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PhilipGHarris
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Echo (2023)
Echoes of the Past
Sometimes you need to give up and start again and this whole series has a sense of being written and then rewritten countless times throughout the process.
Not only does this affect the quality of the dialogue and plotting, but when faced with the script, it creates significant problems for the crew, actors and various directors, because there's no consistent flow or pacing.
What that leaves is a mess - with some interesting individual scenes and performances - but a show that consistently feels schizophrenic and therefore fails to engage. Often feeling like a filler episode from an 80's action series - and with Bond style titles that also seem to hark from another era.
What probably saves this are the great actors involved throughout, especially the lead, who do their best with what they have in order to try and salvage something from the poor narrative.
Not only does the MCU need to understand that people who watch value the time they spend, but also that they probably don't want to spend all their time watching sub-standard work. Notwithstanding that Marvel Comics did the same thing in late 80's and early 90's - where so many cross-overs - in this case linked series - ended up causing the readers/viewers to simply switch off and do something else.
Star Trek: Picard: Stardust City Rag (2020)
Where's the Parrot?
As the series veers even further off course, we are treated to some truly woeful writing, - from someone who should know a lot better - some scurrilous acting, and one of the most incompetent villains of all of Trek's history.
Whoever suggested that Patrick Stewart's, Picard,- who is meant to be French by birth - should put on a ropey Allo Allo (British Sitcom) comedy French accent, should seriously question their values. An added parrot may have improved the scene, or at least may have ad-libbed better lines.
But this is merely child's play, when you consider the out-of-character cold-blooded murder that Seven commits. Especially after the lines where her and Picard are both striving to be human again. Such an action to make you wonder if anyone in the production actually knows the Star Trek canon at all: And the continued push to add tons of new organisations and locations to explain the story, seems to support that conjecture
Which doesn't even bring us to the plot-holes which leap out in the episode itself. The Neutral Zone collapsing, how does it do that, surely it is freed when the Romulan Star Empire falls. While logically, the planets within that zone must have had their own laws and governments before that collapse - what need of the Fenris Rangers?
Has the Federation, in their continued xenophobic state (remarkable, as it is meant to be an amalgam of races) suddenly avoided dealing with sentient life too. Body harvesters targeting ex-Borg while no-one but Seven seems to do anything. Since everyone seemed to know each other too, could Seven have not tracked down their leader sooner? Did Maddox really not know what she was dealing in? How does Picard not get recognised all the time? Does Rios ship not have an ad-blocker?
On the point of Rios ship too, the med bay is so big you wonder where it fits - if we consider their size against the old Romulan Bird of Prey from the last episode. A med bay where another murder can be committed, without the EMH triggering an alert!
All of this leads me to this final point. The series needs a thorough overhaul in Season 2, as this first one seems unsalvageable at this point. Where they hire writers who appreciate the lore, and will stop introducing old characters for the sake of further exposition and actually let the new ones breathe.
Daybreak (2019)
Post Millennial Madness
In a world of very po-faced shows it's nice to find something that is not only aware of post millennial angst, but is also written and directed to appeal to a broad spectrum of people.
Every episode is packed with references to modern culture and classic film, with a seamless transition between both. Wonderfully acted by a talented cast and constantly happy to break the fourth wall, and leave the viewer satisfied their expectations will be met - whilst also managing to distract the viewer and subtly diversify its subject matter, to make each episode unique.
In this way, it never outstays its welcome, and is better enjoyed in each bite than as a binge. Whether this is with a bunch of friends with drinks, all picking out references, or just alone. To add to an evenings entertainment.
It's never going to be everyone's cup-of-tea. But if you like the premise and first episode, I guess you'll be there for all ten episodes.
The Predator (2018)
That's Entertainment???
Sometimes words can't really express how terrible a movie is, but let's try anyway. Because writers Fred Dekker and Shane Black tried to reboot the Predator franchise with The Predator and delivered not only a substandard product, but one that seems to inherently loathe the original and its sequels. Failing to fulfill any comedy it desperately tries to produce, providing some low par action and with some of the worst dialled in performances across a reasonably fair cast.
Let's start with the idea they may loathe the originals first. As the script time and again reminds us that the name 'predator' is inappropriate for the aliens as they're more like big game hunters. A joke that wasn't funny the first time and gets less so throughout the movie. The abuse of the original film continues, as line after line is flatly repeated throughout the film in order to give it some creedence and the hackneyed plot seems to suggest the Predators want to die, as they provide the ultimate killing machine and sequel provider at the end.
Let's take that end as an example of the continuity too, as the Predator killer is in a pod marked 'Pod 3', hopefully clarifying to the humans that it was a pod and not using their stupid native language. Yet this is only one of a huge number of issues, which seem to suggest that whoever was doing continuity throughout was possibly unavailable throughout the whole film process. Characters who evaded others in helicopters, land at other locations to have the characters they've left behind observing them. Secret military forces call in experts, then target them for death as soon as they're off site, and an autistic spectrum child, who hates loud noise, is unphased when a house explodes behind him. Being also ignored by the teacher in the chess club when the fire alarm goes off, although he's in plain sight.
The script also leaps about like a schizophrenic flea. With the 'mad' veterans who gather with the lead (a sort of bargain bin amateur Con Air gang) suddenly having stolen police cars, constantly find new weapons or appear out of thin air after being abandoned in earlier scenes. Plus the scientist who seems to understand multiple fields of medicine, technology and xenobiology as well as handling an array of weaponry. The whole feeling like the writers simply had no idea.
