The Martian

Hello dear reader, it’s time once again to offer up my opinions on my most recent trip to the cinema. The film in question this time is of ‘The Martian’ but before I tell you the story about the film I need to, if you’ll indulge me, tell you the story about the book, which the film is based on… 

Along time ago, in a galaxy far far away lived a man by the name of Andy Weir. This man, as luck would have it, had never been stranded on another planet. Not even Mars but he did think it would be a great idea to write a book about someone who was. At the time Mr Weir had no publishing deal in place and in fact the closest he’d ever come to getting anything he’d written exposed to the big wide world was on a website where he would upload short stories.  There he was, sitting on this idea to write a story. Set in the not too distant future. About a man, who through no fault of his own, gets left behind in a totally hostile and inhospitable environment. The planet equivalent of Basildon, if you will. Mr Weir, by his own admission, had a few things in his favour when he started to create this story. Firstly, he is a huge ‘space nerd’, likes ‘relativistic physics’ and as luck would have it has an almost encyclopaedic knowledge of ‘manned spaceflight’. His ultimate goal was twofold. He wanted to compose something that would engage the reader and because he was a ‘space nerd’ he also wanted to make sure the science in his new story was correct. So much so, that he wrote his own computer programs to calculate travel times and make sure he got his flight paths hyper accurate. 

Now, as it turns out Mr Weir decided to serialise this novel online. This did two things; firstly it kept people coming back for more and secondly it meant he didn’t have to be finished before he started to upload it. The initial response for the book was more than Weir could ever have hoped for. He was soon being inundated with requests for the finished book to be made available on Kindle, thus making it easier to read on the move. After doing some quick research he found out that you can ‘self-publish’ pretty much whatever you’d like on Kindle and with weeks of his first request he had it available to download for the cheapest price available, 99 cents. Again, the response was nothing short of stunning and word of mouth soon spread. So much so, that within months of it first going live he had publishers asking if they could release it in paperback. Once it was it was only a short time before it started to garner interest from Hollywood. And the rest, as they say, is history. Twentieth Century Fox put up the money, Ridley Scott directed it and the all-star cast spend just over two hours and twenty minutes trying to bring Matt Damon’s ‘Mark Watney’, home. 

The first time I became aware of the book ‘The Martian’ was in the latter half of 2014. I heard it being discussed by Adam Savage (Mythbusters) on his podcast ‘Tested’. Adam said he was blown away by it and also said that he picked the book up to read on a flight and by his own admission ‘not been able to put it down’. He waxed lyrical about it’s tension, how it was a one man battle against the odds and that he ‘could not recommend it enough!’ Then I found out that it had been given the green light to be turned into a movie and that none other than sci-fi legend Ridley Scott was going to be sitting in the director’s chair. This basically turned what had been mild curiosity to read the book into an almost ‘I have to see this film at all costs’ kind of deal. 

Now to the business of the film itself. For those of you who have been living under a Martian rock (see what I did there) for the last twelve months or so, The Martian tells the story of the first manned missions to Mars. The ‘Ares Missions’ of which there will be at least 5, are for scientific research purposes and the betterment of mankind as a whole etc etc. The Martian concentrates on Ares 3. A mission that has six crew members and is designed to spend thirty one days on the surface of Mars. Things go wrong and the  mission has to commit an emergency evacuation from the surface due to a very large storm heading towards their base camp and it’s during this evacuation that Matt Damon’s ‘Mark Watney’ gets hit by an airborne communications dish and thrown away from the remaining crew as they head for the escape rocket. Or if you want it in technical NASA speak ‘MAV: Mars Ascent Vehicle’. Now, before you can say ‘Where’s there’s blame, there’s a claim’ the commander of the mission, Jessica Chastain’s ‘Melissa Lewis’ has to make the call to leave. This is partly down to the fact that they have no idea where Watney has ended up. Because of the storm and that visibility is practically zero and also because his spacesuit has stopped transmitting his bio read out information. Lewis has to assume that Watney is dead and as the wind speed is also causing the MAV to tilt past what is an acceptable angle for take-off she has to put the lives of the rest of her crew first. They successfully take off and then we cut to the morning after the night before, with Watney face down and half covered in dirt and sand. What follows is basically the story of one man’s determination to not to die on a planet that at best could be described as a ‘long walk’ away. 

Using only what he has at his disposal (Amazon apparently don’t deliver there….yet) he has to set about ensuring his survival and growing enough food until he thinks NASA will be able to stage a rescue. This last part is also dependant on him being able to contact NASA in the first place and telling them he isn’t dead. Not the easiest of tasks when you consider that the only communications system able to contact them was on the MAV. They say that in space no one can hear you scream, well, just for those not in the know, shouting doesn’t work either. 

The Martian is a shade over two hours and twenty minutes long but it doesn’t feel like a long film at all. From the moment things start to go south on Mars, it grabs your attention and doesn’t give you much of a chance to relax. As I mentioned earlier there is a pretty good supporting cast here and a lot of them don’t really get a huge amount of screen time. People like Jeff Daniels, Kristen Wiig, Chiwetel Ejiofor and Sean Bean were more than happy to play second fiddle to Matt Damon. I can only assume the calibre of actor willing to take these small parts is down to two reasons. Firstly the director involved and secondly the quality of the screenplay. Oh and if you happen to find yourself in a pub quiz in the not too distant future and you’re asked to name a film that Sean Bean doesn’t die in, write down The Martian. He does lose his job but I am happy to report that he makes it all the way through to the final credits. Isn’t killed by an Orc or anything!

So I’ll finish up by giving you a few do’s and don’ts about The Martain. If you get the chance, do read the book first. It’s funnier than the film and contains a lot more of the science ‘why’s and wherefores’ that go into Watney’s decision making process. Don’t be put off by the thought of watching someone effectively talking to themselves for two hours. Do make sure that if you wear glasses or contact lenses, you have them in or on as the film is visually breath-taking and finally, once you’ve seen it, don’t give away the ending, Iron Man wouldn’t want you to… 

Twitter Review:

If you like your 'abandoned in space' films with a little bit of a disco theme, then The Martian is definitely for you.

