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I am a reviewer of films and television at Spryfilm.com and I upload stories to thisissouthtaranaki.com.
  • Movie review: “The Meg” (2018)

    Movie review: “The Meg” (2018)

    “The Meg” (2018)

    Action

    3-stars

    Running Time: 113 minutes

    Written by: Dean Georgaris and Jon Hoeber & Erich Hoeber

    Directed by: Jon Turteltaub

    Featuring: Jason Statham, Li Bingbing, Rainn Wilson, Ruby Rose, Winston Chao, and Cliff Curtis

    Jonas Taylor: “My God. It’s a megalodon.”

    Morris: “He’s kidding, right?”

    As the Summer movie season winds down one of the more stranger entries into the madness of this blockbuster period is released, that is “The Meg” (2018), a disaster, monster movie of sorts about a roving prehistoric megalodon shark bent on eating eveyone and everything in its path with only a handful of humans brave or stupid enough to get in its way all being led by a charater played by Jason Statham who seems to be the only one who knows what kind of movie he is in. “The Meg” is a movie that has gone through at least two directors, had so much money spent on it that making it back looks like a long shot and a seemingly last minute change to excise any actual gore so that children could go and see it at the movies, which means we have a giant shark eating people with very little blood in the water, which seems nonsensical to say the least. However balancing out the equation is the lead, Jason Statham who is appearing in the biggest film he has led in his career, even though he has been involved in at least five franchises and numerous action as well as comedy movies to many to name, this is his firs time actually carrying a big budget movie. Interestingly, Statham has become an identifiable brand (similar to Dwayne Johnson) for those that know of him, he is a hard man, an action star who always knows how to play up to the camera as well as make people laugh with his one liners while normally punching something at the same time, the very essence of a modern action star who embraces his films for what they are, like them or not. With “The Meg” what we really want to see is him go one on one with a seventy foot shark, hopefully punching it into submission so that he can make the oceans safe once more. The question remains is this a movie worth going to see in cinemas or is it what most people were prepared for, a shipwreck of a movie that offered nothing more than a “Deep Blue Sea” (1999) rip-off with a nod towards “Jaws” (1975)? The answer is not as straightforward as it may appear on paper as this does offer some real thrills but does suffer from some real shortcomings.

    Initially this movie was to be directed by Eli Roth known for his work in the horror genre although why a studio would want him for a movie of this size is baffling so it was no surprise when he left, the studio then turned to journeyman Jon Turteltaub who knows how to marshal talent as well as competently direct action while retaining a semblance of a story. It turns out that the weaknesses in this movie seem to start and end with the script which is a mess, written by at least three people adapted from a novel that should have been fairly straightforward but ends up getting mired down in not only bland dialogue but commits the cardinal sin of taking far to long to actually get to the point, that is the titular star of the movie, the shark and the grandeur of its CGI presence, or at least the promise of it. The writers involved Dean Georgaris and Jon Hoeber & Erich Hoeber, have some real highlights in their respective oeuvre’s, but they also have some stinkers which involve some expensive blockbuster bombs, the most egregious being “Battleship” (2012) which to was bogged down in bland dialogue but also a nonsensical story that made little sense. What saves “The Meg” from being outright bad are the director as well as its star, not forgetting the supporting cast who are all very different making them some of the reasons, besides the shark to enjoy the movie for what it is.

    The movie is primarily about a massive undersea creature that attacks a deep-sea submersible, leaving it disabled and trapping the crew at the bottom of the Pacific Ocean. With time running out, rescue diver Jonas Taylor must save the crew and the ocean itself from an unimaginable threat, a 75-foot-long prehistoric shark known as the Megalodon.

    The movie as already discussed is led by Jason Statham is as you would expect all seething masculinity who is just terrific in this role, his credentials are known well as an action star in the mould of a stockier, fiercer and more serious Van Damme who knows who he is as well as what he is doing. My only real criticism is that he could have been used better with a superior script that called for him to be front and centre for most of the movie, not just a part of the cast, he needs to put his stamp on a movie like this as he is capable of like few stars before him. The remainder of the cast is made up of character actors Li Bingbing, Rainn Wilson, Ruby Rose, Winston Chao, and Cliff Curtis who all do their jobs like the seasoned operators they are, for the ost part they understand their roles and what they are supposed to do, although the reason and motivations for their actions could be seen as murky but again that speaks to the quality of the script as well as the drawn out nature of the movie, which does have an adverse effect on the actors themselves, but hey we are all here to  see the big shark anyway, right?

    Of course this movie is the very definition of a trope laden routine action movie, however where it also falls down is that it is all surface with all the rough edges taken off for so that it becomes the least offensive movie around, there feels like a lack of scope as well as no real stakes as there are really not a lot of shark deaths in terms of the main cast which was a missed opportunity in my mind.

    At the very least this is a fun, splashy, action orientated movie that is inoffensive enough for the entire family, it is not too gory but contains just enough so that the parts that either drag or do not make sense are papered over with the cast as well as the goal oriented plot which reads like many other similar action movies before. This is not a movie that is going to shock or reinvent the genre in which it is based, even though as an audience member I wished for more, either for it to be funnier, or for it to be a bit more adult or just for it to be more original. To be fair with all the giant shark movies that are around, most television movies you would think that the demand for a big budget one would be low, but considering this has been in the works for over ten years the fact that it made it to the big screen defying expectations to become a hit says something about the stickiness of not only the genre but the work the marketing people have done which is saying something to cut through the noise and deliver something that was advertised, a movie about a giant shark who has to face off against Jason Statham.

    While the trailers may be a little misleading if you enjoy PG rated action with a lot of action as well as special effects then this may be the movie for you, it is easy to understand as well as having a linear narrative with plot points seen before so it is easy to follow, I wouldn’t call it dumb fun or a guilty pleasure but I can see the room for possible sequels or at least spinoffs that follow more undersea adventure which as has been proven a big selling point for audiences.

    “The Meg” is out now only in cinemas.

     

  • Blu-ray review: “Howard’s End” (1992)

    Blu-ray review: “Howard’s End” (1992)

    “Howard’s End” (1992)

    Drama

    5stars_small

    Running Time: 142 minutes

    Written by: Ruth Prawer Jhabvala based on the book by E.M. Forster

    Directed by: James Ivory

    Featuring: Anthony Hopkins, Vanessa Redgrave, Helena Bonham Carter, Emma Thompson, James Wilby, Samuel West, Jemma Redgrave and Prunella Scales

    Margaret Schlegel: “Unlike the Greek, England has no true mythology. All we have are witches and fairies.”

    Released this month on DVD and Blu-ray is the now classic Merchant-Ivory production “Howard’s End” (1992), an adaptation of the E.M. Forster novel, the third such adaption that was produced by Ismail Merchant and James Ivory, not only that, but this was to be the most successful film they would produce after decades of creating great films both in the U.K. as well as their second home, India. After over twenty fives years later viewers could be forgiven for thinking that this film would feel aged or out of date but on the contrary it feels, looks and is directed as well any movie made in 2018, in fact many of the Merchant-Ivory movies feel that way which is a credit to all involved. They were not only very specific film makers but were prescient enough to realise that their films were not just made for the audience of their time but knew that their movies would be enjoyed for decades to come. As with many Merchant-Ivory productions it is a period piece that offers an insight into others lives within periods of social, political or a combination of both, upheaval that is expertly shown in a tight narrative that we see in a story based on very personal stories that many can relate to something the best Merchant-Ivory movies do with seeming ease. Throigh the years there have been many filmmakers that have attempted to take what Merchant-Ivory have crafted, and making their own period dramas but few have even come to close to their best movies, like “Howards End” or their masterpiece “The Remains of the Day” (1995) which prove what they could do with a great story, a magnificent cast as well as not only a great micro story but with something that could perfectly illustrate the changing English society with all the relevant social levels.

    As with many Merchant-Ivory productions “Howards End” was adapted by Ruth Prawer Jhabvala who was the vital third part of the production team, she won two Oscars for her work with them, her pedigree shows able to boil down her scripts to their core elements and growing them out so that they not only had seamless narratives but each character was three dimensional as well as being ready to be inhabited by a willing actor. It may seem that the direction if this and other movies was ‘easy’ or even routine but closer inspection shows director, James Ivory as a master who was not only understated but completely underrated in his field. His style was to open up not only geographic landscapes but also intimate moments that the audience seems to be spying on, not unlike Robert Altman in a way, but quitter as well as more formalised than the American master.

    “Howards End” is set in Edwardian Britain, Helen Schlegel becomes engaged to Paul Wilcox during a moment of passion, while she is staying at the country home of the Wilcox family, Howards End. The Schlegels are an intellectual family of Anglo-German bourgeoisie, while the Wilcoxes are conservative and wealthy, headed by hard-headed businessman Henry. Helen and Paul quickly decide against the engagement, but Helen has already sent a telegram informing her sister Margaret, which causes an uproar when the sisters’ Aunt Juley arrives and causes a scene. Months later, when the Wilcox family takes a flat across the street from the Schlegels in London, Margaret resumes her acquaintance with Ruth Wilcox, whom she had briefly met before.

    Over the course of the next few months, the two women become very good friends, even as Mrs. Wilcox’s health declines. Hearing that the lease on the Schlegels’ house is due to expire, Ruth on her death bed bequeaths Howards End to Margaret. This causes great consternation to the Wilcoxes, who refuse to believe that Ruth was in her “right mind” or could possibly have intended her home to go to a relative stranger. The Wilcoxes burn the piece of paper on which Ruth’s bequest is written, deciding to ignore it completely.

    As I have already stated one of the standout elements of almost any Merchant-Ivory film is the cast and here “Howard’s End” is a fine example of that starting with Emma Thompson who received an Oscar for this magnificent performance that solidified her as a leading lady for the next three decades. Here Thompson has to walk the line playing a character that despite her station has to operate within a number of worlds having to be completely authentic in each which of course she is. Then there is the now legendary Anthony Hopkins who had just played his most iconic role in Hannibal Lecter and was about to become one of the biggest international stars of the 1990s, here he is playing another villain (or sorts) in that he was a flawed character who affected everyone around him in a negative way, a mesmerising flawless performance where he in stark opposition to Thompsons character. The remainder of the cast is made up of extremely strong actresses in Vanessa Redgrave, Helena Bonham Carter, Jemma Redgrave and Prunella Scales who all play full formed characters even though they are definitely smaller roles but in parts that have very real consequences for the plot, something that is unique within the genre as well as something that cannot be said for many female characters in todays films.

    There are three very levels of class within the film: upper-middle, middle and lower middle. In the first category, Anthony Hopkins plays Henry Wilcox, the dynamic, self-made and self-satisfied man who has amassed a fortune by exploiting mineral resources in Nigeria. He is the proprietor of Howards End, the country house, much beloved of Henry’s ailing wife Ruth (Vanessa Redgrave). In the second category are the elegant, leisured and artistically inclined Schlegel sisters of German origin: Margaret (Thompson) and Helen (Helena Bonham Carter). In the third category is Leonard Bast, played by Sam West, a bank clerk who goes in for self-improvement and becomes a little “project” of Helen’s. What we witness is not only movement within these classes but how actions that occur are treated by the different people who either too much or do not push their own agenda’s forward enough fearing the outcomes this may cause. This is very much pre-war so the loss if innocence that was to come as well as the loss of a large amount of men would start to change the way England was viewed especially with the decades to come and the eventual outbreak of World War II.

    Howards End represents a lost world of early 20th-century Britain with its faded language. This was a prewar era when Germany and the Germans could be invoked without any menace as a place of continental sophistication and romance, the way Italy or France could be. The film is interestingly and valuably explicit on the subjects of class and snobbery and the struggles of the emerging bourgeoisie, although poor Leonard is destined to be a sacrificial victim in the cause of Helen and Margaret’s good intentions.

