Noticeably removed from the saccharine Disney version, Guillermo del Toro's Pinocchio embraces aspects that we have not seen in any other adaptation of the story. The horrors of war, unvarnished grief and loss, even a touch of gross-out humor all combine to give us a unique take on Pinocchio. The stop-motion animation is impeccable and the set design is gorgeous and awash with colours. Del Toro's influence on the set and character designs is unmistakable, with all the creatures and scenery reflecting his signature twisted creatures, painstaking details and dark tone. A nod is also given to the costume design of the Angel of Death from Hellboy II, shown in the eyes on the wings of Pinocchio's own angels of death. The following making of feature afterwards is also a must-see to gain a full appreciation of the wide range of talent and hard work that went into this film. Guillermo del Toro's Pinocchio is ultimately a much recommended watch for people of all ages.
Reviews
15 Reviews
Catwoman
(2004)
A Pile of Cat Puke
21 August 2022
Warning: Spoilers
I had successfully avoided watching Catwoman for the last 22 years, but tonight while mildly impaired I saw it was on TV and decided to give it a go. I had heard various things about how bad it was, but this is even worse than I thought it would be.
With the production quality of a daytime TV drama made for tweens, Catwoman disappoints in every way. A soundtrack that sounds like it was generated by the local band who never get airplay anywhere else than their town's community radio station only helps intensify the cheesy fight sequences and romance scenes. Lacklustre costumes, effects and sets serve to further disappoint the viewer. The actors are practically radiating self-loathing with the delivery of every line, and no one can blame them, considering the script flows like a 16 year old girl's Twilight fanfiction. The filmmakers themselves even seem to have given up on it by the end, as a character plunges from a building and cuts to an extremely obvious jointless, plush dummy hurtling with nearly flapping limbs through the air.
I was not high enough for Catwoman not to affect me and in fact I wonder if that's even possible.
With the production quality of a daytime TV drama made for tweens, Catwoman disappoints in every way. A soundtrack that sounds like it was generated by the local band who never get airplay anywhere else than their town's community radio station only helps intensify the cheesy fight sequences and romance scenes. Lacklustre costumes, effects and sets serve to further disappoint the viewer. The actors are practically radiating self-loathing with the delivery of every line, and no one can blame them, considering the script flows like a 16 year old girl's Twilight fanfiction. The filmmakers themselves even seem to have given up on it by the end, as a character plunges from a building and cuts to an extremely obvious jointless, plush dummy hurtling with nearly flapping limbs through the air.
I was not high enough for Catwoman not to affect me and in fact I wonder if that's even possible.
Boyz n the Hood
(1991)
One of the best films of the 90's
12 February 2022
Boyz n the Hood is a raw and heartbreaking look into the lateral violence stemming from intergenerational trauma that is rife in the Black community of South Central Los Angeles. The film follows the life of Tre, a bright young man growing up in the 80's and 90's who is torn between his parents who are trying to keep him on the straight and narrow, and some of his friends in the community who throughout the film become more entrenched in the thread of hurt and violence that twists through the community.
Although the characters and storyline are fictional, the story echoes all too closely the real stories of individuals and families in the real-life community and others like it. It unflinchingly lays bare not just the actions that occur, but all the complex emotions behind it and the ripple effects that violence ends up sending through everyone. It is groundbreaking in taking a deep look into intergenerational trauma and lateral violence years before these terms were talked about. It's a hard watch at many points as it should be. 30 years after its release, it remains a vitally important film and a must-watch for everyone.
Although the characters and storyline are fictional, the story echoes all too closely the real stories of individuals and families in the real-life community and others like it. It unflinchingly lays bare not just the actions that occur, but all the complex emotions behind it and the ripple effects that violence ends up sending through everyone. It is groundbreaking in taking a deep look into intergenerational trauma and lateral violence years before these terms were talked about. It's a hard watch at many points as it should be. 30 years after its release, it remains a vitally important film and a must-watch for everyone.
Tumbletown Tales
(2004– )
Unexpectedly hilarious
5 June 2021
Tumbletown Tales is deceptively funny - although it's geared towards kids, the improv lines and quick, subtle jokes along with amusing effects and visuals make this hidden gem an entertaining show worth watching for adults too. The animals featured are clearly in their glory with an endless supply of seeds in each episode.
Holly's Holiday
(2011 TV Movie)
Unbearably bad
29 November 2020
Warning: Spoilers
If your stomach is ever a bit off and you feel like you need to purge it out of you, just put this movie on and soon you will see results stronger than those of ipecac.
The movie centers around a painfully whitebread woman named Holly who takes a tumble outside a shop, and a mannequin inside comes to life to help her. It's conveniently not one of those terrifying shiny faceless mannequins or one of the disembodied limb mannequins, which would have made the movie actually interesting, but a underwear catalogue caliber brodude. And, predictably, they fall in love with each other.