#BringHimHome

Useful Links:

http://www.imdb.com/title/tt3659388/?ref_=nv_sr_2

https://www.youtube.com/watch?v=ej3ioOneTy8

http://www.empireonline.com/reviews/review.asp?FID=139094

Legend

Hello dear reader. It would appear it’s that time again. To tell tall tales of wonder and exhilaration, to enthral you and fill your head with images of delight and elation. To set the scene and invite you read my humble blog and offer up an opinion on the latest cinematic banquet that I consumed recently. The film in question is Legend and for you of a certain age, I am not referring to the Ridley Scott, Tom Cruise, Tim Curry, Unicorn extravaganza that first saw the light of day back in good old 1985. No, I am of course about to embark on a review of the new Tom Hardy & Tom Hardy story of the Krays. One of the greatest double acts since Romeo and Juliette, Laurel and Hardy or Noddy and Big Ears. Ronnie and Reggie Kray, for those of you who were sick they day they taught ‘east end gangsters’ at school, did for clean living and upholding the law what Bernard Mathews did for promoting vegetarianism. During the sixties they were the ground zero for organised crime in London. Their presence was felt everywhere and such was their appeal that it wasn’t uncommon for celebrities of the day to frequent their clubs and casinos. They were an unstoppable force that quite simply ran an empire from the east end of London. They were courted by the American mafia, they crushed anyone that stood in their way and didn’t suffer fools gladly.

There have been films and countless documentaries about the Krays before, dramatising their rise to power and how they ruled with an iron fist but this is the first that I am aware of that tells the story from the point of view of Reggie Krays wife, Frances.  This gives a unique slant and stops it becoming a formulaic action film wrapped around a great story. It also helps show what Frances had to endure and go through and ultimately forced her to make some choices that were undoable.   

So, as always I shall start at the beginning. Legend is a film that, if you’ll pardon the pun, doesn’t pull any punches. It’s extremely violent when it needs to be and should not be viewed by those of a nervous disposition. One of the ‘confrontations’ that takes place during the film starts with Reggie stood next to a bar with about half a dozen men in front of him and then Reggie announcing to the world ‘a paranoid schizophrenic walks into a pub’. Then Ronnie walks in behind these six and pulls out two claw hammers and chaos ensues. Afterwards Ronnie and Reggie walk out of the pub. The other men involved in the fight do not. That pretty much sets the tone for the entire film. Don’t get me wrong, Legend is not what I would call gratuitous. I wouldn’t need that much convincing that everything that’s portrayed on screen actually happened. Ronnie and Reggie were ‘mommies little monsters’ and as a pair they were inseparable. Even when Reggie has to serve time at her majesties pleasure, his spirit and will is never broken. He believes that he will always overcome and triumph over anything put in front of him. And when his brother is making decisions that have consequences and impact on people they care about, his faith in his twin, at least in public, is unshakable. That said they do fight each other during the film and after what has to go down as one of the finest pieces of cgi that you’ll never notice, it ends with the realisation that despite each of their own flaws, they will always need each other to survive. 

When Tom Hardy was first approached to make this film it was originally to only play Reggie Kray, or Ronnie Kray, depending on which online source you’re prepared to believe. The long and the short of it is that the director, Brian Helgeland, apparently had someone else in mind to play the other twin. Who it was has never made the light of day but if I was a betting man I’d have a fiver on Tom Hiddleston, Damien Lewis or if you prefer your longshots, Helen Mirren.

Now, in what will go down in history as either a very brave or very unwise decision, Mr Hardy agreed to make Legend on the proviso that he played both brothers. Brian Helgeland isn’t exactly a man without a pedigree when it comes to movies. His screenplay CV includes such gems as LA Confidential, Mystic River and Man on Fire and although his directorial back catalogue isn’t quite as extensive, it does include the Heath Ledger film A Knights Tale and 2014’s bio pic about the baseball player Jackie Robinson, 42 to name but two. Having one actor play both roles would completely change the way the way was shot and easily add a couple of million onto the post production budget but Helgeland agreed. How Tom Hardy convinced him that he could pull both performances off is somewhat of a mystery. Again, depending on who you’re willing to believe, there was either a meeting that involved several bottles of scotch and a trip through the finer parts of Bethnal Green and Shoreditch, with Mr Helgeland in tow or an audition where Tom sat in a chair in the middle of an empty studio, played both parts and was ‘chilling’ as he spoke to himself. 

The latter I have absolutely no problem believing at all. Tom is very good at playing Reggie but it’s as Ronnie where he excels. For me it’s in his eyes where most of the character comes from. At times they look dead, as if there’s nothing there behind them and whatever vestiges of a soul that were once contained there have long since departed. Tom also has an unnerving ability to actually look like a completely different person playing each brother. Yes, he wears glasses and dentures for Ronnie and his hair is styled differently but whereas when Clarke Kent removes his glasses he instantly becomes recognisable as Superman, when Ronnie removes his glasses he still looks like Ronnie, not Reggie. I found the difference between Tom’s portrayal of Ronnie and Reggie remarkable at times and there were moments when I completely forget that it was one person playing both parts.  

Legend isn’t prefect perfect but I’d have to give it full marks for effort. It’s quite clear from what you see on screen, or more importantly, what you don’t see on screen that a lot of time and effort has gone into making London look like its back in the 60’s. Again it’s the computer generated images that you don’t realise you’re seeing that help there. That coupled with a great supporting cast that includes Emily Browning, an under used Christopher Eccleston, Duffy, David Thewlis, Chaz Palminteri and a blink and you’ll miss it appearance from Paul Bettany makes Legend one of the best British films to come along in a while. For the most part the narration for the film comes from Emily Browning’s, Frances and as I mentioned earlier, having the story told from her point of view makes Legend a very compelling and ultimately poignant film. It won’t be everyone’s cup of tea or particular brand of vodka but if you do get the chance to watch it I would recommend you do so. Also just a quick aside here, if you have a look at the poster above, pay close attention to the Guardian review and where it’s been placed. They only gave it two stars…

Twitter Review:

Loyalty to my brother is how I measure myself.