    “Howard’s End” is a sumptuous looking as well as feeling movie that grabs the attention, never letting go until the final scenes of a family almost at peace, looking to the future even though that will indeed be a dark one for all of them. This is a film that dares to look at the idea of class in England, in particular London, which shows the changing face of the city as it builds its way into the future, which it would have to do so again once World War II, would rear its head, destroying much of what had been built. We are privileged to be given not only a representation of the early twentieth century but also with this film a practical look at the talents in front of as well as behind the camera. This is a film that would be followed by the Merchant-Ivory masterpiece with both Thompson and Hopkins again onscreen together in “The Remains of the Day” (1993) only one year later in possibly all involved best film as well as one of the landmark films not only of the 1990s but in the history of cinema. What we have then in “Howard’s End” is the promise of what was to come, as without this film there would not be its fitting companion piece.

    Extras:

    • Feature length audio commentary
    • Cohen Merchant Ivory reel
    • 2016 Conversation between James Ivory and Laurence Kardish
    • 2016 Interview with James Ivory and Vanessa Redgrave at Cannes Film Festival
    • 2016 On-stage Q&A with James Ivory and Michael Koresky at Lincoln Centre
    • 1992 Behind-the-Scenes Short Featurette with comments by cast and crew
    • Original theatrical trailer & 2016 re-release trailer

    “Howard’s End” is available on DVD & Blu-ray.

  • 4K Blu-ray review: “Avengers: Infinity War”(2018)

    4K Blu-ray review: “Avengers: Infinity War”(2018)

    “Avengers: Infinity War” (2018)

    Action

    images

    Running Time: 149 minutes

    Written by: Christopher Markus & Stephen McFeely

    Directed by: Anthony Russo & Joe Russo

    Featuring: Robert Downey Jr., Chris Hemsworth, Mark Ruffalo, Chris Evans, Scarlett Johansson, Benedict Cumberbatch, Don Cheadle, Tom Holland, Chadwick Boseman, Paul Bettany, Elizabeth Olsen, Anthony Mackie, Sebastian Stan, Danai Gurira, Letitia Wright, Dave Bautista, Zoe Saldana, Josh Brolin, and Chris Pratt

    Nick Fury: “There was an idea…

    Tony Stark: “To bring together, a group of remarkable people…”

    Vision: “To see if we could become something more…”

    Thor: “So when they needed us, we could fight the battles…”

    Natasha Romanoff: “That they never could.”

    Critical Commentary:

    Well the wait is over, so after eighteen previous MCU movies we can now see where the entire franchise has been heading to, this movie, “Avengers: Infinity War” (2018) where the villain Thanos as well as his minions take center stage to assemble the often-mentioned infinity stones so that he can have total power over the Universe. What is puzzling has been what will the mad Titan (he is a Titan as that is the world he comes from) do once he actually gets the stones in his vaunted Infinity Gauntlet. The good news is that we find out, not only that we also get a primer on what those stones are, where they come from and why use a glove to assemble them anyway?

    This movie deserves accolades for just getting to the screen as it is an exercise in not only logistics but in getting the right tone for a movie with this huge scope as well as so many characters from the previous movies over the past ten years. It is the second MCU movie this year, it should have been the crowning achievement of ten years, as well as possibly the biggest event movie of the current blockbuster climate, or at least this year, but some of its thunder has been stolen, one could say even cannibalized by the release this year of “Black Panther” (2018), which has generated over US$1.3 billion globally becoming the biggest grossing MCU in the US alone. It now appears that this new movie is set to possibly be anti-climactic, in fact if it turns out not to be great or could affect “Black Panther’s” chances come awards time it may be seen as a disappointment. I can say that is not the case it actually reminds us how great Wakanda as well as that entire movie was, so great to see it again in all its glory.

    Fresh of the double success that was “Captain America: Winter Soldier” (2014) and “Captain America: Civil War” (2016) directors Anthony Russo & Joe Russo, not forgetting  screenwriters Christopher Markus & Stephen McFeely had the task of corralling over thirty main characters as well as bringing to a kind of conclusion the past ten years. However, with two of the best MCU films under their belts all four seem to be the obvious choices to bring “Avengers: Infinity War” (as well as its sequel next year) to the screen with its disparate locations, very different characters, high drama and of course comedy that has become the staple of not only their other work but the MCU in general. Of course, there is one other player, the constant force behind every single MCU movie from the first “Iron Man” (2008) through to this one, that is producer Kevin Feige. Feige is the real mastermind behind all the ups, downs, accidents, mistakes as well as the successes of all the MCU movies, the question is will this new Avengers movie be a “Black Panther” or an “Avengers: Age of Ultron” (2015)? The good news is that as far as I am concerned this is an unmitigated success on most fronts, it brings together a promise of what was started all those years ago while if not actually delivering makes a promise of more epic stories to come as well as leaving the entire MCU on a razor’s edge.

    Two years after the Avengers were torn apart during the events of “Captain America: Civil War”, Thanos arrives on Earth to collect the Infinity Stones for a gauntlet that will allow him to bend reality to his will. The Avengers must join forces with the Guardians of the Galaxy to stop him before his onslaught of destruction puts an end to half the universe

    Much has been made of the amount of characters within this movie, there are plenty, so much of the actual story as well as the character beats are presented with looks or shorthanded dialogue, this is a movie that expects viewers to know the histories as well as previous plot points before going in, it is one of the ways the movie has been streamlined – if you could say a running time over two and half hours is streamlined. That and the fact that the majority of this movie is spent on the run, literally, from the opening to the very end (when yes there is a cliffhanger of sorts), this is most definitely the first part of a six hour epic. Unlike previous MCU movies this is not a comic book movie presented within the framewprk of other genres, like a heist movie, a spy movie or even a comedy – “Avengers: Infinity War” is exactly what it is presented as, a 100% comic book movie, with a villain trying to get something, with hench men and heroes attempting to stop him in a variety of ways, at various locations and of course the ultimate comic maguffin, the Infinity Gauntlet, more precisely the power behind said gauntlet. It is goal focused, one of the easiest stories to tell as well as plot so that audiences can keep up, staying focused until the very ending which for some will most definitely be a shock.

    There is so much to unpack with this movie, but the central character who has been threatening to arrive since the first Avengers movie is finally here, all CGI but voiced by the malevolent Josh Brolin, who plays him as well as you would expect. In fact Thanos is really the only new main character to appear (in full that is) so it is up to the movie to convince the audience of not only his power and credentials but his purpose as well. What I found refreshing was that this is partly accomplished by concentrating on the relationships between Gamora, Nebula and to a lessor extent Peter Quill. Some of the best scenes are in the middle of the movie with the search for the Soul stone, as well as the exploration as well as origins of Gamora and Thanos, these were carried out extremely well, giving new depths to the characters of Gamora, Nebula as well as Thanos. Similarly this was something that was explored in last years “Thor: Ragnarok” (2017) with the short scenes between Odin, Thor and Loki which were far too brief – this relationship to is again briefly explored at the beginning of the movie. In saying that they are the only real personal moments in a movie packed with action, spectacle and awe.

    The use of CGI is stretched to its limits here with the (over?) use of artificial sets, artificial people as well as artificial lifeforms, the good news is that they are juxtaposed by the real sets of New York and Wakanda which at times were welcome relief after so many digital backgrounds and extensive makeup, as well as of course the completely CGI characters of Rocket, Groot and Thanos himself – not counting multiple CGI iron people, spider-man, henchmen and various others. In saying that I loved returning to Wakanda, surely one of the location highlights especially after the success that was “Black Panther”, not only that but the various cast member of that movie are all still excellent as well as impactful, my personal favorite M’buku was a treat, he did not disappoint, in fact the last third of the movie is set there, and I am sure it will play an important part in the next installment.

    “Avengers: Infinity War” is such an assuredly as well as competently directed movie by the Russo’s that it is easy to forget the challenge that was placed before them, they have made all the right moves, covering each location with just enough to give the audiences a taste of what is to come in the final shocking act, we are given enough to foresee the conclusion if you know your lore. This is based on a comic book storyline, one of the best ever constructed, so fans of that will know what is to come as well as the power behind the character of Thanos as well as his madness. This is an alien that asks for no quarter, none is given; he dispatches characters with ease as well as no remorse as we see in the opening of the movie. What is shocking is that Thanos knows all of the people he is going to face, which is proven by interactions with Loki and Tony Start, something that covers a few bases in case you think there is room for trickery – there is not. Of course the writers Markus & Stephen McFeely have alerted many of the aspects of the original story to fit within previous movies, some may complain but I find the possibility of surprise refreshing – even though I would love to see Starlin’s story played out as on the page. It is not enough to just transfer the story, any good adaptation has to retain the feeling of the original but make it something more than a copy, it has to be original which I am happy to say this is.

    The MCU is still dominated by Robert Downey Jnr as Iron Man, more so with his new armor as well as his ability to stand up to anyone, but it was with glee that I thought Chris Hemsworth as Thor take his well earned success from last years movie, running with it and proving that like Downey he now owns his character, I hope to see more of him in the future. However, it is Chris Evans as Steve Rogers who is the real heart of these movies, he was born to play Captain America, someone who is the least powerful among his peers, but time and again proves that the bigger they are the harder they fall. As he moves away from the role tough I can easily see Chadwick Boseman taking his place as the born leader who will make decisions many are unable to, as will Sebastian Stan as Bucky who more and more proves he too owns his character. The surprise other than Brolin for me was the skill and ownership Zoe Saldana had as Gamora, that and the fact that in many ways this movie is all about her character, the growth she has as well as the influence she has over the people who are and have been in her life. To be fair the rest of the cast add their own skill to the screen but it for others to do the real heavy lifting which may change when next years sequel arrives.

    This is by no means a perfect movie, the fact that all the character development is given to Thanos means that his top tier villains are no more than carborard cut outs with no real explanation of their powers or weaponry, they come and go at whim with little rhyme or reason. I would have liked to know the limits of their powers or at least some kind of back story, I completely understand why we didn’t but it does not help when you want to know more, especially when the MCU has always given backstories to most of their characters. Also there is an overreliance on knowing these people through different stories, mostly their own movies, so there seemed a clumsiness to prove that while they are appearing in a different movie they are still the same people – Drax for me became a little annoying and one dimensional which I thought was a bit of a disservice to him and the rest of the Guardians, Quill was the same – this may be an example of what happens when Downey dominates your section of the movie. Of course after a while there also seemed like a vacuum of ideas of how Thanos and his cronies could interact without violence especially since in most cases there was no or not much of a resolution until the last part of the movie, in fact there felt like an overreliance on the last scenes to make the previous two hours worthwhile. I will say that as character creations go as well as how they interact within crowded fight choreography the MCU are the best without doubt which shows in all of the action scenes in “Avengers: Infinity War”.

    In saying that I still loved this movie, has there ever been a bigger event movie in terms of not only anticipation but also a possible payoff after ten years as well as the weight of eighteen movies? The answer is no, this has been the most successful franchise globally ever, it has had ups and downs, but it has persisted with more good parts than bad, which is proven by the fact that next year we will be seeing the conclusion to this movie as well as some of the characters that this franchise has been built on. In terms of comic book films as spectacle and jeopardy this has to be one the best of all time, it has such an emotional ending that I was surprised by how I felt in thinking about what the ramifications were going to be as well as how some of the characters will not only move forward but how this story will resove – my only problem is I have to wait a entire year.

    Technical Commentary:

    4K Ultra HD Blu-ray:

    Disney brings “Avengers: Infinity War” to Ultra HD Blu-ray as a two-disc combo pack.