The fact that the plot is a ripoff of 1987's Mannequin is the least of the crimes this production commits. Everyone and everything in the film is sickeningly perfect; perfect bodies, perfect hair, perfect upper middle class houses, even the depiction of Christmas Day is like someone vomited a Norman Rockwell painting. And the whiteness, oh, the whiteness. The sparse POC supporting characters are surrounded and enveloped by it like a smelly, soggy blanket. Even the white cast members look like they want to die underneath the thin veneer of acting that they muster. Every sickeningly saccharine minute of this movie is an assault on all the senses, and I recommend it to no one unless they're looking for some sort of aforementioned purgative or pest control method.
The movie centers around a painfully whitebread woman named Holly who takes a tumble outside a shop, and a mannequin inside comes to life to help her. It's conveniently not one of those terrifying shiny faceless mannequins or one of the disembodied limb mannequins, which would have made the movie actually interesting, but a underwear catalogue caliber brodude. And, predictably, they fall in love with each other.
The fact that the plot is a ripoff of 1987's Mannequin is the least of the crimes this production commits. Everyone and everything in the film is sickeningly perfect; perfect bodies, perfect hair, perfect upper middle class houses, even the depiction of Christmas Day is like someone vomited a Norman Rockwell painting. And the whiteness, oh, the whiteness. The sparse POC supporting characters are surrounded and enveloped by it like a smelly, soggy blanket. Even the white cast members look like they want to die underneath the thin veneer of acting that they muster. Every sickeningly saccharine minute of this movie is an assault on all the senses, and I recommend it to no one unless they're looking for some sort of aforementioned purgative or pest control method.
Hellboy
(2019)
Fiery in scenery, but less so in spirit
12 April 2019
This reboot was a long-awaited project for many longtime Hellboy fans, especially those like me, middle-aged people who have followed the comics since the beginning and couldn't wait to finally see the true-to-canon experience that Hellboy creator Mike Mignola promised to deliver.
And deliver he does, for the most part. A number of characters important to the series and loved by fans receive a good amount of screen time. The practical effects are plentiful and extravagant, a sure treat for admirers of the craft. Virtual fountains of blood and gore interspersed with wisecracked comments and sprinkles of absurd humor, hallmarks of the comics and Mignola's style in general, are abundant throughout the film. While all these things seem to be really shaping the film up to be a hit, it unfortunately falls short in some respects.
David Harbour's Hellboy, though a very well done performance overall, lacks the broodiness of the comics and Guillermo del Toro's adaptation and gives the impression of a frat boy looking for the next good time. On the flip side, Ron Perlman's depiction in del Toro's films, while somewhat emotionally mature, still knows he has a job to do and a dedication to it. Harbour's Hellboy largely comes off like he simply goes unwillingly where he is sent, and there's no real heart in his work.
Ian McShane, though underrated as an actor, fails to capture the audience as Professor Broom, or even a fatherly figure. This seems to be partly due to the fact that the dialogue scenes with McShane and Harbour together are fairly superficial, and also partly because there doesn't seem to be a tangible chemistry between the two in their on-screen presence. In kind, Milla Jovovich as Nimue doesn't convey the same menace as Nimue in the comics. For a 5th century witch bent on revenge, she seems rather tired of it all, a little bit too demure in actions and voice to really convince the viewer that she's as much of a threat as the characters are telling us the whole way through. Even when she's actively melting people's faces off it seems casual. These lackluster impressions may not be a consequence of the actors' abilities, but due to the script and direction. Thankfully, Daniel Dae-Kim and Troy Jones & Emma Tate as Ben Daimio and Baba Yaga respectively, make up for these shortfalls with performances that satisfyingly capture the spirit of their characters.
The soundtrack had a chance to be a perfect compliment to the visual effects, but it felt somewhat inconsistent. With orchestral pieces in one scene and hair metal in the next, it didn't have a good flow and as a result ended up dulling scenes that could have been enjoyed more.
Finally, some of the character introductions were very rushed and seemed to follow a pattern of a character practically being pushed into a scene, dialogue that served as an obvious segue into a short backstory, and then quickly back to the present scene with them running off to fight monsters. For those acquainted with the comics, this isn't much of an issue but for newcomers to the Hellboy franchise these hurried introductions will leave them a bit confused and wondering exactly why some of these people are so important and how it is that they seem to have become such fast friends with the other protagonists.
While the decadent visuals scratch the itch for fans who have been anticipating the reboot, the shortcomings cripple the film and keep it from reaching its full potential.