With such a popular franchise you feel that more care would be taken in getting the right writers and director in place and I was initially excited with the team involved, but this is substandard fare and likely to consign the Predator to the bargain bins of the world.
Wildling (2018)
Primal Soul
As the Wildling opens, we get 'Daddy', played by Brad Dourif, telling young Anna about the Wildling as a bedtime story. The viewer quickly realising this isn't her dad at all, but you don't have to wait long until things are revealed.
This is one of the beauties of this horror creature feature, as it doesn't keep its secrets hidden for long. Allowing the audience to enjoy the journey Anna goes on when 'Daddy' tries to commit suicide, and she is cast into the real world, with all the options she wasn't allowed in her 'prison'. Yet, sometimes prisons are there for a reason, and the film cleverly addresses this issue, while giving a contemporary take on the subject matter.
It's likely that many people will read quite a lot into Fritz Böhm and Florian Eder's script - didn't they do the same with the Bible Code - but, on leaving the cinema, I just thought it was a fresh take on old tales: And for those who know their lore, some nice references to the myths. With a great cast who really live up to the roles they're given.
In fact Dourif has rarely been better and his multi-faceted character is only really revealed towards the end. Liv Tyler's sheriff seems overly nice but shows a much more stubborn side when pushed and her character's brother, Lawrence, plays a good foil for the main character Anna. Bel Powley making the tortured teenager both vulnerable and powerful as the script demands.
With all its cards on the table, the Wildling can look more deeply into the threat each of these groups provides their small community, because no-one is truly innocent here. Yet again playing to the legends, rather than the modern. The script always avoiding being clever to make sure it delivers on its story.
Some may be disappointed at the lack of visceral horror, others at the pacing, but Wildling has a sense of a cult classic about it and lasts longer in the memory then some of the other offerings in the same genre.
Dead in a Week (Or Your Money Back) (2018)
Consequences of Pace
When William's attempts at suicide fail for the tenth time - including calls for help - he calls on retiring hitman, Leslie, to do the job. Then suddenly finds he has something to live for, and tries to reverse the plan with all the consequences that brings.
You may recognise the fact the word 'hilarious' doesn't appear before the word consequences, and it is this slight humour, throughout the movie, which lets down writer/director,Tom Edmunds, story. The actors being great in their roles, but the pacing more Sunday afternoon, rather than madcap comedy.
This doesn't mean there aren't some brilliantly funny moments in Dead in a Week, it's just they languish in slow delivery by elegantly crafted scenes which seem more fitting of a period drama. The whole affair gaining some momentum when Christopher Eccleston comes into play for a couple of brief scenes.
The slow pace also causes plot points to be massively telegraphed, which means the audience can see what's unfolding minutes before it does. William's blossoming love for Ellie not being an 'if' they will, simply a 'when'. Writing a comedy plot concerning suicide can't be easy, but if you're going to follow that path you possibly need to be slightly less sensitive to the subject matter as well, and play it more for laughs. Dialogue lines pertaining to other classic cult films, like the Princess Bride, stand out far too much for simply that reason and will only be apparent and distracting to a part of the audience.
This is a Sunday afternoon film, both quaint and never fully engaging, but still entertaining enough to keep you there. In the middle of the film I was reminded of In Bruges, and how I really wanted this film to have that one's pace and punch. Something I hope Edmunds develops, as he provides the potential, it just needs a bit more umph!
Bad Samaritan (2018)
Pass the Popcorn
As the film entered its final act and the audience's laughter rang round the auditorium: I wondered, was this the reaction Dean Devlin, as director, and Brandon Boyce, writer, had conceived when they were making the film. This didn't stop the film from being entertaining from start to finish, but made this horror/thriller definitely one where you could switch your brain off at the door.
Sean Falco (Sheenan) is a petty criminal who, with his friend, uses their valet business to break into customers houses and steal their goods. Falco also being a photographer who is 'starving' for his art. On one of these trips he accidentally uncovers Cale Erendreich's (Tennant) secret, that he captures and abuses women. Then the game of cat and mouse begins, as Falco tries to convince the authorities and Erendreich seeks revenge.
Except this movie is far more elephant and puppy-dog, rather than cat and mouse, as both characters make such major mistakes, you wonder if either of them has read the guidebook on doing these things. This is especially true of Erendreich, who has meant to have been 'training' women for ages, by the heap of human remains we see at the end, but whose personality makes you really wonder how he got away with this for minutes, let alone years. Falco also being touched by the stupid stick as he parks his battered car in the poshest neighbourhood and never expects it to stand out.
Whilst both actors clearly are have fun with the parts, Tennant really chewing the scenery nicely - but never as sinister as he was in Jessica Jones - the supporting cast do a great job of furthering what little plot there is. The story lurching from moments of truly awesome tension to slapstick and some grisly black comedy, which can feel out of place with the subject matter. A special mention to Kerry Condon, who manages to make the most of her few lines as the captive, and really engages you with every bit of screen time.
Bad Samaritan is an enjoyable romp, but really nothing special. Points laid out in early stages are often left hanging, good supporting characters go to waste, or seem to make huge leaps of faith for no reason, and there are some true facepalm moments in the script. Especially for those who even know a little about technology. Director Devlin capably keeping the pace high, so you can be distracted by the next piece of story rather than thinking too much about the last.
Truly popcorn, throughout.
Prospect (2018)
Less is More
Prospect never tries to deny its roots. A space Western crossed with a Scifi movie which seems to have somehow escaped from the height of the 70's. Giving a gripping tale of a prospectors daughter and the slowly developing relationship that grows between her and her father's killer. The first order of business, to survive!
