Thursday 24 December 2009
Avatar ... Lol Cats : The movie?
Click to see a pithy summation of Avatar. No spoilers of any note but it is really funny
Wednesday 23 December 2009
Trailer of the day : IronMan 2
Chedle, Johansson, Rourke, Paltrow, Rockwell, Jackson...it can only be IronMan 2. And judging by the witty and action packed trailer it is going to be everybit as entertaining as the first installment.
Oh and WAR MACHINE!
Oh and WAR MACHINE!
Sunday 20 December 2009
Brittany Murphy has died.
Actress Brittany Murphy has died at the age of 32, which is very sad news as I was always a fan of hers and thought her massively under-rated. Variety has the report.
I recommend David and Lisa, 8 Mile, Girl, Interrupted and of course Clueless as her best performances but she was always watchable.
Sad news indeed.
Tuesday 15 December 2009
Trailer of the day: Halo : Reach
The Halo saga gets in on some of that prequel action as it takes us to the fall of Reach.
Saturday 12 December 2009
Tuesday 8 December 2009
When the ads are the entertainment.
I was going to write some stuff about 'ol Quentin and the Basterds but I admittedly got distracted by of all things watching adverts on youtube. I don't know why I started looking but I did. Anyway below I present a few of my favourite adverts of the last few years.
First up this somewhat disturbing one for Playstation
Classic Guinness advertising
A grand sing-a-long-a-advert from Honda
Followed by the ingenious cog also from Honda
Next up some of the best cinematography I've seen not in a film for Sony
A classic Levi's moment
And to finish one of my all time favourite, well pieces of film let alone advert. It's Nike's 'The Cage' which I even hear the sport phobic amongst us think is top notch.
First up this somewhat disturbing one for Playstation
Classic Guinness advertising
A grand sing-a-long-a-advert from Honda
Followed by the ingenious cog also from Honda
Next up some of the best cinematography I've seen not in a film for Sony
A classic Levi's moment
And to finish one of my all time favourite, well pieces of film let alone advert. It's Nike's 'The Cage' which I even hear the sport phobic amongst us think is top notch.
Sunday 6 December 2009
Mark Kermode on : The Dark Knight
I don't always agree with but he his always interesting to listen to. On this one I'm pretty much agree with all he says on Nolan's Dark Knight.
Trailer Of The Day : Up In The Air
..and the Oscar baiting films start appearing. Tho' I've only heard positive things about this, it has a strong cast and looks like the kind of thing I actually really take to.
Thursday 3 December 2009
Things I have been watching : True Blood.
American Beauty writer and creator of Six Feet Under returns to our TV screens (once again with HBO) with True Blood, which of all things is a series about vampires. Not one many saw coming from Mr Ball.
It’s based on the series of novels by Charlaine Harris, and revolves around the life of the bizarrely named Sookie Stackhouse. Sookie is a waitress on a restaurant/bar in the deep south town Bon Temps, Louisiana, she lives with her grandmother after the death of her parents and dutifully comes to the aid of her firebrand best friend Tara as well as helping to keep her irresponsible brother out of as much trouble as possible.
There however two important things about Sookie and her world. Vampires have recently declared their existence to the world (after ‘True Blood’ synthetic goes on sale, hence the show’s name) and she can read people’s minds. Into her world comes Bill Compton, a 173 year vampire who is intent on ‘mainstreaming’ and high romance and trouble soon follow as a series of murders hits town across a sweltering summer.
The series pretty much takes the same sex, drugs and death cocktail of Six Feet Under and throws vampires into the mix. It is something of a mash up of Buffy and the Fishers. Twilight for HBO basically. But with Alan Ball calling the shots and guiding the project it does what does very smartly indeed and retains a dark strain humour running throughout.
Anna Paquin’s Sookie is someone you both root for and want to yell at for being so pig headed and well, shrewish quite often. Stephen Moyer’s Bill is the classic brooding Darcy type vampire with a tortured past who just wants to be loved but he does a good job of injecting a bit of humour into the role and is excellent when asked to show Bill as the man cut adrift from his own time.
Elsewhere there is a strong crew of backup characters,Rutina Wesley‘s Tara struggles with her drunken mother and the damage done to her as child and lashes out at everyone in sight,Sam Trammell‘s Sam is the safe, sensible manager of the bar (though he has his own secrets), Nelsan Ellis‘ Lafayette is outrageous as the town’s own drug dealer, pornographer, escort and short order cook. And of course Sookie’s brother Jason (Ryan Kwanten)who is kind at heart, dumb as a post and always after the ladies.
Underneath this is a role call of town locals, bar regulars and wearied Sheriffs and deputies. All excellently played with a special mention for Iraq war vet Kevin.
It has to be said like many shows at is at it’s best when it’s creator is directly involved. The first episodes out of the block are written and directed by Ball himself and show both imagination and flair in script and on screen. These episodes have a very filmic look (normally a TV series has such tight timescales and budgets there is little scope for much extravagance in camera use) and an early transition as Sookie wakes is eye catchingly done. And they enjoy routinely subverting audience expectations, note the very opening sequence for an example.
That’s not to say the show is poor when Ball steps back, it’s still good stuff, it’s just noticeable how much of a difference his presence makes. Once the meat and bones of the piece is set up we basically have the romance of Bill and Sookie under-layed by a murder mystery and a good few tangents as follow the likes of Jason getting himself into trouble.
And it is true that the murder angle does help keep the show rolling on and is always there to jerk things up a bit when it starts getting bogged down in the lore of the world or side stories of the various town folk.
As it’s not as good as Six Feet Under I feel (but that was a grower, so maybe this is too) but it is solid stuff and entertaining stuff (and being HBO often really quite blue). I think at present none of the characters have quite risen beyond their archetypes to feel like real people but there are signs if people being fleshed and is probably somewhat down to the number of characters involved. (Six Feet Under very much concentrated on it’s central four and then really fleshed out everyone else once we knew them).
Plus the need to lay groundwork for the second series whilst pitching up a couple of interesting things did seem to require at least one character to make a choice that seems, well out of character and this came in the second half of the finale where the town’s killer is revealed somewhat out of the blue. Although once known Ball, back on directing duties, sees to it that is beautifully played in performance and in camera.
I know this now probably sounds a bit negative but I am looking forward to seeing more and there is plenty of potential in both the characters and the fictional world created (the Vampire rights movement for example plays out here mostly in the background but you suspect parts of it will come to the fore eventually).
But you do wonder if a certain Mr Whedon ever thinks he should pitch to HBO.
Wednesday 2 December 2009
Trailer Of The Day : The Lovely Bones
Jackson returns to the world of human drama that he did so well with Heavenly Creatures but with scope to still invoke the sweeping spectacle in the dreamscape of limbo. This could either but great or end up far to overblown and stray into TV movie of the week territory.
Monday 30 November 2009
Oh so Modern
Well I'm late to the party on this one but I think it's time to talk a little about the behemoth that is Call Of Duty : Modern Warfare 2.
Now it has to be said the guys building this game have clearly spent a lot of time studying the films of Micheal Bay and Tony Scott since the game's single player campaign replicates that kind of brand of ADD wham, bang, wallop action.
It bounds breathlessly from set to set piece (snowmobile chases, helicopter crashes, fights in the White House, prison breaks, space stations!) taking little time to lay down the story or context of what is going on in.
Mind when you do think about for a second or two the story (of as far as I can tell what the story is) makes about as much sense as using a jam jar to bail out Cumbria. Seriously Bad Boys II actually makes more sense.
In amongst all of this of course is the notorious 'No Russian' airport terminal level of terrorism. Now, I can see what developers Infinity Ward are trying to achieve here in terms of illustrating the nature of terrorism but they just don't pull it off and it comes over rather crassly. And for my money goes on for far too long.
It's certainly fair to say that nothing matches the tension and artistry of the previous game's Ghillies In The Mist or Aftermath levels. The jail break of 'Gulag' comes closet to really reacreating that sense of excitment in a time place that feels vivdly real plus it is like playing through 'The Rock' complete with shower room gun fights. Those two levels in the first game made it the first video game where I genuinely didn't what to spoil those levels for other people
Don't get me wrong the game is still thrilling to play with action as fast and compelling as before but for it just lacks that something that it makes it special, its just not as a cohesive experience as the first game's campaign.
But the online play has taken a number of steps forwards with more options than ever before to customise your load out and rewards. Each match no is full of dynamic changing twists and turns with Harriers, Sentry Guns, Predator missiles, Air Drops and even Tactical Nukes unleashed in the name of besting the other team.
It is as addictive as ever, not since Counter Strike's heydey have I had so much fun running around and shooting at total strangers.
So it's a blockbuster (taking in over £48m in it's first two days on release) and is a good, good game. But it's not game of the year, not this year. The likes of Batman : Arkham Asylum, Mirror's Edge, Empire : Total War lead the way and I've only just started it but it seems Assassin's Creed II is going to be everything the first game promised it might be one day - more on that soon but check out the trailer below...
Now it has to be said the guys building this game have clearly spent a lot of time studying the films of Micheal Bay and Tony Scott since the game's single player campaign replicates that kind of brand of ADD wham, bang, wallop action.
It bounds breathlessly from set to set piece (snowmobile chases, helicopter crashes, fights in the White House, prison breaks, space stations!) taking little time to lay down the story or context of what is going on in.
Mind when you do think about for a second or two the story (of as far as I can tell what the story is) makes about as much sense as using a jam jar to bail out Cumbria. Seriously Bad Boys II actually makes more sense.
In amongst all of this of course is the notorious 'No Russian' airport terminal level of terrorism. Now, I can see what developers Infinity Ward are trying to achieve here in terms of illustrating the nature of terrorism but they just don't pull it off and it comes over rather crassly. And for my money goes on for far too long.
It's certainly fair to say that nothing matches the tension and artistry of the previous game's Ghillies In The Mist or Aftermath levels. The jail break of 'Gulag' comes closet to really reacreating that sense of excitment in a time place that feels vivdly real plus it is like playing through 'The Rock' complete with shower room gun fights. Those two levels in the first game made it the first video game where I genuinely didn't what to spoil those levels for other people
Don't get me wrong the game is still thrilling to play with action as fast and compelling as before but for it just lacks that something that it makes it special, its just not as a cohesive experience as the first game's campaign.
But the online play has taken a number of steps forwards with more options than ever before to customise your load out and rewards. Each match no is full of dynamic changing twists and turns with Harriers, Sentry Guns, Predator missiles, Air Drops and even Tactical Nukes unleashed in the name of besting the other team.
It is as addictive as ever, not since Counter Strike's heydey have I had so much fun running around and shooting at total strangers.
So it's a blockbuster (taking in over £48m in it's first two days on release) and is a good, good game. But it's not game of the year, not this year. The likes of Batman : Arkham Asylum, Mirror's Edge, Empire : Total War lead the way and I've only just started it but it seems Assassin's Creed II is going to be everything the first game promised it might be one day - more on that soon but check out the trailer below...
Sunday 29 November 2009
Thursday 26 November 2009
Trailer of the day : It's All About Love
It makes little sense as it takes in randomly dying people, a sweeping romance, mysterious identities, random water freezes and loss of gravity in Africa but it's a film that still somehow conveys more genuine emotion than many others and the final third is actually quite moving amongst all the bizarre goings on.
Many will hate but I think it's a charming curio of a film.
Empire Records : A film to listen to
Empire Records follows a day in the life of the staff at the titular music store as the store's closure looms. It's classic teen fair (basically The Breakfast Club in a shop) as the characters make decisions about their future, wrestle with finding a place in life and look to the future whilst Joe the fatherly manager tries to keep everything under control.
Featuring a young cast of up and comers with Liv Tyler, Robin Tunney, Rory Cochrane and Renée Zellweger a year before her break out role in Jerry Maguire it's a film that bounces along from farce to TV life drama of the week fare.