    Video

    The Avengers 4K arrives on Ultra HD with a beautiful and generally satisfying HEVC H.265 encode that offers several nice enhancements over the Blu-ray.

    Shot on the Arri Alexa 65, capable of 6.5K resolution, and later mastered to a 4K Digital Intermediate, the 4K presentation delivers an uptick in overall definition and clarity. However, the improvements are not all that dramatic with several moments of softness sprinkled throughout. There is negligible aliasing or wobbly lines along the sharpest edges of some objects, and from time to time, especially in the long shots, the picture can appear somewhat noisy.

    The better upgrade is definitely the brighter, more vibrant contrast delivering a sparky more brighter presentation, particularly in the daylight exteriors, such as the battle for Wakanda. The freshly-minted transfer comes with crisper, more radiant whites. Specular highlights don’t really improve much, but the brightest areas are nonetheless noticeably tighter, allowing for better visibility of the finest details. Black levels are a tad richer and inkier with great gradational differences between the various shades so that we can see the tiniest feature of everyone’s costumes.

    Audio Review

    Unlike its Blu-ray counterpart, the Ultra HD has a highly enjoyable Dolby Atmos soundtrack, offering a few noteworthy improvements over the DTS-HD MA 7.1 version. It may not compare to some of the best tracks currently available, which could make it somewhat disappointing, but it delivers a better aural experience that’s more engaging.

    For one thing, the overall volume can be adjusted to normal listening levels although the design remains a very front-heavy presentation. The explosive action is largely confined and restrained to the three fronts, leaving the surrounds and ceiling speakers pretty much in silence for a majority of the runtime. On the plus side, the random effects discretely pan between the channels more fluidly and convincingly. Other scenes come with good atmospherics in the overheads. Such moments don’t really create a hemispheric soundfield that ideally matches the exciting, fiery visuals, but it manages to deliver a satisfying soundscape.

    Like the lossless mix on the BD, the object-based track, however, delivers a highly-engaging and satisfying soundstage, displaying excellent channel balance and separation from beginning to end. The movie is littered with lots of background activity and off-screen movement, generating a broad and expansive soundscape. The mid-range exhibits outstanding clarity and definition with plenty of warmth and fidelity during the loudest, most bombastic segments.

    Special Features

    Blu-ray Disc

    • Audio Commentary — Directors Joe & Anthony Russo sit down with writers Christopher Markus & Stephen McFeely for a detailed discussion about the film’s development and production. Terrific commentary.
    • Beyond the Battle: Wakanda (HD, 11 min) — “Go behind the scenes to find out how the filmmakers pulled off the most massive and challenging battle Marvel had ever attempted.”
    • Beyond the Battle: Titan (HD, 10 min) — “Dive into the climactic struggle on Thanos’ ruined world, including the epic stunts and VFX, to uncover the source of its power.”
    • The Mad Titan (HD, 7 min) — “Explore the MCU’s biggest, baddest villain, his trail of influence through the stories, and the existential threat he represents.”
    • Strange Alchemy (HD, 5 min) — Marvel filmmakers talk about the power of crossovers following separate or individual superhero movies.
    • Deleted & Extended Scenes (HD, 10 min) — Four scenes rescued from the cutting room floor.
      • Happy Knows Best
      • Hunt for the Mind Stone
      • The Guardians Get Their Groove Back
      • A Father’s Choice
    • Gag Reel (HD, 2 min) — Showing the lighter side of the production.

     

     

  • DVD/Blu-ray review: “Unsane” (2018)

    DVD/Blu-ray review: “Unsane” (2018)

    “Unsane” (2018)

    Drama/Thriller

    stars

    Running Time: 98 minutes

    Written by: Jonathan Bernstein & James Greer

    Directed by: Steven Soderbergh

    Featuring:  Claire Foy, Joshua Leonard, Jay Pharoah, Juno Temple, Aimee Mullins, and Amy Irving

    Sawyer Valentini: “I’m not fucking crazy!”

    Steven Soderbergh is back with a new movie, released this week on DVD and Blu-ray only five years after he famously said he would not direct any more film’s, to focus on other endeavours. Those endeavours turned out to be a television show “The Knick” (2014-2016), ending after two seasons, so it was not long before he was back behind the camera with the excellent heist comedy movie “Logan Lucky” (2017) which was a small box office success but more importantly it was a critical success with the promise of more to come. Much like a previous Soderbergh film, the underrated “Side Effects” (2013) which commented not only on the medical community but drugs in general, this new movie does something similar but with more of the thriller genre overlayed as well as being set in one main location, it still does inform the audience on how quickly someone’s life can change when many of their choices are removed, in a most insidious way. This is what Soderbergh does so well, which shows in all his best films, even when critics and audiences misunderstand some of those films the first time around. That’s why its refreshing to see Soderbergh get behind a movie that is a thriller built around social commentary, as well as making a point to the rest of Hollywood, by directing a movie with a micro budget that is released in cinemas worldwide, he is a director that is always bucking the system one way or another.

    “Unsane” is co-written by Jonathan Bernstein & James Greer who have come up with what could be seen as a perfect low budget thriller with an inside look at not only mental illness but the perceived reaction to mental illness as well as the medical insurance industry,  and ways in which the medical community is not about caring but about cash flow, that it seems administrators are in charge of patient care, not the medical establishment themselves. This script is such a step up for the duo, who after creating pretty bland broad comedies that have not resonated, they now they have something that is not only heavy hitting, but makes a comment in a way they have never done before, of course there is the fact that Steven Soderbergh is behind the movie which is a huge asset. The only thing better than seeing a Soderbergh film, is seeing one with a micro budget, it pushes the director as well as streamlines the narrative in a way that is not done in Hollywood movies. The other thing that is a positive is that the lower the budget the more of the director’s vision is seen, and with a Soderbergh movie he really is the driving force as not only director, but also as cinematographer, editor and producer. There is no other director working today who does what Soderbergh does, not only that but he is still in his prime as a director with I believe his best work is yet to come even though he has had an amazing career so far.

    “Unsane” is based around Sawyer Valentini, a troubled woman who moves away from home to escape a stalker. Sawyer finds she is still triggered by interactions with men to her memories of her stalker. She makes an appointment with a counselor at Highland Creek Behavioral Center. At her appointment, she unknowingly signs a release voluntarily committing herself to spend 24 hours there. She calls the police but they do nothing when they see the signed release. After physical altercations with a patient and a staff member, Dr. Hawthorne says she is being kept for seven more days.

    This movie has a very special central performance by the lead Claire Foy who is known for her television role in “The Crown” (2016-2017) but who has been making movies as well as other television projects for a number of years, but now with such a high profile in the US as well as around the world is now trying to distance herself from her breakout role by taking very different parts. In “Unsane” Foy has to play a character on many different levels as well as take a role like few seen in cinema before, she is a victim in her own story who has to accept her fate, while at the same time becoming the hero in her own story all the while balancing her fragile mindset, we as the audience actually forget why she was seeking help in the first place, that is until the very end which is masterfully directed as well as acted.

    There are other acting highlights within the movie, the highlights of which are the criminally underused Amy Irving as the mother who while having limited screen time defies what could have been a trope laden character and shows why she was such a presence in American cinema. The other two performances of note are Jay Pharoah and Juno Temple as fellow inmates who both play very different roles in the movie but are both excellent character actors that interact with their surroundings uniquely especially for a movie like this that has very honestly motivated characters, there are no twists what you see with each one is what you get.

    This is primarily a thriller about a person stuck in one location being held against her will but in a strange turn of events, legally which is a dichotomy that she has to solve. Thrown into the mix are another few elements which I will not spoil but do not disappoint at all, in fact the audience is held in a state of tension for almost the entire movie which is something to behold, Soderbergh playing Hitchcock in his own way, exploring a genre that he has not really visited before which is again extremely refreshing especially for a director of his stature.

    The final thing to say is the look of this movie is almost unique amoung cinema releases with some very explicit lighting within the asylum which is juxtaposed to the lighting on the outside, with almost an overexposed look versus a look straight out of a paranoid horror movie. Soderbergh has once again set himself up as his own cinematographer, utilising an iPhone 7 to shoot this project which does look incredible just as it should with a signature of low angles that take advantage of long hallways as well as using deep focus in some cases to make the movie look ‘bigger’ than it actually is.

    “Unsane” is one of those rare movies that because of the performances, the story and the production talent really does hold up under repeat viewings on either DVD or Blu-ray but I would suggest the latter as the lighting really plays a large part which a clearer picture picks up a lot better in terms of quality.

    “Unsane” is out now on DVD & Blu-ray.

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  • “Deadpool 2” (2018) – Clips

    “Deadpool 2” (2018) – Clips

    “Deadpool 2” (2018) – Clips

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    Twentieth Century Fox Home Entertainment has officially announced that it will release on 4K Blu-ray and Blu-ray David Leitch’s film Deadpool 2 (2018), starring Ryan Reynolds, Josh Brolin, Morena Baccarin, Julian Dennison, and Zazie Beetz. The two releases will be available for purchase on August 21.

    Synopsis: After surviving a near fatal bovine attack, a disfigured cafeteria chef (Wade Wilson) struggles to fulfill his dream of becoming Mayberry’s hottest bartender while also learning to cope with his lost sense of taste. Searching to regain his spice for life, as well as a flux capacitor, Wade must battle ninjas, the yakuza, and a pack of sexually aggressive canines, as he journeys around the world to discover the importance of family, friendship, and flavor – finding a new taste for adventure and earning the coveted coffee mug title of World’s Best Lover.

    SPECIAL FEATURES:

    • Audio Commentary by Ryan Reynolds, David Leitch, Rhett Reese and Paul Wernick (Theatrical Version Only)
    • Gag Reel
    • Deleted/Extended Scenes
    • Until Your Face Hurts: Alt Takes
    • Deadpool’s Lips are Sealed: Secrets and Easter Eggs
    • The Most Important X-Force Member
    • Deadpool Family Values: Cast of Characters
    • David Leitch Not Lynch: Directing DP2
    • Roll with the Punches: Action and Stunts
    • The Deadpool Prison Experiment
    • Chess with Omega Red
    • Swole and Sexy
    • “3-Minute Monologue”
    • Audio Commentary by Ryan Reynolds, David Leitch, Rhett Reese and Paul Wernick (Theatrical Version Only)
    • Deadpool’s Fun Sack 2
    • Stills (28 Images)

    4K BLU-RAY TECHNICAL SPECS:

    • Audio: English Dolby Atmos, English Descriptive Audio 5.1, Spanish Dolby Digital 5.1, French Dolby Digital 5.1
    • Subtitles: English for the Deaf and Hard of Hearing, Spanish, French

    BLU-RAY TECHNICAL SPECS:

    • Audio: English DTS-HD MA 7.1, English Descriptive Audio 5.1, Spanish Dolby Digital 5.1, French Dolby Digital 5.1
    • Subtitles: English for the Deaf and Hard of Hearing, Spanish, French
  • DVD/Blu-ray review: “Feel Pretty” (2018)

    DVD/Blu-ray review: “Feel Pretty” (2018)

    “Feel Pretty” (2018)

    Comedy

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    Running Time: 110 minutes

    Written & Directed by: Abby Kohn & Marc Silverstein

    Featuring:  Amy Schumer, Michelle Williams, Emily Ratajkowski, Rory Scovel, Aidy Bryant, Busy Philipps, Tom Hopper, Naomi Campbell and Lauren Hutton

    Renee Bennett: “I can eat whatever I want and still look like this.”