Things aren't quite that simple though, as directors/writers Christopher Caldwell and Zeke Earl choose to throw the watcher straight into the midst of this working world, with little exposition to explain what is going on. Prospector Damon already takes drugs to sleep and enough to avoid the desperation of his life, as his daughter, Cee, simply seems to be stuck. With no friends and her memories, she desperately tries to write in quieter times.
Prospectors go to 'The Green' to find gems, like pearls from oysters, hidden within buried creatures and these gems are their way out of poverty. Prospecting seeming to be an expertise and one her father is good at, bringing you to imagine that the poverty they are in is imposed; like Joseph Hellers Catch 22. However, a poor encounter with Ezra and his Number Two leads to her father trying to become the thief and being shot in the process. Cee escaping to the safety of their pod to find it has failed and she is trapped. The time ticking to return to orbit in time to depart with their haul.
The Green seems to swallow up many, as Ezra is also trapped by his own volition, and is seeking escape before he too gets swallowed by the landscape. The directors making this lush world as menacing as any post-apocalyptic world, despite the trees and life. Other arrivals seem to have chosen to remain, in a semi-religious fervour and yet more mercenaries seek out the right people to extract the gems they also seem desperate to retrieve. The whole both reminiscent of the classic Boy and his Dog and also Cormack McCarthy's The Road, as we see Cee grow from girl to woman through the movie.
Given that the film manages to keep many elements obtuse, with dialogue sometimes lost due to the poor comms systems and the ticking time Cee keeps glancing at, but which is unreadable to the viewer, as prime examples: As well as questions about the reason richer companies aren't mining these resources. What Prospect cleverly does is never to reveal how much time has passed. As Cee and Ezra's relationship grows organically, but Cee herself seems older and wiser from event to event, to even her smile as they leave. Is it really just the fact they've escaped?
Sophie Hatcher and Pedro Pascal are simply immense in the lead roles, with the amputation section being both wincingly uncomfortable and gloriously black humoured at the same time. But the support cast are also well crafted and engaging, yet never revealing about their own situation and why they are stuck in this horrific place. The music and SFX evoking the feel of the film perfectly.
Prospect is never going to be everyone's type of film. Slow moving, character driven and often intentionally avoiding giving you the facts. For those who like the genres mentioned, this is a true find and worthy of your time.
St. Agatha (2018)
Too Many Cooks
Before I complain, let me just say that the acting in St. Agatha is great. The players use every opportunity to try and ease a confused and messy script, but even with their best intentions at heart it really felt that this film couldn't be saved.
Opening with the feeling of a modern Gothic horror, St. Agatha really shows some promise in the early scenes, the director seeming to have followed Tobe Hooper's classic, less can be more, principle. Unfortunately as the film develops, the subtle scenes descend into more gruesome and direct gore and you end up wishing for the implied threat. As it would certainly have given the whole film more gravitas than the shock moments which made the audience I watched it with giggle.
When you see a horror film which has been penned by multiple writers, you're always concerned that an original vision has been overwritten with someone else's take, and this film provides that sense in droves. Some establishing ideas merely drift into the sunset to never be scene again, and there's a lack of consistency throughout.
Sometimes we're told the women are monitored at all times, but as the number whittles down, Mary/Agatha, seems to be able to wander about freely. Some scenes are ploddingly written, such as when Mary/Agatha can phone the police, and you simply know that whoever turns up is going to be duped - especially when another policeman turns up out of the blue in a remote location. People are condemned for trying to escape, but are then given access to candles and matches and the list simply goes on. One really telling moment being the point where they're trying to break Mary and get her to conform to being Agatha, which fails to convince at all. Yet again, not the actors faults, who seem to be crying out for some clearer instruction from both director and script.
To its credit, I stayed to the end in the hopes things would improve, and St. Agatha's is certainly not the worst horror film I have seen. But I really can't find anything apart from what has already been mentioned to compliment it.
Bomb City (2017)
Perspective is the Key
Bomb City considers the case of a true-life manslaughter in Amarillo from the perspective of the victim and his friends. Identifying the problems between those who have chosen to conform to society's values and those who have chosen to reject them in the search for something new. It's a difficult task to achieve and writers Jameson Brooks (director) and Sheldon Chick almost manage to pull it off.
Whilst the interplay between Brian (Dave Davis) and his friends slowly reveals a person who still has strong family connections and a true heart, when it comes to his passion. It also cuts to a future court case and counters this with the attorney, Cameron Wilson, fighting against his actions in court. A masterfully powerful performance by Glenn Morshower. This interplay key to the developing narrative which discusses who was right and who was wrong.
As tensions rise between the punks and the jocks in the town of Amarillo you can only see the story going in one direction, and the writers ensure you know that by starting near the end, intercutting to the court and then exploring the reasons. Seeing the police act differently to the two groups and casting the punks in the more fundamentally artistic role, while the jocks are seen as the drunken louts. A side that the film fails to explore to satisfaction, especially the Dynamite Museum - which seems to be a far more intrinsic plot point at the end than it is given credit for.
Perhaps if the background of the jocks had been more fully explored there could have been some factors which would be of interest. As an alternative myself, I often found myself when younger being stopped by the police for merely walking down the street. But on leaving the theatre I still felt the film didn't address the differences to my satisfaction. Although it did lead me to research the real-life event, which perhaps was the point.