#ICameHereForAProperShootout

Useful links:

http://www.imdb.com/title/tt3569230/?ref_=nm_flmg_act_4

https://www.youtube.com/watch?v=ey7S4hko_Mc

http://www.empireonline.com/reviews/reviewcomplete.asp?FID=139205

Mission Impossible: Rogue Nation

Hello dear reader. Just under twenty years ago Brian De Palma thought it would be a great idea to turn a TV series from the 1960’s into a film. Now back then this wasn’t as common as occurrence as it is now. These days you can’t go more than a couple of weeks, at most, without reading about someone in Hollywood wanting to relaunch, reboot and refranchise a show from the telly box. Recently we’ve had The Smurfs, 21 Jump Street and even the Man From U.N.C.L.E., grace our Multiplexes. However, back in the good old and glorious days of 1996 it wasn’t that commonplace. Movie goers were being offered everything from Independence Day to Fargo, Twister to Mars Attacks and Trainspotting to Scream without even a hint of cathode ray tube being the birthplace of inspiration. 

To say the first Mission Impossible film was a gamble by Paramount is a bit of an understatement. Sure De Palma had a great track record at that point, Scarface, The Untouchables and Carlito’s Way are impressive films but when thinking about directors with a proven record for bringing action to the screen, he’s not the first name that would spring to mind. Then of course there are budget concerns. Throw too much money at it and you’ll never make a profit. Not enough and you’ll look like the company that didn’t want to take it seriously. Thankfully someone in Paramount liked the screenplay, written David Koepp and Steven Zaillian, enough to let De Palma go away and play with eighty million dollars. And that’s going back to a time when eighty million dollars was considered a lot of money. Three sequels later, that have been directed by the likes of John Woo, JJ Abrams and Brad Bird, we find ourselves looking down the barrel of film five in the series, Rogue Nation, and things seem to be showing no signs of slowing down anytime soon.

Now I went into watching this Rogue Nation with high expectations. Its director, Christopher McQuarrie, is responsible for what is, in my humble opinion, the greatest screenplay ever written. Now I know that is a bold statement. Especially when you currently have the likes of Aaron Sorkin, Jane Goldman, Joss Whedon and Tina Fey wondering around, seemingly able to produce Oscar quality material faster than it takes most people to get up, shower and have breakfast. The screenplay I am referring to is of course ‘The Usual Suspects’ and if you haven’t seen the film may I suggest you do so this instant. May I also recommend (Warning: self-indulgent promotional plug ahead) you read my gloriously brilliant blog about the film too. Click here for awesomeness!

Rogue Nation is McQuarrie’s third stint sitting in the director’s chair. Following on from ‘Way of the Gun’ in 2000 and ‘Jack Reacher’ in 2012 and in many ways he’s still finding his feet. A lot of reviews I’ve read for this film have called it the best in the franchise, a masterclass in action etc etc but I came away from the film ever so slightly disappointed with what I’d just seen. Sure it does have great action, it has witty dialogue and most of the core cast returning but it doesn’t seem to be the great movie it’s trying so hard to be. It fails at being the sum of its parts. The stunts are visually entertaining but even having Mr Cruise stuck on the side of a nice and shiny green aeroplane as it takes off (and it really did have Mr Cruise stuck on the side of a nice and shiny green aeroplane as it takes off) just didn’t work for me. There are motorbike chases. A gun and knife battle that takes place in, around and on top of the Vienna Opera House and there’s also an underwater set piece that anyone who even remotely has a fear of drowning will find hard to watch. But overall I kept thinking ‘been there, done that’ as I watched it. 

Where the film really works though is with the introduction of new characters. Alec Baldwin pops up as Alan Hunley. A CIA head honcho with more than a passing dislike for Ethan Hunt and all things IMF. However, the real gem in Rogue Nation is Rebecca Ferguson. She plays Ilsa Faust, an undercover agent that used to work for British Intelligence. Without going in to spoiler territory it’s quite hard to say much more about this character but I will say that she is every bit Hunt’s equal, both intellectually and physically. She can not only run with the big boys, she can get them to dance to her tune as well. But for every good side of the coin there’s normally a bad side too and Rogue Nations bad side comes along in the form of Sean Harris playing the chief big bad guy, Solomon Lane. Through no real fault of Mr Harris, you can only act with what you are given after all, Solomon comes across as a badly written James Bond villain or a comic character that’s never really made it to the ‘A League’. Solomon is also ex-British Intelligence but has an accent that could best be described as wandering. Solomon never really delivers on the whole aura of menace thing that is almost a contractual obligation these days when it comes to bad guys. This is partly down to a haircut that looks like it was done at home in front of a mirror and a wardrobe selection that looks like he got dressed in the dark. I got the feeling that Mr Lane would have looked and felt more at home in an episode of ‘The Great British Bake Off’ than running an international crime consortium. Which leads me to another big problem I have with the film. 

The organisation that Solomon runs is called ‘The Syndicate’ and again without giving to much away is basically a branch of the Civil Service with muscle.  This muscle also has access to money, which it uses to help fund terrorists, wrong doers and anyone else who has a vested interest in sponsored violence (Scouts, Salvation Army, Mothercare, etc). But as a premise it just doesn’t work. The plot of the film revolves around the Syndicate needing to get its hands on a computer thingy that will give them access to virtually unlimited funds. However, the British PM is the only one who can activate the computer to release these funds. This requires a voice print and about nineteen other levels of security that have to be cleared. But of course that’s why these films are called Mission Impossible. 

