Warner Bros. Pictures has released the first trailer for the Cathy Yan-directed “Birds of Prey” film.
Margot Robbie is reprising her “Suicide Squad” role of Harley Quinn in the film alongside Mary Elizabeth Winstead as Huntress, Jurnee Smollett-Bell as Black Canary, Ella Jay Basco as Cassandra Cain, Ewan McGregor as the villain Black Mask, Chris Messina as Victor Zsasz and Rosie Perez as Renee Montoya.
Ali Wong, Robert Catrini, Steven Williams and Derek Wilson round out the ensemble, while Christina Hodson pens the script. “Birds of Prey” is set to be released in cinemas on February 7th 2020.
Netflix has premiered the first trailer for the Michael Bay-directed action feature “6 Underground” which has also set a December 13th launch date on the service.
“Deadpool” scribes Rhett Reese and Paul Wernick penned the film in which six billionaires form a vigilante squad after faking their deaths in order to take down notorious criminals.
Ryan Reynolds, Dave Franco, Manuel Garcia-Rulfo, Adria Arjona, Corey Hawkins and Ben Hardy play the six squad team members who only go by numbered codenames (Reynolds is ‘One’, Franco is ‘Two’, etc.).
Melanie Laurent co-stars in the film which was shot throughout the second half of last year in Los Angeles and various parts of both Italy and the United Arab Emirates.
20th Century Fox has released a new full trailer for Matthew Vaughn’s “The King’s Man” which serves as a prequel to the two “Kingsman” films.
Set in the 1910s, the film explores the origins of the very first independent intelligence agency as a collection of history’s worst tyrants and criminal masterminds gather to plot a war to wipe out millions. One man must race against time to stop them.
Ralph Fiennes, Harris Dickinson, Rhys Ifans, Tom Hollander, Daniel Bruhl, Gemma Arterton, Matthew Goode, and Charles Dance star in the film which opens February 14th 2020.
Featuring: Chris Hemsworth, Tessa Thompson, Kumail Nanjiani, Rebecca Ferguson, Rafe Spall, Laurent and Larry Bourgeois and Liam Neeson
M.I.B UK Branch Head:“Always remember: the universe has a way of leading you to where you’re supposed to be, at the moment you’re supposed to be there.”
Critical review
The latest movie in the ‘Men in Black’ franchise arrived on 4K blu-ray and DVD this week in the form of “Men in Black International” (2019), with little fanfare, compared to others this Summer and left quickly the same way after a thud at the box office as well as indifference to critics and audiences. This was never a huge franchise but it was based on something not only fun, silly as well as full of action but the entire idea was based around superstar Will Smith, his relationship to not only the outside world but the pocket universe he inhabited with all sorts of fantastical ideas and in jokes, not forgetting his relationship with the great Tommy Lee Jones, and in the third movie Josh Brolin. While the first three movies were controlled by a small group, that being Smith, director Barry Sonnenfeld and the producers the results were very much up and down with the nadir of the series still remaining the first entry “Men in Black” (1997) which at the time cemented Smith a a global star, while also showing a new side to character actor Jones. While Sony was able to squeak out three movies that have all done at least acceptably well at te box office there was little appetite in any of the big three returning so the series has been rebooted to move its location from the US to the UK, recasting all the parts and changing the production team. Attempting something like this fifteen or twenty years ago may have seemed like something original but in 2019 it is just another unoriginal property trying to gain an audience with its youngish cast and hopefully a director who is able to add some originality. However, like so many movies lately all that happens is using a predictable story, average special effects, actors going through the motions or even revealing that they are out of their depth and finally nothing of any substance that audiences will actually appreciate.
Surprisingly I had thought to have seen the very worst movie this year in the misfire “Hellboy” (2019) which to was a reboot of sorts but now I can confirm that this sci-fi/comedy is a complete disaster. While both movies share some of the same issues at least in “Hellboy” the actors were not only committed but offered performances that were in line with the movie they appeared in. Sure, the effects were not great, the story was a re-tread, albeit not a good one and the narrative was all over the place but you could at least see onscreen performances that were far better than the material. In “Men in Black International” however we have some actors who have all had recent success in Chris Hemsworth, Tessa Thompson and Rebecca Ferguson who are all uniformly terrible unable to breathe any life into each of their own parts while adding little to the overall plot and narrative, showing singularly the difference between being a star and a character actor. The best way to illustrate this is the difference in performance only between Will Smith and Chris Hemsworth or even Tessa Thompson and Tommy Lee Jones, in one case you can see where actors know their parts, their roles and the story they are in.
The other important aspect of “Men in Black International” international are the writers and director who have been recruited to reboot this franchise. A movie as is often the case begins and ends with the script, here it has been written by Art Marcum and Matt Holloway who have some experience, unfortunately this comes in the form of some very ill-conceived movies in the form of the absolutely awful “Punisher: War Zone” (2008) and “Transformers: The Last Knight” (2017) both of which were essentially franchise killers, the same could possibly be said with “Men in Black International”. Their only real success was on the original MCU movie “Iron Man” (2007), however it is well worth noting this was a co-writing credit and they have never been asked back, something telling as successful writers have almost always been asked to return. In terms of director F. Gary Gray who has this decade been a part of one of the biggest studio franchises in the ‘Fast and Furious’ series with his entry “The Fate of the Furious” (2017) and an original biopic in “Straight Outta Compton” (2015) both of which were global successes the option to enter into sci-fi must have seemed like a great opportunity. To be fair there is nothing wrong or bad about his direction, he has obviously had a job to do and his executed it, unfortunately it is almost everything else that has been at fault which may come from his lack of control with bigger names in terms of stars and producers around him. There is no doubt that Gray has had a vast amount of experience with action and humour which does exist but not to a degree one would consider original, just cribbed from the first movie in the franchise.
“Men in Black International” begins in 1996 where Molly Wright witnesses her parents being neuralysed by agents of Men in Black while she helps an alien escape, avoiding neuralysation herself. Twenty-three years later, rejected from FBI and CIA due to her “delusions” regarding alien life, Molly tracks down an alien landing and follows MiB agents to their headquarters in New York City. Caught entering the agency, Molly makes an impression on Agent O, arguing that she has proven her skills and has no life outside her search for the agency. She is awarded probationary agent status as “Agent M” and assigned to the organisation’s London branch.
It may have seemed like a good idea to cast Chris Hemsworth and Tessa Thompson after their perceived success in the MCU movie “Thor: Ragnarok” (2017) where some seemed to think they had chemistry, however Thompson, who has proven herself to be a very good actress over a variety of different movies, seemed to have more actual chemistry with co-stars Tom Hiddleston and Mark Ruffalo. This movie proves two things, that Chris Hemsworth is a character actor at best, is no comedian and is unable to carry a movie by himself. Watching “Men in Black International” and the two leads is painful at best with neither of them able to take control offering performances that seem one note, beyond their abilities and they also seem miscast completely. Not only that but the rest of the cast do not come of well either with dialogue that is not only heavy handed, completely woke and out of place but forced so much that the entire movie is boring. Both Rebecca Ferguson and Rafe Spall seem to not know what movie they are in, with characterisations that are vanilla and bland, to be fair Ferguson is not helped but a terrible wig, shoddy CGI and it seems no make-up, she is left floundering at sea for her part. The two veterans and A listers in Emma Thompson and Liam Neeson are not in the movie enough or are just reciting lines from a certain ‘Star Wars’ prequel which may seemed like a cool thing to do but comes off as hammy in the very worst way imaginable.