All that being said, the way the film feels and the sense of growing oppression are well handled. Acting is sensitive and tormented when it needs to be and camera work reflects the style of the story, which are all positives. Telling the tale from a perspective that certainly wasn't covered in the press.
Marrowbone (2017)
Family Matters
Like a great magician, Sergio G. Sánchez' Marrowbone does its utmost to distract the audience with one hand whilst pulling their strings with another. Bringing us a tale of a family on the run, with only their future ahead of them. A future which becomes darker as the threat of the past returns.
Initially we have little idea when the piece is set, and slowly and with wonderful distraction, facts are slowly fed to the viewer. Some plain to see and others hidden amongst a plethora of other imagery which distracts the senses. This play with the perception working through camera angle, music - where themes you have associated with one thing suddenly come to play in another and of course the acting.
Without dismissing the rest of the cast, who are great, Kyle Soller and Mia Goth stand out. The first playing the uncomfortable character of Porter, who has villainous qualities but enough innocence in him to make you care. Whilst Mia Goth portrays a character, who clearly has something about her which is only revealed later and yet has been providing the signs of this throughout.
Indeed, the interplay between all the characters is well handled and emotionally charged, as the mystery unfolds. With enough clues to allow the audience to work out what has happened, yet engaging enough characters to keep you entertained. Some moments of creepy horror thrown in to keep even the ones who think they've seen the answer guessing.
With such high praise and must explain my score and unfortunately it's the ending. Whilst some films like this leave things hanging - not necessarily for a sequel but because life is like that - Sánchez' script is almost trite. Also showing a lack of deeper understanding of mental health issues. The other problem being Anya Taylor-Joy, who acts magnificently and wonderfully films the screen on each appearance, but is filling a similar role to the one she did in Split.
Still, that being said, this is a great atmosphering rolling movie with a lot going for it.
Await Further Instructions (2018)
What's on the Box?
Await Further Instructions is a low-budget horror which tries too hard to be clever and ends up never quite knowing what it should be. The actors doing their very best with the characters that they've been given but the script never quite living up to the potential it has.
The story starts with Nick, reluctantly returning home at Christmas with his girlfriend Annji who meets his eclectic family, with his racist grandfather, rules based father, nervous mother and sister and her boyfriend. Tensions rise quickly in the household where the grandfather (played masterfully by David Bradley) sees the opportunity to get a rise out of Annji's heritage, whilst sister Kate has problems with her intelligence. Leaving Nick and Annji no choice but to leave early in the morning and put events behind them.
This they can't do, as they find they are sealed in and then, as instructions are sent to them across the television, they are asked to do more and more bizarre things in order to survive. The family unit slowly breaking apart under the tension and becoming the thing that ultimately fails the movie.
If the caricatures had been stronger, apart from Bradley and Abigail Cruttenden
(as mum), then you could possibly accept whey they did some things, but you were often left to wonder why the family kept following dad's orders. Especially after people start to die and he starts to religiously follow the TV orders. What you really need is some extreme Gilliam-esque type characters here, which would make the plot more believable.
The film also mimics other horror movies, including Videodrome and Tetsuo: The Iron Man, and whilst these homages are fine in some places, in others they jar with what's going on. Often changing your perception of events for no good reason and causing an unwanted distraction.
I'd really enjoyed Kervorkian's previous movie, The Disappeared, and there's a lot of interesting concepts sitting at the heart of Await Further Instructions. But perhaps one or two of them should have been removed, so a more solid and simple plot could progress.
American Animals (2018)
Building Waves
American Animals is a fascinating movie about a true robbery that went wrong due to the ineptitude of the villains. The film told by actors but having the real robbers, their families and victims appear in interview segments throughout the film, to explain their actions.
What Bart Layton manages to create, as writer and director, is something that slowly hits you in waves of tension, as the theft slowly builds towards its expected failure. The villains of the piece particularly being made to appear inept and never heroic, and their actions and thinking clearly and methodically portrayed throughout. With brilliant portrayals from the four main cast members and Ann Dowd as Betty Jean.
Whilst the film has humorous moments, Layton makes sure they are played respectfully and at the detriment of the villains and these become less as the tension grows. As the characters become absorbing in their failure to act out their plans, and the slow realisation that someone must be hurt in the process.
This is certainly not everyone's type of movie, and will make some people - who have been victims or witness to crime - uncomfortable, but Layton strongly nods his understanding to the victims when the last spoken words are of the four 'American Animals' who show remorse and then by the real Betty Jean, who asks the honest question: If they crossed the line to harm a human, is that now part of their very nature.
All the rest of the elements needed to assist this movie are there, with a well developed soundtrack, simple yet effective camera work and well designed sets and makeup. Where the film stands taller than others in the genre is the message it solidly gives. That crime can change the perpetrators and victims for the rest of their lives, and do we have the right to do that to another human.
The Golem (2018)
Missing in Action
Horror is a tricky genre to get right, especially since it has so many facets itself, providing a rich tapestry for its fans. The Golem seeming to wish to evoke the feeling of one of the Universal classics of old, yet failing to do so on many levels.
The majority of this failure seems to lie somewhere between the writer's desk and the editor's room, as there often seems to be a lack of explanation for events. Which in turn makes it feel like they were there initially and then edited out. For example, at a mid-point in the film the female protagonist, Hanna, tells her husband that the golem likes music. Yet, we never seem to have been given any evidence of that fact.