What sets the film apart though (beyond the curiosity factor of the cast in before they were famous roles) is the films soundtrack. The is barely a scene or sequence in the film that isn't played out to the backing of choice picks from the American alt-rock scene. And all the tracks used suit the soundtrack without question as a cultural item that is so very much of it's time and place
In fact in places the films is almost a music video in and of itself. The tone of the picture is uneven as it tires to decide what it wants to be but individual moments come together excellently although it is a shame it doesn't manage to sustain the verve of the opening and early sections, it also fair to say that it is fairly easy to see where each of the character's arcs will take them.
So it's not vastly original and doesn't really hold many surprises but check it out at least for the soundtrack and the very least you'll see Renee prancing around in nothing but an apron.
Featuring a young cast of up and comers with Liv Tyler, Robin Tunney, Rory Cochrane and Renée Zellweger a year before her break out role in Jerry Maguire it's a film that bounces along from farce to TV life drama of the week fare.
What sets the film apart though (beyond the curiosity factor of the cast in before they were famous roles) is the films soundtrack. The is barely a scene or sequence in the film that isn't played out to the backing of choice picks from the American alt-rock scene. And all the tracks used suit the soundtrack without question as a cultural item that is so very much of it's time and place
In fact in places the films is almost a music video in and of itself. The tone of the picture is uneven as it tires to decide what it wants to be but individual moments come together excellently although it is a shame it doesn't manage to sustain the verve of the opening and early sections, it also fair to say that it is fairly easy to see where each of the character's arcs will take them.
So it's not vastly original and doesn't really hold many surprises but check it out at least for the soundtrack and the very least you'll see Renee prancing around in nothing but an apron.
Sunday 22 November 2009
Defy Gravity
I can't recommend Defying Gravity enough. It's unlike any other space set sci-fi show on TV at the moment. Much close to the likes of Rendezvous with Rama than Star Trek.
The basic premise is we follow the eight strong crew of the Antares on a six year journey around the solar system and the members of the ground crew who support them, meanwhile we flash back to the personal journey of the crew as they go through the selection and training process to be part of the mission. And in the background there is a mysterious alien presence known only as Beta.
Primarily it is about the characters rather than being driven by plots featuring disaster the week. The most recognisable face is Ron Livingston (Band Of Brothers) as Maddox Donner who provides a voice over at the start and end of each episode.
The characters feel like real people and the performances are consistently excellent and the building mythos of the show is fascinating not to mention the interesting near future world that has been constructed.
It's hard to describe the series and convey the feel and tone of it. But I do suggest people check it out, it may not be to all tastes but its a fine grown up character driven drama that happens to be set in space.
The basic premise is we follow the eight strong crew of the Antares on a six year journey around the solar system and the members of the ground crew who support them, meanwhile we flash back to the personal journey of the crew as they go through the selection and training process to be part of the mission. And in the background there is a mysterious alien presence known only as Beta.
Primarily it is about the characters rather than being driven by plots featuring disaster the week. The most recognisable face is Ron Livingston (Band Of Brothers) as Maddox Donner who provides a voice over at the start and end of each episode.
The characters feel like real people and the performances are consistently excellent and the building mythos of the show is fascinating not to mention the interesting near future world that has been constructed.
It's hard to describe the series and convey the feel and tone of it. But I do suggest people check it out, it may not be to all tastes but its a fine grown up character driven drama that happens to be set in space.
Terminator : Salvation - I quite enjoy it
Terminator Salvation is loud, very loud (the sound track is muscular to say the least but it does add to the experience) and a lot of things explode, crash, smash and wheel out of control.
The film has been on the receiving end of a lot of criticism but I have to say I enjoy it. Ok, yes the plot does not make an awful lot of sense if you think about too hard (how does Skynet know who Kyle is?) but as a sci-fi action film the enterprise is carried off with a lot of style.
Credit has go to McG (that is a stupid name it has to be said) and the rest of the team for using practical, physical effects whenever possible, given a weighty and believable feel to the terminators that feature. They feel like threat, especially the reborn T-800 that enters the action during the final scenes. It truly seems like an unstoppable killer.
But if you look amongst the action (and some of the action is riveting such as the exploding garage to aerial dogfight via a truck chase sequence) there are some interesting things going on in the narrative.
For example Marcus takes the mantle of the story as the hero with John more of a supporting character but interestingly as far as we know he is a man who is a murdered. We don't get told he was wrongly imprisoned or wrongly accused, as far as we know this is a man who killed his brother and two cops. And that's it. He's a killer.
And although they don't quite make sense but the alterations to the timeline are interesting, this is not the future that John was expecting, Marcus is something new and not predicted. Thus we as the audience also can't safely predict where the story is heading.
Salvation for me was the most enjoyable of the summer's big releases. More of a roller coaster ride than the likes of Trek and it with a plot that I actually did not manage to totally second guess within twenty minutes.
I may be one of few hoping for a further installment but if that is to be the last Terminator film we see I'm happy enough.
But of course I enjoy Terminator 3 : Rise Of The Machines too!
The film has been on the receiving end of a lot of criticism but I have to say I enjoy it. Ok, yes the plot does not make an awful lot of sense if you think about too hard (how does Skynet know who Kyle is?) but as a sci-fi action film the enterprise is carried off with a lot of style.
Credit has go to McG (that is a stupid name it has to be said) and the rest of the team for using practical, physical effects whenever possible, given a weighty and believable feel to the terminators that feature. They feel like threat, especially the reborn T-800 that enters the action during the final scenes. It truly seems like an unstoppable killer.
But if you look amongst the action (and some of the action is riveting such as the exploding garage to aerial dogfight via a truck chase sequence) there are some interesting things going on in the narrative.
For example Marcus takes the mantle of the story as the hero with John more of a supporting character but interestingly as far as we know he is a man who is a murdered. We don't get told he was wrongly imprisoned or wrongly accused, as far as we know this is a man who killed his brother and two cops. And that's it. He's a killer.
And although they don't quite make sense but the alterations to the timeline are interesting, this is not the future that John was expecting, Marcus is something new and not predicted. Thus we as the audience also can't safely predict where the story is heading.
Salvation for me was the most enjoyable of the summer's big releases. More of a roller coaster ride than the likes of Trek and it with a plot that I actually did not manage to totally second guess within twenty minutes.
I may be one of few hoping for a further installment but if that is to be the last Terminator film we see I'm happy enough.
But of course I enjoy Terminator 3 : Rise Of The Machines too!
Saturday 21 November 2009
Today's Triple Bill
Will be Sunderland vs Arsenal, a chance to see the beautiful game and Sunderland. Followed later by Fight Club and Terminator : Salvation on Blu-ray.
Having already had a quick look I can tell you that the HD transfer on the Terminator disk is outstanding, the best looking Blu-ray I've seen yet. And before you say it I really enjoyed the film back in the Summer so I'm looking forward to watching it again.
And even those from beyond our shores find this funny:
Having already had a quick look I can tell you that the HD transfer on the Terminator disk is outstanding, the best looking Blu-ray I've seen yet. And before you say it I really enjoyed the film back in the Summer so I'm looking forward to watching it again.
And even those from beyond our shores find this funny:
Sunday 15 November 2009
The best drama on (American) Televison ; My top five
Recently I have been enjoying True Blood the latest TV venture from Alan Ball and HBO. So far the series if very good and is playing around with its hokey conventions whilst building an array of fascination characters.
It feels like someone crossed Buffy with Six Feet Under, which considering these are two of my favourite series ever is a very good thing if you ask me. The echoes of Six Feet Under have also got my thinking about the old question of which american drama series I think are the best ones out there (and lets face it they american's having been outdoing us for quite some time with ongoing drama)I feel quick rundown is in order (and I'm looking at those series that don't fall into 'genre' territory here) .
Kicking off my top five is Law & Order. Now admittedly I've not watched this for quite a while but for a period I really did get into it (back when Benjamin Bratt was on it). Firstly I really like the structure of the thing, one half police procedural and one half legal drama, giving you a view of each case for two different points of view.
It's also primarily about the case of the week and only rarely do the characters personally lives inturde on proceedings, as such it works really well as a kind of anthology show for a wide range of human dramas from week to week as the cases are often more complicated than they first appear. It short its like The Bill used to be and excellent with it, but I've not tried any of the spin off series.
Nect up at number four is Band Of Brothers. Okay it's only a mini-series but in it's thirteen odd hours it covers so much ground so well that it has to be included. Damian Lewis and Ron Livingston head an excellent cast in a thoughtful, exciting, terrorfying and understanding portrayal of men at war and that goes with it.
Episode 6 "Bastogne" is for me one of the most compelling hours of television I've seen, the tightening of the feeling of unease and tension (in almost etheral winter landscape) leading to a gut wrenching conclusion making you realise just how hard life was for these men. The upcoming compainon piece Pacific should be one to look out for
E.R. comes next. During it's first few years ER was outstanding televison as it threw you into the chaotic world of the Emergency Room in a busy inner city hospital. (It really did put Casualty to shame) Each week the ever complicated lives of the teams of doctors was counter balanced by the drama coming in through the doors for treatment.
Making a star of George Clooney the show had energy and passion to burn and was frequently moving. As the years went by we watched the nervous medical student John Carter grow and slowly but surely become a renowned doctor and a fine man has he lernt from Clooney's impassioned Dr. Ross and Anthony Edwards's Dr Greene.
Dr Greene was arguable the heart of the show and this made it all the more devestatingly when the character suffers from terminal cancer, after along road back to confidence after a devestating attack in the hospital bathroom. In fact the episode in which Dr Greene's death occurs(as seen from the E.R.'s point of view) is a masterclass in understatement and just how effective that can be.
..and from there its business as usual for the episode, occasionally we see others reading the letter on the notice board in the background at episode's end the pages blow up in the wind as the doors open and the faded cork underneath tells us how long they have been pinned up there. Simple, effective, devestating.
Whilst the series was best for it's first few years (the will they, won't they of Dr Ross and nurse Hathaway, Carter's tutalge with Dr Benten, Dr Greene's assult, the shocking attack on Lucy, Ewan Mcgregor guest starring and Tarantino directing) it was never anything other than very good the rest of the time and considering it ran for fifteen years that is some achievement. And the final shot of the series is a stroke of genius. For all those years the audience never saw the hospital building, we were always in looking out and the final episode the final frames are for the first time a shot of the hospital from down the street as the amubulances rush in and life continues.
Coming in second is The Wire, the chronicling if life on both sides of the law in Baltimore. On paper it's a crime drama but it takes in so much more and is quite possiblly the closest thing to a novel on televison as characters, stories and lives interweave over the course of five years.
A clip I've used before but it captures the feel of the series so well.
Rightly championed as the smartest series on televison by many it shows what can be done and it is immaclualty staged and crafted. There's not much more I can say beyond what has been said many places before but only that you should watch it By why is it only number two I hear you ask?
Well, it's because I consider the show that tops the list to be head and shoulders still above all else I've seen. And this is because it melds tremendous craftmenship (each episode looks and feels like it's been made with a film's budget) with brillant performances (from Peter Krause, Micheal C Hall, Frances Conroy, Lauren Ambrose, Rachel Griffiths and well the whole damn cast) and superb writing that picks at and highlights all aspects of life from the dark and destressing to the joyous and to the down right surreal and it comes together to tap into my emotions in a way no other TV show has.
I even adore the titles.
Yes, it is the aforementioned Six Feet Under, the story of the Fisher family and their loves and lives. Once again we have a format that allows a wide range of stories in alongside the continuing characters as the feature funerals often bring to the fore questions for the family and an array of themes for the audience.
From hiding a severed foot in a school locker to starting a new family to surving through the greif of losing a loved one to finding out who you want to be the seires pretty much covered it all. It remains the only thing on TV that has actually reduced me to (manly) tears. I understand it is not for everyone but I for one put it top of the pile.