Of course, one of the major components of a movie like “Men in Black International” are the special effects of which a large portion are made up of CGI which like many Summer tentpole movies is overused and overdone here especially when interacting with real props, locations and of course the actors. Most of the effects stand out like a sore thumb which is not great especially for the audience who are taken out of the movie at every instant. As mentioned the treatment of Rebecca Ferguson in terms of her make-up and special effects is nothing short of deplorable. There are fully CGI characters contained within the narrative, they look not fully designed or realistic in terms of their own environments which in today’s movie going experience is unforgivable. A great example of a three-dimensional CGI character, for example would be Rocket from the MCU movies, there is nothing even close to that good here. It seems that the laziness within the script as well as the acting has made its way into the special effects and CGI which is something that could not have been said for the first three movies.
What I would have loved to have seen in this reboot firstly was an original script something that was not a knockoff of the first movie in all but name which cries out of laziness to get something into theatres. This movie is almost a beat for beat copy of that original movie except where there were consequences, a divide between the real world and the alien one, where there was some logic to the way the world actually works and a variety of other elements this has all been merged into one giant mess. There is also a large chuck of artificial wokeness that inhabits this movie with little subtly, it is almost like everyone involved is at pains to point out that there is woman involved, but in case you missed it women have been involved in all three movies.
In my mind I could not recommend this mvie at all, in fact it is possibly the worst movie released this year which is saying something as we had “Hellboy” only a few months ago. Avoid this at all costs!
Technical review
Sony Pictures Home Entertainment brings “Men in Black International” to Ultra HD Blu-ray as a two-disc combo pack. The dual-layered UHD66 disc sits comfortably opposite a Region Free, BD50 disc inside a black, eco-elite vortex case with a glossy slipcover. At startup, the disc goes straight to an interactive main menu that changes screens when switching between the usual options while music plays in the background.
Video
“Men in Black International” arrives on Ultra HD with a reference-quality HEVC H.265 encode, surpassing the current Blu-ray.
Shot on a combination of Arri Alexa cameras, ranging from 3.4K and 6.5K resolution levels but later mastered to a 2K digital intermediate, the upscaled transfer lands to home theaters with a near-flawless 2160p picture. Keeping it from perfection, however, are a few trivial instances of aliasing along the sharpest edges and on monitor screens, a tinge of moiré and some extreme wide shots falling on the softer side of things. But overlooking that, the action boasts stunning, razor-sharp clarity in almost every scene. Better still, the freshly-minted HDR10 presentation equips the fantastical action with a pleasant bump in the overall palette. It may not be quite as a dramatic difference as we’ve come to expect from the format, but the jump in nonetheless notably appreciated and a welcomed boost on the whole. Primaries lavish nearly every scene with lustrous, electrifying blues in the weapons and the lighting while many nighttime sequences come with a soft cerulean tone due to the orange-and-teal cinematography.
Audio
“Men in Black International” arrives onto 4K home theaters with an outstanding, demo-worthy Dolby Atmos soundtrack that delivers several noteworthy enhancements to its already fantastic DTS-HD MA counterpart, making this the preferred way to enjoy the movie.
Special Features
All the special features are contained in the accompanying Blu-ray disc.
New Recruits, Classic Suits (HD, 7 min): A small collection of interviews on the cast.
Let’s Do This! Inside the Action & Stunts (HD, 6 min): A look at the choreography.
Expanding the Universe (HD, 6 min): About the locations adding to the MiB mythos.
Frank & Pawny’s Peanut Gallery (HD, 6 min): The characters jokingly narrate clips from the movie.
Look Right Here: Gadgets, Weapons & Rides (HD, 4 min): Brief glimpse at the tech.
Alien Shopping Network! (HD, 3 min): Essentially, a pair of faux commercials constructed from various clips of the entire franchise, one of which features Frank the Pug.
In Case You’ve Been Neutralized (HD, 3 min): A literal recap of the entire movie.
The MiB Meet the NBA (HD, 3 min): Hemsworth and Thompson in character investigate the world of professional basketball for aliens.
Les Twins Leave It on the Floor (HD, 2 min): BTS footage of the dance scene in the club.
Walt Disney Pictures has premiered the official second trailer for “Frozen II” ahead of the film’s debut November 22nd.
Why was Elsa born with magical powers? The answer is calling her and threatening her kingdom. Together with Anna, Kristoff, Olaf and Sven, she’ll set out on a dangerous but remarkable journey. In Frozen, Elsa feared her powers were too much for the world. In Frozen 2, she must hope they are enough.
Kristen Bell, Idina Menzel and Josh Gad all return and are joined by the additions of Sterling K. Brown and Evan Rachel Wood. Jennifer Lee and Chris Buck direct while Oscar-winning songwriters Kristen Anderson-Lopez and Robert Lopez are returning to do the music.
Written and directed by “Breaking Bad” series creator Vince Gilligan, “El Camino” is set in the wake of Jesse’s dramatic escape from captivity. He must come to terms with his past in order to forge some kind of future.
Emmy winner Aaron Paul is reprising his role for the film, with several other characters from the series expected to return. Netflix has set an October 11th premiere date.
Featuring: Ken Jeong, Suzy Nakamura, Tisha Campbell-Martin, Jonathan Slavin, Albert Tsai, Krista Marie Yu, Kate Simses, Dana Lee and Dave Foley
Released recently on DVD is the entire run of the Ken Jeong created and starring television series “Dr. Ken – The complete series” (2019) which was very loosely based on his real experiences as a Physician. Unfortunately for all involved this was not only a relatively short lived series but was critically reviled as well which upon viewing is a little unfair but the tone throughout seems off for what the creators were possibly going for from the outset.
The premise if the series is that Dr. Ken is a brilliant physician who is horrible with his patients and co-workers but fumblingly well-meaning as a husband and father. This seems pretty standard for any sit-com really which may explain the lack of freshness on one hand as well as the try too hard nature on the other. There seems on the surface to be a breakdown between plot and narrative which explains why there is a looseness in terms of the character who never really knows whether he is coming or going, the only thing more random than Dr. Ken himself are all the patients he sees who seem lost.
I can see how Jeong flailing his limbs, falling over things and spitting out hip-hop jargon either might seem compulsively funny or that the pressure of the environment might force laughs upon you. Also, Jeong is a funny guy who has been funny in many contexts. That the multicam format and this sitcom, as currently constructed, both force him into some of his broader, worse habits is a disappointment, but it’s OK to want to like him.
Jeong has it in him to be an effective sitcom star, and if that happens, he’s surrounded himself with performers who could make up a rather terrific ensemble — if they had a more consistent lead performance to work against.
It may seem at times that there is endless diversity on our screens but that simply is not the case so it is a victory when a series like “Dr. Ken” actually gets to air. Even if it is not a great depiction of what a Korean family faces in the US, this is a show that is about and is created by a Korean living in the US. The other byproduct is that when a show is not great or does not reache a level that would break new ground or last longer than a two rocky seasons it makes those shows that are about diversity and are successful look even better.
Featuring: Brad Pitt, Tommy Lee Jones, Ruth Negga, Liv Tyler and Donald Sutherland
Roy McBride:“I do what I do because of my dad. He was a hero. He gave his life for the pursuit of knowledge. Because up there is where our story is going to be told.”