On the whole it Rogue Nation isn’t a bad film but it’s certainly not the best of the franchise either. I enjoyed watching the fourth instalment ‘Ghost Protocol’ a lot more than this offering but it’s still head and shoulders above John Woo’s Mission Impossible II. That is not an easy watch and even forgiving the obligatory doves (why are there always doves in John Woo films?) It has Tom Cruise with long hair, a convoluted love story with Thandie Newton and more continuity errors than you can shake a stick at.  

As I touched on before the majority of the core cast have returned here, Including Jeremy Renner as William Brandt and Simon Pegg as Benji Dunn. Both of whom carry the films lighter and comedic touches very well. Renner isn’t given a lot to do here apart from wear a suit and keep Hunley from capturing Hunt. Benji on the other hand is far more hands on in this film than he has been in his previous two outings. Honourable mentions should also go out to Tom Hollander and to Simon McBurney who help move the plot along as and when required and in closing I’ll say this. Rogue Nation almost certainly won’t be the last we ever see of Ethan Hunt and his crew. As long as the franchise continues to make money Paramount will always have a vested interest in green lighting sequels.  My concern is that in order to keep the public interested that they’ll insist on going for bigger stunts and more incredible plots, so don’t be too surprised if you read in the not too distant future that Tom Cruise has been killed falling off the moon. He’s just crazy enough to try it…

Twitter Review:

Rogue Nation, Rogue plot, Rogue common sense. Great to look at but smoke and mirrors will only get you so far...

#GetMaskWearMaskFly

Useful links:

http://www.imdb.com/title/tt2381249/?ref_=nv_sr_1

https://www.youtube.com/watch?v=nmC6rZyByzk

https://www.youtube.com/watch?v=afS5ks54tms

http://www.empireonline.com/reviews/review.asp?FID=138768

Ant-Man

Anty-Man, Anty-Man,

Does whatever an Anty can.

Looks real small, then looks big,

Catches bad guys then does a jig. 

Look out!

Here comes the Anty-Man. 

Hello dear reader and welcome to what is my twelfth blog of 2015. It marks the end of Marvel films Phase Two and brings to the big screen a film, which at times, looked like it would never make it. Or should that be small screen, given the film in question. 

Ant-Man lost its original director, Edgar Wright, six weeks before principle photography was due to start. This came as a major surprise to most fans of the MCU. Partly because this had been a labour of love for Mr Wright for some considerable time. He’d often gone on record, as far back as 2003, saying he wanted to make this film. He’d co-written a screenplay with Joe Cornish and even shot test footage in 2013, just to see if his particular vision could be brought to the silver screen. However the main reason Mr Wright’s decision to bail caused seismic tremors throughout the superhero world was that Marvel had never really had even the slightest whiff of having a ‘problem film’. From the start of Phase One with Iron Man back in 2008, Marvel had always had the Midas touch when it came to spin and publicity. They could do no wrong. A carefully orchestrated media battle plan that always oozed geek and nerdom in substantial quantities. My superheroes bring all boys (and girls) to the Yard, as Kevin Feige would probably say. 

But then out of the blue came ‘trouble at mill’. Edgar Wright walked away citing creative differences and in walked Peyton Reed, with the rest of the world collectively shouting ‘who?’ in unison. If you’re willing to believe what the internet tells you the disagreement was largely down to screenplay rewrites but there are also reports that Team Edgar and Team Kevin simply did not get on. So not only had the rug been pulled from under everyone’s feet but it was as if the world had been shown a glimpse of the wizard behind the curtain. Fans didn’t like it and even Joss Whedon took to twitter post a simple picture of a cornetto raised aloft in support. 

It became apparent that Marvel were going to have to use a lot of smoke and mirrors and misdirection to pull this off and come up with the goods. Thankfully they could accomplish most of this with the upcoming release of Age of Ultron. ‘Hey everyone, look over here! We have trailers and pictures of shiny things’. Of course also hiring the likes of Michael Douglas, Paul Rudd and Evangeline Lilly also helped allay fears too. The Ant-Man ship wasn’t sinking just yet but there were icebergs on the horizon. Fast forward the better part of ten months and that brings us to Ant-Man's release. And I’m pleased to report that it’s actually rather good…

As with most Marvel films these days, you walk into the cinema with a certain level of expectation. You know what you’re going to get and most of the time they do exactly what they say on the tin. You’re bang for your buck is pretty much guaranteed and the accompanying visual and cerebral download tends to tick a lot of boxes. There will of course be grand action set pieces, a sprinkling of witty one-liners, more costumes and colours than you would expect to find in the performance of the complete works of Shakespeare and more danger and peril than Miss Marple could get her hands on with the help of CSI, Starsky & Hutch and Columbo combined. Highbrow it isn’t but by the same token, you never usually leave your seat felling underwhelmed.  

So Ant-Man starts with our ‘hero to be’ Scott Lang behind bars. Sent to prison by a military court for a crime he didn't commit. This man promptly escapes from a maximum security stockade to the Los Angeles underground. Today, still wanted by the government, He survives as a soldier of fortune. If you have a problem, if no one else can help, and if you can find him, maybe you can hire the Ant-Man. Oh, hang on. I may have got myself a little confused there. Normal service will now resume.

Ant-Man is a film about redemption. A man given a second chance in life and the opportunity to be a better father to his young daughter. A daughter that still worships him despite his missing her grow up, due to his time behind bars. What Ant-Man is also, is funny. It’s probably the funniest film to come along in either Phase One or Phase Two by some considerable distance. Michael Pena, who is basically part of Scott Lang’s back up crew, isn’t given much screen time to strut his comedic talents but he pretty much steals every scene he’s in. 

It’s always going to be impossible to tell how much of Edgar and Joe’s screenplay made it into the final film. Rewrites and polishing, including a writing credit for Paul Rudd himself have permanently blurred the lines between the start and finish post but if you do ever bump into Simon Pegg ask him to show you a copy of the original, because he’s got one apparently. 

