But bringing it to the screen has been no easy journey and previously this story was deemed ‘un-filmable’ and many established directors have failed in bring this across. But fans rejoice because Brokeback Mountain director Ang Lee has finally succeeded where many have perished, but will this movie adaptation of Martel’s novel be as gripping on screen as it was on paper?

As an adult Pi Patel (Irrfan Khan) is telling a remarkable story to a writer (Rafe Spall), which begins when he was travelling across from India to Canada by ship when his father moves his family’s zoo. But during the voyage, the younger Pi (Suraj Sharma) watches in horror as the ship sinks when hit by a storm! But as Pi weeps for the family he has lost, an even bigger surprise lurks around the corner,as he discovers that in the life raft he has escaped in- will be shared with a Bengalese tiger named Richard Parker! From this point the young man has to play a tough survival game.

Firstly I am delighted to announce that Ang Lee’s adaptation of Life of Pi is simply magnificent and truly captures the magic feel of Martel’s novel and all the way through this is a beautifully shot journey that tugs at our hearts. The most pleasing aspect is that Lee chooses to remain faithful to books content and allows this tale to play out, and his direction shines during the tough middle section where Pi has to live day by day hoping that his hungry companion won’t decide to make a meal out of him!

From its very innocent beginning in Pondicherry, India there is a spark all around, as Pi who was born with the name Piscine (French term for Swimming Pool) attempts to get others to call him by name Pi after the mathematical equation to avoid begin mocked- and for this he goes to great lengths and this provides us with a rare comical moment. But the real part that draws us is when Pi begins to learn about religion and when fascinated by all different aspects, chooses not to embrace one religion but three!  This notion of faith and belief will contribute greatly to Life of Pi later on as Pi’s faith in his gods is tested.

But it’s the bonding between boy and tiger that really gives the drive to Life of Pi and throughout this provides us with a fascinating mix of charm and pure nerves. Richard Parker is no one’s ideal shipmate, especially as he will kill you without thinking twice. Early in the film Pi is warned by Dad that animal are simply animals and to be mistrusted at all times (for this he is taught a hard lesson). Pi takes this lesson to heart and the scenes where he attempts to establish his ground on the boat are a mixture of hilarity and heart stopping frights. Although the ride is a rocky one- Lee never once dims the hope in our hearts.

Suraj Sharma does a wonderful job of holding the film’s core as the younger Pi and with his youthful innocence he is the best possible person to have been cast and throughout he gives an engaging and uplifting performance- particular during Life of Pi’s bleaker moments. As the older Pi, Irrfan Khan brings a touch of sentiment to the film with his brilliant voice over as he recounts his perilous journey. Through anyone else could have been your usual wise old tale- but through Khan we get to see a man who is both scarred and mesmerised by what has happened and feels grateful that he can finally tell his story.

I feel regret that I was not able to see this film in time for my 2012 review because it would have been well within the top 5 for certain. Ang Lee has given us a stunning adaptation of Martel’s novel that all die hards of the books will appreciate and it will provide a series of visuals that will soon becomes landmarks of this decade. It also gives a useful survival guide to surviving in water with fierce creatures because after all, you never know what life will bring?

Ready to Start: Review of The Hobbit: An Unexpected Journey

The Hobbit: An Unexpected Journey

Director: Peter Jackson

By Alex Watson

Peter Jackson’s The Lord of the Rings trilogy is one of cinema’s true greats and the journey of the Frodo and co from simple beginnings in The Shire to the depths of hell in Mordor has captured hearts everywhere. The adaptation of J.R.R Tolkiens earlier novel The Hobbit has been in development hell in the years following with numerous production delays and director debates. It nearly saw light a few years ago under Mexican supremo, Guillermo Del Toro, but ultimately it was not to be. Now this year, Peter Jackson himself brings middle earth back to our screens and again it will be a three course affair. But will The Hobbit: An Unexpected Journey have the same magic as before?

Hobbit Bilbo Baggins (Martin Freeman) is content with his life in The Shire and certainly has no wish to be whisked off on an adventure. But into his life comes wizard Gandalf the Grey (Ian Mckellen) who will take him off on the journey of a lifetime alongside thirteen roguish dwarfs led by embittered Thorin (Richard Armitage) who are desperate to reclaim their land which was stolen from them years prior. Upon this journey, Bilbo will encounter dangers he never thought possible and will soon come into contact with creature Gollum (Andy Serkis) and his ‘precious’.

Peter Jackson’s customary touch is present from the very beginning and middle earth comes to our screens as if it had never left and the results are spectacular to behold. The Hobbit: An Unexpected Journey will no doubt be 2012’s number one 3D experience! But also we get to see another side of this world rather than the shadow of Mount Doom hanging over proceedings, although in this version another mountain takes its place with the Lonely Mountain.

In the opening voice over by Ian Holm we learn of the terrible downfall of the Dwarf kingdom when it was attack by the dragon Smaug, and this provides us with a spectacular and eye opening beginning sequence. It is this seemingly minor event that will throw Bilbo into the mix. Bilbo’s involvement is the element that drives the story forward and Jackson has developed his character well as we see him go from being this timid little man, to having the heart of a lion in the later stages. When he picks up the interesting gold band, we cannot help but feel a little afraid for the future films, that ring has a habit of messing with people’s minds (just ask Gollum).

The scene where Gollum and Bilbo decide each other’s fate over a game of ‘riddles’ will rank as one of this year’s most absorbing scenes and as each one takes a guess, we find ourselves holding our breath in suspense!

Although it is nice to be back in this world once more, there is also a sense that we’ve seen this all before and Middle Earth and its wonders don’t feel as fresh anymore! Because of this The Hobbit: An Unexpected Journey doesn’t quite own the screen like it should and the fact it will be stretched into two more episodes feels very un-necessary even for Peter Jackson.  Also the Dwarf collective they are harder to warm to as characters and lack the easy going charm of the original fellowship. Even though the Dwarfs have endured terrible hardship, it is hard at times to sympathize with them because there is a lack of individuality and we never get to know the characters as a result.

Unlike Lord of the Rings, The Hobbit as a novel was a shorter book and Jackson, to keep things going, continually adds un-necessary sub plots such as the inclusion of Radagast the Brown (Sylvester McCoy), the animal healing wizard, who gives the movie a comic touch but overall feels more suited to deleted scenes on a DVD.

However no matter what faults it has, The Hobbit: An Unexpected Journey is still great fun none the less and features a strong central performance from Martin Freeman as Bilbo. Jackson has picked exactly the right man to lead this new trilogy and Freeman has the right charisma and heart to convince as the young Bilbo, it will be fascinating to see him use his new leading man material in future.

Also it is nice to see some of the old gang back together and many of us cheered when we heard that Ian McKellen was returning as Gandalf, and as usual McKellen makes his presence felt and we are thankful that the grey wizard is watching over our hero and he is joined by Hugo Weaving and Cate Blanchett.  It is Andy Serkis who again holds the screen as Gollum through his magnificent use of motion capture. As a result Serkis once again proves that Gollum is one of cinema’s best creations!

There is no doubting Peter Jackson’s love of Tolkien’s world and it is wonderful to go back to middle earth again. The Hobbit: An Unexpected Journey is an uneven yet enjoyable ride and time will tell if it will gains the legendary status of The Lord of the Rings- watch this space!