Released this week after many delays as well as shrouded in secrecy is the latest film from James Gray, “Ad Astra” (2019), a science fiction odyssey that harkens back to previous films within its genre, in particular Stanley Kubrick’s “2001: A Space Odyssey” (1968), as it aims to comment on mankind and its lofty aims to search the stars in hopes of gaining some greater understanding as to the purpose of not only our existence but life in general. “Ad Astra” also owes a debt to the classic Francis Ford Coppola masterpiece “Apocalypse Now” (1979) and of course Gray’s previous outing the massively underrated “Lost City of Z” (2016).
“Ad Astra”, the meaning of which is in an opening statement of sorts is part of the very essence of the film which as an audience member you will be reminded of time and again as the plot and narrative are interwoven so that they are almost indistinguishable from each other, much like an effect that is accomplished in “Apocalypse Now”. This film not only acts as a journey for the main character as he hops from Earth to the Moon to Mars and finally to the orbit of Neptune but for the audience as well. As the audience we are given bits and pieces of information throughout the running time so that we arrive both physically and mentally to a point where we attain knowledge that the main character has actually known his entire life but has kept such a tight control that it has effected him physiologically. This control is seen as a strength to others but has been a stumbling block which as he gains knowledge he becomes a more emotional being.
It would be simple to view this film as what it means to be a Father as well as a son, with that relationship taking centerstage around a sci-fi maguffin. However, there is so much more going on than that, it also encompasses elements of everyday life especially in terms of relationships and emotions. One of the key psychological elements of the movie is abandonment, which is played out by many of the characters as well as Earth itself in relation to the sci-fi aspect. Abandonment is a complex phenomenon in psychology that is thought to stem from childhood loss or trauma. People with the fear of abandonment may tend to display compulsive behaviors and thought patterns that affect their relationships, ultimately resulting in the abandonment they dread becoming a reality. Although Roy McBride thinks that he is in control of his life both internally and externally he creates a shell that nothing can penetrate, in a way this film over the course of its running time breaks down that shell, finally rupturing it so he is able to make connections, understanding himself and others in the process.
Although there are few female characters as well as few real non-white roles on the surface of it, in fact there are women throughout the movie that assist McBride in his mission, enabling the success of his journey all the way to Neptune. Many of the female characters in fact have a truth to give to McBride assisting his healing and revealing truths he could not have found out any other way. Not only that but the look of the future is multicultural as well see on the Moon as well as beyond which is something that is going to be accurate as move through this century.
“Ad Astra” is et in the near future, the Solar System is being struck by mysterious power surges of unknown origin, threatening the future of human life. After surviving an incident on an immense space antenna caused by one of these surges, Major Roy McBride (Brad Pitt), son of famed pioneering astronaut H. Clifford McBride (Tommy Lee Jones) is informed by U.S. Space Command (SpaceCom), that the source of the surges has been traced to the “Lima Project” base. The Lima Project had been sent some twenty-six years prior to search for intelligent life from the farthest regions of the Solar System under Clifford McBride’s leadership, and disappeared sixteen years prior in orbit around Neptune. A SpaceCom officer informs Roy that they believe Clifford may still be alive, and he is tasked with the mission of travelling to Mars to try and establish communication with him.
This is a film that has been almost entirely designed by co-writer and director James Gray who is a classic filmmaker, using tropes, genres, themes and narrative tools from other major films, subverting those into what must be one of the most personal stories told in the sci-fi genre. There are no space battles, aliens, robots, A.I. or anytime else you may be able to think of in terms of the genre, it is the most personal story framed around familiar arcs. It is also directed to a point that each scene or frame is meticulously planned, there really is little use of obvious CGI except for some wide shots and the obvious opening, otherwise spacewalks, and landscapes seem real and physical, so there is use of the close up or mid shot which I found refreshing, it seems tangible as well as solid and thought out. As usual Gray produces a technically flawless piece of filmmaking, harnessing the talents of cinematographer Hoyte van Hoytema, composer Max Richter, costumer Albert Wolsky and so many more people into a film that any auteur would be proud of. Even so this is a precise film it sidesteps the feeling of coolness into coldness into something warm, mainly because of the combination of the performances, the special effects, the production and the plot, something many high minded sci-fi films could learn from.
Of course the central performance is that of Brad Pitt as Roy McBride who is as good as he has ever been, making this role his own playing it with real emotion not giving anything away but offering an honest performance that is not action hero, lothario or protagonist, but that of a husband and son, failing at both. For an actor who was seen as good looking as Robert Redford it is amazing to believe him in “Ad Astra” as the son of Tommy Lee Jones’ character, he operates with a worn face as well as a worn psyche. Speaking of Tommy Lee Jones who is seen mostly on video monitors but does have a key part especially in the third act, he threatens to steal the film as he offers one of the more serious and real performances of his career as the absent Father who casts a giant shadow over the entire film, mush like Brando did in “Apocalypse Now”, the difference being Jones is not interested in upstaging anyone, he has become that legendary Hollywood star who is happy to be the character actor of the film. In support the standouts for me are the great Donald Sutherland in a brief but important role and the fantastic Ruth Negga who is nothing if not one of the most talented actresses around.
“Ad Astra” is one of those films that we are told do not get made anymore, an adult drama that wraps itself up in themes and meaning of human life. The difference maybe is that it uses a genre in this case the sci-fi one to illustrate its points to audiences as well as offering a vehicle that might attract audience and not alienate them. Of course writing the film there are those plot points and themes that will be familiar to the sci-fi genre which gives audiences something to hang on to. The difference is where the personal themes and plot comes into play which for me was the most enjoyable part of “Ad Astra”. The fact that the narrative is also a road movie of sorts is also compelling with the realness of space reveal, it mundanity as well as its dangers come to the fore in a few key scenes that increase the tension so that we have long segments of life punctuated by action. Although the movie is linear in nature it is not told in real tie but does take real time into account so that we witness Mcbride breaking down on his trip from Mars to Neptune which does become harrowing, you feel he might not actually make it.
As the idea of abandonment is a central part of this film it is interesting to note how important mindfulness and psychology are interwoven into this film with McBride having to undergo testing by computers to evaluate his mental health, which does change from the start of the movie to the conclusion. This society we find ourselves in has recognised the importance of mental health in combination with physical health which shows a society that is progressive even as the Earth might be thrown back to a state of powerlessness.
Finally I recommend “Ad Astra” highly as one of the films of the year, it needs to be seen in cinemas on the largest screen possible, it manages to be a grand epic film while concentrating on what makes us human with themes that are universally recognisable, go see now.
Featuring: Sylvester Stallone, Paz Vega, Sergio Peris-Mencheta, Adriana Barraza, Yvette Monreal, Genie Kim, Joaquín Cosío and Oscar Jaenada
Rambo:“I’ve lived in a world of death. I’ve watched people I’ve loved die. Some fast with a bullet, some not enough left to bury. All these years I’ve kept my secrets, but the time has come to face my past. And if they come looking for me, they will welcome death. I want revenge. I want them to know that death is coming. And there’s nothing they can do to stop it.”
It has been eleven years since Sylvester Stallone last appeared onscreen as Vietnam vet John Rambo in the singularly titled “Rambo” (2008) which seemed to put a full stop in the story of a man who had seemingly been betrayed by his own country, but now we get an epilogue of sorts with this new R rated “Rambo: Last Blood” (2019) which is a call back to his first appearance in the David Morrell adaption “First Blood” (1982). Whilst that first movie signalled a pivot in what an action movie could be it showed a man who lived a solitary existence only had himself to look after with nothing to lose. This new movie offers something different, that same man who has embraced family and society (as much as a man like Rambo can) has everything to lose, it is a sad indictment on how we view people like Rambo that a man of action by himself can do little, one wonders what Rambo could have accomplished if he had more connections with an outside world. In some respects, this character has become little more than an isolationist and a shadow of his former self in that he only has one action, revenge, which is the staple of the entire franchise. This, the character of Rambo has in common with the Republican Party of today, in particular Trump who seems to preach what is exalted within the franchise, protect not those who you love but get revenge after the fact.