And deliver he does, for the most part. A number of characters important to the series and loved by fans receive a good amount of screen time. The practical effects are plentiful and extravagant, a sure treat for admirers of the craft. Virtual fountains of blood and gore interspersed with wisecracked comments and sprinkles of absurd humor, hallmarks of the comics and Mignola's style in general, are abundant throughout the film. While all these things seem to be really shaping the film up to be a hit, it unfortunately falls short in some respects.
David Harbour's Hellboy, though a very well done performance overall, lacks the broodiness of the comics and Guillermo del Toro's adaptation and gives the impression of a frat boy looking for the next good time. On the flip side, Ron Perlman's depiction in del Toro's films, while somewhat emotionally mature, still knows he has a job to do and a dedication to it. Harbour's Hellboy largely comes off like he simply goes unwillingly where he is sent, and there's no real heart in his work.
Ian McShane, though underrated as an actor, fails to capture the audience as Professor Broom, or even a fatherly figure. This seems to be partly due to the fact that the dialogue scenes with McShane and Harbour together are fairly superficial, and also partly because there doesn't seem to be a tangible chemistry between the two in their on-screen presence. In kind, Milla Jovovich as Nimue doesn't convey the same menace as Nimue in the comics. For a 5th century witch bent on revenge, she seems rather tired of it all, a little bit too demure in actions and voice to really convince the viewer that she's as much of a threat as the characters are telling us the whole way through. Even when she's actively melting people's faces off it seems casual. These lackluster impressions may not be a consequence of the actors' abilities, but due to the script and direction. Thankfully, Daniel Dae-Kim and Troy Jones & Emma Tate as Ben Daimio and Baba Yaga respectively, make up for these shortfalls with performances that satisfyingly capture the spirit of their characters.
The soundtrack had a chance to be a perfect compliment to the visual effects, but it felt somewhat inconsistent. With orchestral pieces in one scene and hair metal in the next, it didn't have a good flow and as a result ended up dulling scenes that could have been enjoyed more.
Finally, some of the character introductions were very rushed and seemed to follow a pattern of a character practically being pushed into a scene, dialogue that served as an obvious segue into a short backstory, and then quickly back to the present scene with them running off to fight monsters. For those acquainted with the comics, this isn't much of an issue but for newcomers to the Hellboy franchise these hurried introductions will leave them a bit confused and wondering exactly why some of these people are so important and how it is that they seem to have become such fast friends with the other protagonists.
While the decadent visuals scratch the itch for fans who have been anticipating the reboot, the shortcomings cripple the film and keep it from reaching its full potential.
The Greasy Strangler
(2016)
Charmingly Bizarre
21 October 2018
Imagine if Napoleon Dynamite and Junji Ito's Glyceride somehow had a baby - the offspring would be The Greasy Strangler.
In this un-thriller, a thoroughly unattractive father and son navigate their strained relationship while dealing with a rash of murders in their town that have been committed by a not-so-mysterious killer who carries out said murders while coated in a thick layer of sopping, crusted grease. Don't worry about gory effects making you feel ill during this film, those are hilarious. The copious amounts of K-Y jelly and other unidentifiable greasy substances throughout the film do a fine job of squicking the viewer out instead. Despite the stomach-churning visuals, the script, delivery and several sight gags contain enough surreal humor to make this film enjoyable for those who are partial to that kind of thing.
If you have a weak stomach, I do not recommend eating snacks like pizza or anything with a lot of olive oil during the course of this film.
In this un-thriller, a thoroughly unattractive father and son navigate their strained relationship while dealing with a rash of murders in their town that have been committed by a not-so-mysterious killer who carries out said murders while coated in a thick layer of sopping, crusted grease. Don't worry about gory effects making you feel ill during this film, those are hilarious. The copious amounts of K-Y jelly and other unidentifiable greasy substances throughout the film do a fine job of squicking the viewer out instead. Despite the stomach-churning visuals, the script, delivery and several sight gags contain enough surreal humor to make this film enjoyable for those who are partial to that kind of thing.
If you have a weak stomach, I do not recommend eating snacks like pizza or anything with a lot of olive oil during the course of this film.
Won't You Be My Neighbor?
(2018)
A Poignant and Touching Memoir
30 June 2018
As one of the very many children who watched Mr. Roger's Neighborhood in the early 80's, it was insightful as now an almost-40something adult to be able to put into context many of the messages that Mr. Rogers provided to me through the television screen when I was a child. "Won't You Be My Neighbor?" takes an enjoyable and heartfelt journey through the life of Fred Rogers and those of whose lives he closely affected. It delves deeply into his philosophy and examines his then-groundbreaking and risky method of not skirting around serious issues that adults often shield children from, such as war, racism, and death.