There are moments of brilliance in Ant-Man and little touches that may go unnoticed by some. Security guards whistling ‘It’s a small world after all’, a passing reference to Spiderman, who can now come and play in the MCU and will have a cameo in Marvels next film ‘Captain American: Civil War’. There also can’t be many action films that would have even thought about using Thomas the Tank Engine in their grand finale. A lot of Marvel films have been fairly formulaic recently, and have had more than just a passing Déjà vu feel when it comes to their endings. Big aerial battles that always have lots of destruction, mayhem and chaos. And yes Avengers, Thor 2 and Guardians of The Galaxy, I’m aiming that last sentence squarely at your clapper boards. It’s very refreshing to find a small scale battle that not only isn’t set against the back drop of a sprawling metropolis but happens within the confines of a family home.  

The other fairly formulaic problem that keeps repeating itself is the distinct lack of Estrogen on screen. There are only three female characters of note in Ant-Man. A mother and daughter who are given about as much to do as the Popes Menorah cleaner. They have virtually no important dialogue and are given character development which is comparable to a new brick being used on ‘Grand Designs’. Evangeline Lilly is the other female actor in question and without giving too much away or heading into spoiler territory, she will be returning to a Marvel cinema at some point in the not too distant future. There’s a blink and you miss it appearance from Hayley Atwell as Peggy Carter at the start of the film but that’s basically it when it comes to women. It’s a real shame and I hope this trend starts to change soon or we could end up with a Marvel Cinematic Universe that has as many women in it as the Star Wars Universe currently does. Bad George Lucas, Boo, Boo...

I finish off by saying this. Ant-Man is a good film, despite its flaws. Paul Rudd looks like he enjoyed making it and it has one of the better Stan Lee cameos around. It also has a villain in it called Yellow Jacket, which in case you were wondering, has nothing to do with Hi-di-Hi or Sue Pollard. At 117 minutes long it’s also the shortest film to date that Marvel have released. As always you should stick around for the credits. There are two stings here, one in the middle and another at the end. Both are interesting and give the start of Phase 3 some fresh fuel. A solid four out of five but the report card should also contain a 'Could and should do better'.    

Twitter Review:

Go see Ant-man, No magnifying glass required! It’s good, It’s funny and it has Phoebe's husband from Friends in it. 

#SmallPackageBigPunch

Useful Links:

http://www.imdb.com/title/tt0478970/?ref_=nv_sr_1

https://www.youtube.com/watch?v=f5TtFK9C62E&feature=iv&src_vid=1HpZevFifuo&annotation_id=annotation_1112302829

http://www.empireonline.com/reviews/review.asp?FID=134035

Jurassic World

Hello dear reader, it’s time to do that voodoo, that I do, so well. Ego not withstanding it’s been about two months since I last blogged about a film. This was of course the great and glorious Mad Max Fury Road. The reason for this absence purely down to having to move house and packing. There just hasn’t been any time available to go and see what I wanted to. Gems like Tomorrowland have been and gone and even the cgi heavy San Andreas passed through my local multiplex without me being able to offer up an opinion on it. I am however pleased to report that the move has now taken place and boxes are being unpacked. So if you’ll permit me I would like to resume normal service and offer up my opinion on the charming little film I watched at the weekend called Jurassic World.

Now right off the bat I should point out that I don’t seem to share the rest of the world’s enthusiasm for all things dinosaur. Yes their old, yes some of them are majestic and yes some of them you wouldn’t want to run into in a darkened ally on your own but I just don’t get the whole all encompassing ‘ohh-ahh’ thing they seem to have going on with everyone else. They died out, they did not pass go and they definitely did not collect two hundred pounds. And just before anyone starts with the sensible argument about natural selection or the equally rational ‘there really isn’t anything that could have done about a huge asteroid strike in the Gulf of Mexico that contributed to their extinction’ I say this. The levels of intelligence shown by the main ‘big bad’ dinosaur in Jurassic World are off the charts. It can alter its skin to avoid thermal camera detection; it can problem solve to a level that would put Stephen Hawking to shame; its capable of very convincing camouflage and would appear to be able to speak perfectly fluent Velociraptor. So you can’t tell me that there weren’t plans sixty five million years ago to have an orbiting weapons satellite that could have more than easily dealt with any fast approaching lump of rock, as I simply won’t believe you.

Sorry, that was starting to get a little bit ranty there. I shall continue in a more restrained manner that befits this great and glorious review, init. So the film itself is set on the original island that the first Jurassic Park film was on. However this time the park is bigger and better. They’ve spared no expense. There are five star hotels, new rides and an updated information centre with holograms and obligatory gift shops and a dinosaur sea world that contains a Mosasaurus, which for those of you not in the know is a rather large aquatic creature that unquestionably comes under the ‘we’re gonna to need a bigger boat’ category.

This is the forth film in the Jurassic series and although it's a vast improvement on numbers two and three it still has problems that it seems more than happy to keep repeating. My biggest gripe with these films and indeed with most ‘people in peril’ films is that the only way screenwriters seem to be able to move the plot along is to have people actively being stupid and putting themselves in danger at every available opportunity. This happens quite a lot in Jurassic World and is further compounded by the fact that the majority of the park staff seem to have been hired by the ‘I will love him and pet him and call him George’ recruitment agency. Some on the decisions and thought processes that are shown on screen in this film make Jersey Shore look like Shakespeare. Now I do understand that for these films to work they need to be roughly two parts hazard and three parts jeopardy but that doesn’t mean that everyone in them, with a few noticeable exceptions, needs to be two parts Jedward and three parts Chuckle Brother.