If this only happened once, it could be forgiven, but actions and sentences like this occur throughout the movie. With other unforgivable moments, including Vladimir, shooting at the golem multiple times in quick succession with his flintlock pistol. Something which caused the audience to laugh at a moment which was meant to provoke tension, causing a distraction and breaking the engagement, The film also having odd moments of extreme gore which seem slightly out of character with the rest of the movie.
Which is a shame, as many other elements in the movie work well, including the main female lead, cinematography and general direction throughout (Never have plague doctors been used so meanicingly). Leaving the real failing of the film being the dialogue, which is often trite and clumsy.
The Golem would probably have been improved if they had steered away from the named monster and created something completely new instead. As this would have given them more freedom to develop the situation, but what is left is confused and feels unfinished, making it one of those horror films which will be enjoyed for its failings, rather than its creepiness.
Solis (2018)
Waiting for the Sun
Solis is a taught two-hander as engineer, Troy Holloway, hurtles towards the sun in an out of control EEV unit, while the voice of Commander Roberts tries to convince him he'll be saved. The film depending on a set of challenges for Troy to complete, in order to survive.
Both actors masterfully portray their roles: Steven Ogg manages to draw the drama into even the slightest moment and Alice Lowe's initially domineering commander, slowly softens throughout the piece. Making you care about both and what they're really going through, the real heart of the story, which makes Carl Strathie's script shine.
Strathie manages to weave an amazingly dark and realistic world. Where the two main characters desperations are not merely caused by their situations, but by the company policy which has forced both of them into their predicaments. This in turn causing you to doubt what either of them has really has gained when the film ends. They are never friends, merely two people desperate to escape their lives. Surely the Solis (nee solace) they seek.
Well paced scenes (the end which could probably do with a tiny trim) drive the story on. The enormity of space is well handled with a small budget and the direction, camera work and score all help to enhance the claustrophobia of the situation. All combining together to give a true scifi piece and, although there is nothing particularly new and one slightly contrived point, is so well developed that the film grips you from start to finish.
This isn't a film for flashy effects and action, but is one that provokes deep thought about what we really may encounter in space. Worth every moment of your time and powerfully delivering its point!
What Happened to Monday (2017)
Good Concept with Flawed Delivery
I managed to see 'Whatever Happened to Monday' at a surprise screening and while the film kept me engaged it left too many questions hanging and, the title I saw it under completely gave the game away. If it had been called 'Seven Sisters' I may not have spied the twist so clearly.
In a world where over-population has caused humanity to introduce a one child only rule their solution is to cryogenically freeze any further children until the world can be repopulated and one father manages to trick the system by making his septuplet daughters take one day each, making them each unique individuals and people. The children named Monday through to Sunday.
What the film excels in is making them different and Noomi Rapace should truly be commended for her performance, as she takes all roles. With credits also given to Willem Dafoe who plays their father in the flashback scenes. With supporting actors providing enough gumption to keep the action going at pace.
Monday doesn't return on her day and this sets the rest of the sisters into confusion, yet the way it is filmed it seemed obvious to me that the lost sister had double-crossed them. When Tuesday goes missing they know they have a problem and slowly the authorities try to silence the sisters before their existence is discovered.
This raises the other real problem of the film, as the fact this has been going on seems to be a threat to the authorities, whilst really their discovery could be publicised as the fact no-one can hide. The other major point is why they're cryogenically freezing the children and not sterilising the mothers? As the space required for the first seems unbelievable - which then triggers you to the concept that they're being probably not being frozen at all. Making the reveal of this fact have far less impact.
What you're left with is a film where you see much of what's going to happen before the 'reveals' show you. Things don't logically fall together and the script would have been given a good shake, before filming, as many of these issues could have been resolved.
To its benefit, as it was made for Netflix, it stands up well on the big screen and, at the end, the script and direction comes to the fore. As the larger problem resulting from the conclusion is left deliberately unaddressed. Which shows the ingenuity available and means it's a shame the film isn't a little tighter.
Blade Runner 2049 (2017)
Visual Style Covers Poor Plotting
Let me start out by saying that the look and feel of Blade Runner 2049, from direction, lighting, visual, sound and atmosphere is completely stunning. With shot after lingering shot adding to the style and substance of the movie. Meaning the overall length of the piece can be somewhat forgiven. Yet, sitting in the cinema, it did simply feel a little too long.
The real problem I found with this movie were the vast plot holes which ran through the whole story, and these certainly impacted on my enjoyment of the film. As acting was good and characters were well defined.
What we have is K - a Blade Runner and replicant who is working on cleaning up the remaining Nexus 8 models and, during investigation coming across a buried crate, containing the remains of a replicant who had become pregnant. A 'miracle' for the other replicants. Blurring the line between replicant and human and establishing a better reason they have rights.
Why the replicants have buried the bones in such an obvious place, is never really addressed. Why they did not destroy the bones to make sure they were never discovered, is another problem. However, on finding these K is sent to track down the child and slowly comes to believe this may be him. Due to his memories and taking about 40 minutes of exposition.
Whilst this journey is interesting it actually causes a flat spot in the middle of the film where, as a viewer, I wondered what next. As the story struggles to develop on from here. Apart from the impacts of his discovery making him what he hunts - a rogue.
For some reason, his police chief then gives him time to go and settle down after this and the dialogue is mixed concerning whether he is being hunted or can return to duty. Her actions only explained by the fact he has been a good officer. The hunted K going back to his apartment to engage in sex with a meld of a replicant prostitute and his house hologram, which feels quite like filler but is meant us to feel more for the hologram, I suppose. As she risks her own 'life' to travel with him later.