This film also takes an honest and fearless look at Rogers' shortcomings, such as his sometimes strict temperament and his deep, private fears of inadequacy, despite the tremendous positivity and kindness he exhibited. "Won't You Be My Neighbor?" has all the heart that Rogers had and plants a seed of hope in these troubled times that his legacy yet lives on in others. This excellent documentary succeeds, as Rogers did, at speaking to the child that is still inside all of us and telling us we are loved just as we are.
This film also takes an honest and fearless look at Rogers' shortcomings, such as his sometimes strict temperament and his deep, private fears of inadequacy, despite the tremendous positivity and kindness he exhibited. "Won't You Be My Neighbor?" has all the heart that Rogers had and plants a seed of hope in these troubled times that his legacy yet lives on in others. This excellent documentary succeeds, as Rogers did, at speaking to the child that is still inside all of us and telling us we are loved just as we are.
The Shape of Water
(2017)
A breath of fresh water
23 December 2017
Warning: Spoilers
Few filmmakers have the ability to present a story in a way that is unmistakably unique these days, in the swirling miasma of cookie-cutter movies that are exhaustingly predictable and rely heavily on pyrotechnics and CGI to make up for the lack of heart. But Guillermo del Toro fills The Shape of Water to the brim with a genuineness rarely seen.
Set in 1960's Baltimore, this story is a bit Romeo and Juliet, a bit Beauty and the Beast, except in this instance the beast is the one that appears outwardly normal. A mute custodian with a case of curiosity killed the cat syndrome (Sally Hawkins) becomes entangled in a tug-of-war between American and Soviet government powers after she discovers a creature being held hostage by the facility she works at, and her endlessly kind heart won't allow herself to let them use it as their pawn. The villain of this story, Strickland (Michael Shannon), proves to be one of the most complex characters. He serves up no shortage of the aforementioned beastly qualities, projecting his frustrations of his failings as a man and subsequent own self-hatred on everyone around him in a variety of ways. Torture, intimidation, emotional manipulation, racism, verbal and physical abuse and sexual harrassment are all employed by him, even a lack of basic hygiene is displayed as he fails to wash his hands after urinating in the first scene the audience is properly introduced to him. Despite all this, del Toro and Shannon still manage to make it clear that while this character wields a considerable amount of power, we get quite clearly the feeling that he is also powerless - a sad, joyless man with a lack of connection to his family and a lack of any kind of fulfilling relationships in his life, grasping at threads of power in the hopes of catching one and somehow finding the innate sense of pride and worth he has always been searching for. People respond to him out of fear rather than out of respect. He is a puppet of the system, under the thumb of greater authority and he knows it. It fills him with a rage that he takes out on anyone who either earns - or doesn't earn - his ire.
Elisa (Hawkins) shines with a genuinely heartfelt performance. Meek and often terrified of the brutality she sees around her, but also tough in her own way, the audience will find it difficult not to like her. Entirely without verbal dialogue, Hawkins is successful in portraying the kind spirit, gutsy strength and quirky personality of Elisa. Likewise, her screen partner The Asset (Doug Jones) delivers a very convincing portrayal of a creature that's not quite man and not quite animal. He moves in a unique way that is signature to Jones but yet has a quality (and statuesque figure) also reminiscent of the god that some of the film's characters wonder if he is. Zelda (Octavia Spencer) and Giles (Richard Jenkins) are the perfect kind of kindred spirits, with Giles being a realist and Zelda being motherly at the appropriate times that Elisa needs them to provide that for her. Like her, they share qualities that render them "imperfect" in the society of the time; Zelda is a woman of colour, Giles is gay, and all of them have a greater than average sense of empathy.
Particularly and curiously impressive is the way opposing elements in this film fit so perfectly together - drama, horror, comedy and even whimsy-filled musical routines all somehow work in harmony with each other in a way that feels very natural. The fairy-tale elements are balanced carefully with the more adult aspects of the story, so while there are certainly some tear-jerking and frightening moments, viewers still leave at the end with a feeling of magic and inspiration. Plausible and implausible scenes and elements work so well together that the audience can easily accept the story for what it is.
The only real criticism to put forth is that the development of the relationship between Elisa and The Asset is patchy - we see snippets of their admiration for each other growing, but then it seems to take a leap between friendship and deeper intimacy that the audience feels a bit left out on. The film follows Strickland and Giles' characters more closely as far as interpersonal relationships go, something that the film could have used more of for greater development of Elisa's character and deeper understanding from the audience of how much she has really suffered. The character of The Asset is never truly developed either - however, this may be very intentional as del Toro stated in previous interviews that the creature represents something different to everyone. Perhaps it is up to the viewer to decide what he represents for them. In some ways, this renders the character an eternal victim - always being used for something by someone. For governments, a weapon; for Giles, an artistic muse; for Strickland, a punching bag to offload his anger onto; and for Elisa, a recipient for her love and intimate desires. Although the creature reciprocates her affections, we can't shake the fact that he never really initiates them, just follows suit, leading one to wonder what decisions he would make in that matter (or any) if he had the freedom to do so.