The two main characters in the film are Owen and Claire, played by Chris ‘everything he touches turns to gold’ Pratt and Bryce’ my dad used to be on Happy Days’ Dallas Howard, respectively. Claire is very career driven and is in charge of the park from top to bottom. Claire is also very emotionally detached and has a lot of trouble seeing the dinosaurs as anything other than profit margins and numbers on a spread sheet. This emotional detachment also becomes apparent when Claire is asked to look after her nephews when they visit the park for a weekend. Business comes first and Claire has her personal assistant guide them around all the various attractions. A decision that proves to be a solid nine out of ten on the ‘oh bugger’ meter, especially for the assistant. Owen on the other hand is a very heart on his sleeve type of guy. He cares about his job and has invested a lot of time and effort into building a bond with four Velociraptors. These Velociraptors, although still the wrong side of extremely dangerous, follow Owen’s instructions and this relationship with them plays a pivotal part in films plot. The other star of the film, that I mentioned earlier, is completely computer generated. Indominus Rex is a hybrid dinosaur, created in a lab by the parks parent company ‘Ingen’ for no other reason than to make more money and to keep people coming in through the gates. Now I’m all for having a great animal bad guy, or girl for that matter. Jaws, the Xenomorph from the Alien films and even Piranha’s are all great examples of pure animal killing machines but I think Indominus Rex may have just out shone them all. As well as the attributes I mentioned earlier like thermal avoidance, multilingual, camouflage and being smarter than a smart thing on national smart day in smart land, It also has Ninja skills, anger management issues that would put Bruce Banner to shame and a bigger compulsion for human flesh than Hannibal Lector.

Problems start on the park and indeed the entire island when the Indominus Rex escapes from its enclosure. Once it’s out and roaming freely throughout the park business definitely picks up. The parks control room refers to this problem as ‘having an asset out of containment’, which I can’t help thinking sounds like a wardrobe malfunction at a Chippendales show. Euphemism claxons aside, this is pretty much the premise of the film and as with the very first Jurassic Park film in 1993, the story is basically one of dinosaurs escape, humans try and deal with the ensuing carnage. So if you like your peril perilous, your menace menacing and scripts on the dumb side of common sense then Jurassic World is just the film for you. On its plus side it does have a good supporting cast including Vincent D’Ofonrio, BD Wong and Judy Greer but it did leave me feeling ever so slightly underwhelmed. Bryce Dallas Howard is a very good actor and I’m sure her services for taking part in this film were very well rewarded but she doesn’t really get anything important to do and does end up playing the stereotypical damsel in distress at times. Running away from a T-Rex in heels isn’t exactly what you’d call clever or smart and neither is rolling up your sleeves to show you’re ready for action. This is a popcorn, summer blockbuster, franchise movie but there’s absolutely no reason to dumb things down for the audience. Marvel have repeatedly shown that people will come and watch intelligent, well written, tent pole movies and then come back and ask for seconds, time and time again. A fact that seems to be lost on the executives at Universal.

I do wonder what Michael Crichton would have made of this film and how happy he’d have been with it. My guess is he’d have liked what they tried to do but not pleased with how they went about doing it. Given the amount of money this film has made, it is the fastest film to break through the billion dollar barrier by some considerable distance, there will of course be sequels and I’m sure the plot will once again be ‘oh know, something has gone wrong, run for the hills!’ Except there won’t running for the hills. There we be slow walking surrounded by people saying things like ‘what was that noise? Let’s go and investigate’ and fences with lots of signs that say ‘Danger: Keep Out, Risk of Death’ etc etc, that are completely ignored. I’ll finish by saying this. Jurassic World is an okay film that could have been great. It relies far too heavily on clichés that were flogged to death and worn out in the first three films and it needs it needs a common sense reboot. It has a government sub-plot about using dinosaurs as weapons that really doesn’t need to be in there and the director, Colin Trevorrow, hasn’t in my humble opinion, done a particularly good job here. That said he is the current front runner to direct the Star Wars episode IX film, so someone must like what he’s doing…

Twitter Review:  

Dumb people, dumb plot and a dinosaur with a phd. Jurassic World fails on a lot of levels. Could do better. Must do better.

#BeenThereBefore

Useful Links:

http://www.imdb.com/title/tt0369610/?ref_=nv_sr_1

https://www.youtube.com/watch?v=RFinNxS5KN4

http://www.empireonline.com/reviews/review.asp?FID=3059

James Horner

Hello dear reader, this will be a first. It’s now been over three years since I started blogging about films and my little trips to the cinema. There have been over forty films on which I have given my humble opinion. There has been good, Whiplash. There has been bad, Prometheus. And there has definitely been ugly, A Good Day to Die Hard. There has however never been a blog solely devoted to a person. That is about to change. 

I woke up today and like many days, I was on autopilot for the first five minutes. Lying in bed at just after seven o’clock in the morning, trying to snap the world into focus and then it happened. At the end of the BBC news on Radio 5, and almost treated like a ‘we have ten seconds to fill, lets chuck this in to make up the time’, it was announced that composer James Horner had died at the age of sixty one. He’d been killed in a plane crash and then they moved on to the sports news.

It was now safe to say that I was awake…

Sometimes you hear things that really upset you. News stories that sneak up behind you, tap you on the shoulder and then sucker punch you straight in the stomach as you turn around. After I heard the news about James Horner my first instinct was to double check what I’d just heard on the internet. Surely they couldn’t be talking about ‘that’ James Horner. As I picked up my phone with the intention on blitzing through my overnight twitter feed I was hoping against hope that I was culturally unaware of some great twentieth century composer who also happened to carry the same name as my favourite film score author. A different James Horner that had silently passed me by. Perhaps a man who occasionally filled the Royal Albert Hall with powerful and moving concertos. A man who’s newest opus would have garnished a two hour special on Sky Arts or the Southbank Show, had it still been running.  

A slight wave of panic that had been floating of shore was now headed at full tsunami speed towards my consciousness and a large part of my childhood memories.  The first tweet I found was from Empire magazine, the second was from IMDb. Then came tweets from Russell Crowe and Ron Pearlman. It would seem that there is and was only one James Horner and he was now gone. 