The majority of, and heyday of the entire ‘Rambo’ franchise was the 1980s, produced under a Republican led government and its totem of the day Ronald Reagan these movies offered audiences an antidote to the Cold War, especially as it came to an end, with people looking back at the failure of Vietnam and the problems that had produced. Rambo in the first movie was lost, someone attempting to live life on the road, although looking for an excuse to get some form of revenge, it is telling of Stallone’s own politics that he chose to let the character win – he died in the source material. From then on Rambo became some kind of wish fulfilment for the right wing as he became more cartoonish which is why there is a twenty-year gap between the third and fourth instalments. What has become apparent is that John Rambo is not a peacemaker, he is a revenge taker which is why in this movie, if he had taken some advice or even seen from a different point of view the outcome in this new movie would have been significantly different and better for all those involved. I have to admit I was expected more, a more languid understanding character who may have learned something over the past forty years but he still does not listen, instead having a myopic view on life and people. All in all, this feels like a throwback but not a good one, it has the promise of something different at the beginning but by the third act it is nothing more than a poorly executed derivative ‘A-Team’ rip-off.
The movie itself is of centred on John Rambo who lives with a Hispanic woman and her daughter who he seems to treat as his own. Through a decision made by his quasi daughter he has to travel to Mexico to save her as she has been taken hostage by a Mexican cartel.
A movie like “Rambo: Last Blood” lives and dies with the people behind the camera, for a movie like this to be any good there has to be some depth to it with themes imbedded within the DNA so that on closer scrutiny it is saying something either about the character, society or anything else that an audience can equate with. Unfortunately for some reason Stallone has decided to hand the reigns of this movie over to a director, Adrian Grunberg, and a co-writer, Matt Cirulnick, who have very little experience which shows onscreen almost from the outset. There is little explored within the narrative that holds up, in fact I would say that this plays very badly, I actually found myself bored which in a movie that runs less than ninety minutes is a very bad sign. The direction is pedestrian at best with very little going for it, the action is tired and motivations for everyone involved is murky at best. What I find confusing is the lack of Stallone’s involvement in the directing, he has proven on multiple occasions to be a better than average director, my heart sunk when I realised he was only credited as a co-writer.
Of course the lead of the movie is Sylvester Stallone who still holds the screen like ever before, this is one of his standard characters that is impossible not think of when you being Stallone to mind. The rest of the cast are not the highest calibre, however in saying that the young actress who is the centre of the story, Yvette Monreal is the real standout and is excellent, playing a part that requires her to be at once youthful, innocent and headstrong, all quite believable.
When I first heard about “Rambo: Last Blood” going into production as well as viewing the trailer for it I was looking forward to the movie but actually viewing it made my heart fall. It does not hold a candle to “First Blood” (1982) or even rise to “Rambo” which is a shame as both those movies had something to offer, both analysed the returned veteran in two eras that illustrate not much has changed in terms of returned servicemen. This new movie has little to say in regard to anything and its action set pieces seem designed to shock not adding to the overall narrative which these movies require. The very idea of commentary on politics in this movie is not explored much and the idea of Rambo being irrelevant is not touched on at all.
To be honest I would hold off on a visit to your local cinema, this is something that should be watched on a streaming service or rented on another platform. It is worth a watch as a curiosity piece but I think I prefer “Rambo” as the closing chapter to this franchise.
Focus Features has premiered the trailer for “Dark Waters,” the new true-story drama feature which marks the return of celebrated “Carol” and “Far from Heaven” director Todd Haynes.
Mark Ruffalo stars as Robert Bilott, a whistle-blowing defense lawyer who takes on the DuPont chemical company to expose a horrifying environmental secret.
Set for a limited release on November 22nd, the tone is akin to “Spotlight” and “All the President’s Men” and the film also stars Anne Hathaway, Tim Robbins, Victor Garber, Bill Pullman, Mare Winningham, and William Jackson Harper.
The full trailer has now arrived for writer/director Rian Johnson’s “Knives Out” which opens November 27th.
Daniel Craig, Chris Evans, Ana de Armas, Jamie Lee Curtis, Toni Collette, Don Johnson, Michael Shannon, Katherine Langford, Lakeith Stanfield, Jaeden Martell, and Christopher Plummer star in the film which is described as a modern-day murder mystery in the classic locked room whodunit style along with Johnson’s own original voice.
Plummer plays the patriarch of a wealthy family who dies following a party and so Stanfield and Craig’s detectives have to solve the case. Johnson has said various Agatha Christie-based films serve as his big influences though reviews suggest it turns into more of a dark satire of the 1%.
Featuring: Will Smith, Mena Massoud, Naomi Scott, Marwan Kenzari, Navid Negahban, Nasim Pedrad, Billy Magnussen and Numan Acar
Genie:“I made you look like a prince on the outside, but I didn’t change anything on the inside. Prince Ali got you to the door, but Aladdin has to open it.”
Critical Commentary
This week sees the release onto 4K Blu-ray/DVD of the latest Walt Disney animated movie remade into a ‘live action’ version, that being “Aladdin” (2019), following the successful run of this new sub-genre that began with “The Jungle Book” (1994) but didn’t really hit its true stride until 2010 when Tim Burton released “Alice in Wonderland” (2010) making over a billion dollars worldwide although critically derided as a bit of a soulless carbon copy of the original. Since then there have been a further eight remakes, with no fewer than three released this year with the nadir being reached with the global box office smash, “The Lion King” (2019), still in release so far making over US$1.6 billion worldwide as well as possibly being the best reviewed, although the latter bar is not very high. Many of these animated movies as well as their remakes have been adaptations of other sources, in face “Aladdin” itself is loosely based around the tale from ‘One Thousand and One Nights’.
It is a simple decision to write these remakes off as nothing but cash grabs or a way to spin revenue out of existing properties that many either been remembered from their childhoods or as movies that are introduced to children every generation but that would be far too easy and would also negate the fact that as years roll by new technology arrives that freshen these stories up just as the animated movies did for their source material offering their timeless tales to new audiences. This central idea works well for “Aladdin” as the core story dates back in English to over three hundred years ago, to get precious about it being remade is illogical as well as precious to the extreme. In fact some of the updates and personnel involved with this remake are possibly the very elements that make it fun, vibrant and add a touch of originality that make it not only accessible for new viewers but offer something more for those that loved the animated adventure. The hiring of Guy Ritchie as co-writer director, the idea of having a global superstar in Will Smith as the scene stealing genie and casting people who at least look Middle Eastern mean it already has some clout, with the addition of some cutting edge special effects and a few more obvious themes make it a very pleasing viewing, it is easy to see why it was such a success at the box office, as it offers some counter programming to the standard fare that is normally on offer.