With all its complex beauty and freshness, The Shape of Water is a must-see for those wishing to experience a film that's truly new, and to feel the true soul that comes forth in it.
Set in 1960's Baltimore, this story is a bit Romeo and Juliet, a bit Beauty and the Beast, except in this instance the beast is the one that appears outwardly normal. A mute custodian with a case of curiosity killed the cat syndrome (Sally Hawkins) becomes entangled in a tug-of-war between American and Soviet government powers after she discovers a creature being held hostage by the facility she works at, and her endlessly kind heart won't allow herself to let them use it as their pawn. The villain of this story, Strickland (Michael Shannon), proves to be one of the most complex characters. He serves up no shortage of the aforementioned beastly qualities, projecting his frustrations of his failings as a man and subsequent own self-hatred on everyone around him in a variety of ways. Torture, intimidation, emotional manipulation, racism, verbal and physical abuse and sexual harrassment are all employed by him, even a lack of basic hygiene is displayed as he fails to wash his hands after urinating in the first scene the audience is properly introduced to him. Despite all this, del Toro and Shannon still manage to make it clear that while this character wields a considerable amount of power, we get quite clearly the feeling that he is also powerless - a sad, joyless man with a lack of connection to his family and a lack of any kind of fulfilling relationships in his life, grasping at threads of power in the hopes of catching one and somehow finding the innate sense of pride and worth he has always been searching for. People respond to him out of fear rather than out of respect. He is a puppet of the system, under the thumb of greater authority and he knows it. It fills him with a rage that he takes out on anyone who either earns - or doesn't earn - his ire.
Elisa (Hawkins) shines with a genuinely heartfelt performance. Meek and often terrified of the brutality she sees around her, but also tough in her own way, the audience will find it difficult not to like her. Entirely without verbal dialogue, Hawkins is successful in portraying the kind spirit, gutsy strength and quirky personality of Elisa. Likewise, her screen partner The Asset (Doug Jones) delivers a very convincing portrayal of a creature that's not quite man and not quite animal. He moves in a unique way that is signature to Jones but yet has a quality (and statuesque figure) also reminiscent of the god that some of the film's characters wonder if he is. Zelda (Octavia Spencer) and Giles (Richard Jenkins) are the perfect kind of kindred spirits, with Giles being a realist and Zelda being motherly at the appropriate times that Elisa needs them to provide that for her. Like her, they share qualities that render them "imperfect" in the society of the time; Zelda is a woman of colour, Giles is gay, and all of them have a greater than average sense of empathy.
Particularly and curiously impressive is the way opposing elements in this film fit so perfectly together - drama, horror, comedy and even whimsy-filled musical routines all somehow work in harmony with each other in a way that feels very natural. The fairy-tale elements are balanced carefully with the more adult aspects of the story, so while there are certainly some tear-jerking and frightening moments, viewers still leave at the end with a feeling of magic and inspiration. Plausible and implausible scenes and elements work so well together that the audience can easily accept the story for what it is.
The only real criticism to put forth is that the development of the relationship between Elisa and The Asset is patchy - we see snippets of their admiration for each other growing, but then it seems to take a leap between friendship and deeper intimacy that the audience feels a bit left out on. The film follows Strickland and Giles' characters more closely as far as interpersonal relationships go, something that the film could have used more of for greater development of Elisa's character and deeper understanding from the audience of how much she has really suffered. The character of The Asset is never truly developed either - however, this may be very intentional as del Toro stated in previous interviews that the creature represents something different to everyone. Perhaps it is up to the viewer to decide what he represents for them. In some ways, this renders the character an eternal victim - always being used for something by someone. For governments, a weapon; for Giles, an artistic muse; for Strickland, a punching bag to offload his anger onto; and for Elisa, a recipient for her love and intimate desires. Although the creature reciprocates her affections, we can't shake the fact that he never really initiates them, just follows suit, leading one to wonder what decisions he would make in that matter (or any) if he had the freedom to do so.
With all its complex beauty and freshness, The Shape of Water is a must-see for those wishing to experience a film that's truly new, and to feel the true soul that comes forth in it.
Blade Runner 2049
(2017)
Captures the spirit of the original
7 October 2017
Warning: Spoilers
To make a continuation of a film 35 years after the release of the original, and be able to capture the atmosphere and feeling it imparted is a monumental task. However, Blade Runner 2049 achieves and excels at this.
The audience becomes acquainted with K, a replicant officer who, in his routine job of eliminating old model replicants, stumbles upon a discovery of an evolution of sorts that these older replicants have achieved without the guidance of a human hand. This touches off a series of events that have K deeply questioning both the ethical issues in his line of work and the nature of his own existence.