I think the reason this news has upset me so much is because Mr Horner played a very large part in me becoming interested in film and becoming a fan. I can remember watching films back when I was still in single digits and being totally swept away by their musical scores. The very first film score I remember is John Williams ‘Star Wars’ and I am old enough, or lucky enough to have heard it in the cinema when I was five years old. However the second and third film scores I can actively remember thinking ‘I want those records’ were Roger Corman’s Battle Beyond the Stars and Nicholas Meyer directed Star Trek II: The Wrath of Khan. Now Battle Beyond the Stars is a great film. Released in 1980, It’s basically The Magnificent Seven in space. It has Ricahrd ‘John-Boy Walton’ Thomas in it. Along with John Saxon, Sybil Danning, George Peppard and Robert Vaughan, who was also in the original Magnificent Seven film. It also has a claim to fame as being one of the first films James Cameron ever worked on. This films triumph however, is its music. It complements the film perfectly. Glorious space combat and cheesy dialogue are brought to another level by this orchestral masterpiece. It won’t be a film that many people have heard of, let alone seen but if you ever see it listed on your TV schedules, make time to see it. It will be 104 minutes of your time well spent. 

Then we get to The Wrath of Khan. Quite simply the best Star Trek film there is and if you don’t’ think so, I’m sorry you’re wrong. From the opening credits to the closing funeral (Spoiler alert, someone dies) its music grabs you by the scruff of the neck and pushes you through nearly two hours of the greatest Space Opera you are ever likely to see on the big or small screen. The Soundtrack only has nine pieces of music on it and there’s no filler. All nine tracks, from the ‘Main Title’ to ‘Enterprise Clears Moorings’ are perfect and heighten the story of a cold and vengeful man that time forgot. 

Then we get to Aliens. In 1986 James Cameron released a follow up to Ridley Scott’s Alien. Now Alien and it score, written by Jerry Goldsmith, was and is a completely different animal to its sequel and comparing them isn’t exactly fair. Alien has a haunted house in space feel to it, whereas Aliens is a full blown ‘them vs us’ war movie. In fact Aliens tag line is ‘this time its war’. If you like Alien, and why wouldn’t you. It has the War Doctor suffering from some serious indigestion problems, that’s fine. But if you like Alien more than Aliens then I don’t think we can be friends. For its soundtrack alone it wins hands down. From its hypnotic opening lullaby to its ‘Resolution and Hyperspace finale, I have yet to come across a soundtrack that complements a film as much as James Horner’s does here. It’s quite simply breath taking at times and when you consider the time constraints James Cameron forced him to work under because of editing issues and reshoots, his final score is even more impressive. If you get the chance listen to the track called ‘Bishops Countdown’. Since its original use in Aliens It’s been used in at least three more films that I can think of, including the first Die Hard film. I’ve seen it used in adverts and even a computer game. Aliens was the first soundtrack on CD ever bought and I still own it today. The covers broken and the case is cracked but I’m never going to replace it or download the digital version from iTunes. It’s a soundtrack that I can listen to again and again without it feeling repetitive and the only other soundtrack that I can even come close to saying the same about is John Ottman’s ‘ The Usual Suspects’. Although I may be slightly biased there.

He also wrote the soundtrack for the two biggest films in box office history. Avatar and Titanic, both James Cameron films. Now leaving aside the charming Celine Dion (wont somebody please leave aside the charming Celine Dion) Titanic is another soundtrack that fits the mood of the film perfectly and when it effectively turns into an action movie for the last hour (Spoiler alert, it sinks) the soundtrack comes into its own. There’s not much that can be said about Avatar that hasn’t already been said before. I’ve heard it described as ‘Dances with Wolves’ in space and even ‘an exercise in ego’ but the next time you watch it, assuming there will be a next time that is, don’t’ concentrate of what you’re seeing on screen. Listen to what you’re hearing on screen. You maybe in for a pleasant surprise. 

James Horner has been my favourite film composer for as long as I can remember. He always came across as passionate about what he did in interviews and magazine articles. From soundtracks as diverse as Field of Dreams to Braveheart, he always tried to bring something new to the table and saddens me a lot that there won’t be any more. His Titanic soundtrack has sold over thirty million copies alone, he composed music for over one hundred and fifty different films, TV programs and documentaries and he won two Oscars for his work.

Goodbye Mr Horner, you will be missed…

Useful Links:

https://www.youtube.com/watch?v=NlzkGd7qaMY

https://www.youtube.com/watch?v=qpW2AjQbdbs

https://www.youtube.com/watch?v=DOFHi7SRMoU

https://www.youtube.com/watch?v=LFcfHSOti9s&list=PLwrjzV6EdAwxSq0DQQAAZ06ZnuzXuSgfK

https://www.youtube.com/watch?v=VdoMajMVFQk

https://www.youtube.com/watch?v=bVssxumkHI4

Mad Max: Fury Road

Hello dear reader. So it's time for what is my ninth review of what is turning out to be a rather good cinematic 2015. We've had snipers a sniping, drummers a drumming and even wrestlers a wrestling. I'm sure when people start to look back at this year it will be forever remembered as a twelve month period where 'more is more' worked. Script quality has improved, There seems to be a much better control system in place for what gets given the green light and then of course there's the money, moolah, dough, coinage, or if you prefer it in the old fashioned terminology, box office take. Fast & Furious 7 and Avengers: Age of Doodah have already taken enough money to keep their respective studio executives in cocktails and caviar for the foreseeable future. In general receipts are steadily increasing across the board and from animation through to independent, there has never been a better time to be a fan of the silver screen. And of course, let’s not forget that we are only just taking our first steps into what is traditionally 'Blockbuster Season.' Mission Impossible, Jurassic World, Terminator Genisys and even a Minions film have yet to grace our screens. Long story short, there will be a lot of bums on seats this summer and those of us who do enjoy regular visits to our multiplexes are likely to consume our own weight in Pepsi and popcorn. There's also some 'shaken, not stirred' tuxedo action and a small independent film about stars that has something waking up due at the end of the year if you happen to like your films in franchise form...       