K finds he isn't the child causing him to hunt down the true child and father, Deckard from the original, and then Deckard is kidnapped by the new controlling company - who clearly want to see if they can isolate how the pregnancy happened. Which pretty clearly makes Deckard a replicant as well - a fact which was left to the viewers' imaginations in the previous film.
This is all well and good, I can hear you say, where are the problems. The fact is it's the linking moments that really caused the downfall of the plot for me. The fact K's boss is killed in her office - is there really no surveillance? The fact you'd expect the child to be told to never mention its past, yet it is creating actually moments from its past in other replicants memories - a really clear breadcrumb trail. The fact that K isn't killed on numerous occasions and just 'left-for-dead'. The fact replicants can't breathe underwater - but were built to work in extreme environments. The vaguely described organisations and their intentions and the fact his boss in the police can still track him on her computers - so why haven't all the other Blade Runners found him? Notwithstanding the bees, who obviously eat sand.
What this results in is a story that feels half-baked, Jared Leto comes across like a bad Bond villain at the end and some scenes seem unnecessary.
While some may think I'm over-thinking this the director gives you time to think about every scene with the lavish interludes. So to best enjoy this movie switch your brain to neutral and turn your senses to the max.
Citadel (2012)
Battling Fear Itself
Citadel is an excellent example of how to make a horror film and manage your budget successfully. Unlike many other horror films the writer/directors intention are realised well, the abandoned buildings make an exceptionally atmospheric and filmic setting and the main feature of plot and story is not abandoned for cheap effects.
Filmed in the dead of winter the ice and snow only adds to the greyness of the lead characters world. Tony has lost almost everything and suffered Post Traumatic Stress Disorder as a result,making him terrified of going out for fear of assault. His wife, who he witnesses being attacked at the hands of hooded youths, is the route of this trauma and being left with a newly born daughter merely adds to his woes. Early in the film he is simply stifled by fear of everything but his therapy sessions and the friendship of the nurse caring for his wife, Marie, allow him to try and move on.
After meeting a priest who claims the hooded youths will return for his daughter Tommy's life changes as he gets more fearful of this day and makes an attempt to escape from his life, only to find he is drawn closer to his terrors. The priest and the young blind boy, Danny, he cares for leading him to finally face his fears.
Using modern concerns about society and twisting them neatly Ciaran Foy has created a selection of interesting characters and woven them together to create an enjoyably tense and disturbing tale. This is significantly helped by the four main characters and their actors, Tommy (Aneurin Barnard), the priest (James Cosmo), Marie (Wunmi Mosaku) and Danny (Jake Wilson) who all have interesting parts to play and are obviously fully engaged in the project.
Effects are meagre throughout the film but are used to add to the atmosphere and the message about facing or at least realising fear is well made with an ending that completes the heroes journey.
Direction throughout is good, with classic build ups to shocks and scares which work well; that's why they're classics. The cinematography is clear, directing the watchers eye to the horror and the sound effects are used well.
If you're looking for big budget special effects in your horror this is not the film for you but if you're after something more claustrophobic and disturbing, playing on modern beliefs about customs and morality then Citadel is worthy of 90 minutes of your time.
Oblivion (2013)
Great look and acting but plot holes galore
Whilst beautifully shot and acted Oblivion suffers from some gaping plot holes which may leave the viewer cold. If even some of these could have been plugged with clever lines of dialogue, and often this is all they need, then the whole film would have been a more impressive and engaging experience. To discuss these more fully we need to consider the big reveal the film offers: The fact the Tet, a vast monolith floating above Earth in order to manage the last evacuation of the planet, is actually an alien hell bent on sucking the planet dry of energy.
Having floated into our solar system approximately seventy years prior to events in the film the Tet is encountered by a human ship which is exploring the possibility of colonising Titan. It sucks the ship in and then clones the two woken crew members – sent back as armies to destroy humanity so it can absorb Earth's energy.
Immediately a few problems come to mind. Is Earth really the most energy rich planet in the solar system and why has it failed to wipe out mankind by sending down hundreds of drones, clearly seen within the Tet in the final sequences? The excuse that stealth technology has kept the survivors on Earth secure simply failing to hold water for the period they have been in hiding, especially since there is no discussion as to where they are getting their food from.
The film revolves around Jack (Cruise) coming to terms with the fact that something is broken in the world. He has no real love with Victoria (a really great performance from Riseborough) and has memories of Earth, and another woman, from well before the war. Jack and Victoria have both had their memories prior to the previous five years removed, something they fail to question to any great degree, or the film fails to explain away well – wouldn't one be concerned about this?
As he completes his last tour an ancient Earth ship makes planet fall and Jack disobeys orders to investigate. This is the remains of the ship that the Tet originally pulled Victoria and himself from – the pair ejecting the rest of the crew - and contains Jack's wife. Rescuing her from the drones, who destroy all the other cryogenic pods, Jack starts to remember what happened, assisted towards the very end of the film, by the flight recorder which reminds him what happened.
Another plot thread in the film concerns the fact that love transcends all. Jack (a clone) and his wife find some tender moments when she overcomes the fact he isn't quite the same person she originally knew. Jack realising his own state when encountering another clone of himself who is doing the same job he does in a restricted zone.
Whilst this plot is played out nicely in the main you wonder how many Jack's are left on Earth? Even though the clone who survives the film events returns to his "wife" it does beg the question of whether she can accept that a whole bunch more may be arriving from across Earth to return to a normal relationship – something the film decides to ignore, rather than address.
