gt-thereelword
Joined Nov 2012
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Paul Greengrass has proved his talents with two fantastic Bourne films, The Bourne Supremacy and The Bourne Ultimatum, and two impressive real-life dramas, Bloody Sunday and United 93. Green Zone, while being a little like Bourne in Baghdad, was also a worthy thriller. Captain Phillips sees Greengrass deliver another true story to the big screen, proving that he is indeed the current king of cinematic re-enactments.
Tom Hanks gives one of his finest performances in a long time. His Captain Phillips is a professional, serious man that keeps his emotions in check while sternly ensuring his crew understands his expectations. As the situation escalates, his emotions begin to creep through. Leading towards a final release that is both heartbreaking and relieving. Hanks' character isn't explored too deeply, but we are nevertheless with him every step of the way.
In a fantastic casting choice, Tom Hanks is more than matched by Barkhad Abdi, who truly shines as the lead pirate. We're given more access than expected to this character – to all four pirates for that matter. Abdi manages to evoke empathy from a character that could have easily succumbed to stereotypical villainy. His performance provides a complex level of emotion to the proceedings. He knows that the situation has easily ran away from him, yet he naively decides to re-assure himself – and Captain Phillips – every chance he gets.
This is no-nonsense filmmaking of the highest order. Paul Greengrass' kinetic camera rises above the sometimes dizzying approach from some of his last films. The hand-held factor works beautifully here, ensuring the you-are-there level of realism is cranked to a ten at every second. As the events escalate, we are always kept aware of what is happening. While skipper jargon and navy terms are exclaimed every which way, care is placed on making sure we still know exactly what is going on. Billy Ray (Breach, State of Play, The Hunger Games) constructs a taut and clear screenplay that compliments Greengrass' filmmaking style.
To call this tense is an understatement. Henry Jackman's score pushes every sequence to an almost unbearable level of tension, Barry Ackroyd's cinematography beautifully captures the sweat and intensity of every moment, and Christopher Rouse's masterful editing brings it all home.
Exhausting and thrilling, Captain Phillips is all the more powerful with the knowledge that you're witnessing a true story. Paul Greengrass and co. have crafted an experiential film that you won't be forgetting in a hurry.
Tom Hanks gives one of his finest performances in a long time. His Captain Phillips is a professional, serious man that keeps his emotions in check while sternly ensuring his crew understands his expectations. As the situation escalates, his emotions begin to creep through. Leading towards a final release that is both heartbreaking and relieving. Hanks' character isn't explored too deeply, but we are nevertheless with him every step of the way.
In a fantastic casting choice, Tom Hanks is more than matched by Barkhad Abdi, who truly shines as the lead pirate. We're given more access than expected to this character – to all four pirates for that matter. Abdi manages to evoke empathy from a character that could have easily succumbed to stereotypical villainy. His performance provides a complex level of emotion to the proceedings. He knows that the situation has easily ran away from him, yet he naively decides to re-assure himself – and Captain Phillips – every chance he gets.
This is no-nonsense filmmaking of the highest order. Paul Greengrass' kinetic camera rises above the sometimes dizzying approach from some of his last films. The hand-held factor works beautifully here, ensuring the you-are-there level of realism is cranked to a ten at every second. As the events escalate, we are always kept aware of what is happening. While skipper jargon and navy terms are exclaimed every which way, care is placed on making sure we still know exactly what is going on. Billy Ray (Breach, State of Play, The Hunger Games) constructs a taut and clear screenplay that compliments Greengrass' filmmaking style.
To call this tense is an understatement. Henry Jackman's score pushes every sequence to an almost unbearable level of tension, Barry Ackroyd's cinematography beautifully captures the sweat and intensity of every moment, and Christopher Rouse's masterful editing brings it all home.
Exhausting and thrilling, Captain Phillips is all the more powerful with the knowledge that you're witnessing a true story. Paul Greengrass and co. have crafted an experiential film that you won't be forgetting in a hurry.
- thereelword.net
Concert films, generally speaking, are made specifically for fans of the artist or band. Thus, making it slightly difficult to objectively critique this type of film without leaning to the biased opinions of their music. Fans will no doubt have a field day, others will be momentarily entertained before growing weary of the proceedings.
The film follows the aptly named Trip (Dane DeHaan), a young roadie who works for Metallica. During one of their latest concerts, Trip is sent on a mission to retrieve a mysterious item from a broken down truck. What starts out as a straight-forward task, soon descends into a surreal fight for survival. The streets quickly become a battleground for rioters and law enforcement officers, while a malevolent and murderous horseman makes it his mission to kill our young roadie. Will Trip manage to deliver this mysterious package – or even survive this bizarre hell that has taken over the city? This plot unfolds in sections; as we go back and forth between Trip's adventure and Metallica's concert. The concert itself is truly impressive. A feat of stage wizardry and technical performance, Metallica's live show is a visual spectacle that manages to creatively incorporate various elements of live-effects. Obviously, fans will rock along regardless of what unfolds on stage, but every couple of songs brings a new element that will at least renew the visual interest in their performance.
Stage technicality and concert values aside, non-fans will inevitably get bored. As the songs progress, many will find their interest dwindling, wanting to return to Trip's predicament as a sort of breather. This is where Metallica: Through the Never runs into trouble. Trip's journey doesn't engage as much as it initially promises to, but director Nimród Antal (Kontroll, Vacancy, Armored, Predators) brings creativity and an infectious level of energy to the mix. There are some dynamic sequences that make no sense whatsoever, but damn they look cool. This is the general formula that drives the spark towards a dying fizzle by the time the film finishes.