The plot of “Aladdin” centres around the titular character, a kind-hearted street urchin, living in the Arabian city of Agrabah, along with his pet monkey Abu, rescues and befriends Princess Jasmine, who has snuck out of the palace to explore, tired of her sheltered life. Meanwhile, the grand vizier, Jafar schemes to overthrow Jasmine’s father as the Sultan. He, along with his pet parrot sidekick Iago, seeks a magic lamp hidden in the Cave of Wonders that will grant him three wishes. Aladdin is captured and Jafar persuades him to retrieve the lamp. Inside the cave, Aladdin finds a magic carpet and obtains the lamp. He gives it to Jafar, who double crosses him and throws him back into the cave, though Abu steals the lamp back. Trapped in the cave, Aladdin rubs the lamp, unwittingly summoning Genie, an omnipotent being who lives inside it. Genie explains that he has the power to grant Aladdin three wishes. Aladdin tricks Genie into freeing them from the cave without using a wish. After they get out of the cave, Aladdin uses his first official wish to become a prince to impress Jasmine, and promises to use his third wish to free Genie from servitude. From here the movie becomes a little formulaic but fun, with the plot moving at an accelerated pace to cover any plot holes as well as removing the need to believe in any three dimensional depth, it is a ride in the truest sense.
Going into this remake it was not easy knowing what we were going to get, especially with a movie co-written and directed by Guy Ritchie who has an endless supply of flourishes he loves to add to whatever he is involved with, that seem to offer more style over substance. But with two high profile disappointments, in the big budgeted but dismal box office and critical performances of “King Arthur: Legend of the sword” (2017) and “The man from U.N.C.L.E.” (2015) it appeared that he was in search of a hot. Along come Disney who obviously have asked him to direct a movie that he is in service to, instead of the other way around and he comes up with a winner that both Disney after the disappointment of “Dumbo” (2019) and Ritchie really needed. In terms of writing and directing Ritchie has ticked all the boxes he needed to, with enough flash and a sort of update that has given his bosses and audiences exactly what they wanted, a forgettable fun remake that is easy on the eyes and offers a distraction for all involved.
The lead of this movie is obviously Will Smith who pretty much meets expectations in every way, it is not quite enough of a performance to erase the Robin Williams Genie but for new audiences it is enjoyable to see him embracing his comedic roots which he has shied away from for so long. Where this movie has attempted some kind of originality as well as attempting to embrace a wokeness and political correctness is in the casting of more middle eastern looking Mena Massoud, Naomi Scott, Marwan Kenzari and Navid Negahban who with the exception of the excellent Scott are all forgettable playing almost complete cyphers or are recognisable archetypes but what more could be expected from a text this old. Naomi Scott is obviously talented from the outset, with a Jasmine that has been slightly better written than the animated movie who seems to fit in with the idea of womanhood in the early part of the twenty first century, which again gives audiences something to hang on to when the plot becomes pedestrian.
With this remake, “Aladdin” has almost repeated the entire plot and narrative of the original with a few key updates, one is that the genie has been given a ‘happy’ ending as well as a love interest which does feel oddly out of place and a way to get Will Smith onboard, making much of the plot about him. The other element is that the villains have been made far more insidious but with little interest in their motivations which is something that is missed especially if you stop to think about the entire narrative which has logic holes throughout. Finally making Jasmine more woke works for some of the movie but the class system that exists does maker her feel a little shallow at times and quite judgemental, opening her up to criticism, absent from the original as it was just painted as a fun romp.
There is much to like with this movie in the many of the performances as well as the mise en scène and the pace of the plot which will keep any audience engaged unless they are looking to pick holes or endlessly compare this remake to the original animated movie. It is not difficult to point out flaws or apply some form of toxic fandom to this new movie, but to be honest it is an admirable remake that can bring new audiences in as well as maybe spur an interest in the original which is no bad thing.
Technical Commentary
Walt Disney Studios Home Entertainment brings “Aladdin” to Ultra HD Blu-ray as a two-disc combo pack. with a flyer for a Disney Digital Copy. The dual-layered UHD66 disc sits comfortably opposite a Region Free, BD50 disc. Both are housed inside a black, eco-vortex case with an embossed, glossy slipcover. At startup, viewers are taken directly to the movie.
Video
“Aladdin” arrives on Ultra HD with a good looking if also somewhat ordinary HEVC H.265 encode that ultimately doesn’t look much different to its Blu-ray counterpart. There are some noticeable improvements throughout to make the 2160p picture an admirable step-up, but they are relatively few and small. Coming from a 2K digital intermediate, the upscaled transfer enjoys an incremental bump in overall definition.
In similar fashion, the 4K video sails into home theaters with spot-on contrast, displaying slightly crisper whites, but frankly, the overall balance is not any more dynamic or improved, floating comparatively the same as the HD version. Thankfully, delineation remains strong with good visibility of the finer details, providing the 2.39:1 aspect ratio with a lovely cinematic appeal. All things considered, though, this 4K edition is still a small step-up.
Audio
“Aladdin” offers an outstanding Dolby Atmos soundtrack, offering a few notable improvements over its DTS-HD MA counterpart to make this the preferred listen.
Special Features
All bonus material is contained in the accompanying Blu-ray disc.
Aladdin’s Video Journal: A New Fantastic Point of View (HD, 11 min): From Mena Massoud’s personal collection of footage taken while on set and chatting with cast & crew.
Music Videos (HD, 12 min): Three videos featuring performances by Naomi Scott in “Speechless” and two versions of “A Whole New World” Zayn, Becky G and Zhavia Ward.
Guy Ritchie: A Cinematic Genie (HD, 6 min): Several minutes of praise for the director.
A Friend like Genie (HD, 5 min): Will Smith on his performance compared to Robin Willaims.
Deleted Song (HD, 2 min): With an intro by composer Alan Menken.
Featuring: Mackenzie Crook, Toby Jones, Lucy Benjamin, Rachel Stirling, Simon Farnaby and Diana Rigg
Released this week is the third and final season of the excellent comedy television series “Detectorists” (2014-2017) which sees the entire cast return for what must be the funniest as well as the season with the most plot yet as well as the reliance of more of the entire cast and not just the twi leads in Mackenzie Crook and Toby Jones, who still both shine in what has to be the most underrated comedy on television in recent years.
The series is set in the fictional small town of Danebury in northern Essex and the plot revolves around the lives, loves and detecting ambitions of Andy and Lance, members of the Danebury Metal Detecting Club (DMDC).
It’s remarkable the seeming ease that the British Film and Television Industry is able to produce great independent drama, comedies and horror movies and television shows each and every year. Not only that, but the talent on show always seems to be original as well as first class. What many of these English productions have in common is that they are based around something unique or have some kind of gimmick, the “Detectorists” has both, it is a comedy set around a small village that is host to a somewhat thriving amateur Detectorists club (two in fact) who come together with different issues (mostly personal), ending up in very normal but funny situations that revolve around the attempt to find treasure both for historical as well as monetary reasons. However with most English show of this ilk they normally follow very familiar A and B narratives where the main character is going through some life changing event, or has been through one. Then there is a larger overarching narrative for the main cast that propels the plot and is broad in that it appeals to a larger general audience, i.e. it is normally pretty non offensive.
There are two great reasons to see this movie, the first is the cast, which is spectacular, it is stacked with great character actors, you can see why they are all present, that is the original writing that gives them all the room to create some original performances, especially Toby Jones and Simon Farnaby. The other reason to watch not just this season but the entire series is the writing which is tight but offers a glimpse into something that most people would not know about, coupled with the unique way of looking at this and the humour, this becomes a perfect mix of plot, narrative and performance that means this a must watch series.