So that is it, no room for the likes of 24, The Shield, Hill Street Blues, House, The West Wing, The Sopranos. But hey it's my list and if anyone wants to try and convince me they belong in the list above those I've choose they are welcome to try.
It feels like someone crossed Buffy with Six Feet Under, which considering these are two of my favourite series ever is a very good thing if you ask me. The echoes of Six Feet Under have also got my thinking about the old question of which american drama series I think are the best ones out there (and lets face it they american's having been outdoing us for quite some time with ongoing drama)I feel quick rundown is in order (and I'm looking at those series that don't fall into 'genre' territory here) .
Kicking off my top five is Law & Order. Now admittedly I've not watched this for quite a while but for a period I really did get into it (back when Benjamin Bratt was on it). Firstly I really like the structure of the thing, one half police procedural and one half legal drama, giving you a view of each case for two different points of view.
It's also primarily about the case of the week and only rarely do the characters personally lives inturde on proceedings, as such it works really well as a kind of anthology show for a wide range of human dramas from week to week as the cases are often more complicated than they first appear. It short its like The Bill used to be and excellent with it, but I've not tried any of the spin off series.
Nect up at number four is Band Of Brothers. Okay it's only a mini-series but in it's thirteen odd hours it covers so much ground so well that it has to be included. Damian Lewis and Ron Livingston head an excellent cast in a thoughtful, exciting, terrorfying and understanding portrayal of men at war and that goes with it.
Episode 6 "Bastogne" is for me one of the most compelling hours of television I've seen, the tightening of the feeling of unease and tension (in almost etheral winter landscape) leading to a gut wrenching conclusion making you realise just how hard life was for these men. The upcoming compainon piece Pacific should be one to look out for
E.R. comes next. During it's first few years ER was outstanding televison as it threw you into the chaotic world of the Emergency Room in a busy inner city hospital. (It really did put Casualty to shame) Each week the ever complicated lives of the teams of doctors was counter balanced by the drama coming in through the doors for treatment.
Making a star of George Clooney the show had energy and passion to burn and was frequently moving. As the years went by we watched the nervous medical student John Carter grow and slowly but surely become a renowned doctor and a fine man has he lernt from Clooney's impassioned Dr. Ross and Anthony Edwards's Dr Greene.
Dr Greene was arguable the heart of the show and this made it all the more devestatingly when the character suffers from terminal cancer, after along road back to confidence after a devestating attack in the hospital bathroom. In fact the episode in which Dr Greene's death occurs(as seen from the E.R.'s point of view) is a masterclass in understatement and just how effective that can be.
..and from there its business as usual for the episode, occasionally we see others reading the letter on the notice board in the background at episode's end the pages blow up in the wind as the doors open and the faded cork underneath tells us how long they have been pinned up there. Simple, effective, devestating.
Whilst the series was best for it's first few years (the will they, won't they of Dr Ross and nurse Hathaway, Carter's tutalge with Dr Benten, Dr Greene's assult, the shocking attack on Lucy, Ewan Mcgregor guest starring and Tarantino directing) it was never anything other than very good the rest of the time and considering it ran for fifteen years that is some achievement. And the final shot of the series is a stroke of genius. For all those years the audience never saw the hospital building, we were always in looking out and the final episode the final frames are for the first time a shot of the hospital from down the street as the amubulances rush in and life continues.
Coming in second is The Wire, the chronicling if life on both sides of the law in Baltimore. On paper it's a crime drama but it takes in so much more and is quite possiblly the closest thing to a novel on televison as characters, stories and lives interweave over the course of five years.
A clip I've used before but it captures the feel of the series so well.
Rightly championed as the smartest series on televison by many it shows what can be done and it is immaclualty staged and crafted. There's not much more I can say beyond what has been said many places before but only that you should watch it By why is it only number two I hear you ask?
Well, it's because I consider the show that tops the list to be head and shoulders still above all else I've seen. And this is because it melds tremendous craftmenship (each episode looks and feels like it's been made with a film's budget) with brillant performances (from Peter Krause, Micheal C Hall, Frances Conroy, Lauren Ambrose, Rachel Griffiths and well the whole damn cast) and superb writing that picks at and highlights all aspects of life from the dark and destressing to the joyous and to the down right surreal and it comes together to tap into my emotions in a way no other TV show has.
I even adore the titles.
Yes, it is the aforementioned Six Feet Under, the story of the Fisher family and their loves and lives. Once again we have a format that allows a wide range of stories in alongside the continuing characters as the feature funerals often bring to the fore questions for the family and an array of themes for the audience.
From hiding a severed foot in a school locker to starting a new family to surving through the greif of losing a loved one to finding out who you want to be the seires pretty much covered it all. It remains the only thing on TV that has actually reduced me to (manly) tears. I understand it is not for everyone but I for one put it top of the pile.
So that is it, no room for the likes of 24, The Shield, Hill Street Blues, House, The West Wing, The Sopranos. But hey it's my list and if anyone wants to try and convince me they belong in the list above those I've choose they are welcome to try.
Thursday 12 November 2009
I have been watching : Burn After Reading
The Coens follow up to No Country For Old Men is a much more lightweight film. Ostensibly a comedy it once again sees the brothers fusing desperate genre conventions as the political spy thriller becomes a farce then the darkest of comedies.
George Clooney once again essays one of life's deluded as the stay at home husband with a taste for the ladies and a eye raising invention in the basement. Around him John Malkovich is in angry mode, the ever excellent Frances McDormand is a women driven to better herself (with "surgeries"), Tilda Swinton is the ice queen (although not that one) and Brad Pitt has a whale of a time playing a total goof ball of a fitness instructor.
Altogether it's a lightweight follow up to No Country For Old Men and it will leave as many puzzled as it does amused and the denouncement is certainly one to frustrate a lot of people. Very much a case of the Coens at play.
George Clooney once again essays one of life's deluded as the stay at home husband with a taste for the ladies and a eye raising invention in the basement. Around him John Malkovich is in angry mode, the ever excellent Frances McDormand is a women driven to better herself (with "surgeries"), Tilda Swinton is the ice queen (although not that one) and Brad Pitt has a whale of a time playing a total goof ball of a fitness instructor.
Altogether it's a lightweight follow up to No Country For Old Men and it will leave as many puzzled as it does amused and the denouncement is certainly one to frustrate a lot of people. Very much a case of the Coens at play.
Sunday 8 November 2009
Filed under X
Well, thats it. Years behind and many months after I begun (there where many breaks) I have finished my project to watch the entirity of The X-Files.
I think the show is really good for five years, shows flashes of genius upto until the end of year eight but the last season was a slog. It seemed to just drift directionlessly along trying to find itself a purpose after pretty much all the major plotlines had either reachd conclusion or been lost in a fog of half thought out ideas.
Anyway I thought I'd just quickly give my thoughts on the conclusion and I have to say that for a seires that last nine years the big finish was low key and underwhelming to say the least.
I have no problem with the actual plot of the thing or really where the characters were left (apart form the fact that I wonder why they bothered writing in Scully's child at all - hey the wrote around Gillian Anderson's first pregnancy) rahter the way it was all put together.
The first hour or so of the finale was a court room hearing which was used basically as recap of the story so far, including the use of clips from previous episodes. It didn't even work dramatically since it was supposed to be a trail for Mulder's life and all that happend is that Skinner would say "Hey there is a massive conspiracy that's at fault here, listne to this witness", said witness would then recant part of the arc plot before the prosecuter would demand proof and our band of heores would stand around going "Errmmm...".
After this pointless bit of drama was done, Mulder escapes with the help of Deputy Director Kirch who's suddenly decided he's not such a bad man after all. He then goes to see our old smoking friend who turns out not to be dead but does turn out to be uninteresting as he basically has to restate what Mulder saw at the begining before there is a undramatic chase leading to a low key final five minutes as Mulder and Scully reflect on nine years of basically getting no-where.
And the one interesting part with Mulder imagining long gone characters coming to him in his cell wasn't explored at all. Plus the chocies seemed strange, I understand the Lone Gunmen turning up but X and Krychek? Where were Mulder's father, Deep Throat, Fox's mom, his sister?
So it seems finales remain a tricky thing for people to get right. Quantum Leap's did it well, Buffy's worked for me, the final moments of Cheers are brillantly done but it does seem fewer getting right than those that don't at the end of the day.
The X-Files, great when on song but it was dragged along at least two (if not three) years too long.
I think the show is really good for five years, shows flashes of genius upto until the end of year eight but the last season was a slog. It seemed to just drift directionlessly along trying to find itself a purpose after pretty much all the major plotlines had either reachd conclusion or been lost in a fog of half thought out ideas.
Anyway I thought I'd just quickly give my thoughts on the conclusion and I have to say that for a seires that last nine years the big finish was low key and underwhelming to say the least.
I have no problem with the actual plot of the thing or really where the characters were left (apart form the fact that I wonder why they bothered writing in Scully's child at all - hey the wrote around Gillian Anderson's first pregnancy) rahter the way it was all put together.
The first hour or so of the finale was a court room hearing which was used basically as recap of the story so far, including the use of clips from previous episodes. It didn't even work dramatically since it was supposed to be a trail for Mulder's life and all that happend is that Skinner would say "Hey there is a massive conspiracy that's at fault here, listne to this witness", said witness would then recant part of the arc plot before the prosecuter would demand proof and our band of heores would stand around going "Errmmm...".
After this pointless bit of drama was done, Mulder escapes with the help of Deputy Director Kirch who's suddenly decided he's not such a bad man after all. He then goes to see our old smoking friend who turns out not to be dead but does turn out to be uninteresting as he basically has to restate what Mulder saw at the begining before there is a undramatic chase leading to a low key final five minutes as Mulder and Scully reflect on nine years of basically getting no-where.
And the one interesting part with Mulder imagining long gone characters coming to him in his cell wasn't explored at all. Plus the chocies seemed strange, I understand the Lone Gunmen turning up but X and Krychek? Where were Mulder's father, Deep Throat, Fox's mom, his sister?
So it seems finales remain a tricky thing for people to get right. Quantum Leap's did it well, Buffy's worked for me, the final moments of Cheers are brillantly done but it does seem fewer getting right than those that don't at the end of the day.
The X-Files, great when on song but it was dragged along at least two (if not three) years too long.
Wednesday 4 November 2009
Iconic
Empire file magazine this month has a cover feature looking at what they consider to be the ten film icons of the last decade and it's fair to say that it is an intriguing list.
First up we have James Bond. Now I have no problem with saying Bond is a cultural icon but I'm not so sure I'd pick him out as being one of great significance to the last decade. Yes the retooled and rebooted Bond of Casino Royale made impact and Quantum Of Solace was a big hit but I still feel that Daniel Craig's Bond is an excellent performance still waiting for an excellent film.
Casino was quite good but the final third just got the pace all wrong and QoS was, well a built dull, plus all of it's best bits (and in fact modern Bond's best bits) are effectively stolen from the next on list, Jason Bourne
Now Bourne is one I totally agree with, the films are all excellent top rate thrillers and the role has made a true bona-fida star of Matt Damon. The Bourne series bought the spy thriller genre right up to date with a feel of realism and verve. And with Bourne himself we had a flawed, real, believable man you could indentify with much more than the (until recently) almost comic book styling of Bond
Next up is Aragorn he of unwashed hair, manly strength and awww a big ol romantic heart. I think I'm ok with this one too since Aragorn is one of the more effective parts of the Rings films and he does basically take the lead in half of the story. Almost a Han Solo for the decade, well, he would be if he had a bit more charm anyway.
We also have The Bride of Kill Bill film and again I think this is a good choice. Certainly in terms of basic iconography the character looks the part (see above. Whilst the overall quality of the films can be debated (I like 'em and Part 2 gets better each time I watch it) yo have to admit Uma Thurman nailed the part totally. Both strong warrior and grieving mother and when teamed up with QT's magpie mind and eye for a visual you get a character that works wonderfully.