    There are some movies that may sound like a good idea on paper or in a pitch, but end up being misjudged so much that even a little way into it audiences can find it hard to believe what they are watching. When viewing the latest Amy Schumer comedy “I Feel Pretty” (2018) I was ready to get on board a movie that is based around body image,  which Schumer is no stranger to if you have ever seen her television show or stand up act. However once the general conceit is revealed it becomes clear pretty quickly how misjudged this movie actually is, as well as the fact that the message within this movie makes little sense, it is also fairly insulting to most people on the planet. This ends up a kind of a humourless “Zoolander” (2001) without the sheer stupidity as well as a clear line on who the movie is aimed at as well as who it is making fun of. So much of the movie makes little sense in terms of creative decisions such as the plot point of a make-up company being a kind of antagonist, that the main character is an IT worker who sees herself as ugly with a co-worker that has to be similar to her, that to feel like she is getting ahead she has to take a demotion just to be with the ‘pretty’ people and so much more that it makes my head hurt to think about to much. “I Feel Pretty” is such a disappointing movie that I have to question the reason it was green lit, it could only be to attempt to cash in on Schumer’s new found stardom as well as her stand up but it is obvious that there was little thought put into the plot which reads like the very worst rom-com movies around, it is reductive to the point that there are no surprises with the ill-conceived idea to attempt to marry the narrative to Penny Marshall’s absolutely great comedy “Big” (1988).

    This movie is co-written and co-directed by Abby Kohn and Marc Silverstein who are primarily known for writing romantic comedies that almost all fall into the predictable as well as reductive camp, they say nothing new, cribbing off better movies within the genre. “I Feel Pretty” however is a new low that is so obvious with a classic three act structure that at times had me questioning if they were present for many of the scenes. The way in which there is an attempt to illustrate an issue like body image that reinforces stereotypes throughout the movie is carried out in such bad ways I found myself thinking do they know what they are trying to say, do they care and maybe they should have gone back to the drawing board as this is just a bad taste movie particularly with the final scenes which are supposed to be some kind of learnt lesson from the main character. However with the lazy writing as well as the narrative the epiphany comes in front of an audience that are not part of the issues of the movie which is a paper thin conclusion to the story.

    The movie revolves around Renee Bennett is a young woman of average physical attractiveness and fitness, who struggles with insecurity over her appearance. Out of a Chinatown basement office, she manages the website for cosmetics firm Lily LeClaire while aspiring to work in their Fifth Avenue headquarters. But she declines to apply for a receptionist position there after reading the job description’s emphasis on being the beautiful “face” of LeClaire. One night, inspired by the movie, Big, Renee wishes at a fountain to be beautiful, but nothing happens. The next day, Renee falls off her SoulCycle bike, hitting her head, and losing consciousness. When she wakes, she has not changed physically, but she believes herself to be astonishingly beautiful.

    “I Feel Pretty” is obviously an Amy Schumer vehicle meant to highlight not only her comedy acting but riffing on her ability as a comedy performer as well as her live act and in this it does succeed for her as a performer delivering all her lines as you might expect if you have seen her breakout “Trainwreck” (2017) but this does not have the script or even the original idea behind that movie, I do think Schumer can do much better than this reductive screenplay. The rest of the cast is made up of Oscar nominated Michelle Williams who has taken some chances building up a character that is the most original part of the movie who is obviously a talent far above everybody else in the movie, she makes the veteran decision of releasing what movie she is in and calibrates her performance for it. The other two standout characters in the film are Busy Philipps and Aidy Bryant who play Schumers friends who are not in the movie enough as well as being the funniest and brightest parts of the movie who are welcome onscreen to being some levity, honesty and humour which is much needed.

    I can see why this movie might be offensive to some, it handles body image as well as body shaming in a very hap handed way with seemingly little thought to the message that is being sent out in a movie designed to be seen by millions in movie theatres and at home. If some thought has been given to how people who do not fit a certain look feel about the world around them as well as how they actually feel about themselves then this could have been a very special movie with something real to say in a humorous way with some A list talent that I believe would have been behind it one hundred percent. Instead we have a movie with a trope ridden script, a narrative that is redundant by its place in the zeitgeist as well as laughs that go for the lowest common denominator which again seems like a failure on the filmmakers part. The odd thing is the people that will enjoy this movie the most are the people it rails against, the people who have it all and may think this movie sympathises with kind of people Schumer seems to claim to represent which is itself a joke of sorts.

    A movie like this should only be viewed once if at all, I would recommend that this is either rented or streamed, it is not an overly enjoyable experience even thought here are osme genuine laughs but for the most part the themes are blurry to say the least which is a huge missed opportunity for everyone involved.

    Special Features:

    • Being Pretty – Featurette
    • Deleted Scenes
    • Gag Reel

    “I Feel Pretty” is out now on DVD & Blu-ray.

     

  • DVD review: “The Death of Stalin” (2017)

    DVD review: “The Death of Stalin” (2017)

    “The Death of Stalin” (2017)

    Comedy/Drama

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    Written by: Armando Iannucci, David Schneider, Ian Martin & Peter Fellows

    Directed by: Armando Iannucci

    Featuring: Steve Buscemi, Simon Russell Beale, Paddy Considine, Rupert Friend, Jason Isaacs, Michael Palin, Andrea Riseborough and Jeffrey Tambor

    Vasily Stalin: I know the drill. Smile, shake hands and try not to call them cunts. 

    This week sees the release of a bit of an enigmatic film, one that is mired in truth yet seeks to mine laughs from one of the worst times in the history of a country that is littered with harsh times, mostly driven from positions of power onto people who were victimized left, right and center. No I am talking about China or the US, I am referring to Armando Iannucci’s adaptation of “The Death of Stalin” (2017) based on a graphic novel. In fact I can think of no better person than Iannucci who has satirized two governments in two very different countries in his BBC show “The Thick of it” (2005-2012) as well as his HBO show “Veep” (2012-present), not forgetting his Oscar nominated “In the Loop” (2009).

    The difference here of course is that Iannucci with this film is basing his work around very real people who are all historic figures that are revered in today’s Russia. The complexity comes in those elements that are satirical to not undermine the millions of people that were murdered and/or silenced by a totalitarian regime that for all intents and purposes exists right now in Russia, and I am sure Trump would love to have one in the US. This is the challenge that the film faces, to Iannucci’s credit for the most part it has to be said that he meets his own lofty goals, the balance is executed well, however viewers may have to search this balance out and come to their own conclusions – particularly if that audience has some historical context of this time.

    To say that this film comes at a time when world politics is not only at its most complex but also divided would be an understatement, we live in precarious times much similar to the times people lived under with Stalin, although it would be safe to say without the soldiers taking away loved ones at night. What is interesting is that this film had wrapped production before Trump took power or there was an election in the UK, however it is simple to draw comparisons between the head of state here to Trump or May, who are unpopular leaders that seem to utter idiotic statements almost every day without accountability or consequence much like Stalin. Whereas Stalin operated through fear and murder, Trump and May seem to ignore popular opinion marching to their own beat as well as truth – in fact Trump has made many statements that are actually from the Stalinist playbook.

    “The Death of Stalin” as you might expect revolves around the events after Stalin is paralysed by a cerebral haemorrhage. When Stalin dies, Committee members rush back to Moscow, to say the least chaos ensues with many underlings positioning themselves for power as well as eliminating not only rivals but evidence of discontent as well as reveling truths about the previous Stalinist regime.

    Apart from the plot as well as the narrative structure the element that stands out the most from this story is the casting of the actors as well as the choices to use extremely different accents throughout the movie. There should be no mistake made this is a deliberate choice on the part of Iannucci as well as his entire cast. What this choice reflects is, the way in which the Kremlin itself, as well as Stalin, (who was not Russian at all) and his cronies were constructed, all from vastly different backgrounds, geographic areas and education. In reality it would not have been uncommon to hear multiple languages as well as accents in the halls of the base of Russian power, and so this varied cast all speak in different accents, we hear American, Welsh, parts of England and Scottish – with a smattering of some Russian as well. What this does is highlight audibly the kind of place the Kremlin must have – confusion as well as fear reigning supreme.

    The casting process must have been interesting for Iannucci as he has recruited extremely talented character actors both from the US and the UK with a mixture of dramatic as well as comedic actors. The great surprise of the cast is eminent stage actor Simon Russell Beale as Lavrentiy Beria who is a delight to see onscreen as his main medium is the stage, he matches up when you consider the actors he is portayed against including Steve Buscemi as Nikita Khrushchev, who must be the highest profile real life figure other than Stalin himself, Jeffrey Tambor the legendary comic actor as dimwitted Georgy Malenkov, the rising stars of Andrea Riseborough and Rupert Friend as Stalin’s children. Finally there is the wonderfully talented true character actor Jason Isaacs as Georgy Zhukov who looks like he is having the most fun with a broad accent overplaying the part to such an extent that he rivals Malcolm Tucker in his audacity – the fall cannot be far away. As with many Iannucci projects he is not afraid to cast big names in cameo roles, “The Death of Stalin” is no different with Paddy Considine, Olga Kurylenko, Michael Palin and Tom Brooke all playing colorful roles that are as unique as any in the film.

    Like his debut “In the Loop” Iannucci has directed a film that takes place in a few key geographic areas but moves the camera like a pro making it seem like the characters are always pushing not standing around hurling abuse at each other. This is key to the film, one that fellow show runner, scriptwriter and now director Aaron Sorkin learned early on, you can have dialogue heavy scenes that operate more like action scenes than anything else. The challenge for Iannucci is three fold he has to give each of his cast enough time and space to make an impact, he has to balance satire as well as humor with events that are hideous and make the film look grand as well as big on a very small budget. To his credit Iannucci almost gets away with it, except he has possibly misjudged too many moments of humor, he could have actually made more dramatic choices but that might lay in future work. At this stage Iannucci has a shtick (that by the way is not an insult at all) and it works for him as can be seen by all of his work, which is more than most have ever been able to accomplish, he embraces his strengths while attempting to mitigate weaknesses possibly overcompensating in some situations.

    If you are able to leave certain emotions at the door as well as ignoring some historical inaccuracies, if you are a fan of any of Iannucci’s other work then this will be an enjoyable trip to the cinema. It has enough of just about every aspect a satire should have to work, my only real critique is the way the subject matter is treated overall, in saying that I did enjoy “The Death of Stalin” immensely although it may have been because of little parts of each element that I really liked. Regardless if you need to have a giggle at events that are not to dissimilar to what some countries are going through at the moment (China, Russia, UK and of course Trumpland) then this may help to see what real despots looked like not that long ago.

    “The Death of Stalin” is out now on DVD.

  • Trailer: “Disney’s Christopher Robin” (2018)

    Trailer: “Disney’s Christopher Robin” (2018)

    Trailer: “Disney’s Christopher Robin” (2018)
    In cinemas September 20, 2018

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    In the heartwarming live action adventure “Disney’s Christopher Robin,” the young boy who loved embarking on adventures in the Hundred Acre Wood with a band of spirited and lovable stuffed animals, has grown up and lost his way. Now it is up to his childhood friends to venture into our world and help Christopher Robin remember the loving and playful boy who is still inside.

    “Disney’s Christopher Robin” releases in NZ cinemas on September 20, 2018.

  • Trailer: “Disney’s The Nutcracker and the Four Realms” (2018)

    Trailer: “Disney’s The Nutcracker and the Four Realms” (2018)

    “Disney’s The Nutcracker and the Four Realms” (2018)

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    In cinemas November 22, 2018

    When Clara finds herself in a strange and mysterious parallel world that’s home to Land of Snowflakes, Land of Flowers and Land of Sweets, she must brave the ominous Fourth Realm and its ruling tyrant, Mother Ginger, to return harmony to the unstable world. In Cinemas November 22, 2018.