Surreal and bizarre, Trip's plot doesn't offer more than visual flourishes. Special effects and slick transitions may look great on the big screen, but an almost cocky level of artsiness will have more eyes rolling than eyebrows raising. As a sort of MacGuffin, this mysterious package doesn't ever add up to much. In fact, nothing that takes place arrives at a satisfactory conclusion. How the concert connects with Trip's trip is beyond me, although Metallica fans may have answers in abundance.
This brings me to the overall point. While the film's concert impresses, the films elusive concept doesn't quite connect with non-fans. Unless your willing to simply enjoy the music and accept the strangeness of the overall story arc, then you won't be left satisfied in the slightest. A Metallica film aimed squarely at those that throw finger-horns and head-bang. Metallica: Through the Never could very well reach orgasmic heights for rock fans, everyone else needn't apply.
The film follows the aptly named Trip (Dane DeHaan), a young roadie who works for Metallica. During one of their latest concerts, Trip is sent on a mission to retrieve a mysterious item from a broken down truck. What starts out as a straight-forward task, soon descends into a surreal fight for survival. The streets quickly become a battleground for rioters and law enforcement officers, while a malevolent and murderous horseman makes it his mission to kill our young roadie. Will Trip manage to deliver this mysterious package – or even survive this bizarre hell that has taken over the city? This plot unfolds in sections; as we go back and forth between Trip's adventure and Metallica's concert. The concert itself is truly impressive. A feat of stage wizardry and technical performance, Metallica's live show is a visual spectacle that manages to creatively incorporate various elements of live-effects. Obviously, fans will rock along regardless of what unfolds on stage, but every couple of songs brings a new element that will at least renew the visual interest in their performance.
Stage technicality and concert values aside, non-fans will inevitably get bored. As the songs progress, many will find their interest dwindling, wanting to return to Trip's predicament as a sort of breather. This is where Metallica: Through the Never runs into trouble. Trip's journey doesn't engage as much as it initially promises to, but director Nimród Antal (Kontroll, Vacancy, Armored, Predators) brings creativity and an infectious level of energy to the mix. There are some dynamic sequences that make no sense whatsoever, but damn they look cool. This is the general formula that drives the spark towards a dying fizzle by the time the film finishes.
Surreal and bizarre, Trip's plot doesn't offer more than visual flourishes. Special effects and slick transitions may look great on the big screen, but an almost cocky level of artsiness will have more eyes rolling than eyebrows raising. As a sort of MacGuffin, this mysterious package doesn't ever add up to much. In fact, nothing that takes place arrives at a satisfactory conclusion. How the concert connects with Trip's trip is beyond me, although Metallica fans may have answers in abundance.
This brings me to the overall point. While the film's concert impresses, the films elusive concept doesn't quite connect with non-fans. Unless your willing to simply enjoy the music and accept the strangeness of the overall story arc, then you won't be left satisfied in the slightest. A Metallica film aimed squarely at those that throw finger-horns and head-bang. Metallica: Through the Never could very well reach orgasmic heights for rock fans, everyone else needn't apply.
- thereelword.net
The Hangover Part III is pretty different from the first two films. The comedy remains vulgar, crass and rude. There are scenes of murder, animal cruelty and racism, so it's another day at the office for director Todd Phillips and his team. The difference with this one is the fusion of the action-thriller genre. Some scenes are surprisingly serious and intense. Don't get me wrong, this is still primarily a comedy, but there's a certain level of malice here that makes it feel both fresh and uncomfortable. It isn't easy to find the comedy in the suffocation of a rooster or the cold-blooded execution of a man into a pool. At least the plot-line here doesn't repeat the blueprint from number one.
The thriller element aside, the comedy is mostly still here. Zach Galifianakis once again takes the spotlight as the juvenile Alan and Ken Jeong gets a much bigger role this time round. They both provide laughs, but they're also both quite irritating. The great thing about the first film is that Bradley Cooper and Ed Helms provided a relief of sorts from the moronic actions of these two characters, not any more. Their collective craziness get thrust into the foreground and it becomes a little exhausting.
In terms of comedy, The Hangover Part III does provide laughs, but it isn't consistent. When it's funny, it's hilarious. When it's lame, it's painful. Todd Phillips can certainly direct comedy well (he has also directed Road Trip and Old School) and he delivers some pretty funny moments. He has definitely upped the style in his direction this time round. Some sequences are stylishly directed and choreographed, others are annoyingly self-absorbed.
All in all, The Hangover Part III is a mixed bag. There are things to enjoy and there are things to dislike. It's better than the second entry, but it still isn't close to the first. Kudos to the team for attempting to do something a little different with the last film in the trilogy, too.
www.thereelword.net
The thriller element aside, the comedy is mostly still here. Zach Galifianakis once again takes the spotlight as the juvenile Alan and Ken Jeong gets a much bigger role this time round. They both provide laughs, but they're also both quite irritating. The great thing about the first film is that Bradley Cooper and Ed Helms provided a relief of sorts from the moronic actions of these two characters, not any more. Their collective craziness get thrust into the foreground and it becomes a little exhausting.
In terms of comedy, The Hangover Part III does provide laughs, but it isn't consistent. When it's funny, it's hilarious. When it's lame, it's painful. Todd Phillips can certainly direct comedy well (he has also directed Road Trip and Old School) and he delivers some pretty funny moments. He has definitely upped the style in his direction this time round. Some sequences are stylishly directed and choreographed, others are annoyingly self-absorbed.
All in all, The Hangover Part III is a mixed bag. There are things to enjoy and there are things to dislike. It's better than the second entry, but it still isn't close to the first. Kudos to the team for attempting to do something a little different with the last film in the trilogy, too.
www.thereelword.net