Now I must confess that I was never a very big fan of the original Mad Max trilogy. As films go, they are all solid three out of five outings. The first one in 1979 is ok and is at best, is a poor man’s revenge movie. The second is basically a version of the magnificent seven on wheels and the third film? Well trying to hang a tag on that is tricky. IMDb says that it’s about ‘a former Australian policeman who is rescued by a tribe of children when he is banished from a desert town and sent into the desert to die by the town’s evil queen.’ Now apart from the use of the word desert twice in one sentence you’d be forgiven for thinking that that was a Disney film at first glance. Those of you who have seen it will know that it isn’t but it does have the obligatory music tie-in that you now have to have with all things ‘Mickey.’ We don’t need another hero belted out by Tina ‘Nutbush City Limts’ Turner over the end credits is actually one of the high points of the film. Again, I do feel I should point out that it’s not a film I actively dislike. It just never really captured my imagination and on the whole the three films have always just left me cold.
So where does that leave the new Mad Max: Fury Road film? Well basically it leaves it in a very good position. It’s been thirty years since Mel Gibson’s last outing as Max and as the saying goes ‘Time cures all ills.’ This film is not a sequel and it’s not a prequel either. You can call it a reboot if you are one of those people that need labels, but that’s not really one hundred percent accurate either. Tom Hardy has now taken on the mantel of Max and you could say it’s a very inspired piece of casting. In the same way that Heath Ledger being cast as the Joker raised several eyebrows throughout Hollywood; Mr Hardy wouldn’t have been at the top of most people’s lists when it came to looking for a replacement to the now out of fashion Gibson. Sure Hardy can do action and can also bulk up as and when he’s required to do so but he can also act and act well when he’s asked to do so. Roles in Inception and Tinker Taylor Soldier Spy are just two great examples of what he can do when his part is script driven and not reliant on action and special effects.          

So that brings us to the film itself. Where to start, where to start…
Well at its most basic and fundamental level it’s a two hour chase movie with a half time change ends and attack the other way feel to it. It really is that simple. Although simple does not even come close to describing what George Miller has brought to the screen here. We have very strong characrters, including a full on female co-lead played by Charlize Theron who gets equal billing on screen with Mr Hardy. A vehicle budget that seems to be endless and visual pallet that is at times breath taking. The story of Fury Road is one of the right guy, in the wrong place, at the wrong time.

The plot that this one hundred and twenty minute maelstrom is hung upon is as follows…
Theron’s character, the fantastically named ‘Imperator Furiousa’, decides that she’s had enough of the local head honcho ‘Immortan Joe’ and the way he runs the Citadel (think Milton Keynes, with less roundabouts and a hosepipe ban). So whilst out on a run to collect some bullets and gasoline in the War Rig, Furiousa takes off in the wrong direction with a very precious hidden cargo on board. Joe, played by Hugh Keays-Byrne doesn’t take to kindly to this course of action and sends his entire fleet of vehicles after her and HIS War Rig. Now it should be pointed out that Max, who has been captured by a gang of ‘Lord of the Flies’ wannabes, ends up being strapped to the front of one of these vehicles in what I can only describe as the fastest bloodmobile you’re ever likely to see this side of a sober mind. Things of course don’t go well and before you can say ‘oh look, Max & Furiousa seem to be battling for the same team’ they end up battling for the same team.
And that basically is the premise for the movie. Furiousa has a plan to get her cargo to the safe and promised ‘green land’ and Max, not wanting to have anything to do with his previous captors, decides to help. Mostly because he has no other options available to him but largely down to the fact he is a man in pain. A man haunted by a past that won’t leave him alone and by visions that jar at his humanity. Max is very much a man of few words; he prefers to let his actions do his talking for him. He never seems out of control and always seems to have a plan to deal with whatever is thrown in front of him. Imagine a hurricane with Max conducting proceedings from its calm and tranquil centre, whilst all around him there is chaos and destruction. Good versus bad in a fight to the death. A winner takes all post-apocalyptic fairy tale gone bad if you will.

As for the action sequences themselves, well they certainly will be unlike anything you’ve ever seen before. We have custom machines that quite simply look like the stuff of nightmares. Monster trucks on steroids and cars on tank tracks, to name but a few. Tribes and clans who live by their own and set of rules. A sort of ‘We’re here, we’re fear, get used to it’ kind of deal.   I’ll finish up by saying this. If you are yet to see Mad Max and it’s on your to-do list, I recommend you see it on the big screen. Or if you are going to wait for it to show up on your telly box, please watch it in HD if you can. Your eyes will thank you for it later. It has a very good ensemble cast including Nicholas Hoult, Rosie Huntington-Whiteley and the aforementioned Hugh Keays-Byrne, who was also in the first Mad Max film as Toecuter. It’s also the first action film to come along in a very long time that has very strong female characters. It has even drawn criticism in some quarters for doing so. But to those who you who don’t like a level playing field I say this “I myself will carry you to the gates of Valhalla… you will ride eternal, shiny and chrome!” Or to put it another way, grow the f%#k up.
George Miller has already confirmed that there will be a sequel to Fury Road called ‘Mad Max: The Wasteland’ which should, fingers crossed, be with us at some point in 2017. All I will say to that is “Oh what a day, what a lovely day!”

Twitter Review:

Fury Road is a game changer. A V8 in a world of bland hybrid wannabe contenders to the throne. A reboot with a twist of clever
#WhoYou?MeMax

Useful Links:
http://www.imdb.com/title/tt1392190/?ref_=nv_sr_1
https://www.youtube.com/watch?v=hEJnMQG9ev8
https://www.youtube.com/watch?v=woHTUsl66BY
http://www.empireonline.com/reviews/review.asp?FID=137658