  • DVD review: “Save Me – Series One” (2018)

    DVD review: “Save Me – Series One” (2018)

    “Save Me – Series One” (2018)

    Drama/Mystery

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    6 Episodes

    Developed by: Lennie James

    Directed by: Nick Murphy

    Featuring: Lennie James,Suranne Jones, Stephen Graham, Jason Flemyng, Susan Lynch, Kerry Godliman, Nadine Marshall, Barry Ward, Jimmy Walker

    “Save Me” (2018) revolves around Nelson “Nelly” Rowe, a down-and-out whose life is turned upside down when Jody, the estranged daughter he fathered thirteen years ago, mysteriously disappears. The main plot is about the journey he and others go through in attempting to find Jody and punish the perpetrators.

    I am always staggered by the ability of the English to produce high quality television dramas of all types no matter what genre they might occupy, sci-fi, procedural, horror, thrillers or even comedies – yes, I said comedies, some of the best English comedies contain more dramatic tension than many other countries actual dramas. I recently sat down to watch the (mini?) series “Save Me” (2018) a television show based around one of the hot button topics that is troubling the UK at the moment, that is child abductions as well as the ongoing crimes related to human trafficking. These meta-issue are not overtly talked about but they will be at the forefront of people living in the UK while watching this. What I loved about this show is that, as you would expect, it is full of memorable characters as well as the now tried and true red herrings (thank you Scandi-noir), it sticks close to its narrative, not so much a whodunit but an exploration of a man who did not know how lost he was until he becomes a suspect in his own biological daughter’s possible abduction.

    This new series features what has to be one of the best line ups of UK character actors around, as well as an actress that has to be the most popular in demand television actress around, Suranne Jones in the lead alongside Lennie James who created and wrote the entire series. The series also boasts Stephen Graham, who for me is the most valuable player, as a possible pedophile who after episode two really comes into his own and threatens to steal the entire series from the two leads – I have to say I find Graham endlessly fascinating as an actor who knows just how to play against not only his co-stars but the camera as well. Graham for me has to be the consummate character actor who is so good that he becomes the character he portrays – and he can do comedy as well – he seems to have enviable skills that only come along once in a lifetime. You can look for examples in the recent “Little Boy Blue” (2017), “Taboo” (2017) and “Decline and Fall” (2017) all in one year – it does not seem fair. The rest of the cast is rounded out by Jason Flemyng, Susan Lynch, Kerry Godliman, Nadine Marshall, Barry Wardand Jimmy Walker who all play very different roles that all maintain the narrative with very different motivations but all have the same end in sight.

    The story of Save Me is as all great television shows should be, simple, a child is taken after which everyone is trying to recover her or find out what happened. The secret to this series is the way in which the story unfolds, as well as the narrative that is employed to help explore themes as well as characters, all the while unpacking the mystery that surrounds that narrative. The main theme is the exploration of one character, Nelly (Lennie James) who is in his mid-50s and is a lost man, he has no home and is basically a fun guy who everybody likes to be around but nobody really knows, he has had at least one child and signed his rights away to the mother, Claire (Suranne Jones) and her husband, Barry (Barry Ward). Nelly comes to the realization that he has little in life and possibly the best thing he ever did, he has ignored and now will lose it – he is a man in crisis that this event brings to the fore. Through the story we see a man driven with no “Taken” (2009) like skills to fall back on, just his own personal promise to bring his daughter home, by any means necessary, what we see is someone who pits himself and his friends in danger to find himself as well as his daughter. Nelly’s own journey is at once sad, exhilarating, full of promise but of course you know no matter what happens there is no redemption for this character.

    “Save Me” is a show that provides an example of an issue that is haunting the UK at the moment and that is the endemic issue of kidnapped children which has reached record highs. A report from the charity ‘Missing People’ claims 140,000 children – that’s 383 a day – go missing across the country every year – although many return within 24 hours some are never seen again. Action Against Abduction claims that most of these cases are sexually motivated, yet many attempted abductions are still not reported to police. However, offences by strangers are still quite rare – with the NSPCC pointing out that more than 90% of child sexual abuse is perpetrated by someone known to the child. This television show and many like it should be a call to change or to highlight the fact that children are the most vulnerable group that are exploited today, many of course by pedophiles not with murder but other heinous acts, of course in ‘Save Me’ the first thought is murder but when a body fails to materialize thoughts turn to more diabolical thoughts.

    The show directed by Nick Murphy who has had a busy but unspectacular career so far, here excels in what is definitely the best series he has ever been involved with, this is the kind of series that comes along only rarely for a director to stamp themselves on and he has done with all of his talent. The use of not only the tenements but the surrounding area of Lewisham in London is striking as well as the color palette used throughout gives off a look of coolness that accentuates the emotional stability of the main characters. We see Nelly walking (and running) throughout much of the show either by himself or with one other character which again highlights his isolation from not only other people by his daughter as well. Another striking aspect is the use of flashbacks to an earlier time with Jody, which are never explained as being real or are they from an unreliable narrator? We also at times see older people dancing for no real obvious reason, they are seen by Nelly at different times, as is a tattooed man that always says ‘Hi’. These may seem random, and I am sure they are supposed to, but I wonder their narrative reason for appearing. This is the kind of drama that is highly stylised with many bright colors appearing throughout, take the early decision of Nelly to wear a bright yellow puffer jacket which stands out, not only the color but the size and shape as well – the yellow color even makes an appearance in the last episode but it is a chilling one. The color yellow can mean many things, it is a duplicitous color, as it can mean wisdom, knowledge, relaxation, joy, happiness, optimism, idealism, imagination, hope, sunshine, summer, dishonesty, cowardice, betrayal, jealousy, covetousness, deceit, illness and hazard – many of these relate to Nelly directly, as I said his is lost for most of the series. Of course, the rest of the characters have motivating factors as well but they are all definitely secondary to Nelly’s who is the prime move in this show, although whether that remains in the just announced second season remains to be seen.

    Interestingly even the name Nelly has some meaning to the character as well as the show, the word/name ‘Nelly’ can mean stubborn and often pessimistic. More of a leader then follower. Often not one of the most popular around but does have a group of friends. Nelly’s often switch back and forth from the dark and light side. They will get evil if pushed to it, but will be an angel if treated right. And often act before thinking.These descriptions often fit the Nelly in “Save me”, which illustrates that nothing is what it seems or an accident. Which brings me back nicely to the older people dancing throughout the show, something that remains a mystery, which is nice to have.

    If you have a chance to watch this series you should grab it with both hands as once you begin I believe you will see it through to the end, it is a great piece of television where everyone shines, the outcome is not guaranteed and it hints at a real dark underbelly where none should exist.

    Episode One: Nelson “Nelly” Rowe, a self-styled womaniser, has his life is turned upside down when the police suddenly burst into his flat and arrest him on suspicion of kidnapping. Nelly discovers that his supposed victim is his estranged thirteen-year-old daughter Jody, whom he has not seen in ten years. After attempting to convince the police of his innocence, Nelly decides to take matters into his own hands and track Jody down himself. Later that night, Nelly is attacked after his girlfriend’s son discovers he has been cheating on her with a number of other women.

    Episode Two: Tam helps Nelly get back on his feet. Barry makes a surprising reward offer at a press conference, leading Claire to suspect his motives. When Melon disappears after being arrested, Nelly suspects he may be involved in Jody’s disappearance and with the help of Goz, decides to track him down. Nelly also approaches Jody’s best friend, Dylan, whom he suspects may know more about what happened on the night she disappeared.

    Episode Three: Nelly confronts Melon and questions him over Jody’s disappearance. Thorpe and O’Halloran reveal to Claire and Barry that the police received a distress call from Jody over two weeks ago, the day after she went missing. Claire helps out with a press drive organised by Stace.

    Episode Four: After the police reveal a possible location from where the distress call was made, Nelly decides to go door-to-door in an attempt to find the house where Jody is being held, and finds an abandoned house which is partially boarded up. Later that night, he and Claire decide to investigate. They break into the house, only to find Jody’s bloodstained jumper. Meanwhile, Zita discloses a possible lead in the form of a local brothel, run by a paedophile kingpin. With Melon’s help, Nelly trawls the darkweb and finds a videoclip of another girl being abused in the room where Jody was being held.

    Episode Five: Nelly begs Melon to help him get close to brothel owner Richard, in the hope that he will lead him to Jody. Melon learns that a young girl answering Jody’s description is to be sold through an auction at the brothel in just five days time. Nelly begs Claire to stump up £15,000 to allow him access to the auction. Meanwhile, Goz discovers a semi-naked picture of Jody in Gavin’s room, and just hours later, Gavin takes his own life. Nelly suspects Gavin of being involved in Jody’s disappearance, until Luke slips up and reveals a vital clue which points towards him being involved.

    Episode Six: Nelly stages a lock-in and confronts Luke over his involvement in Jody’s disappearance. Claire manages to find £12,000 which Nelly takes along to the auction, but he soon realises that he is out of his depth. Claire resorts to drastic measures in an attempt to get Luke to talk.

    “Save Me” is out now on DVD.

    Missing girl reconstruction Photographer: Des Willie
  • “The Meg” (2018) – “How The Meg Was Born” featurette

    “The Meg” (2018) – “How The Meg Was Born” featurette

    “The Meg” (2018)

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    About THE MEG:
    A deep-sea submersible—part of an international undersea observation program—has been attacked by a massive creature, previously thought to be extinct, and now lies disabled at the bottom of the deepest trench in the Pacific…with its crew trapped inside. With time running out, expert deep sea rescue diver Jonas Taylor is recruited by a visionary Chinese oceanographer, against the wishes of his daughter Suyin, to save the crew—and the ocean itself—from this unstoppable threat: a pre-historic 75-foot-long shark known as the Megalodon. What no one could have imagined is that, years before, Taylor had encountered this same terrifying creature. Now, teamed with Suyin, he must confront his fears and risk his own life to save everyone trapped below…bringing him face to face once more with the greatest and largest predator of all time.

    THE MEG is directed by Jon Turteltaub and stars Jason Statham, Li Bingbing, Rainn Wilson, Ruby Rose, Winston Chao, Page Kennedy, Jessica McNamee, Ólafur Darri Ólafsson, Robert Taylor, Sophia Shuya Cai, Masi Oka and Cliff Curtis.

    THE MEG releases in New Zealand cinemas on August 16, 2018.

    the meg spry film review 1

  • DVD/Blu-ray review: “Isle of Dogs” (2018)

    DVD/Blu-ray review: “Isle of Dogs” (2018)

    “Isle of Dogs” (2018)

    Drama/Comedy/Animated

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    Running Time: 99 minutes

    Written & directed by: Wes Anderson

    Featuring:  Bryan Cranston, Edward Norton, Bill Murray, Jeff Goldblum, Bob Balaban, Greta Gerwig, Frances McDormand, Courtney B. Vance, Fisher Stevens, Harvey Keitel, Liev Schreiber, Scarlett Johansson, Tilda Swinton, F. Murray Abraham, Frank Wood, Kunichi Nomura and Yoko Ono

    Chief: “Don’t ask me to fetch that stick.”