The star of the series is without a doubt Mackenzie Crook who stars as well as writes each episode, deserving all the credit as each episode is not only superbly paced but his own performance always seems to be spot on as he navigates his life dealing with issues at home as well as on the field where he would love to spend his entire life. Through the first two seasons he feels a pull towards making adult decisions even as he loses his job, his partner falls pregnant and he feels his private time being encroached on by not only competition but land development. The co-lead is the wonderful Toby Jones who we find to br the perfect foil to Crook, as the seasons roll by Jones becomes a focal point as his personal life which he thinks he has under strict control but he is wrong in many ways as we find out, all this comes to a head for both men in the third season.
“Detectorists” is about so much, the village lifestyle, niche hobbies, history as well as the encroaching urban lifestyles on what are rural locales, something many people can identify with, here these are all laid out for all to see, as well as laugh along to, if you haven’t seen this series you should seek it out immediately.
Episodes:
Lance’s flat is not his own any more and Andy is staying with the mother-in-law. But they have their old faithful permission to escape to. A solar farm threatens the tranquillity.
Just as they are losing their farm, Lance and Andy start making good discoveries. But old enemies are around. Home lives are chaotic as usual and Lance is persuaded to try hypnotherapy for an awkward affliction, with mixed results.
With time running out, Andy and Lance go to great (action-packed) lengths to protect their land. Away from the fields, life is no less stressful as Andy quits his job and Lance finds an unwelcome guest in the spare room. An audacious theft leaves Lance reeling.
Lance is obsessed with finding the thief that stole his gold, which means he can ignore the melodrama going on at home. Andy’s lies are catching up with him too. They decide that camping out is the safest option.
Andy and Lance become eco-warriors when they find their beloved oak tree is due to be felled. But a 24-hour helpline turns out to be more of a hindrance. Andy stumbles upon treasure when, for once, he wasn’t even looking.
With only days left before they lose the field, Andy and Lance decides to make a final push to find the golden hoard. They recruit the help of the entire DMDC, and gain some new allies as well. Andy and Becky attend an auction to bid on their dream home.
The full trailer has hit for the Christian Bale and Matt Damon-led period racing drama “Ford v Ferrari” which hails from director James Mangold.
The story deals with how automotive visionary Carroll Shelby (Damon), British driver Ken Miles (Bale) and a team of American engineers and designers were assembled by Ford with the mission of building a new race car to defeat the dominant Ferrari at the iconic Le Mans World Championship in 1966.
Jon Bernthal, Caitriona Balfe, Tracy Letts, Noah Jupe, Josh Lucas, Paul Sparks and Jack McMullen co-star in the film which is slated to open on November 15th.
Written by: Derek Kolstad, Shay Hatten, Chris Collins, and Marc Abrams
Directed by: Chad Stahelski
Featuring: Keanu Reeves, Halle Berry, Laurence Fishburne, Mark Dacascos, Asia Kate Dillon, Lance Reddick, Anjelica Huston and Ian McShane
The Director:“All of this for what, because of a puppy?”
John Wick: “It wasn’t just a puppy.”
Critical commentary
This week see the release of “John Wick: Chapter 3 – Parabellum” (2019) on 4K bluray and DVD in what may be the final instalment of this franchise or possibly just the first story at an end. The first “John Wick” (2014) was a surprise but modest hit at the box office, the second instalment was a larger hit with the character as well as the movies having a string following for a variety of reasons, those being the incredible stunts, fight sequences, great character actors, a follow through on the story and finally the most important element that of its star Keanu Reeves who has bought into the idea of these movies and the genre, he is truly something special to see I each of these movies. Both first movies had just enough of a following so that this ramped up sequel was produced and so far has been the critical and box office hit that will probably lead to, hopefully some more movies but if not then it has been a great ride, all thriller no filler.
The first film also saw the return of Keanu Reeves to a high-profile action film the seemed to be what audiences were waiting for, and he was excellent as the single minded hit man seeking revenge for the death of his puppy, a gift from his now deceased wife. With Keanu now embracing his inner-Wick as well as seemingly waiting to make a sequel that ups the stakes without alienating the fans of the first and second film we see what is possible when you have a great script, a director who is not only willing to trust that script but also want to put his leading man front and centre, and finally an actor who has embraced the ethos of the genre, as well as handing his extreme talents to a director that can handle the kind of film that is to be produced. This film is a step up in every way from both previous movies, the budget has increased, new as well as experienced actors have been cast, the sets, cars and guns have all been upped and finally the mythology has expanded to such an extent that it is its own Universe – with a prequel television series rumoured to be in the works.
“John Wick: Chapter 3 – Parabellum” is now a marked man on the run in Manhattan. He is declared “excommunicado” by The High Table which places a $14 million contract bounty on his head as a result of Wick’s unauthorized killing of High Table member Santino D’Antonio.This story has now become a sort of road movie where Wick must cash in chips he has kept secret as well as travelling the globe with the help of a mysterious friend, played so incredibly well by Halle Berry.
To say that this film ups the ante in terms of action, violence, story and world building is an understatement, it is refreshing to find a sequel that not only increases the action and violence but also offers more of a peek into this hyper stylized universe of assassin’s that seem to populate this world.
Screenwriter Derek Kolstad and director Chad Stahelski return from the first two movies to really get their teeth into the story along with star Keanu Reeves who seems really invested in the character of John Wick, as well as the way in which he embraces a philosophy that defines the world he inhabits. I believe it only assists the new film that there is a continuation of talent that moves from film to film to keep the idea of a what a John Wick film is and can be as well as how the films keep getting produced.
The action in this new chapter has been upped as has the body count, there has also been more humour and over the top scenarios introduced just to make sure we all know that this movie is not only fictional but at times absurd in the way it treats what Wick is able to do and get away with. Both this film and the previous one have to be the greatest pure action films of the past ten years at least. They both do what primal action films at their best do, they keep moving forward and never let up, even if you think they are.
The star here is of course Keanu Reeves, who has proven time and time again he is a force to be reckoned with, particularly where you may have a tendency to underrate him. His best performances have been in films where you may think he is not the right choice; even those films that may have been unsuccessful have more than likely aged very well. Reeves has a knack for choosing not just good but great projects to be a part of. The ‘Wick’ films are no different and with the possible announcement of a third it may mean that Reeves will have his own franchise that is not overblown with ego and special effects. One of the great things about these films is the use of CGI, there is very little which is refreshing for action films in this new millennium.
The supporting cast sees holdovers from the first film making very welcome reappearances, Ian McShane playing Winston the father figure/mentor to Wick who offers advice as well as offering exposition to the audience, Lance Reddick as Charon the hotel manager and all-round cool guy. As mentioned Halle Berry plays a huge part in this movie with her in an action role that kicks as much butt as Reeves himself. There are a few more surprise in terms of support and they all ring true with one of my personal favourites Saïd Taghmaoui as a key member of the High Table who offers a Wick a chance to get out from under his own contract.
In terms of action and story this is a movie that offers more of a look behind the curtain as well as moving the story forward in a way that sees John Wick having to make sacrifices in some pretty large ways. When it comes to the action which occurs in between the narrative part of the movie there is much to contend with. The best and most original sequences are a particularly incredible knife fight that wants you to think it is one shot, a quick motorbike versus horse battle, anything involving Mark Dacascos who almost steals the movie, a high speed sword/motorbike fight and of course the finale which by now is de rigueur for this series of movies. There are also questions around identity, honour as well as what do we do after loved ones die, this has become a very existential series, a new kind of action movie for a new age.