Ryan Gosling delivers perhaps his best performance to date, drawing the viewer into the emotions experienced by K without great exaggeration on his part. He reaches the audience with what is being said in his eyes; a description of what he's feeling is not needed, and neither is a wide assortment of facial expressions. His subtlety is poignantly imparted.
The only area where I feel this film falls a bit short, is we don't seem to feel the same desperation the replicants have in the original Blade Runner. In 2049, replicants are the next best thing to human; in some ways, better. While still subject to discrimination in society, they aren't seen as the same kind of freaks as they are in Blade Runner. Not so much in hiding and more out among biological humans, they hold jobs from government to blue collar positions, and proliferate the underbelly as well as prostitutes. Their emotions are clear and natural. This is a contrast to Blade Runner, where we are shown that replicants can feel emotion, but are lacking in the ability to express and name what they are feeling. This quality is what gave us a deeper connection to the replicants and a desire to want to connect to their hearts. This is missing from 2049. We do feel some measure of pity still for them, but there is a depth that is missing.
In the realm of audio and visuals, 2049 nails Blade Runner's feel with a pinpoint accuracy. Even though modern equipment gives clarity to visuals that wasn't possible in 1982, the production team realized this and managed to achieve the gritty, dirty feeling left with us in Blade Runner. Even behind the clinical walls of the laboratories and elite businesses, we can't escape the tinge of decay and filth from violence of times gone by. There are more than a few nods to specific visuals and sounds from Blade Runner that will not go unnoticed. The atmospheres succeed in the feelings they are meant to leave us with, especially the final fight scene. We don't get the tense but exciting chase scene that Blade Runner gave us, the one that still affords is a measure of comfort in our seats; 2049's final fight is highly uncomfortable and claustrophobic, made more intense if seen in 3D. As an aside, I feel this was the only scene the 3D really enhanced - the amount it helps with immersion in the rest of the film is minimal.
Overall, a fan of Blade Runner will not feel let down by 2049. It is clear the cast and crew had a love for it that drove their dedication to creating not just a sequel, but a homage.
The audience becomes acquainted with K, a replicant officer who, in his routine job of eliminating old model replicants, stumbles upon a discovery of an evolution of sorts that these older replicants have achieved without the guidance of a human hand. This touches off a series of events that have K deeply questioning both the ethical issues in his line of work and the nature of his own existence.
Ryan Gosling delivers perhaps his best performance to date, drawing the viewer into the emotions experienced by K without great exaggeration on his part. He reaches the audience with what is being said in his eyes; a description of what he's feeling is not needed, and neither is a wide assortment of facial expressions. His subtlety is poignantly imparted.
The only area where I feel this film falls a bit short, is we don't seem to feel the same desperation the replicants have in the original Blade Runner. In 2049, replicants are the next best thing to human; in some ways, better. While still subject to discrimination in society, they aren't seen as the same kind of freaks as they are in Blade Runner. Not so much in hiding and more out among biological humans, they hold jobs from government to blue collar positions, and proliferate the underbelly as well as prostitutes. Their emotions are clear and natural. This is a contrast to Blade Runner, where we are shown that replicants can feel emotion, but are lacking in the ability to express and name what they are feeling. This quality is what gave us a deeper connection to the replicants and a desire to want to connect to their hearts. This is missing from 2049. We do feel some measure of pity still for them, but there is a depth that is missing.
In the realm of audio and visuals, 2049 nails Blade Runner's feel with a pinpoint accuracy. Even though modern equipment gives clarity to visuals that wasn't possible in 1982, the production team realized this and managed to achieve the gritty, dirty feeling left with us in Blade Runner. Even behind the clinical walls of the laboratories and elite businesses, we can't escape the tinge of decay and filth from violence of times gone by. There are more than a few nods to specific visuals and sounds from Blade Runner that will not go unnoticed. The atmospheres succeed in the feelings they are meant to leave us with, especially the final fight scene. We don't get the tense but exciting chase scene that Blade Runner gave us, the one that still affords is a measure of comfort in our seats; 2049's final fight is highly uncomfortable and claustrophobic, made more intense if seen in 3D. As an aside, I feel this was the only scene the 3D really enhanced - the amount it helps with immersion in the rest of the film is minimal.
Overall, a fan of Blade Runner will not feel let down by 2049. It is clear the cast and crew had a love for it that drove their dedication to creating not just a sequel, but a homage.
Needs more bird, less man
16 November 2014
Warning: Spoilers
As a fan of Michael Keaton almost my entire life, I do have to say this film did not let me down due to him. He has always been a great character actor, and Birdman proves that he's still got that. Overall, I enjoyed the film; Galifinakis was the perfect neurotic director, Norton was an impeccable asshole, the jarring, unconventional musical score and shaky camera perfectly mirrored the scattered chaotic personal and professional lives of the characters.