    Any time a new Wes Anderson film is released it really is a period of joy for lovers of cinema, he is a singular voice that operates seemingly independently always creating something new and original only ever working with top talents who hope to be a part of something truly unique, special as well as eye catching, saying something about not only the human condition but where we are as a species, so it is just like him to use ‘man’s best friend’ as not only a visual queue but also metaphor as well as allegory. “Isle of Dogs” (2018) comes four years after what might be Anderson’s masterpiece “The Grand Budapest Hotel” (2014) which was not only a box office and critical success but was nominated for nine Oscars, eventually winning four, so it makes sense that he would pivot, turning to something that would not only be a little shocking but challenge audiences into actually wondering what they are seeing in his latest movie. This is Anderson’s second animated/stop motion film after the wonderful Road Dahl adaption “Fantastic Mr. Fox” (2009) but that film is as different from this current one as chalk and cheese which actually works in its favour as well as separating it from any of Anderson’s earlier work, this is a challenge unlike any other the director has ever created. In terms of the look as well as the story this movie really is unlike many movies before it with not only an original story but with the animals of the story not looking sympathetic or ‘friendly’, in fact there is a reality present not seen in many live action movies which is a juxtaposition to other Anderson movies as well as any other 2018 release.

    As with all of Wes Anderson films the key ingredient is Anderson himself who is the driving force behind each of his wonderfully independent as well as lush looking movies. His entire oeuvre is filled with films that are about kinship of one form or another dating back to his debut in “Bottle Rocket” (1996) although many of them, because they were co-written by other collaborators, were possibly watered down versions with not a complete vision, it may also explain why it has taken a long time for him to complete his films. With his last two efforts we are seeing what a great writer looks like especially when his visuals are so right for his stories. In terms of “Isle of Dogs” what Anderson has created is almost an anti Dsiney movie with the dogs not only drawn in a very particular way but also there is little to feel actual sympathy for as I believe is the the directors intent.

    “Isle of Dogs” is set in a dystopian near-future Japan, an influenza virus spreads throughout the canine population, with a risk of crossing to humans. The new, authoritarian mayor of Megasaki City, Kobayashi, signs a decree banishing all dogs to Trash Island, despite a scientist named Professor Watanabe insisting he is close to finding a cure for the dog flu. The first to be exiled is Spots, who belonged to Atari Kobayashi, the orphaned nephew and ward of the mayor.

    Six months later, Atari steals a plane and flies to Trash Island to search for Spots. After crash-landing, Atari is rescued by a pack of dogs led by a black dog named Chief. The pack decides to help Atari locate Spots, although Chief, a former stray, is reluctant to fraternize with humans. Together, they fend off a rescue team Kobayashi sends to retrieve Atari. At the insistence of a female purebreed named Nutmeg, Chief reluctantly decides to accompany the group on their search.

    As has been the case with all of Anderson’s movies the cast list is one to be admired and assists in making this as entertaining as any animated movie out there. There are definitely recognisable signature voices which I always find fun listening to as it can be a mark of a great actor when all they have is their voices to project feeling as well as emotion. Make no mistake there is plenty of emotion as well as action to be had in this movie that is a cross between an animated movie, a movie lesson as well as a kind of homage to Japan as well as Japan seen on the big screen, and through the eyes of Anderson himself.

    There are many unique ideas, themes and motifs used in “Isle of Dogs” the one that looms largest as well as being most obvious is that the entire movie is set in a semi-futuristic Japan but using what could be viewed as a Western gaze filtered through Japanese cinema which is quite an odd thing when an audience if they notice think about it. I believe that Anderson has not co-opted another culture for entertainment but has taken his own experiences and love of Japanese cinema and used this to tell his story, whether he has been able to do it successfully is another thing, in some ways he has either been too subtle or in some cases not subtle enough. This along with the fact that people in this movie speak Japanese without English subtitles to immerse the audience, but the ideas that are being put forth are mostly understandable which is a credit to Anderson. It is a conundrum that is on the screen in this movie, as I have to admit to not knowing what to think, I have been a fan of a certain type of Japanese film so most of the imagery as well as music I could understand but I could not help but feel it had been borrowed but maybe not in a good way, it was not exploitive, it was something else again. I believe that Anderson does love Japanese culture as well as cinema but maybe he is not expert enough to know how to use it in a way that feels not like a gimmick. When viewing the movie I choose to believe that it is a homage to Japan that is being put forward and nothing else, however I can see the other point of view where it could be seen as being a little more insidious than that, of course the decision is left up to the audience so you should make up your own mind, it did not dissuade me from enjoying the movie as well as seeing all the hard work that went into it.

    This is definitely a film that is worth having in any collection as it is begging to be watched as well as viewed multiple times, my only hesitation is the extras on the DVD/Blu-ray are a little scarce which is always a shame as well as a missed opportunity for the film-maker as well as the audience. However in saying that this an expertly crafted movie that is as entertaining as anything out in cinemas currently, do yourself a favor and seek this out.

    Special Features

    Promotional Featurettes :

    Animators, Isle of Dogs Cast, Puppets, An Ode to Dogs, Megasaki City and Trash Island, Weather and Elements, Still Gallery, Theatrical Trailer

    “Isle of Dogs” is out now on DVD & Blu-ray.

     

  • Film review: “Ideal Home” (2018)

    Film review: “Ideal Home” (2018)

    “Ideal Home” (2018)

    Drama/Comedy

    3-stars

    Running Time: 91 minutes

    Written by: Andrew Fleming

    Directed by: Andrew Fleming

    Featuring: Steve Coogan, Paul Rudd, Allison Pill, Jake McDorman, and Jack Gore

    Paul:“Wait, you have a grandson?”

    This has been such a very good year for comedies that there is always the risk of taking them for granted which after a terrible 2017 for the genre audiences should never do. This trend seems destined to continue with the release of yet another, this time a semi-high concept movie in the form of “Ideal Home” (2018) which sees the teaming up of English comedian Steve Coogan and the always fantastic American actor Paul Rudd as a gay couple living in Arizona. This is primarily a movie about a gay couple who have to look after a child but it has so much else going on within the narrative that this is only part of the story. What is refreshing about this movie is that it is a character based comedy first, with much of the script given over to that, as well as the plot, which does get reduced to being a message or issue based movie, this is not only refreshing but adds to the humour of the movie with a natural ease not often seen in today’s cinema. This movie takes for granted that the main characters are not only gay but are in a (mostly) stable relationship, they have many friends, as well as work colleagues, that do not bat an eye about their personal lives or their sexual orientation which is again something refreshing, in that it takes a lot of comedic tropes out of the picture to make way for some very real issues as well as some great comedy from the entire cast.

    “Ideal Home” is written and directed by veteran Andrew Fleming who is no stranger to mixing drama and comedy to great effect as well as working with fantastic comedians. He is able to harness their talents to create some very individualistic movies, like this, as well as the very underrated “Hamlet 2” (2008) again featuring Steve Coogan. Here Fleming takes what could normally be seen as a pretty standard drama about a potentially orphaned boy, mixes in the fact that he has to stay with his gay Grandfather who is also a television chef and then introduce all the elements that make it a kind of fish out of water story for all involved. The comedy comes in the form of the interactions they all have with each other as well as all the other stakeholders in the child’s life who have to navigate the couple as well as the couple having to test their own relationship, which is kept in the real world apart from the comedy. Do not be fooled though the comedy in this movie is very real and what you would expect from the two leads who are so talented it is easy to take their characterisations for granted.

    The movie is based around Erasmus (Coogan) and Paul (Rudd) are a gay couple whose life is turned inside out when a ten-year old boy shows up at their door claiming to be Erasmus’ grandson. Neither Paul, nor Erasmus, are ready to give up their extravagant lifestyles to be parents, but maybe this little kid has thing or two to teach them about the value of family.

    The leads of the movie Steve Coogan and Paul Rudd are just great in this comedy that is made all the better by not only their characters but the way in which they have built those characters into three dimensional people who could have either been trope laden or caricatures but aren’t, they are not only a fascinating couple but are hilarious for all the right reasons, not relying on the fact that they are gay but that they are original as well as them dealing with people they would not normally interact with. Both of these actors take their job seriously so that the way in which they behave or react to situations feels so honest that the humour they elicit seems to come from an genuine place and is not forced or ring hollow or false just because they may appear to be over the top or sometimes even being camp. The other main performance is by Jack Gore who plays ‘Bill’ who is for such a young boy excellent and rarely offers a false note in his performance even though he has to deal some very adult themes.

    Another aspct of the movie which has to be mentioned is that that both Erasmus (Coogan) and Paul (Rudd) work on a cooking show or a show about cuisine that is based in Arizona, which are all very original as well as offering the audience a world that is rarely seen, it also illustrates the importance of food and becomes the starting point for an ongoing joke about the food Bill will eat. In fact much of the humour with the movie derives from food as well as its place within the home, the fact that the surroundings of the environment directly relate to food and the juxtaposition of how gourmet food can directly effect mass produced food which we see within the movie and how this can either split people or unite them which again is as original as can be particularly in a comedy.

    “Ideal Home” is all about the family unit and how this has changed, where it is now and possibly where it is headed, nothing is ‘normal’ or whatever that means but what we see throughout the movie is how different cultures, family types and people can influence others as well as how the acceptance of difference can lead to some truly special experiences and relationships. Even though there are very different people within the narrative of this movie as with many familial comedies or dramas you know instinctively that all will be well in the end, but in terms of the story it is not about the main characters being gay but the fact that the real father comes back to take his son away which does seem like a trope but where the movie ends up seems natural and not forced like so many other familiar themed movies which is a extremely refreshing.

    This is a very well made and interesting movie that touches on many elements as well as themes and I can recommend it as a very funny enjoyable watch with two charismatic and funny leading men who lend the movie some authenticity as well as light heartedness that touches on some very serious issues, a fun viewing for all.

    “Ideal Home” is out now in cinemas.

  • Film review: “The Equalizer 2” (2018)

    Film review: “The Equalizer 2” (2018)

    “The Equalizer 2” (2018)

    Drama/Thriller

    3-stars

    Running Time: 129 minutes

    Written by: Richard Wenk

    Directed by: Antoine Fuqua

    Featuring: Denzel Washington, Pedro Pascal, Ashton Sanders, Melissa Leo, and Bill Pullman

    Robert McCall: “They killed my friend. So I’m going to kill each and every one of them. And the only disappointment is that I only get to do it once.”

    After four years star Denzel Washington reteams with director Antoine Fuqua for the sequel to the box office as well as mostly critical hit “The Equalizer” (2014) that itself was a reimagining of a 1980s television show to the big screen. It was also an origin story of sorts that, as most origin stories are, very easy to set up as well as pay off which is what made it so appealing for audiences, that and star Denzel Washington. It seems at this stage in his career Denzel Washington is that rare breed of actor who can pretty much do anything, he has accomplished so much that even at his age he makes an excellent action star because he makes his characters believable, rooted in something real so that we can all see his point of view, this is no more true than his characterisation of Robert McCall as a man who sees injustice, feeling the deep need to want to right it where he can, either through diplomacy or as a last resort, violence. At this stage of his career Washington can see the importance of balancing films he wants to make for himself, even directing wise, then keeping himself relevant with movies like “The Equalizer 2” (2018) which have something to say on a personal level, it also helps that he can open a movie in the US reliably so there is little worry about getting them greenlit. Not only did the “The Equalizer 2” have a great opening weekend, it outdid the original which is something rare for a straight genre movie especially when similarly themed ones bomb outright. This is the most unusual of action movies with a cast that are all older but aged similarly dealing with issues that most can relate to as well as having a combination of thrills, action and violence, this movie succeeds at accomplishing what it set out to do, being an able bodied sequel that ups the ante, possibly leading to a third sometime in the future.