If you enjoyed the first two movies then this is a step up in the way this world operates, it offers more of a glimpse behind the curtain that John Wick operate in as well as broadening the existing characters and seamlessly introducing new ones. Of course the standout is Reeves but kudos need to be paid to the producers, writer and director for all the new characters and the casting of those characters. It feels to me like there are no miss-steps or issues at all.
Technical Commentary
Lionsgate Home Entertainment brings “John Wick: Chapter 3 – Parabellum” to 4K Ultra HD Blu-ray as a two-disc combo pack. Inside a black, eco-cutout case with a glossy slipcover, a triple-layered UHD100 disc sits comfortably opposite a Region A locked, BD50 disc. At startup, the disc goes straight to an animated menu with full-motion clips, the usual options and music playing.
Video
“John Wick: Chapter 3 – Parabellum” arrives on Ultra HD with a stunning HEVC H.265 encode that outdoes its Blu-ray counterpart on every level. It has improved brightness levels, which is arguably the best part of this UHD edition, the 2.40:1 image is excellent with amazing cinematic appeal and appreciable depth.
The 2160p picture also comes equipped with a welcomed boost in contrast, which at first, may not appear as big of a jump. This is likely due to cinematographer Dan Laustsen’s aesthetic approach to create a dark, somber atmosphere and mood. Nevertheless, the action is a tad brighter and displays snappier, pitch-perfect whites, most notably in daylight exteriors and the various light fixtures when indoors.
Although sourced from a 2K digital intermediate, the upscaled 4K transfer appears fairly similar in terms of overall definition and clarity, but it nonetheless enjoys a welcomed uptick throughout.
Audio
“John Wick: Chapter 3 – Parabellum” has an exceptional, demo-quality Dolby Atmos soundtrack, making this the best track in the series.
Extras
Parabellum: Legacy of The High Table (HD, 11 min): Short EPK-like piece made up of cast & crew interviews discussing the plot, characters and aspirations mixed with BTS footage.
Excommunicado (HD, 10 min): More interviews focused on John Wick’s banishment.
Check Your Sights (HD, 10 min): Looks at the work that went into the fight and stunt choreography.
Continental in the Desert (HD, 10 min): Discussion on the exotic Moroccon locations.
Shot by Shot (HD, 9 min): Informative chat on editing action sequences.
Dog Fu (HD, 8 min): Interviews on the shootout sequences with Sofia’s dogs.
Bikes, Blades, Bridges, and Bits (HD, 7 min): Just as the title implies, made from various BTS footage and interviews.
House of Transparency (HD, 7 min): On the production design of Winston glass office.
Behind the Scenes of John Wick Hex (HD, 7 min): Closer look at the video game.
Saddle up Wick (HD, 5 min): A closer look at the horse action sequence.
HBO has released the official full trailer for its upcoming “Watchmen” TV series, offering a better look at the plot of the upcoming TV series which serves as a sequel to the acclaimed 1986 graphic novel and is set decades later.
Set in an alternate history where ‘superheroes’ are treated as outlaws, Watchmen embraces the nostalgia of the original groundbreaking graphic novel while attempting to break new ground of its own.
The ensemble cast includes Jeremy Irons as an older Ozymandias along with Regina King, Don Johnson, Louis Gossett Jr., Tim Blake Nelson, Adelaide Clemens, Andrew Howard, Frances Fisher, Jacob Ming-Trent, Yahya Abdul-Mateen II, Sara Vickers, Tom Mison, Jean Smart and James Wolk.
Damon Lindelof serves as creator, writer, showrunner, and executive producer. The show premieres on October 20th.
Lionsgate has released a new trailer for director Roland Emmerich’s upcoming World War II action film “Midway” starring Ed Skrein, Luke Evans, Patrick Wilson, Nick Jonas, Aaron Eckhart, Woody Harrelson, Dennis Quaid, Mandy Moore, Darren Criss, Keean Johnson and Tadanobu Asano.
Based on the true story of the Battle of Midway, a turning point in the Pacific theater of World War II, the film chronicles the heroic and harrowing exploits of the soldiers and aviators who achieved the unbelievable to turn the tide of the war.
Wes Tooke penned the script while “Midway” will officially hit cinemas on November 8th.
Altitude Films have released the red-band trailer for rising Australian filmmaker Abe Forsythe’s new zombie comedy feature “Little Monsters” starring Lupita Nyong’o (“Us”) and Josh Gad (“Beauty and the Beast”).
The story follows a washed-up musician (Alexander England) who teams up with a plucky teacher (N’yongo) and a kids show host (Gad) to protect a kindergarten class from a sudden outbreak of zombies during a school excursion to a farm.
Featuring: Michael Hutchence, Andrew Farriss, Tim Farriss, Garry Gary Beers and Jon Farriss
“Eternally wild with the power To make every moment come alive All those stars that shine upon you Will kiss you every night”– INXS, Mystify
Released this month in cinemas is the documentary “Mystify: Michael Hutchence ” (2019), which is primarily based on the celebrity as well as the personal life of INXS front man Michael Hutchence, the ups as well as the down, a few surprises are revealed which might explain some of the career as well as personal decisions he made before taking his own life over two decades ago. This is a documentary whose narrative is structured through three main ways, that is through archival interviews with the subject, archival video footage (as well as sometimes accompanying audio) and current interviews with people who surrounded Hutchence through his life looking back at certain time periods. The one great part of this new documentary is that the people that are left who want to talk about their interactions with Hutchence seem to be speaking the truth which exposes some parts of the titular singers life that have gone unsaid, this honesty offers a different picture of Hutchence’s life that may means his work as well as INXS’s music can be re-evaluated. I am not going to give the story of this documentary away as the impact of what occurs in the last third is not only shocking but actually gives an insight into what celebrity is now and what it was in the mid to late 1990s.
As far as documentaries go this is a very good example of a subject based one in that it not only explores what it takes to break through in popular music, but what it takes to do this from Australia (especially in the 1980s), the skill, talent and luck that needs to be present to offer music that is still around today even though it has been over twenty years since there has been an INXS album with the classic lineup. To be honest looking back at the music INXS created they really only produced one great album in the timeless, ageless ‘Listen like thieves’ (1985) and one massively successful album in ‘Kick’ (1989) which has sold twenty million copies worldwide. The fact that at least the first third has to tell an origin story of sorts that involves the band as much as it does Hutchance is the only real weakness of the narrative, this section is a little routine, charting the course of a band that as an audience we have not only seen in narrative film but also in other documentaries. However once we get past this aspect of the plot of the documentary and we see the very personal nature of the subject it becomes much more interesting and intense, we witness something never seen before, almost the truth of a man who struggles to figure out who he is which of course takes a dark turn after the events in Copenhagen in the early 1990s.
The past two years or so has been an excellent year for documentaries not only on streaming or DVD but also in cinemas, which is a trend that goes against what many people may have expected. However I find this to be exactly what should be expected especially with the concentration of so-called ‘fake news’ that now exists on the internet, coupled with what has been coming from the White House under the Trump Presidency. In fact there was a thought that cinematic documentaries might be a thing of the past especially with the success as well as saturation of Disney-fied blockbusters invading multiplexes, in fact audiences have been flocking to cinemas to seek out stories about real people making real differences in times and places where many others have been marginalised and made powerless by the people in charge in their respective times. Some of the great, as well as critically received, not forgetting making money documentaires at the box office are: “Wont you be my neighbour?” (2018), “Three Identical Strangers” (2018), “Jane” (2018), “RBG” (2018), and my personal favourite “Bombshell: The Hedy Lamarr Story” (2017) with so many more. What this says about audiences is that they will seek out true stories told in the relative first person that are not only inspiring but are direct counter programming to the politics of the day as well as the lies that are being produced by a President who is not only artificial but hate fuelled. My belief as a fan of documentaries is that this genre will only gain in popularity, with the coming years being a boon as well as revealing the importance of truth in the media as well as the importance of researching decisions made by the electorate. It is no surprise that the rise in fake news, Donald Trump, racism and may other hate fuelled elements has been answered by artists creating documentaries that prove there can be positive outcomes when people choose to buck the system as well as believing in others, differences, freedom and most of all, discussion.