In the final sequences Jack and Beech (Freeman) take a vast bomb onto the Tet to blow it to kingdom come. For some reason the Tet does not see the bomb, simply not explained again, and it raises the question of how this vast intelligence has survived so long when it appears to be so stupid.
With all these criticisms I go back to the salient points raised, the film looks lovely and is well acted. The only characters I felt were underdeveloped, and could have used more explanation, were Beech and especially Sykes, and understanding the scavenegers (surviving humans) better would have improved the feel of the film.
Oblivion has a lot going for it, just don't think too deeply about what is happening.
Snow White and the Huntsman (2012)
An excellent, if slightly verbose, retelling
Snow White and the Huntsman represents a directorial debut for Rupert Sanders and as first forays into film go, this isn't at all bad. In fact the mixture of classic ideas (such as El Cid) with his own panache allows for some excellent and memorable scenes in a retelling of a classic tale. Credit should also go to Cinematographer Greig Fraser for getting the best out of the shots.
The film opens with a montage of scenes explaining how the "evil" queen came to power. This is narrated by Chris Hemsworth's character, The Huntsman, in an accent that can be best described as unique; flitting from Irish to Scottish with some American overtones. Thankfully he is the only main character to use the accent and Hemsworth is a talented enough actor to shine through.
Theron is better as the Queen, disturbing, tragic and therefore not truly evil, and well countered by Spruell, as her brother. The dwarfs, a selection of great actors, add a good further dimension and Clafin, as William, works well with what he's got. This leaves Stewart, and other reviews criticisms of her acting aren't completely fair. Yes she is a little wooden in certain scenes but in others, such as the rallying of the troops, she manages to create the required gravitas and knows how to move with grace.
The story has been modernised and adapted well, with much stronger female characters in both the Queen and Snow White. This does not distract from the storytelling but there are also some oddities, such as the Dark Forrest, which, whilst allowing The Huntsman to meet Snow White, loses some of its message about Snow White's nature; until they leave and encounter the troll. The fairies also seem rather irrelevant and all together this makes the film slightly longer than it should have been.
However there is a steady progression and scenes such as the White Hart, William and The Huntsman fighting the crows and the spectacle of seeing large numbers of mounted knights charging through forest, over hill or along beach are wonderfully captured and memorable. The "evil" Queen's death is also well handled and it is nice to see a film that does not demonise its enemy and allows her to die tragically, literally wheezing to expiry after she has been stabbed.
It will be interesting what Sanders goes on to do next and whether he will curtail some of his ideas to make a finer, tighter package. Having said this Snow White and The Huntsman captures the imagination and engages with its fantasy tale well. An entertaining and worthwhile watch.
Prometheus (2012)
Not quite stolen fire
There's no point crying over spilt milk and, after the Alien vs Predator outings, you could be forgiven for thinking that there wouldn't be another good movie in either series. With Ridley Scott at the helm Prometheus seemed like the perfect chance; and even with trailer upon revealing trailer you held out hope for the movie.
And, for the first two thirds, you were right to.
We can skip across performances quickly. Everyone is good, even when the script isn't perfect, but worthy of mention is Fassbender's awesome and creepily logical David, Theron's Vickers and Elba's, long in the tooth, Captain Janek. Rapace is good too, but she is so much in the mould of Ripley she doesn't stand out. If there's one complaint there are too many characters to keep up with and so fine banter is often lost, as the viewer is trying to catch up on each members motivations.
Music is oddly upbeat at times, but occasionally harks back to the series that spawned it. Direction and camera work is what you would expect from Scott and his team; simply stunning and often beautiful, even at the moments of true horror. There are even subtle nods to his own original, as well as the sequels (not the AvP Movies).
Where Prometheus is let down is with story and editing. Both of these sit reasonably well for the start and middle section of the movie, as long as you accept that none of these scientists have any common sense: Quarantine anyone? As you approach the end, and the inevitable links to the Alien films, the ball is dropped dramatically and continuity falls apart. There is no explanation why the planet visited by the Nostromo is so ravaged, why the planet number listing has changed, why the alien jockey does not die in the correct position on the ship or why the Nostromo failed to recognise the remains of the Prometheus. There is also the scene designed to kill off numerous characters you never knew, making you wonder why they were there in the first place. This may sound like geeky picking but, really, who was this film directed at?
Worse still is the editing. When Guy Pearce's oddly accented Peter Weyland is proved to be alive, and on-board, the whole ship seems to accept this without batting an eyelid. There is a rather pointless scene where Vickers is proved to be his daughter, Shaw seems to become close to invulnerable after a major operation and the aliens, who led them to this world, make no sense – especially when you take into account the opening scene. Even David's logic seems to fall through the floor and the whole film gets very jumpy, as if large sections are missing.
What Prometheus gives you is a better film than the cinema release of Alien 3 and Alien Resurrection but something that is well off the mark of Scott's own epic and Cameron's sequel. The shame is, with a little bit more thought, it could have been much better. However fans will still enjoy the experience, even if it is just so they can pick holes in it with their friends later.
Nazis at the Center of the Earth (2012)
Misplaced villains add sub-zero fun
Nazis at the Centre of the Earth is an obvious, quick, cash in on the far superior Iron Sky. One deals with the subject as a tongue-in-cheek romp, paying sensitive attention to its subject matter, and the other is this film. In fact it is a surprise, given the script, that any of the actors thought taking part was a good idea. Yes, they may be jobbing for work, but really are they this desperate?