Where I felt some disappointment was the woeful neglect of Riggan's Birdman psyche. I would have loved to see some backstory on how this character became so schizophrenically entrenched in the mind of Riggan. The audience could have used the break; after about an hour of endless theatre scenes, I was becoming a bit restless and thinking it would be nice if the plot took a detour. More exploration into Birdman would have also given a chance to showcase the much-hyped, incredible suit designed by the unmatched Spectral Motion. I think the full suit was seen on screen a total of twice during the course of the film.
Overall, Birdman was a moderately funny, clever and avant-garde film that could have been even an outstanding one with even a little more exploration into the mysterious costumed hero of Riggan's past
Where I felt some disappointment was the woeful neglect of Riggan's Birdman psyche. I would have loved to see some backstory on how this character became so schizophrenically entrenched in the mind of Riggan. The audience could have used the break; after about an hour of endless theatre scenes, I was becoming a bit restless and thinking it would be nice if the plot took a detour. More exploration into Birdman would have also given a chance to showcase the much-hyped, incredible suit designed by the unmatched Spectral Motion. I think the full suit was seen on screen a total of twice during the course of the film.
Overall, Birdman was a moderately funny, clever and avant-garde film that could have been even an outstanding one with even a little more exploration into the mysterious costumed hero of Riggan's past
Wolfcop
(2014)
A spoof that accomplishes its goal
1 July 2014
Warning: Spoilers
Anyone who goes into a film called "Wolfcop" and comes out angry that it wasn't a deep and serious film is completely misunderstanding the point of this movie. It's meant to be a spoof on werewolf films and the horror/action genre; it's meant to be silly and fun. I went into the theatre expecting a silly, fun, purposely "bad" movie and came out satisfied.
Wolfcop exceeded my expectations in some respects, mainly in some of the special effects. While many of the gory prosthetics weren't very convincing, the scene of the werewolf's first transformation was truly gruesome and shocking at the beginning. Some of the jokes and puns were funnier than expected and I laughed more than I thought I would during the course of the movie.
Where I felt the movie fell short was in the development of the villains. They were shapeshifters but no real information was given on their true form, so the film felt somewhat unfinished in that respect.
Wolfcop is not going to win any Oscars, but its fun and campy nature is sure to attract a cult following.
Wolfcop exceeded my expectations in some respects, mainly in some of the special effects. While many of the gory prosthetics weren't very convincing, the scene of the werewolf's first transformation was truly gruesome and shocking at the beginning. Some of the jokes and puns were funnier than expected and I laughed more than I thought I would during the course of the movie.
Where I felt the movie fell short was in the development of the villains. They were shapeshifters but no real information was given on their true form, so the film felt somewhat unfinished in that respect.
Wolfcop is not going to win any Oscars, but its fun and campy nature is sure to attract a cult following.
The Man Who Cried
(2000)
Great music, but lacks passion
2 July 2013
The Man Who Cried has one of the most grand musical scores I've ever heard in a film, and this is coming from someone who is not a fan of opera. Each piece is deep and moving and adds richness to the film. Unfortunately, the cast does not quite deliver as well. Ricci gives a valiant performance as the heroine; however, her accent slips noticeably many times, detracting from the authenticity. The filmmaker would have done well to go with a British actress instead.
Depp's talent as a character actor was wasted in this film. As a love interest he was rather cold and aloof; there was a distinct lack of chemistry between him and Ricci. The problem wasn't that his character had relatively few lines, but that combined with few actions aside from some equestrian stunts led for a wooden performance from Depp, through no fault of his own. Unlike the wide range of body language he was allowed in Benny and Joon, this uninspired role gave him no chance to shine.
In contrast, Turturro does an excellent job of portraying the talented, but arrogant and snobby Dante. His singing voice (I assume it was not dubbed)is captivating and unparralleled. Likewise, Blanchett delivered a believable performance as the likable but misguided Lola, and engages the audience in alternately being disappointed in and feeling sorry for her. Her Russian accent was convincing and felt natural.
Overall I quite enjoyed this film, I just wish the acting had been as rich as the music.
Depp's talent as a character actor was wasted in this film. As a love interest he was rather cold and aloof; there was a distinct lack of chemistry between him and Ricci. The problem wasn't that his character had relatively few lines, but that combined with few actions aside from some equestrian stunts led for a wooden performance from Depp, through no fault of his own. Unlike the wide range of body language he was allowed in Benny and Joon, this uninspired role gave him no chance to shine.
In contrast, Turturro does an excellent job of portraying the talented, but arrogant and snobby Dante. His singing voice (I assume it was not dubbed)is captivating and unparralleled. Likewise, Blanchett delivered a believable performance as the likable but misguided Lola, and engages the audience in alternately being disappointed in and feeling sorry for her. Her Russian accent was convincing and felt natural.