    Returning to this sequel are original writer Richard Wenk and director Antoine Fuqua who both know what they want to accomplish, executing like the experienced duo they have become in terms of genre movie making. This is Fuqua’s fourth time directing Washington, it shows with how he frames and works with him within the narrative, which is something that Washington obviously enjoys. Fuqua is definitely known for directing action movies as well as being the person that directed Washington to his second Oscar for “Training Day” (2001). In terms of this story Wenk has actually constructed a very tight plot with a narrative that is conventional, it has a strong A story with a nice subplot involving McCall’s neighbourhood in particular a young artist that is struggling with his own life that eventually joins up to the main plot. The fact is that there is almost too much plot with another minor subplot involving an elderly man and the trouble he is having with some art that links back to World War II – this is an element that could have been ejected but it does add to how McCall operates within a number of different issues that he assists people with. This is a mostly successful movie that operates on a number of levels that works because Washington, Wenk and Fuqua know exactly what they are doing and how to execute it for a large audience.

    The movie once again centres on Robert McCall who learns that one of his longtime friends, Susan Plummer, has been murdered. McCall decides to return to his old ways and seek out, find and punish the perpetrators.

    As with any action movie that revolves around one main character it is the casting of that role that is most important and here we have one of the greatest and talented leading men of all time in Denzel Washington who by now knows exactly what movie he is and how to deliver to the camera for maximum effect. The partnership that Washington has formed with Fuqua echoes the same relationships he has had with Spike Lee, Ridley Scott, Tony Scott and to a lessor extent Norman Jewison, with all of them serving very different purposes, it does appear to me though that this latest one has been the most fun, considering they were able to make the Western “The Magnificent Seven” (2015) with such a large budget in a genre many consider to be dead. Along for the ride in “The Equalizer 2” and returning are Bill Pullman and Melissa Leo who in their short amount of screen time really underpin the emotional beats that drive the main plot of the movie. The main addition to the cast is the always-excellent Pedro Pascal who in a different world would be a leading man but has continually taken supporting roles in major movies to really take the pressure of himself but always standing out in any cast. Here he plays American as well as a duplicitous role that he carries of with ease much like he has throughout his career. It is no easy task matching Washington in terms of telent but Pascal does here by knowing exactly how to judge his performance so that he is almost Washington’s equal onscreen with only a few false notes.

    Whilst the first movie was definitely set in small location as well as setting up McCall’s morality this new instalment makes the story bigger both in terms of scale, location, number of characters and then stakes set up for all involved. By delving into McCall’s past it also makes the movie even more personal that the first, which is strength as it means the audience, is almost immediately on his side. This movie also seems to be setting up McCall as an older spy type not unlike any other similar genre character without it is undeniable that he is a Ronin archetype a masterless Samurai who wants to be left alone but is unable to just stand by while injustice is carried out especially when it is all around him. It can be said that id he really wanted a quiet life or to be left alone he could do this by isolating himself which he never does, not in either movie so it could be said he does bring much of the issues within both movies on himself.

    “The Equalizer 2” is a rare thing in today’s cinematic landscape a truly successful R-Rated action movie that is loaded with A-list talent both in front of as well as behind the camera that works extremely well on many levels. If you are looking for an action movie with a difference then this is for you especially if you are a fan of Denzel Washington and at this stage I believe everyone is, he has built a character from the ground up and he is only getting better with age, I cannot wait foe the next instalment.

    “The Equalizer 2” is out now only in cinemas.

  • DVD/Blu-ray review: “Truth or Dare” (2018)

    DVD/Blu-ray review: “Truth or Dare” (2018)

    “Truth or Dare” (2018)

    Horror

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    Running Time: 100 minutes

    Written by: Michael Reisz, Jillian Jacobs, Chris Roach and Jeff Wadlow

    Directed by: Jeff Wadlow

    Featuring: Lucy Hale, Tyler Posey, Violett Beane, Hayden Szeto, and Landon Liboiron

    Penelope: “How do we get out of this game alive?” 

    Markie Cameron:[smiling face] “You can’t. It only ends when all the players dead. And your turn is next.”

    This week sees the release on DVD and Blu-ray of the latest Blumhouse/Universal horror movie “Truth or Dare” (2018), which was yet another box office success for the joint venture costing a miserly US$3.5 million dollars, but generating almost US$100 million at the global box office making this yet another example of how Jason Blum is ruling the horror genre as well as at least attempting to make original or at least original feeling movies that audiences want to see in cinemas. The general idea of “Truth or Dare” is not new having been mined many times before but the drawcard of this movie was that it followed another Blumhouse/Universal movie, that being “Happy Death Day” (2017), which itself was a reductive idea, having been a “Groundhog Day”  (1999) rip off of sorts but had enough personality to get by, not only becoming a hit but being critically popular as well. It has to be said that while horror movies are enjoying good times at the moment it has not been viewed in a positive light for some time. This is why the PG-13 rating is important to the genre as well as a hindrance as if the idea behind the movie is not sound then the lack of gore can mean the rough edges have been sanded off making a neutered product. So it makes sense that there should be some kind of double dipping at the well to see if this could be repeated, with a similar setting, a somewhat similar cast as well as an often used idea, however the results have been disappointing to say the least.

    Directed and co-written by Jeff Wadlow this movie is just a series of set-ups and payoffs with neither being terribly original that is framed as a horror by the fact that there is some sort of ill defined otherworldly entity that has some kind of objective based on the misdeeds of others that seem to have been made up as the movie was actually shooting. Wadlow who has been behind some of the very worst movies involving teenagers seems to enjoy attempting to stay young with his casts as well as subject matter never moving on into other more progressive fair, just like the characters in the movie his storylines all seem to be echoing the same kind of dull unimaginative thrillers that I thought had gone out once we hit the millennium, it seems nobody told Wadlow about that as surely this one trick pony must have used them all up here. The shame here is that because of such a low budget as well as a trailer that echoed a previous movie that was actually very good it has meant that “Truth or Dare” has succeeded in garnering an audience it does not deserve.

    The film begins is primarily about: Olivia Barron, her best friend Markie Cameron, Markie’s boyfriend Lucas Moreno, along with Penelope Amari and her boyfriend Tyson Curran, and Brad Chang go on a trip to Mexico for their last Spring Break. Originally Olivia was going to work for Habitat for Humanity, but Markie cancelled her Habitat work without asking her so she would be able to make the Mexico trip. In Mexico, Olivia runs into fellow student Ronnie who proceeds to harass her until a man intervenes on her behalf. The man introduces himself as Carter and convinces her and her friends to join him for drinks at the ruins of a mansion. There, he initiates a game of “Truth or Dare?”. The game ends when Carter reveals that he tricked Olivia and her friends to the mansion to offer them in his place in the supernatural game of Truth or Dare. As he leaves, he explains that the game will follow them and they must not refuse it or they will die.

    The movie features as you would guess many young actors who to their credit are attempting to do their best but they are all playing paper thin characters who all come off as clueless as well as vapid who are all surface that never really end up at the end of the movie with any satisfying arcs. These characters are the worst parts of any CW shows that if I am honest I was looking forward to ending their time in the movie. For me the highlight of the movie is Hayden Szeto who after being a highlight of the excellent “The Edge of Seventeen” (2016), here steals the movie playing one of the only real characters in the movie who even has his own story as well as arc which pays off all too soon for my liking. It seemed to me that the rest of the cast’s own narratives were not only melodramatic in the wrong ways but seemed to be so artificial as to be over the top even for a teen horror movie about a game that seems oddly put of date with the time this movie occupies.

    I really do get the idea of the game bringing out the worst secrets from people who think they know each other as well as the fact that sometimes while truth may seem safer than a dare in many cases it is not. Once a dare is completed it is over but if a real truth is revealed the ramifications of that can stay with people forever. Of course because this is a horror movie the dares get more and more outlandish as the movie progresses much like similarly themed movies do which is if course one of the inherent weaknesses of this type of sub genre, it also means that inherently most of the cast will die, and in this it is pretty obvious that there will be a final girl to come up with a conclusion which there is and it is fairly easy to see that the writers of this movie just ran out of ideas when they wrote themselves into a corner. Once again the unfortunate part of this movie is the way in which the ‘evil’, which of course there has to be as the people cannot be blamed for what is happening, is explained as well as how it is dealt with, really this story could have been part of a television anthology than a fully fledged movie.

    Unfortunately this is not a great horror movie, for a variety of reasons, it has a central idea that doesn’t go beyond its initial premise, which is a weakness of many movies, not just horrors. The characters are almost all unsympathetic as well as being highly unoriginal; it falls into many tropes that are overblown as well as ill conceived which are never really addressed fully so the entire thing feels unfinished as well as made up as it was shot. I wouldn’t purchase this movie but I would watch on a streaming service or rent if that is possible. There were some chances that were missed with this movie that may have made it much better as well as entertaining I only hope it will not tarnish future Blumhouse movies to come.

    “Truth or Dare” is out now on DVD & Blu-ray.

  • Film review: “Mission: Impossible – Fallout” (2018)

    Film review: “Mission: Impossible – Fallout” (2018)

    “Mission: Impossible – Fallout ” (2018)

    Thriller

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    Running Time: 147 minutes

    Written by: Christopher McQuarrie

    Directed by: Christopher McQuarrie

    Featuring:  Tom Cruise, Ving Rhames, Simon Pegg, Rebecca Ferguson, Sean Harris, Michelle Monaghan, Alec Baldwin, Henry Cavill and Angela Bassett

    August Walker: “How many times has Hunt’s government betrayed him, disavowed him, cast him aside? How long before a man like that has had enough?”

    Say what you want about Tom Cruise especially as a public persona with his associations to Scientology as well as marriages that have come and gone, but there has rarely been a more popular as well as bigger movie star in all of Hollywood history. Sure there have been box office disappointments but even when his star was seemingly falling in the US it was picking up elsewhere in the world to carry his popularity, enabling him to make not only big budget movies but more modest fare as well, such as last years “American Made” (2017), which was an above average action/drama but also a modest hit with a great cast, including some fantastic production talent. The only real box office dud in recent memory was the musical “Rock of Ages” (2012) where he only had a minor role but showed no fear in his performance, which coincidentally is what he has become known for since “Mission: Impossible – Ghost Protocol” (2011) with its huge (mostly) non CGI stunts, with Cruise front and centre in those performances. Now against all odds when at one point this franchise seemed dead after a listless third entry we now have the sixth, arguably its biggest entry with almost everything supersized as well as a push towards the future with not only some familiar faces but new blood injected to keep things fresh, although with the sheer number of set pieces this never seems an issue.

    “Mission: Impossible – Fallout” (2018) as the sixth entry arrives twenty two years after the first installment revisited the East as a post cold war adaption of a television series best known for the continuous face swapping that occurred almost every episode to ensure the IMF always came out on top. The first movie had two major set pieces that have been not only parodied endlessly but served as a taster for what was to come. Until this new movie each installment had a different director that was supposed to offer something different for fans but it was not until Brad Bird directed the great “Mission: Impossible – Ghost Protocol” that it was clear the type of story, as well as feel that these movies should strive for. They became more cinematic, a lot more tongue in cheek, they took the stories global, introduced new actors to the world and of course the stunts got more practical as well as much bigger. In fact the entire franchise became more like a Chris Nolan movie than a James Bond movie, it is no wonder people would love Nolan to direct the Bond franchise.