“Mystify: Michael Hutchence ” covers a large portion of the life of INXS lead singer Michael Hutchence which features private home video and archive footage. Included in the film are recollections with voice-overs by Kylie Minogue, Michele Bennett, from siblings Rhett and Tina Hutchence, stepmother Susie, producer Nick Launay, Bono and INXS band members, composer and keyboardist Andrew Farriss, guitarist Tim Farriss, bassist Garry Beers and drummer Jon Farriss.
This movie offers an insight into what happens when a music act becomes something huge, what seems like an overnight success where one day they are unknown and the next they are popular in almost every country in the world. What many of these acts need to come to grips with is the time when they are not the ‘next big thing’ but struggle to find not only a new audience but keeping the one they had, this is something we see Hutchence struggle with for at least half this documentary. It comes into focus at the Brit awards when Hutchence presents an award to Oasis and Noel Gallagher says ‘a has been shouldn’t present an award to a going to be.’ There is nothing more poignant than the look on the face of Hutchence as well as the aftermath of that when he is asked about the event, he can offer no real answer that doesn’t sound like he can see where his music career might be headed.
As I have said one of the great strengths of this documentary is the participation of people who knew Hutchence initmately who talk about him and their time with him. The aspect I enjoyed most was the picture painted of a man who loved life, wanting to share it with someone he could be close to as well as love. Hutchence had a very feminine side which comes through in his best written music and we can see how he related to women and children in a very caring way. All in all this is a very positive documentary but does examine some of the most difficult parts of his life without sentimentalizing them to make a better picture. All of the participants share both positive and negative aspects of his personality which we all have. Of course the fact that he struggled both before and after the incident in Copenhagen shows that there was not just one reason he committed suicide which is how victims feel. The great thing is the success if this documentary will not rest on whether an audience knows the music or the man as it is a well constructed documentary although I could not help but feel that there was a lot left on the cutting room floor.
Featuring: David Ashby, Sean James Murphy, Natasa Ristic, Amanda Simons, Aldo Mignone and Pacharo Mzembe
Stalin:“Come, Natalia, Hush. Take refuge in my mustache.”
Released this week onto DVD is “Danger 5 – Season One and Two” (2012-2015), this was an Australian action comedy television series. It is set in a bizarre, campy, 1960s interpretation of World War II and follows a group of five international spies on a mission to kill Adolf Hitler and thwart his plans of world domination. The first series is nominally set in World War II but uses a style more akin to pulp TV spy series. The titular Danger 5 are a small group of Allied agents who are tasked with stopping various schemes overseen by Adolf Hitler. Each episode sees an intentionally alternate historical version of a major Axis person come up with a bizarre plan more in line with a TV or comic book villain of the fifties or sixties.
Despite how honestly ridiculous it is it is a fun show to watch, and it becomes our version of what so many shows in the 60’s were kind of like. Danger 5 gives us a true throwback series that we can sit back and enjoy without having to think too much. There is pretty consistent action, and the characters themselves are all humorous and enjoyable. Since the group is international, some of the characters speak in subtitles, which adds to the fun and cheesiness of the show. We have Ilsa, who speaks Russian, and of course, the recurring character of Hitler, who only speaks in German. Yet it is done seamlessly, and actually adds to the spy feeling of the show.
Surely, there must be controversy that goes along with Danger 5, and this would focus on the guts to make Hitler a comedic character in a series. But it is not intended to offend, it is simply providing us with an alternate view of things, the whole while having tongue planted firmly in cheek.
Episodes:
I Danced For Hitler: Deep in Nazi Germany, Jackson, Pierre and Tucker have been working undercover in Adolf Hitler’s favourite bar, the Black Dog, waiting for the perfect chance to knock off the big man, and end the Second World War.
Lizard Soldiers Of The Third Reich: American GIs are being decimated by Nazi dinosaurs all over the Western front. Danger 5 heads to Belgium to investigate and has a series of close shaves with a trigger-happy Triceratops and a perverted Nazi Pterodactyl.
Kill-Men Of The Rising Sun: Allied Air Support surrounding China is being thrashed by Japanese Zero fighters piloted by robot super soldiers and, to make matters worse, Japan itself has completely vanished from the map.
Hitler’s Golden Murder Palace: An Allied Agent has uncovered strange happenings at a Nazi-owned casino in North Africa where Hitler is rumoured to be located.
Fresh Meat For Hitler’s Sex Kitchen: Allied troops throughout Europe are spontaneously turning Nazi. Danger 5 are sent to connect with Field Marshal Jenkins as he travels out of Switzerland by train after a weekend of R and R at Switzerland’s top brothel ‘The Palomino’.
Final Victory: The world is under attack from invincible, giant Nazi monsters and Allied Command is ready to surrender, when out of the blue they receive a strange telegram from a man called Gibraltar, who claims to be from the lost city of Atlantis.
Merry Christmas Colonel: After Colonel Chestbridge is killed in an apparent assassination by Hitler and a wolf-headed man, Allied super-team Danger 5 reunite after years of far-flung obscurity to stop Hitler’s ultimate quest for world domination in a 1980s excess-soaked universe of neon, ninjas, discos, dinosaurs, pizza and prom-queens, and save Christmas.
Johnny Hitler: Hitler has infiltrated a high school in the American mid-west in search of a female senior student. His motives are unknown. Danger 5 are forced to go undercover and back to school, where Tucker’s teaching skills are pushed to the limit, Pierre’s coolness is put to the test and Jackson is hunted by a ruby-eyed wolf man with a machine gun and a grudge.
Revenge of the Lizardmen: Danger 5 are fugitives in Metro City, wrongfully accused of kidnapping high school senior Holly De Palma. Hitler has infiltrated the police and leads the hunt for Danger 5 but little does he know that his own people are working against him: Joseph Mengele and his sinister accomplice Mr. Pedro are plotting a scheme, which involves the return of some scaly prehistoric bad-guys.
Un Sacco Di Natale (A Sack of Christmas): Hitler has been taken captive by a cabal at the Vatican. McKenzie attempts to discover the secrets behind Hitler’s plan regarding Holly, as Tucker attempts to deal with his trauma related to Claire. Ilsa and Jackson deal with relationship woes. Pierre finds Jesus as Hitler finds a new source of power.
Super Dead: Danger 5 goes to USSR Land to reclaim Holly from her kidnapper Khrushchev, while Ilsa and Jackson both vie for revenge. Things don’t go exactly as planned as Hitler’s zombie army comes into the mix and Danger 5 are forced to deal with the consequences of the space-time continuum.
Back to the Führer: Danger 5 go back to World War II in an attempt to stop Hitler from changing the fabric of time. Ignoring the perils of messing with the space-time continuum, Tucker is dead set on changing the course of history for his own selfish motives while Pierre suffers the consequences.
Welcome to Hitlerland: In the final installment of Danger 5, the team find themselves in an alternative future where Hitler is undisputed ruler of the universe.