Overall I quite enjoyed this film, I just wish the acting had been as rich as the music.
I Think We're Alone Now
(2008)
A strange pair indeed
16 January 2013
"Biggest fans" can often be innocuous, but many times they cross the threshold from adoring to creepy. The latter is how I would best describe the two fans in this film.
The documentary outlines the quest of both these fans to meet Tiffany and attend one of her concerts. The film itself is quite fair in their portrayal of the fans, allowing themselves to share details of their lives and not setting the stage to brand them as stalkers. Through the fans' own words and actions, they set that stage for themselves. Jeff is the seemingly more harmless of the two, in that he is on the autism spectrum, and seems more to be living in his own dream world than present a safety risk to Tiffany. Kelly, however, shows signs of possible mental illness, referenced by jealously exhibited towards Jeff, and several things said during the course of the film which most people would consider at least slightly unnerving. I would be worried for Tiffany's safety in the lone company of Kelly.
I came away from this film with a feeling of uneasiness and a new understanding for stars who have to endure stalkers.
The documentary outlines the quest of both these fans to meet Tiffany and attend one of her concerts. The film itself is quite fair in their portrayal of the fans, allowing themselves to share details of their lives and not setting the stage to brand them as stalkers. Through the fans' own words and actions, they set that stage for themselves. Jeff is the seemingly more harmless of the two, in that he is on the autism spectrum, and seems more to be living in his own dream world than present a safety risk to Tiffany. Kelly, however, shows signs of possible mental illness, referenced by jealously exhibited towards Jeff, and several things said during the course of the film which most people would consider at least slightly unnerving. I would be worried for Tiffany's safety in the lone company of Kelly.
I came away from this film with a feeling of uneasiness and a new understanding for stars who have to endure stalkers.
Paparazzi Princess: The Paris Hilton Story
(2008 TV Movie)
Painful to watch
30 December 2012
Having just gotten over a virus, I was beginning to feel better until I happened to catch this film on TV one night. Each minute of the film made me feel more ill, yet I kept watching, to see if the whole thing was as bad as the first few minutes of the film. It was.
Paris Hilton is portrayed as a shining star who is fawned over by her throngs of adoring fans; no one has to wonder whether or not she had a hand in the production of this masterpiece. Throughout it she shows herself as a misunderstood innocent victim surrounded by people who are placed in one of four categories: friends, fans, bullying authority figures, or the dregs of society. For every consequence that occurs as a result of her poor choices in life, the film struggles to frame as a horrible unfair misdeed against Hilton, the delicate misunderstood princess. However, this film is so poorly directed and acted that this fails, and any viewer with a functioning moral compass and brain instead finds themselves swooping between feelings of incredulous disgust and uncontrollable laughter.
Every actor in the film seems to be feeling the same way. The vast majority of acting is stiff, forced, insincere. I felt embarrassed for these actors in seeing them struggling through scenes, unable to show expression.
The music throughout the movie was fitting, in the sense that it matched the dismal acting, each track sounding not unlike the melody produced by pushing the demo button on a Casio keyboard.
As I watched, I could feel the edges of my IQ crumbling, and was afraid that I might come out significantly stupider if I made it through the entire movie. Thankfully, the effect was only temporary, but beware if you haven't seen it. This film is an intellectual vampire.
This is hands-down, without a doubt, the worst film I have ever seen.
Paris Hilton is portrayed as a shining star who is fawned over by her throngs of adoring fans; no one has to wonder whether or not she had a hand in the production of this masterpiece. Throughout it she shows herself as a misunderstood innocent victim surrounded by people who are placed in one of four categories: friends, fans, bullying authority figures, or the dregs of society. For every consequence that occurs as a result of her poor choices in life, the film struggles to frame as a horrible unfair misdeed against Hilton, the delicate misunderstood princess. However, this film is so poorly directed and acted that this fails, and any viewer with a functioning moral compass and brain instead finds themselves swooping between feelings of incredulous disgust and uncontrollable laughter.
Every actor in the film seems to be feeling the same way. The vast majority of acting is stiff, forced, insincere. I felt embarrassed for these actors in seeing them struggling through scenes, unable to show expression.
The music throughout the movie was fitting, in the sense that it matched the dismal acting, each track sounding not unlike the melody produced by pushing the demo button on a Casio keyboard.
As I watched, I could feel the edges of my IQ crumbling, and was afraid that I might come out significantly stupider if I made it through the entire movie. Thankfully, the effect was only temporary, but beware if you haven't seen it. This film is an intellectual vampire.
This is hands-down, without a doubt, the worst film I have ever seen.
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