Another strange choice is Heath Ledger's Joker. Don't get me wrong it is a great performance and the look of the character I'm sure is one that will enter the public culture at large and be seen every Halloween for years to come. But I'm not sure I'd call it iconic for the decade.
Coming up next is the role that made Russel Crowe a star, it's Gladiator's Maximus. Having already ingrained itself into the lexicon (how many times have you heard rif's on his self introduction to the Emperor?) I've no problem with his inclusion. A character that is deceitfully deep and one that was strongly protected by both star and director (both insisting on no added love interest and his eventual demise). Popular with the ladies too I hear!
Harry Potter seems a fair enough choice since he's the star of the decade's biggest film franchise.
Shaun of Shaun Of The Dead fame is another one I'm not so sure on, yes he's great creation but he works best as one of a group, specifically a double act with best mate Ed. For me you have to take both for it to work, but I guess as a depiction of a modern urban young(ish) male he's as good as it gets.
Then we have Jack Sparrow who I guess has made a strong impact and launched Johnny Depp to a level of mega stardom he'd never before been close to. Tho' I do maintain whilst he was awesome in the first film he was just a bit of tool in the subsequent entries. Still a planned fourth pirates film centered around him is in the works and a testament to his popularity
Last up we have Hugh Jackman's charismatic take on Wolverine which is another one I happy to go with. After all this decade has been the decade of the comic book blockbuster and out of those films and characters it has to be said Wolverine is the coolest by far. Now he is a bit of a Han Solo for the decade, the lovable rogue with a dark side and hidden past. And had Jackman not made the part his own and made it work it's quite possible that X-Men would have failed to hit a cord and thus the cinematic landscape would be very different today.
So that's Empire choices and my brief thoughts on those, but what do you think and who should be on this list instead?
Sunday 1 November 2009
Wednesday 28 October 2009
Horror, it's mostly a bit rubbish isn't it?
Ok I know at the start of this I said I didn't like most horror and have then talked about the ones I do think are worth looking at, so I think it's time to take a quick look at why I don't really go for horror films as a general rule.
1. Predicitability
This is one of the key things, the vast majoirty of horror films I find very predictable. I think once you know the 'beats' of the genre it's fairly easy to tell when and where each 'scare' is going to occur. So those jump scares just pass on by, the shock reveal of the killer more often than not cruises on past without a care.
Far more than other films a horror film looks to keep it's audience off balance and on the edge of the seat so when they become so familiar half the film is already blown and then you're left with trying to find something to appreciate in the story or charactisation..and then you're really struggling.
The better entries can either subvert the typical pattern of the genre or use it to their advantage, for example Scream plays and subverts (gently)the norms of the genre but I find most (in particualr modern) horror films simply move from scare A to scare B to scare C.
2. They have nothing to say
That is to say the in most horror films once you look past the 'thrill' or the chasing and the killing or the fun of the spooking there is nothing else going on. No bigger themes to be developed or discussed just a group of teen and twenty somethings standing around waiting for the plot to happen.
Again it's the few that do have something else to them that are the better examples, like 'The Orphanage' with a focus on grief and isolation opening up the film to much more that just the spooky boy in the corner, it puts some meat on the bones so to say and it's the reason I really like 'The Orphanage' despite seeing where it was going to end about halfway through. On the flip side you'll struggle to find anything approaching a theme in the likes of 'Prom Night' Well, despite the curiours puritanical downer on sexual intercourse that the slasher genre appears to have adopted for some reason.
In other worlds they seem to be empty headed and if I'm going to watch something empty headed I'd rather watch a big dumb 'ol action film rather than something focusing on the suffering of people.
3. I have no interest in gore.
I really don't care how realistic wounding can be made look or how over the top it can be made to look. Show me a giant transformering robot as an effect, cool! Show me an oozing chest wound, meh. Can we move on to something intersting now?
And these days the focus seems to be increasingly on the gore with the likes of Saw and Hostel et al and I simply don't find that remotely intersting. Thank god for the reaction in the forms of more thoughful fare like The Others.
4. Franchise, franchise franchise
In no other genre are series milking quite so aggresivily, just look at the Halloween, Friday the 13th and Saw franchises to see it. Then wonder how these things go for so long once the law of dimishing returns really starts to bite and the cycles of stalk, slash and trap get repeated ad infintum, the same films essentially rehashed each time.
5. I don't enjoy watching people suffer.
Which is something that doesn't really need much explanation beyond the fact I will watch films where things are grim for people (like 21 Grams or Revolutionay Road) but these are films which are about so much more. I'm not saying all horror is specifically about suffering but it does form a large part of a lot of the genre and when combined with the genre's typical lack of deeper themes it just leaves you with a strange kind of voyerism which I don't enjoy.
So there you go, a brief look at why I don't enjoy or horror and why I think most of it is, well, rubbish. I do like the Scream series (well the first two at least) as they play with and reference cinematic conventions amusingly, the Final Destination films I've already covered and I've mentioned The Orphanage and The Others but beyond I don't think I own anything else you'd call an outright horror film (and already consider Final Destination as dark comedy).
1. Predicitability
This is one of the key things, the vast majoirty of horror films I find very predictable. I think once you know the 'beats' of the genre it's fairly easy to tell when and where each 'scare' is going to occur. So those jump scares just pass on by, the shock reveal of the killer more often than not cruises on past without a care.
Far more than other films a horror film looks to keep it's audience off balance and on the edge of the seat so when they become so familiar half the film is already blown and then you're left with trying to find something to appreciate in the story or charactisation..and then you're really struggling.
The better entries can either subvert the typical pattern of the genre or use it to their advantage, for example Scream plays and subverts (gently)the norms of the genre but I find most (in particualr modern) horror films simply move from scare A to scare B to scare C.
2. They have nothing to say
That is to say the in most horror films once you look past the 'thrill' or the chasing and the killing or the fun of the spooking there is nothing else going on. No bigger themes to be developed or discussed just a group of teen and twenty somethings standing around waiting for the plot to happen.
Again it's the few that do have something else to them that are the better examples, like 'The Orphanage' with a focus on grief and isolation opening up the film to much more that just the spooky boy in the corner, it puts some meat on the bones so to say and it's the reason I really like 'The Orphanage' despite seeing where it was going to end about halfway through. On the flip side you'll struggle to find anything approaching a theme in the likes of 'Prom Night' Well, despite the curiours puritanical downer on sexual intercourse that the slasher genre appears to have adopted for some reason.
In other worlds they seem to be empty headed and if I'm going to watch something empty headed I'd rather watch a big dumb 'ol action film rather than something focusing on the suffering of people.
3. I have no interest in gore.
I really don't care how realistic wounding can be made look or how over the top it can be made to look. Show me a giant transformering robot as an effect, cool! Show me an oozing chest wound, meh. Can we move on to something intersting now?
And these days the focus seems to be increasingly on the gore with the likes of Saw and Hostel et al and I simply don't find that remotely intersting. Thank god for the reaction in the forms of more thoughful fare like The Others.
4. Franchise, franchise franchise
In no other genre are series milking quite so aggresivily, just look at the Halloween, Friday the 13th and Saw franchises to see it. Then wonder how these things go for so long once the law of dimishing returns really starts to bite and the cycles of stalk, slash and trap get repeated ad infintum, the same films essentially rehashed each time.
5. I don't enjoy watching people suffer.
Which is something that doesn't really need much explanation beyond the fact I will watch films where things are grim for people (like 21 Grams or Revolutionay Road) but these are films which are about so much more. I'm not saying all horror is specifically about suffering but it does form a large part of a lot of the genre and when combined with the genre's typical lack of deeper themes it just leaves you with a strange kind of voyerism which I don't enjoy.
So there you go, a brief look at why I don't enjoy or horror and why I think most of it is, well, rubbish. I do like the Scream series (well the first two at least) as they play with and reference cinematic conventions amusingly, the Final Destination films I've already covered and I've mentioned The Orphanage and The Others but beyond I don't think I own anything else you'd call an outright horror film (and already consider Final Destination as dark comedy).
Monday 26 October 2009
Horror on film the readers digest version
Presenting a cool little website with amongst other things a potted history of the horror film. From The Cabinet of Dr. Caligari (1919) to The Descent (2005) and a rundown of some of cinema's scariest and most disturbing scenes which takes in a varied selection from the likes of Scream, Saw and Halloween to Great Expectations and (the brutal reality of) the likes of American History X and Irreversible.
Certainly worth a look
Certainly worth a look
Sunday 25 October 2009
I have been watching ; X-Men Origins : Wolverine
So the first of this summer's blockbusters makes it to DVD and we have a solid entry in the comic book cannon but not a spectacular one.
Following the pre-X-men days of James "Wolverine" Logan we see how he comes to have a indestructible skeleton and how (rather implausibly) he loses his memory. In the central role Hugh Jackman is as relibale as even as Logan (the charming bad bad to the last) and Liev Shreiber is good value as his violent brother.
Sadly the film's best turn is wasted with Ryan Reyonlds' Deadpool basically only appearing for something that amounts to little more than a cameo, it does bode well for the forthcoming Deadpool film though.
Dominic Monaghan's Bolt is also a little wasted, he brings a real sense of remorse and pathos to his character but like Reyonlds is barley used.
The films other great weakness is when you realise that Stryker decides to make Logan unkillable before acting to wipe his mind and make him controllable, surely you'd do that the other way round!
Anyway it's a decent enough comic book actioner and it probably a little better than X-Men 3 overall.
Following the pre-X-men days of James "Wolverine" Logan we see how he comes to have a indestructible skeleton and how (rather implausibly) he loses his memory. In the central role Hugh Jackman is as relibale as even as Logan (the charming bad bad to the last) and Liev Shreiber is good value as his violent brother.
Sadly the film's best turn is wasted with Ryan Reyonlds' Deadpool basically only appearing for something that amounts to little more than a cameo, it does bode well for the forthcoming Deadpool film though.
Dominic Monaghan's Bolt is also a little wasted, he brings a real sense of remorse and pathos to his character but like Reyonlds is barley used.
The films other great weakness is when you realise that Stryker decides to make Logan unkillable before acting to wipe his mind and make him controllable, surely you'd do that the other way round!
Anyway it's a decent enough comic book actioner and it probably a little better than X-Men 3 overall.
Friday 23 October 2009
They are the greatest
A couple of years ago Total Film published a magazine containing the results of a poll to find the hundred greatest movie characters and having recently discovered the magazine again I thought it was worth taking a quick look at the top twenty.
20. Clarice Starling
Lecter may be the showier part but Foster's Agent Starling is the heart and soul of Silence Of The Lambs as we follow her into both her world and Lecter's. The fact that Clarice's recounting of her childhood terror is the most gripping and tense part of the film says it all. Julianne Moore also took on the character in the disappointing follow-up but it's Foster's take that has taken root in the public consciousness
19. Norman Bates
The psycho from Psycho is one of cinema's greatest boogie men, the unassuming caretaker of a motel that hides a terrible and twisted hidden side. Responsible for one of the most iconic murders in cinema history.
18. John McClane
Bruce Willis' blue collar wisecracking action man exploded (almost literally) onto the scene with Die Hard and in one film rewrote both Willis' career (he was know for hit comedic touch in hit series Moonlighting)and the template for our action heroes. The unstoppable Goliaths of Arnie had their days numbered as soon as this flawed cop hit the scene with his sarcastic wit and crucially lacking that aura of invincibility as he gets battered and beaten on his way to saving the day
17. Shrek
The big ogre of Dreamworks series owes a lot to Micheal Myers easy charm (even when doing a dodgy Scotch accent)and some smart writing but I am surprised to see him hit the top ten. Shrek was a classic but the two follow ups are more uneven and scattershot and the once clever inverting of fairy tales is wearing thin.