Of this motley crew worthy of mention is Lilan Bowden who is capable of adopting more than five emotions, Jake Busey, who at least knows his own limitations by this point and manages to just get more screen time than his teeth, and, James Maxwell, who pulls about as much out of a robot Hitler, with limited lines, as you could expect.
Where this film is seriously lacking is the awful writing and insensitive way it treats its subject matter. Involving Mengele adds some avoidable anti-Semitism as the Jewish character is vaporised. The females throughout the film have some of the worst roles, being represented poorly at every level. The woman of German heritage and Norwegian woman seem to side with the Nazi's. Another has her breasts ripped out of her costume and is then raped and the final one is lobotomised. All this happening after we are told that they are valuable scientists who have been sourced deliberately for their scientific knowledge.
We are also expected to believe that these are the stupidest and worst surrender-monkey scientists that ever existed. All busying themselves to help the Nazi cause with hardly a word of protest. You also wonder where all their Antarctic gear went when they arrive at the centre of the Earth and how much time and resource the Nazi's had to build a seemingly endless base there.
When a film maintains a cracking pace you often don't look for the cracks but this film crawls, like a crippled millipede, across the screen making you want to find reasons to criticise it. The possibility of creating a Doug Mc.Clure style adventure sadly missed and forgotten. In fact remove the Nazi's and replace them with almost anything else and certain aspects of the film would be saved.
Cheap special effects, uninspired music and faulty directing top off the issues with this film making it almost impossible to recommend to anyone.
Lockout (2012)
Prison Caper hits the editors knife
Lockout has managed to placed itself as the most average movie I have ever seen.
In the main the issue was about the editing. Time and time again exciting scenes were cut short, or potential plot was removed making you wonder if you had fallen asleep (I didn't) or adding continuity issues: Oh look it's the international space station... why?
Performances were strong. Joseph Gilgun is going to get typecast if he isn't careful - playing evil/sociopathic Woody/Rudy - but his relationship with Vincent Regan worked well. Guy Pearce is always watchable but Maggie Grace and Peter Stormare seemed to suffer desperately from the editors knife.
Effects were good and, in general, plot was hijacked from numerous other sci-fi prison movies - including Wedlock, No Escape, Fortress et al which is no bad thing, but given the writers, should have been better. Could this have yet again been the editor as any deeper discussion of the "issues" raised by the storage of the prisoners was brushed over, a shame as this raised the finer issues of the plot.
It also appeared that the writers had quite cleverly tried to reference Guy Pearce films throughout, nice bits of dialogue, shots and other clues but, yet again, snip, snip snip.
This is a film to add to the watch list if there is nothing else to see and you want a paint-by-numbers sci-fi thriller.
Do not expect to be taxed.
A Sound of Thunder (2005)
The sound of barrel scraping
As you slip into catatonia during the first half hour of A Sound of Thunder you may wonder how such a terrible film was made. Do not blame Ray Bradbury, who I sincerely hope has not seen it, as his short story is one of his many moments of brilliance and could make an excellent short.
There are chances to marvel. How did Ben Kingsley ever get involved, and where did he get that toupee? Is Edward Burns truly that dull an actor? And why is every character so extremely unlikable?
The conversations between Burns (as Ryer) and Catherine McCormack (as Dr Rand) would almost have some substance if not for Burns using the high impact emotion of wet cardboard and McCormack delivering almost every line with a machine gun staccato.
Ryer's logic for travelling in time is an almost reasonable wish to recreate lost animals, killed by a mysterious virus by 2055. Rand though is seriously flawed. The character who built the time machine because she is, "a scientist", expecting that if it remained in the hands of the scientists, rather than the company who paid her to create it, it would not be abused. It's a time machine. How can it not potentially affect time?
These time affects make little sense too. Although the changes sometimes come in "time waves", which don't logically centre on the origin of the change, the time safari building itself, sometimes they don't. The centre also seems to still be operational even when overgrown due to these changes and who realistically builds park benches and hot dog stands in places with dangerous creatures.
Some of this criticism can be waived due to the collapse of the original production company but Peter Hyams has directed far better pictures and should be ashamed of helming this mess.
There is simply little to recommend throughout. If you are a fan of the short story this will simply leave a very bad taste and each actor has appeared in far better works. The one main concern is that writer Thomas Dean Donnelly is also involved with the upcoming Uncharted and Dr Strange franchises. Hope for a change of form.
Apollo 18 (2011)
Claustrophobic horror
You're always concerned when there are a lack of reviews prior to a release and many may see this as a reason to avoid this film, however there is a lot to appreciate in this taught and claustrophobic horror.
The film uses many of the techniques cemented by Blair Witch so expect hand-cam action and, given its background, the footage is also filmed much like the moon landing footage. The reasons behind this are obvious as it allows the development team to avoid expensive special effects due to the quality of the footage.
Acting is also good. Given most main scenes are set in tight spaces the actors have to get the most out of their environments. They do this well, building on the feeling of being trapped by not one but two main enemies. In fact it is this doubt and then dawning realisation that they are simply pawns in a much bigger game which comes across best, and the growing understanding that they aren't going to be coming home.
Taking time to explain the reasons behind the mission, a reasonable launch date (to avoid prying eyes) and having obviously paid attention to footage from the other Apollo missions the plot moves well. There's enough going on at all times to keep you engaged.
In the end this is never going to be everyone's film. It's going to be compared to Blair Witch and will be disliked by those expecting a sci-fi effects fest. It isn't these things. It's just a well made horror/thriller that doesn't outlast its welcome.