16. Bridget Jones
It has to be said before anything else, Reene Zellweger absolutely nailed this role. All the concern of casting a Texan in the part dissipated as soon as people saw it, Bridget becomes one of the most believable characters in a rom-com; full of uncertainties and floundering dreams as she's caught between the good guy and the bad guy. Helen Fielding deserves a lot of credit for creating Bridget too writing screenplay as well as the original blockbuster book
15. Yoda
The little green one smashes into the top twenty with his broken syntax, mastery of the force and diddy little lightsaber. Brought to life by Frank Oz (and latterly a team of CGI artists too!) Yoda is the wise mentor of the star wars world and is one of the reasons why you should watch the original trilogy first or totally ruin his first appearance. Proof that you can be a green midget and still be cool
14. Jason Bourne
Interesting that a character who starts out almost a total blank slate should make in into the top twenty of the list. But it's Bourne's confusion and quest to find out what happened to him that draws the audience to him. He's far more a real superspy than Bond, we actually feel the pain in him as he sets out to avenge his girlfriend in the second film and the rage at those that have shaped his life. The question is now he know who and why he is, where does o from here?
13. Tyler Durden
Brad Pitt's greatest role without doubt as he uses his own image to subvert and twist what is expected to him. Tyler is the embodiment of the rage of a lost generation of men, desperate to feel a sense of purpose and to fight against the numbing effect of modern life. The greatest character that was never real or just another piece of the all singing, all dancing crap of the world?
12. Maximus
Russel Crowe's avenging roman gladiator works so well thanks to the actor himself and not only for the performance. It was Crowe who suggested deepening the friendship between him and Djimon Hounsou's character, and Maximus' remembrance of his home is Crowe recalling his own ranch back home. It was also Crowe's insistence that Maximus meet his final end to prevent the diluting of the man in unneeded sequels.
11. Batman
Another surprising one since more often than not Batman is the dullest person around in his own movies. (No doubt Heath Ledger's Joker would outstrip if this was done again). Don't get me wrong I like Batman as a character but it is true that (at least in the films) he is there to react to everyone else, in fact in Batman Returns he doesn't say anything until at least the forty minute mark. Given the choice I would take Keaton's Batman over the others since I felt he got the balance right and gave the impression Wayne was a deeply troubled man, Bale's just seems to be really angry.
10. Hannibal Lecter
Of the screen best loved boogie men, Lecter is charming, intelligent, creepy and deadly. Hopkins is brill ant in the role (at it is his turn in Silence of the Lambs for which the character is remembered) and holds audience attention unfailingly even though he barely moves - making the sudden bursts of violence all the more shocking. Sadly watered down by the subsequent entries into the series Lecter is best as the unknowable, unfathomable force of evil seen in Lambs.
09. Han Solo
The definition of the lovable rogue. He quips, he gets the girl and he saves the day more than once. It says something that kids mostly want to play Han Solo and it's the unlucky kid that has to be Luke. Harrison Ford just oozes charm throughout the series and it may be a big 'ol space opera but there are definite sparks there with Carrie Fisher. And he shot first too
08. Micheal Corleone
The studio never wanted Al Pacino as Micheal but it's now impossible to imagine anyone else in the role. Pacino expertly moves Micheal from the good man trying to do right by his family to the overbearing monster he slowly becomes over the years. He is the classic anti hero as we emphasise with as he tries to protect his family but feel our blood run cold as he casually orders the killing of his own brother. If there was even a text book place to look for the concept of power corrupting, it's Micheal in The Godfather series.
07. Ellen Ripley
From tough survivor to warrior matriarch Ripley is the best known female action hero. Leaving the endless gender politics aside Ripley is a strong, capable woman with a softer side and willing to go the extra mile to save who she can. If anything Ripley becomes more interesting in Alien 3 as she finds herself once more alone and amongst monsters of various types until she finally makes the ultimate sacrifice. Best just forget Ripley MKII in Resurrection
06. Travis Bickle
The Vietnam vet awash in the modern world struggling to connect to other people and to keep the brewing rage within under control. One of cinema's best portraits of a man going through a mental breakdown Bickle is quite possible De Niro's best role (Raging Bull's Jake La Motta is right up there too) pulling his into Travis' fractured psyche and the question of is we should really be supporting this man makes all the more compelling
05. Gollum
Yes, he was an outstanding digital creation and the back and forth mechanic of his split personality is well done but I'm not sure he's the fifth best character ever. After he's only really there to move the plot along a critical points when no-one else can. For all their length the Rings movies are actually a little light on characterisation and for my money Boromir is the most interesting of them all but is sadly quickly gone
04. Indiana Jones
Han Solo returns with a whip! And a little more comedy. Indiana is the 40 matinee idol effortless updated for a new generation by messers Spieldberg, Lucas and Ford. No question of Jones' placing here, he truly is an iconic character
03. James Bond
Recently reinvented to be Bourne Mk II, Bond is the longest running character on the list, practically a national institution. Connery's remains best in my book, Dalton's was underrated, Lazenby's has the best film and Craig's is a great Bond still looking for a great film to be in.
02. Darth Vader
Even with the missteps of the prequels Vader remains a great villain (and is arc is a tragic one albeit one not told in the best way) and his first entrance surrounded by white corridors and white clad stormtroopers is something that burns itself into the mind. Lucas may struggle with the writing but he always knew what he was doing with the look of things. And of course Vader's big secret is one of the best known twists is cinema history and makes him something more than just a boogie man.
01. Captain Jack Sparrow
Hmm. Okay, I liked Jack in the first Pirates movie when he was there to offer comedy relief and prompt the plot along in a couple of places but I still feel the subsequent entries suffered from making him front and center. When you think about Jack is actually a complete jerk who is out to save his own skin whatever the cost and it baffles me why the crew head off to save him after he's just been a tool to pretty much everyone of them.
Depp's twitchy performance is an amusing one but it is a superficial collection of ticks and tricks at the end of the day, I think we'll mark this one down to being the thing of the day when the poll was taken.
So there we are the top twenty, unfortunately I can't find a link for the whole list (but if people pester enough I can type it up) but just a few names to mention;
Charles Foster Kane somehow doesn't make the top fifty coming home at 53, Donnie Darko missed the top twenty by a place, The Dude made it to 27, Rocky fights his way to 31 and I can't believe Holly Golightly only made it to 99.
And it turns out the 70's were the greatest with 25 characters on the list, the most of any decade.
So who do you think deserves to be on the list or in the top twenty?
20. Clarice Starling
Lecter may be the showier part but Foster's Agent Starling is the heart and soul of Silence Of The Lambs as we follow her into both her world and Lecter's. The fact that Clarice's recounting of her childhood terror is the most gripping and tense part of the film says it all. Julianne Moore also took on the character in the disappointing follow-up but it's Foster's take that has taken root in the public consciousness
19. Norman Bates
The psycho from Psycho is one of cinema's greatest boogie men, the unassuming caretaker of a motel that hides a terrible and twisted hidden side. Responsible for one of the most iconic murders in cinema history.
18. John McClane
Bruce Willis' blue collar wisecracking action man exploded (almost literally) onto the scene with Die Hard and in one film rewrote both Willis' career (he was know for hit comedic touch in hit series Moonlighting)and the template for our action heroes. The unstoppable Goliaths of Arnie had their days numbered as soon as this flawed cop hit the scene with his sarcastic wit and crucially lacking that aura of invincibility as he gets battered and beaten on his way to saving the day
17. Shrek
The big ogre of Dreamworks series owes a lot to Micheal Myers easy charm (even when doing a dodgy Scotch accent)and some smart writing but I am surprised to see him hit the top ten. Shrek was a classic but the two follow ups are more uneven and scattershot and the once clever inverting of fairy tales is wearing thin.
16. Bridget Jones
It has to be said before anything else, Reene Zellweger absolutely nailed this role. All the concern of casting a Texan in the part dissipated as soon as people saw it, Bridget becomes one of the most believable characters in a rom-com; full of uncertainties and floundering dreams as she's caught between the good guy and the bad guy. Helen Fielding deserves a lot of credit for creating Bridget too writing screenplay as well as the original blockbuster book
15. Yoda
The little green one smashes into the top twenty with his broken syntax, mastery of the force and diddy little lightsaber. Brought to life by Frank Oz (and latterly a team of CGI artists too!) Yoda is the wise mentor of the star wars world and is one of the reasons why you should watch the original trilogy first or totally ruin his first appearance. Proof that you can be a green midget and still be cool
14. Jason Bourne
Interesting that a character who starts out almost a total blank slate should make in into the top twenty of the list. But it's Bourne's confusion and quest to find out what happened to him that draws the audience to him. He's far more a real superspy than Bond, we actually feel the pain in him as he sets out to avenge his girlfriend in the second film and the rage at those that have shaped his life. The question is now he know who and why he is, where does o from here?
13. Tyler Durden
Brad Pitt's greatest role without doubt as he uses his own image to subvert and twist what is expected to him. Tyler is the embodiment of the rage of a lost generation of men, desperate to feel a sense of purpose and to fight against the numbing effect of modern life. The greatest character that was never real or just another piece of the all singing, all dancing crap of the world?
12. Maximus
Russel Crowe's avenging roman gladiator works so well thanks to the actor himself and not only for the performance. It was Crowe who suggested deepening the friendship between him and Djimon Hounsou's character, and Maximus' remembrance of his home is Crowe recalling his own ranch back home. It was also Crowe's insistence that Maximus meet his final end to prevent the diluting of the man in unneeded sequels.
11. Batman
Another surprising one since more often than not Batman is the dullest person around in his own movies. (No doubt Heath Ledger's Joker would outstrip if this was done again). Don't get me wrong I like Batman as a character but it is true that (at least in the films) he is there to react to everyone else, in fact in Batman Returns he doesn't say anything until at least the forty minute mark. Given the choice I would take Keaton's Batman over the others since I felt he got the balance right and gave the impression Wayne was a deeply troubled man, Bale's just seems to be really angry.
10. Hannibal Lecter
Of the screen best loved boogie men, Lecter is charming, intelligent, creepy and deadly. Hopkins is brill ant in the role (at it is his turn in Silence of the Lambs for which the character is remembered) and holds audience attention unfailingly even though he barely moves - making the sudden bursts of violence all the more shocking. Sadly watered down by the subsequent entries into the series Lecter is best as the unknowable, unfathomable force of evil seen in Lambs.
09. Han Solo
The definition of the lovable rogue. He quips, he gets the girl and he saves the day more than once. It says something that kids mostly want to play Han Solo and it's the unlucky kid that has to be Luke. Harrison Ford just oozes charm throughout the series and it may be a big 'ol space opera but there are definite sparks there with Carrie Fisher. And he shot first too
08. Micheal Corleone
The studio never wanted Al Pacino as Micheal but it's now impossible to imagine anyone else in the role. Pacino expertly moves Micheal from the good man trying to do right by his family to the overbearing monster he slowly becomes over the years. He is the classic anti hero as we emphasise with as he tries to protect his family but feel our blood run cold as he casually orders the killing of his own brother. If there was even a text book place to look for the concept of power corrupting, it's Micheal in The Godfather series.
07. Ellen Ripley
From tough survivor to warrior matriarch Ripley is the best known female action hero. Leaving the endless gender politics aside Ripley is a strong, capable woman with a softer side and willing to go the extra mile to save who she can. If anything Ripley becomes more interesting in Alien 3 as she finds herself once more alone and amongst monsters of various types until she finally makes the ultimate sacrifice. Best just forget Ripley MKII in Resurrection
06. Travis Bickle
The Vietnam vet awash in the modern world struggling to connect to other people and to keep the brewing rage within under control. One of cinema's best portraits of a man going through a mental breakdown Bickle is quite possible De Niro's best role (Raging Bull's Jake La Motta is right up there too) pulling his into Travis' fractured psyche and the question of is we should really be supporting this man makes all the more compelling
05. Gollum
Yes, he was an outstanding digital creation and the back and forth mechanic of his split personality is well done but I'm not sure he's the fifth best character ever. After he's only really there to move the plot along a critical points when no-one else can. For all their length the Rings movies are actually a little light on characterisation and for my money Boromir is the most interesting of them all but is sadly quickly gone
04. Indiana Jones
Han Solo returns with a whip! And a little more comedy. Indiana is the 40 matinee idol effortless updated for a new generation by messers Spieldberg, Lucas and Ford. No question of Jones' placing here, he truly is an iconic character
03. James Bond
Recently reinvented to be Bourne Mk II, Bond is the longest running character on the list, practically a national institution. Connery's remains best in my book, Dalton's was underrated, Lazenby's has the best film and Craig's is a great Bond still looking for a great film to be in.
02. Darth Vader
Even with the missteps of the prequels Vader remains a great villain (and is arc is a tragic one albeit one not told in the best way) and his first entrance surrounded by white corridors and white clad stormtroopers is something that burns itself into the mind. Lucas may struggle with the writing but he always knew what he was doing with the look of things. And of course Vader's big secret is one of the best known twists is cinema history and makes him something more than just a boogie man.
01. Captain Jack Sparrow
Hmm. Okay, I liked Jack in the first Pirates movie when he was there to offer comedy relief and prompt the plot along in a couple of places but I still feel the subsequent entries suffered from making him front and center. When you think about Jack is actually a complete jerk who is out to save his own skin whatever the cost and it baffles me why the crew head off to save him after he's just been a tool to pretty much everyone of them.
Depp's twitchy performance is an amusing one but it is a superficial collection of ticks and tricks at the end of the day, I think we'll mark this one down to being the thing of the day when the poll was taken.
So there we are the top twenty, unfortunately I can't find a link for the whole list (but if people pester enough I can type it up) but just a few names to mention;
Charles Foster Kane somehow doesn't make the top fifty coming home at 53, Donnie Darko missed the top twenty by a place, The Dude made it to 27, Rocky fights his way to 31 and I can't believe Holly Golightly only made it to 99.
And it turns out the 70's were the greatest with 25 characters on the list, the most of any decade.
So who do you think deserves to be on the list or in the top twenty?
Wednesday 21 October 2009
Fantastic Mr Anderson
On horror unrelated news check out this interview with Wes Anderson promoting Fantastic Mr Fox (which I'm really looking forward to seeing)
Also Bill Murray on the likelihood of Ghostbusters 3
Some images from Richard Kelly's Southland Tales follow up The Box
And Spielberg will continue trying out all the best new rides before anyone else!
Plus London's first film venue may be in for a restoration to former glory
Also Bill Murray on the likelihood of Ghostbusters 3
Some images from Richard Kelly's Southland Tales follow up The Box
And Spielberg will continue trying out all the best new rides before anyone else!
Plus London's first film venue may be in for a restoration to former glory
Horror Trailer Of The Day : All the Boys Love Mandy Lane
Featuring a breakout role for (probably) soon to be big thing Amber Heard a fairly standard teen slasher with a half decent twist in the tale
Monday 12 October 2009
The Hardest of Hard Candies
Wes Craven and Kevin Williamson took a look at and deconstructed the slasher film with Scream in the mid nineties. The characters where cannily switched on to the conventions of the staple of the horror genre and the culprits played up media obsession with the influence of violence on young minds.
It was a breath of fresh air in a tired market but if you really want to see the stalker sub genre turned inside out and upside down then it's 2005's Hard Candy you want to see.
Director David Slade and writer Brian Neslon (who later teamed up for the entertaining 30 Days Of Night) bring to screen a tale of a young girl and the older man she meets through an Internet chat room. In the first third of the film we feel uncomfortable as we try to figure the man's true intentions (is it really what we think it is and hope it isn't?) and squirm at the girl's flirtations as she seemingly seems intent on plunging herself headfirst out of her depth.
But as things progress as the tension remains constant new questions emerge about the intentions of the two parties. Slowly but surely the tables are turned and, as cliche as it to say it, the hunter becomes the hunted.
Suddenly we find ourselves both rooting for the girl but strangely also empathising with the man (whose intentions are still unclear) as he is chased, terrorised and tortures. Yes Sidney Prescott may have fought back but she never tied the killer down and exacted such shocking revenge.
Most would probably baulk at calling the film a horror but this two hander with excellent central performances from Ellen Page (forget Juno, this is what put her on the map) and Jeff Kohlver starts out with an uncomfortable tension and then ratchets it up from there, not once letting let go with even the lighter moments laced with threat and a sense of foreboding.
It truly does invert the traditional roles of the slasher film and plays out the scenario intelligently enough to leave the audience unsure as to whose side they should be on. Highly recommend but be warned it is a tense experience and one sequence in particular goes far and beyond Reservoir Dogs' infamous ear cutting.
It was a breath of fresh air in a tired market but if you really want to see the stalker sub genre turned inside out and upside down then it's 2005's Hard Candy you want to see.
Director David Slade and writer Brian Neslon (who later teamed up for the entertaining 30 Days Of Night) bring to screen a tale of a young girl and the older man she meets through an Internet chat room. In the first third of the film we feel uncomfortable as we try to figure the man's true intentions (is it really what we think it is and hope it isn't?) and squirm at the girl's flirtations as she seemingly seems intent on plunging herself headfirst out of her depth.
But as things progress as the tension remains constant new questions emerge about the intentions of the two parties. Slowly but surely the tables are turned and, as cliche as it to say it, the hunter becomes the hunted.
Suddenly we find ourselves both rooting for the girl but strangely also empathising with the man (whose intentions are still unclear) as he is chased, terrorised and tortures. Yes Sidney Prescott may have fought back but she never tied the killer down and exacted such shocking revenge.
Most would probably baulk at calling the film a horror but this two hander with excellent central performances from Ellen Page (forget Juno, this is what put her on the map) and Jeff Kohlver starts out with an uncomfortable tension and then ratchets it up from there, not once letting let go with even the lighter moments laced with threat and a sense of foreboding.
It truly does invert the traditional roles of the slasher film and plays out the scenario intelligently enough to leave the audience unsure as to whose side they should be on. Highly recommend but be warned it is a tense experience and one sequence in particular goes far and beyond Reservoir Dogs' infamous ear cutting.
Sunday 11 October 2009
Horror trailer of the day : Dawn of the Dead (2004)
Zack Synder's MTV update of the classic zombie film as mentioned in the article below
Time for the dead to stay dead?
This year George A Romero brings us the latest in his 'Dead' series with 'Survival Of The Dead' taking up events sometime after the period of Day Of The Dead it sees the efforts of a group of survivors to develop a cure for the epidemic.
Romero first found the limelight over forty years ago with Night Of The Living Dead (1968), the film was micro budgeted, starred and crewed mostly by friends of the director, was efficiently effective with it's thrills and arrived on the scene to take full advantage of the growing youthful audience that was on the look for more visceral entertainment.
What appeared to set the film apart from many of it's contemporaries was the subtext that appeared to be at work in the film. Ben, the male lead played by Duane Jones clashes with the other men trapped in the house with the survivors as to the best course of action, eventually coming out on top only to be cruelly and coldly shot day in the final moments of the film by a posse that assume him to be a zombie. His body is carried to a pyre as the film closes.
To put it bluntly the fact that Jones (as Ben) was a man of colour appears to open up the film to a whole line of questions and position of racial tension in the United State, those final scenes in particular would seem to agitate at underlying prejudices.
However when asked about Romero says that Jones was simply the best actor available to him at the time and he did not think about the racial angle when casting him. Now this doesn't necessarily undercut the themes at play here in and of itself, it would stay be fair to suggest Romero tailored the film to take advantage of what he had.
However Romero has gone on to say that even when people talk to him about the film to hims in terms of addressing racism he can't see it. That is to see the director of the film does not understand and indeed can not even perceive the reason why his film is still discussed at length to day and has not simply joined the massed ranks of similar efforts as Living Dead was by far from the first zombie film.
Romero's apparent lack of knowledge of the message seen by so many in his own film of course then calls into questions the sub-texts raised in his other following films, but has his career moved it appears he has clued into the fact that this is what gives his films strength and openly now discusses what he is trying to say with each one.
Failing to carve out a career away from the genre he'd done so much to popularise Romero returned to his apocalyptic world ten years later with Dawn Of The Day. Dawn sees a disparate group of survivors bunkered up within a shopping mall, at first he seems they have found the perfect environment to live out the horrors outside but as time goes on it becomes increasingly apparent that they have simply trapped themselves inside the beacon of consumerism.
Dawn is undoubtedly my favourite of the series. It is smartly written as it looks at the effects of (what is basically) imprisonment on a small cast of characters and does offer a critique of consumer culture and the mall life as we see the undead drawn to the mall as if by nature and watch as they shamble onto escalators as Muzak plays gently in the background. Significantly despite the desperation of the situation the film does end on a note of hope.
Day Of The Dead seven years later saw the series again return. This time things are bleaker than ever and this time we have the clash of science (in this case playing the role of diplomacy) versus the military situation. Once again the holocaust is used as a background onto which a human drama is hung as survivors clash over the best course of action and again the effects of long term isolation takes it's toll. A lot of the themes raised in Dawn are repeated in Day and the only significant difference between the two (aside the sub textual deliberations) is the addition of 'Bub' the zombie who is slowly learning to be a thinking person again.
The fact that Bub is on longer a straight forward unthinking monster helps the series to open some interesting moral questions and thoughts on how quickly a enemy can become less than human in times of conflict.
The next twenty years saw Romero struggle to make an impact away from his well known Dead series and so in returned to it 2005 with Land Of The Dead. The film is unremarkable and Romero's lack of progress in the intervening years is only highlighted by both the energetic verve and impact of Zack Synder's Dawn of the Dead reboot, the breathless unrelenting 28 Days Later and the witty eye for relateable detail of Shaun Of The Dead.
If not for Romero's name is highly likely that Land Of The Dead would have bypassed cinemas altogether. Romero again offers a critique of modern society identifying a rich and poor divide with a 'Bush' like corrupt figure in charge, this time it is clumsily handled as a theme, not the subtly of Dawn here, but a point hammered home.
Elsewhere the film feels more like a entry in the Resident Evil series rather than the shambling inevitable horror of the earlier entries. More action thriller than anything else. And don't get me started on how or why a apparently professional armed force is overrun by unarmed zombies that can't even run within seconds towards the end of the film.
Fair enough things can get out of control when you are totally surrounded by them but when the zombies advance slowly on your fortified positions I'm not quite sure how that supposed goes so wrong so quickly.
So,thus far I'd saw Dawn is my favourite of Romero's series followed by Night (which is still effective despite the lack of insight) then Day (which recover much of Dawn's ground) and lastly Land (which is basically the same as every other forgettable action horror for gore generation).
Having decide to not even try making anything else anymore Romero's quickly returned with Diary Of The Dead. Picking up events near the start of the fall of mankind it follows a group of media students and it attempts to say something about the influence of the media and our interactions with it. However it seems the film doesn't know what it exactly it wants to say (Is the media good or bad? Is the web a useful tool for the masses or an instrument of control?) nor how to really say it (the film flirts with a 'Cloverfield'/'Blair Witch' style but fails to commit). Nor does it help that Romero seems to be getting left behind by the society he's trying to comment on with ham fisted voice overs from one of the characters implying that Romero does not really understand the Internet and how it works (there is definite confusion between downloading and uploading) let alone what it means to the world at large.
Sadly there is nothing in the film itself to save it from the mishandled and heavy handed message, much like Kevin Smith Romero is a film maker when relies on what he has to say rather than on the ability on being able to present what he has to say in an interesting or imaginative way. In other words he's a competent filmmaker that no longer has anything interesting or relevant to say.
Just to make it clear I thought Diary Of The Dead was terrible and I really thing it's time for 'ol George to put down the megaphone and let the kids get on with it. I will not be surprised if Survival of the Dead does goes straight to DVD as Romero becomes increasingly irrelevant.
His Dawn of the Dead will remain a classic and Night will be remembered for so effectively laying down so many of the modern zombie film rules even if it's more interesting aspects appears to have been a happy accident. But it has to be said the George Romero has been recovering old ground since Day of the Dead and the journey is getting less effective and less interesting everytime.
Saturday 10 October 2009
Horror trailer of the day : Nightmare on Elm Street
At quick look at the rebooted slasher with the promise of a bumper content update to follow tomorrow
Tuesday 6 October 2009
Horror trailer of the day : Alien
The first, the best, the scariest. The original feature trialer for Alien is itself haunting and coldly effective like the very film it advertises.
Anyone who tells you Aliens is better is wrong. Up next a ramble and a rant about George A Romero and his 'Dead' series of films; which is taking longer to put together than I thought (partly due to Stargate : Bigby, as I shall be calling it, starting today with a double salvo)
Anyone who tells you Aliens is better is wrong. Up next a ramble and a rant about George A Romero and his 'Dead' series of films; which is taking longer to put together than I thought (partly due to Stargate : Bigby, as I shall be calling it, starting today with a double salvo)
Monday 5 October 2009
Horror trailer of the day : Funny Games (2007)
It's Michael Haneke's english laguage update of his own film, based on the tale of couple taken hostage by a pair of psychotic young men it takes this basic horror premise and uses it to ask questions on our modern relationship with violence, it doesn't really manage to answer them and the final reel twist is a divider of audencies. It's also certainly not an easy film to watch and is basically shot for shot the same as the first version.
Death, strange sense of humour.
Ok, I admit it I'm going to kick this thing off properly with something that seems to be the very pinnacle of what I don't like about horror films, but hear me out.
First off all the Final Destination series barely counts as horror for me. It's much closer to some kind of dark hearted comedy. With each installment built on the premise that some people escape death via a precognitive vision but are then offed one by one by the spirit of death itself what we get is basically a series of slap stick set pieces as filtered through something of a Grimm Fairytales lens.
The brainchild of X-Files luminaries Glen Morgan and James Wong the original film sees a bunch of high school kids thrown off a play minutes before it explodes in mid air. The first real indication of some sly smarts at play comes when we as the audience seen the plane explode in back of shot whilst the characters argue about being on it in the foreground with a beautiful second or so of delay before the window shatters.
A month later and people start dying in strange accidents, strangely convoluted and over intricate accidents. And there lies the joy, once it becomes obviously evitable that the majority of the cast are doomed it's a case sitting back and trying to guess exactly how there are to meet their ends.
Each major sequence cunningly offers up a number of potential hazards that could do the deed before normally managing to combine them all into some kind of mouse trap like dominoes effect of death.
Following installments basically change the cast but keep the formula with little effort to build any unnecessary mythos around the events. Now I normally don't like films that are all about horrible deaths and awful pain, but the Final Destination series takes these tools and plays it for laughs and more importantly does ask uys to revel in the suffering of others. Once they come the deaths are quick and then it's off and on to the next one, no prolonged scenes of torture to be found. (Though I admit the first salvo of the third feel does freak me out)
Pretty much the cinema equivalent of the Ghost Train at the fair or the rollercoaster the films pitch the audience this way and that but we all know what is coming. A bit like Tom and Jerry cartoons rendered real. These film know exactly what they are and run with it, upping the ante to daftly deadly highs. Most will find they are remotely horrified but do end up with grins on their faces as they chortle in disbelief.
Reveal in the comedic violent excess with Empire's list of the ten best deaths from the series, though it will spoil the wicked surprise if you haven't seen them
First off all the Final Destination series barely counts as horror for me. It's much closer to some kind of dark hearted comedy. With each installment built on the premise that some people escape death via a precognitive vision but are then offed one by one by the spirit of death itself what we get is basically a series of slap stick set pieces as filtered through something of a Grimm Fairytales lens.
The brainchild of X-Files luminaries Glen Morgan and James Wong the original film sees a bunch of high school kids thrown off a play minutes before it explodes in mid air. The first real indication of some sly smarts at play comes when we as the audience seen the plane explode in back of shot whilst the characters argue about being on it in the foreground with a beautiful second or so of delay before the window shatters.
A month later and people start dying in strange accidents, strangely convoluted and over intricate accidents. And there lies the joy, once it becomes obviously evitable that the majority of the cast are doomed it's a case sitting back and trying to guess exactly how there are to meet their ends.
Each major sequence cunningly offers up a number of potential hazards that could do the deed before normally managing to combine them all into some kind of mouse trap like dominoes effect of death.
Following installments basically change the cast but keep the formula with little effort to build any unnecessary mythos around the events. Now I normally don't like films that are all about horrible deaths and awful pain, but the Final Destination series takes these tools and plays it for laughs and more importantly does ask uys to revel in the suffering of others. Once they come the deaths are quick and then it's off and on to the next one, no prolonged scenes of torture to be found. (Though I admit the first salvo of the third feel does freak me out)
Pretty much the cinema equivalent of the Ghost Train at the fair or the rollercoaster the films pitch the audience this way and that but we all know what is coming. A bit like Tom and Jerry cartoons rendered real. These film know exactly what they are and run with it, upping the ante to daftly deadly highs. Most will find they are remotely horrified but do end up with grins on their faces as they chortle in disbelief.
Reveal in the comedic violent excess with Empire's list of the ten best deaths from the series, though it will spoil the wicked surprise if you haven't seen them
Sunday 4 October 2009
Eek! Halloween is a-coming
Seeing as this is the month of Halloween I figure I'll spend time over the coming days looking at, thinking about and talking about horror films. Horror as a general is genre that rarely interests me, the vast majority of it seems to be witless, soulless and craftless.
However I do find the odd film that does hold something to it other than large chested teenagers (and those can be guys or girls!) being stalked by a unstoppable maniac. So we'll be taking a look at some of those this month, alongside I imagine a couple of rants about the crappier end of the scale. I will also do my best to seek out and recommend some horror films that you may not have come across before and/or which I would actually go as far as to actually say they are good film.
Anyway a quick start with a look at a French film from last year, a first time effort for the director and writer it has picked strong buzz from the festival circuit and plays on some primal fears and motivations. Seems Europe is still full of twisted and scary things...
However I do find the odd film that does hold something to it other than large chested teenagers (and those can be guys or girls!) being stalked by a unstoppable maniac. So we'll be taking a look at some of those this month, alongside I imagine a couple of rants about the crappier end of the scale. I will also do my best to seek out and recommend some horror films that you may not have come across before and/or which I would actually go as far as to actually say they are good film.
Anyway a quick start with a look at a French film from last year, a first time effort for the director and writer it has picked strong buzz from the festival circuit and plays on some primal fears and motivations. Seems Europe is still full of twisted and scary things...
Saturday 3 October 2009
The Worst Blockbusters Ever Made?
Currently over on the Total Film website there is a list nominating thirty of the worst films set up as blockbusters that have been made. In brief the list is;
30.Dick Tracy
A strange on this, never quite sure of what kind of tone it wants as it veers from being overly comic bookly styled to half hearted film noir to musical and back plus Beatty & Madonna bring no chemistry to the central pairing
29.The Lost World : Jurassic Park
I actually quite like this, ok the last section is really stupid with the T-Rex running around downtown LA and the premise of a secret 2nd island is little lame but there is excitement and adventure to be had. The cliff hanging trailers sequence is a tense and thrilling set piece as you'll find anywhere else.
28.Last Action Hero
Again I quite enjoy this one as a decent parody of Arnie's own action oeuvre. The cartoon cat is a strange inclusion though it has to be said.
27.Alien : Resurrection
Easily the worst of the core Alien films, it's passable with a couple of interesting ideas for most of it's runtime. Then the Newborn turns up and any credibility gets sucked right out the window along with it.
26.Hudson Hawk
Something of a mis-fire this one and it's not alone in being a vanity project that doesn't work but it's forgettable rather than actively terrible
25.Rocky V
Rocky is good, Rocky II is ok. The rest of them are rubbish.
24.Forrest Gump
Striking in it's day in terms of technology but looking back it is rather mawkish and overly sentimental but Hanks it has to be said plays his role well and the soundtrack digs up some quality songs.
23.Independence Day
Sci-fi cheese of the grandest order, I used to really like it when it came out but re-watching it since it is in truth rather poor in all the sections where things aren't blowing up. Still Will Smith charisma just about pulls it off and watching the White House explode never gets old. Though "Hey, Chaps" British pilots do.
22.Lost In Space
Another one that struggles to really commit one way or another to an approach. The twisty time loopy plot does hold some interest once it gets going but it seems to be trying too hard to be part one of an extended saga
21.Twister
The twisters looks good but the rest of it is, well, boring.
20.Far And Away
Cruise and Kidman prove once again that real life couples can often struggle to put any kind of chemistry on screen in this 'epic' tale of frontier life.
19.Hook
Probably Speilberg's biggest misstep (even above 1941) it's like the Goonies in a Pirate Theme park with a middle aged man thrown in for some reason. I remember not even enjoying it as a undemanding 11-year-old.
18.Highlander 2 : The Quickening
Rubish, simple as. There can only be one and that's the first one.
17.Superman 4 : The Quest For Peace
Filmed for something like the catering budget of the first film in the series it's badly crippled, poor Reeves tries but can not say save this tale of Superman the peace-nik hippy.
16.Armageddon
Another one that is fine entertainment when things are exploding but pretty awful for the rest of it. Just don't think about the science and definitely don't think about Animal Cracker seduction and you'll be entertained. Still it does have one of my favourite lines, "..it's a big ass sky."
15.Ishtar
I haven't seen this but it's reputation implies that it would be a waste of time to bother
14.Popeye
Altman makes family friendly comedy based on a cartoon was never going to work really and lo, ot it doesn't.
13.Howard The Duck
Just goes to prove Lucas has had worse moments than the invention of Jar Jar Binks. Based an adult comic strip making a kiddy friendly movie about a horny duck from outer space was probably the worst idea going since the Star Wars Holiday special
12.Waterworld
Another that I quite like, you can see where the budget was spent and the setting is something different from the norm. Dennis Hopper has a whirl of a time hamming it up as the villain and the steam punk design ethos is quite cool
11.The Postman
Given the choice between Dances With Wolves and Dances with a post van I'll take the former. Over-earnest and numbingly slow paced I've actually never managed to sit through the whole thing
10.Godzilla
A film where you can loose a sky scraped tall lizard in the subway system! It says something that the early pre-release trailer was better than the actual movie as it craftily riffs on Jurassic Park
09.Cutthroat Island
Another one that is lively enough but just rather forgettable overall and forever left with a albatross of a bloated budget and disastrous series production disasters
08.Titanic
Over-long with a terribly unconvincing central love story, the biggest star is the boat even before it sinks.
07.Wild Wild West
Big Willie's first real notable box office failure, it's actually good fun places but another one that reeks of many cooks spoiling the broth.
06.Pearl Harbour
Dull, dull, dull. Then the attack on the titular harbour happens which is a great set piece. But is sadly followed by another couple of hours worth of dull, dull, dull, dull.
05.Star Wars Episode I : The Phantom Menace
Darth Maul is awesome and hey it is Star Wars so I'm programmed at a sub conscious level to like it to some extent but I admit it is quite ponderous and Jake Lloyd is truly terrible.
04.Speed 2 : Cruise Control
As if someone tried to thing of the lest dynamic scenario for film called Speed that they could. Reeves did well to say no to a return in this listless follow up.
03.Battlefield Earth
Yes, look it's another one of those vanity projects that doesn't work. Fails even on that pizza and beer movie level.
02.The Avengers
I actually really enjoyed this when I saw it, taken in the right frame of mind it is an enjoyable daft comedy action romp around. But I totally understand why other people hate it.
01.Batman & Robin
The neon glow finally engulfs the Dark Knight as it finally gets as camp as the 60s TV show. The previous film was saved by a tour De force of mania from Jim Carrey but this time out Arnie just can't carry it off as Bruce's icy nemesis this time round whilst Uma Thurman (unlucky enough to be in the top two) tires and fails to pull off something along the lines of Pfeiffer's Catwoman.
Joel Schumacher admits he was under studio orders to make thing as child friendly and colourful as possible and so decided to go all out on it and boy does it shows. Painful to watch just in terms of the visual assault on the eyes let alone the terrible script and acting.
30.Dick Tracy
A strange on this, never quite sure of what kind of tone it wants as it veers from being overly comic bookly styled to half hearted film noir to musical and back plus Beatty & Madonna bring no chemistry to the central pairing
29.The Lost World : Jurassic Park
I actually quite like this, ok the last section is really stupid with the T-Rex running around downtown LA and the premise of a secret 2nd island is little lame but there is excitement and adventure to be had. The cliff hanging trailers sequence is a tense and thrilling set piece as you'll find anywhere else.
28.Last Action Hero
Again I quite enjoy this one as a decent parody of Arnie's own action oeuvre. The cartoon cat is a strange inclusion though it has to be said.
27.Alien : Resurrection
Easily the worst of the core Alien films, it's passable with a couple of interesting ideas for most of it's runtime. Then the Newborn turns up and any credibility gets sucked right out the window along with it.
26.Hudson Hawk
Something of a mis-fire this one and it's not alone in being a vanity project that doesn't work but it's forgettable rather than actively terrible
25.Rocky V
Rocky is good, Rocky II is ok. The rest of them are rubbish.
24.Forrest Gump
Striking in it's day in terms of technology but looking back it is rather mawkish and overly sentimental but Hanks it has to be said plays his role well and the soundtrack digs up some quality songs.
23.Independence Day
Sci-fi cheese of the grandest order, I used to really like it when it came out but re-watching it since it is in truth rather poor in all the sections where things aren't blowing up. Still Will Smith charisma just about pulls it off and watching the White House explode never gets old. Though "Hey, Chaps" British pilots do.
22.Lost In Space
Another one that struggles to really commit one way or another to an approach. The twisty time loopy plot does hold some interest once it gets going but it seems to be trying too hard to be part one of an extended saga
21.Twister
The twisters looks good but the rest of it is, well, boring.
20.Far And Away
Cruise and Kidman prove once again that real life couples can often struggle to put any kind of chemistry on screen in this 'epic' tale of frontier life.
19.Hook
Probably Speilberg's biggest misstep (even above 1941) it's like the Goonies in a Pirate Theme park with a middle aged man thrown in for some reason. I remember not even enjoying it as a undemanding 11-year-old.
18.Highlander 2 : The Quickening
Rubish, simple as. There can only be one and that's the first one.
17.Superman 4 : The Quest For Peace
Filmed for something like the catering budget of the first film in the series it's badly crippled, poor Reeves tries but can not say save this tale of Superman the peace-nik hippy.
16.Armageddon
Another one that is fine entertainment when things are exploding but pretty awful for the rest of it. Just don't think about the science and definitely don't think about Animal Cracker seduction and you'll be entertained. Still it does have one of my favourite lines, "..it's a big ass sky."
15.Ishtar
I haven't seen this but it's reputation implies that it would be a waste of time to bother
14.Popeye
Altman makes family friendly comedy based on a cartoon was never going to work really and lo, ot it doesn't.
13.Howard The Duck
Just goes to prove Lucas has had worse moments than the invention of Jar Jar Binks. Based an adult comic strip making a kiddy friendly movie about a horny duck from outer space was probably the worst idea going since the Star Wars Holiday special
12.Waterworld
Another that I quite like, you can see where the budget was spent and the setting is something different from the norm. Dennis Hopper has a whirl of a time hamming it up as the villain and the steam punk design ethos is quite cool
11.The Postman
Given the choice between Dances With Wolves and Dances with a post van I'll take the former. Over-earnest and numbingly slow paced I've actually never managed to sit through the whole thing
10.Godzilla
A film where you can loose a sky scraped tall lizard in the subway system! It says something that the early pre-release trailer was better than the actual movie as it craftily riffs on Jurassic Park
09.Cutthroat Island
Another one that is lively enough but just rather forgettable overall and forever left with a albatross of a bloated budget and disastrous series production disasters
08.Titanic
Over-long with a terribly unconvincing central love story, the biggest star is the boat even before it sinks.
07.Wild Wild West
Big Willie's first real notable box office failure, it's actually good fun places but another one that reeks of many cooks spoiling the broth.
06.Pearl Harbour
Dull, dull, dull. Then the attack on the titular harbour happens which is a great set piece. But is sadly followed by another couple of hours worth of dull, dull, dull, dull.
05.Star Wars Episode I : The Phantom Menace
Darth Maul is awesome and hey it is Star Wars so I'm programmed at a sub conscious level to like it to some extent but I admit it is quite ponderous and Jake Lloyd is truly terrible.
04.Speed 2 : Cruise Control
As if someone tried to thing of the lest dynamic scenario for film called Speed that they could. Reeves did well to say no to a return in this listless follow up.
03.Battlefield Earth
Yes, look it's another one of those vanity projects that doesn't work. Fails even on that pizza and beer movie level.
02.The Avengers
I actually really enjoyed this when I saw it, taken in the right frame of mind it is an enjoyable daft comedy action romp around. But I totally understand why other people hate it.
01.Batman & Robin
The neon glow finally engulfs the Dark Knight as it finally gets as camp as the 60s TV show. The previous film was saved by a tour De force of mania from Jim Carrey but this time out Arnie just can't carry it off as Bruce's icy nemesis this time round whilst Uma Thurman (unlucky enough to be in the top two) tires and fails to pull off something along the lines of Pfeiffer's Catwoman.
Joel Schumacher admits he was under studio orders to make thing as child friendly and colourful as possible and so decided to go all out on it and boy does it shows. Painful to watch just in terms of the visual assault on the eyes let alone the terrible script and acting.
Friday 2 October 2009
Trailer of the day : The Fantastic Mr Fox
When The Royal Tennenbaums meets Roald Dahl you get Wes Anderson's 'The Fantastic Mr Fox' and I am very much looking forward to it.
Wednesday 30 September 2009
I have been watching : A Bridge Too Far (1977)
Watched over a few nights because it is really quite long, A Bridge Too Far is on of those rainy Sunday afternoon films. It recounts the events leading up to and the events of Operation Market Garden, the audacious attempt to seize a series of bridges miles behind enemy lines in a effort to shorten the war.
The film dose not shy away from highlighting both the inadequacy of the planning and outright mismanagement of the operation. Ambitious one paper we see the operation undermined as equipment is lost, air drops that give equipment to the Germans, intelligence on German movements ignored, landing zones miles from the objective and refusal to 'rock the boat' by highlighting malfunctioning radio equipment.
We also get an insight to the German response as they try to understand what is happening, at first a high-ranking officer fears he is the target of the operation before it becomes clear that the bridges are the target.
Director Richard Attenborough is even handed and meticulous in his depiction of events and calls upon a stellar cast to bring home the drama; James Caan, Michael Caine, Sean Connery, Gene Hackman, Anthony Hopkins, Elliot Gould, Ryan O'Neil, Laurence Olivier and Robert Redford all amongst the cast.
It is almost a dramatised documentary rather than a more typical war fiction and generally more effective for it although it can be a little dry in places where more could have been made to really put across the scale and cost of the mistakes made both in terms of the war and the number of lives lost.
The film dose not shy away from highlighting both the inadequacy of the planning and outright mismanagement of the operation. Ambitious one paper we see the operation undermined as equipment is lost, air drops that give equipment to the Germans, intelligence on German movements ignored, landing zones miles from the objective and refusal to 'rock the boat' by highlighting malfunctioning radio equipment.
We also get an insight to the German response as they try to understand what is happening, at first a high-ranking officer fears he is the target of the operation before it becomes clear that the bridges are the target.
Director Richard Attenborough is even handed and meticulous in his depiction of events and calls upon a stellar cast to bring home the drama; James Caan, Michael Caine, Sean Connery, Gene Hackman, Anthony Hopkins, Elliot Gould, Ryan O'Neil, Laurence Olivier and Robert Redford all amongst the cast.
It is almost a dramatised documentary rather than a more typical war fiction and generally more effective for it although it can be a little dry in places where more could have been made to really put across the scale and cost of the mistakes made both in terms of the war and the number of lives lost.
Is it the end of the road for Bob and Harvey?
Bob and Harvey Weinstein have been two of the biggest players in Hollywood for nearly two decades, their company Miramax dominated the box office and critical kudos across the nineties.
It's a rise thrillingly documented in Roger Biskind's book "Down and Dirty Pictures" as the brother rose to prominence and helped to shape the American film making landscape (all tied together with the rise of the 'Sundance Generation') but not it seems things are not going so well.
The pair sold Miramax to Disney during the nineties and in 2005 set up The Weinstein Company to once again have their Independence. However a number of under performing releases from the both the 'prestige' side of the operation (think Miss Potter) and the brash junk side- Dimension by name (Halloween) not to mention the sinking of Grindhouse has led to the brothers having tighten their company belts and staff numbers have been slashed.
So it seems that Bob and Harvey are about to meet everyone they royally p*ssed of on the way up on they way back down (even star asset Quentin Tarantino is of little help with half of Basterds take going to Universal), you get the feeling they might well not enjoy the experience.
It's a rise thrillingly documented in Roger Biskind's book "Down and Dirty Pictures" as the brother rose to prominence and helped to shape the American film making landscape (all tied together with the rise of the 'Sundance Generation') but not it seems things are not going so well.
The pair sold Miramax to Disney during the nineties and in 2005 set up The Weinstein Company to once again have their Independence. However a number of under performing releases from the both the 'prestige' side of the operation (think Miss Potter) and the brash junk side- Dimension by name (Halloween) not to mention the sinking of Grindhouse has led to the brothers having tighten their company belts and staff numbers have been slashed.
So it seems that Bob and Harvey are about to meet everyone they royally p*ssed of on the way up on they way back down (even star asset Quentin Tarantino is of little help with half of Basterds take going to Universal), you get the feeling they might well not enjoy the experience.
Monday 28 September 2009
Trailer Of The Day : In The Valley Of Elah
An excellent drama with another fantastic performance from Tommy Lee Jones supported by strong turns from Susan Sarandon and Charlize Theron. Intelligent storytelling that looks what it is to be a front line trooper in Iraq and the families left behind when tragedy strikes
Flash Forward
Tonight saw the first in a new series by the name of Flash Forward, it comes from the genre power team of Braga & Goyer and at first glance appears very similar to Lost sharing as it does a central concept which is fantastical combined with non-linear storytelling.
Plot wise so far basically we have the entire population of the planet blacking out at the same time for two minutes and seventeen seconds during which time everyone sees a flashforward of their lives six months in the future. So what happened and why did it happen?
The first episode introduced the key cast and laid down a few interesting threads about what's ahead. The central character's flash involved him distressed and in mortal danger over something he's found in an investigation into the blackout, elsewhere his wife has seen herself having an affair with a man she has not yet met and someone else fears for his life having seen nothing at all.
Even in the present day we are given a few threads and questions, who where they chasing at the beginning and what exactly were they planning? Who is the man who seems not to have been affected?
The premise is promising (after all the excellent Minority Report is built an similar conceit) and with the whole thing being based on an existing novel and the show runners saying it all fits into a three season arc there is a full story planned out here.
In truth it was a low-key start but showed enough to give the impression that things well build up and interconnect in an interesting ways.
The other one has thoughts too over at http://squidfromspace.blogspot.com/
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