    Returning writer/director Christopher McQuarrie shows onscreen that he has not only learnt from his previous mission but illustrates how to make a movie that isn’t a comic book movie, differentiating it as much as possible through the use of excellent actors as well as crafted set pieces, including a story that while not completely original does something that few blockbusters do, make the action a part of the narrative in doing so it slims the plot down to a double dip, that is a road movie of sorts as well as a conspiracy thriller set around the all too familiar ‘loose nukes’ storyline seen in many other spy thrillers. The fact that the plot of this movie may seem overly familiar is not necessarily a negative as it serves a purpose cutting through with ease to the audience about what is actually occurring onscreen. Where “Mission: Impossible – Fallout” is original is that separate from the action it introduces many new people to the franchise that could return or not, it also, while being based around one character, Ethan Hunt, does let many of its other characters shine in very specific ways as to really make this new movie original in a Summer full of reboots, sequels, prequels and remakes. McQuarrie has been given free reign like no other ‘Mission’ director, in that he after the success of his previous movie, as well as his close relationship with Cruise he has crafted the movie he wanted to produce with the highest stakes going, the future of the franchise is in his hands and to his credit he succeeds far higher than many other writer/directors have in the past with any equivalent franchise – this could be the franchises “Skyfall” (2012). As mentioned McQuarrie has become a fine director and this movie has many nods to previous installments as well as many other movies reflective of the genre that this movie apes in some great ways, using noise, silence as well as music to highlight moments that other directors may rely on tropes to get by.

    “Mission: Impossible – Fallout” is set two years after the capture of Solomon Lane (Sean Harris), the remains of his organization ‘The Syndicate’ have reformed into a terrorist group known as ‘The Apostles. At a safehouse in Belfast, Ethan Hunt (Tom Cruise) receives details of a mission to intercept the sale of three plutonium cores to members of the group. The mission takes him to Berlin where he meets up with Benji Dunn (Simon Pegg) and Luther Stickell (Ving Rhames), but the mission fails when Hunt makes the choice to save Luther’s life and the plutonium is taken by the Apostles. Erica Sloane (Angela Bassett), Director of the CIA, instructs Special Activities operative August Walker (Henry Cavill) to shadow Hunt as he attempts to retrieve the plutonium. So the movie moves at a brisk pace from here towards a goal that has a complicated plot which is as stated surrounded by amazing action set pieces.

    As with any ‘Mission’ movie the central figure is always Tom Cruise as not only Ethan Hunt but also as one of the uncredited writers and as main producer. These movies have always been Cruise’s baby with him taking centre stage at almost every turn, for the most part succeeding both critically as well as financially even when his personal stock has been low these movies have soared high. Everything about Cruise has already been written, he is dedicated to action movies like no other actor ever, maybe except Steve McQueen, but Cruise does so much more physically than he ever did. Not only that but Cruise is an underrated actor both dramatically as well as comedically what is great about the ‘Mission’ movies is that he gets to exercise those muscles throughout sometimes in the same scene. Lastly Cruise is not afraid to share the screen with anyone which has been a hallmark of his entire career, here he invites the entire cast to do their best work, and within the medium they all deliver some of their best work.

    Returning to the franchise are Ving Rhames, Simon Pegg, Rebecca Ferguson, Sean Harris, Michelle Monaghan and Alec Baldwin all playing their parts like old pros, they have all made appearances before so know their jobs with all shining in their own individual ways which compliment the main star. New to the fold are great character actor Angela Bassett who is always fantastic to see onscreen especially in high profile projects such as this and the huge success that was “Black Panther” (2018). Also newly arriving is the unofficial co-lead of the movie Henry Cavill, who has been searching for a successful high profile movie after the success of “Man of Steel” (2013), which it appears he has found after two disastrous DCEU movies as well as the underrated “The Man from U.N.C.L.E.” (2015), it appears playing this part may have stretched him showing that he has a viable career after playing Superman. Cavill is a physically gifted actor who here gets to not only play strong action scenes, but gets to really invent a character playing high drama, comedy as well as being duplicitous throughout his arc in a very good bordering on great action movie, one of the best of the year.

    The road movie narrative fits very well with this new movie, it starts in Belfast and doesn’t give up until the climax of the movie, like all great movies of its ilk, it is not so much the end goal that is important or even satisfying, it is the trip it takes to get there, unlike many movies this attempts to not only up the ante from previous movies but seeks to do that from scene to scene. The fact that this movie succeeds as a spectacle speaks highly of not only the director as well as the actors but of the stunt people, the cinematographer and everyone else involved in the production. Unlike many similar movies there is definitely something that will be lost not seeing this on the big screen, it is that much of a unique event, it has to be the best ‘Mission’ movie yet which speaks directly to how great it is, anything that the previous movie missed in terms of quality, story, narrative or action or more than made up for here, not only that it sets a firm direction for the future without offering any kind of bait for a sequel.

    This movie does so many things right with not only the stunts but the overall way this sequel fits into the overarching narrative started with “Mission: Impossible – Ghost Protocol” which hinted at some rival group of terrorists as well as the fate of Ethan’s wife. What is unusual to almost all blockbusters especially the patriarchal themed movies is this one does actually have a very real emotional core that has only increased with each subsequent sequel. “Mission: Impossible – Fallout” does what possibly only the middle two ‘Bourne’ sequels did, that is explain why character shifts occur as well as how the last three movies fit in to this universe which is now free to really ramp up to a new story yet leaning on the past in a very substantive way, I cannot wait for more of these movies.

    If you want a movie that is entertaining as well as action packed with moments of comedy then this is for you. It is that rare franchise sequel that is worth the price of entry; it begs to be watched multiple times, this movie is a winner on all levels and a great way to end the summer blockbuster season.

    “Mission: Impossible – Fallout” is out now only in cinemas.

  • SDCC trailer: “Aquaman” (2018)

    SDCC trailer: “Aquaman” (2018)

    “Aquaman” (2018)

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    From Warner Bros. Pictures and director James Wan comes an action-packed adventurethat spans the vast, visually breathtaking underwater world of the seven seas, “Aquaman,”starring Jason Momoa in the title role. The film reveals the origin story of half-human, half- Atlantean Arthur Curry and takes him on the journey of his lifetime—one that will not only force him to face who he really is, but to discover if he is worthy of who he was born to be…a king.

    The film also stars Amber Heard (“Justice League,” “Magic Mike XXL”) as Mera, a fierce warrior and Aquaman’s ally throughout his journey; Oscar nominee Willem Dafoe (“Platoon,” “Spider-Man 2”) as Vulko, council to the Atlantean throne; Patrick Wilson (“The Conjuring” films,“Watchmen”) as Orm/Ocean Master, the present King of Atlantis; Dolph Lundgren (“The Expendables” films) as Nereus, King of the Atlantean tribe Xebel; Yahya Abdul-Mateen II (Netflix’s “The Get Down”) as the vengeful Black Manta; and Oscar winner Nicole Kidman (“The Hours,” “Lion”) as Arthur’s mom, Atlanna; as well as Ludi Lin (“Power Rangers”) as Captain Murk, Atlantean Commando; and Temuera Morrison (“Star Wars: Episode II – Attack of the Clones,” “Green Lantern”) as Arthur’s dad, Tom Curry.

    Wan directs from a screenplay by David Leslie Johnson-McGoldrick (“The Conjuring 2”)and Will Beall (“Gangster Squad,” TV’s “Training Day”), story by Geoff Johns & James Wan and Will Beall, based on characters from DC, Aquaman created by Paul Norris and Mort Weisinger. The film is produced by Peter Safran and Rob Cowan, with Deborah Snyder, Zack Snyder, Jon Berg, Geoff Johns and Walter Hamada serving as executive producers.

    Wan’s team behind the scenes includes such frequent collaborators as Oscar-nominated director of photography Don Burgess (“The Conjuring 2,” “Forrest Gump”), his five-time editor Kirk Morri (“The Conjuring” films, “Furious 7,” the “Insidious” films), and production designer Bill Brzeski (“Furious 7”). They are joined by costume designer Kym Barrett (“The Matrix” trilogy,“The Amazing Spider-Man”) and composer Rupert Gregson-Williams (“Wonder Woman”).

    Warner Bros. Pictures Presents a Safran Company Production, a James Wan Film,“Aquaman.” The film is set to hit theaters beginning December 13, 2018, in Australia, and December 26, 2018 in New Zealand, in 3D and 2D and IMAX and will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

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  • SDCC trailer: “Shazam!” (2019)

    SDCC trailer: “Shazam!” (2019)

    “Shazam!” (2019)

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    David F. Sandberg (“Annabelle: Creation”) directs New Line Cinema’s “Shazam!,” the origin story that stars Zachary Levi (TV’s “Chuck”) as the titular DC Super Hero, along with Asher Angel (TV’s “Andi Mack”) as Billy Batson, and Mark Strong (the “Kingsman” movies) in the roleof Super-Villain Dr. Thaddeus Sivana. Peter Safran (upcoming “Aquaman,” “The Conjuring” and “Annabelle” films) serves as the film’s producer.

    We all have a superhero inside us, it just takes a bit of magic to bring it out. In BillyBatson’s (Angel) case, by shouting out one word—SHAZAM!—this streetwise 14-year-old foster kid can turn into the adult Super Hero Shazam (Levi), courtesy of an ancient wizard. Still a kid at heart—inside a ripped, godlike body—Shazam revels in this adult version of himself by doing what any teen would do with superpowers: have fun with them! Can he fly? Does he have X- ray vision? Can he shoot lightning out of his hands? Can he skip his social studies test? Shazamsets out to test the limits of his abilities with the joyful recklessness of a child. But he’ll need tomaster these powers quickly in order to fight the deadly forces of evil controlled by Dr. Thaddeus Sivana (Strong).

    “Shazam!” also stars Jack Dylan Grazer (“IT”) as Billy’s best friend and ultimatesuperhero enthusiast, Freddy, part of the foster family that includes Mary, played by GraceFulton (“Annabelle: Creation”); Darla, played by Faithe Herman (TV’s “This is Us”); Eugene, played by Ian Chen (TV’s “Fresh Off the Boat”); and Pedro, played by Jovan Armand (TV’s “Hawaii Five-O”). Cooper Andrews (TV’s “The Walking Dead”) and Marta Milans (TV’s “Killer Women”) play foster parents Victor and Rosa Vasquez, with Oscar nominee Djimon Hounsou(“Blood Diamond”) as the Wizard.

    Firmly set in the DC universe but with his own distinctly fun, family-centric tone, the screenplay is by Henry Gayden, story by Gayden and Darren Lemke. Shazam was created by Bill Parker and C.C. Beck. Christopher Godsick, Jeffrey Chernov, Dwayne Johnson, Dany Garcia and Hiram Garcia serve as executive producers.

    Sandberg’s creative team includes his “Annabelle: Creation” director of photographyMaxime Alexandre, production designer Jennifer Spence, editor Michel Aller and costume designer Leah Butler.

    A New Line Cinema production, “Shazam!” is set for release on April 4, 2019. It will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

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  • SDCC trailer: “Godzilla: King of the Monsters” (2019)

    SDCC trailer: “Godzilla: King of the Monsters” (2019)

    “Godzilla: King of the Monsters” (2019)

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    Following the global success of “Godzilla” and “Kong: Skull Island” comes the next chapter in Warner Bros. Pictures’ and Legendary Pictures’ cinematic MonsterVerse: “Godzilla: King of the Monsters,” an epic action adventure that pits Godzilla against some of the most popular monsters in pop culture history.

    The film was directed by Michael Dougherty (“Krampus”), and stars Oscar nominees Vera Farmiga (“Up in the Air,” “The Conjuring” films), and Ken Watanabe (“The Last Samurai”) and Sally Hawkins (“Blue Jasmine”), both reprising their “Godzilla” roles; Kyle Chandler (“The Wolf of Wall Street,” “Manchester by the Sea”); Millie Bobby Brown (“Stranger Things”) in her feature film debut; Bradley Whitford (“Get Out”); Thomas Middleditch (HBO’s “Silicon Valley”); Charles Dance (HBO’s “Game of Thrones”); O’Shea Jackson Jr. (“Straight Outta Compton”); Aisha Hinds (“Star Trek Into Darkness”); and Golden Globe nominee Zhang Ziyi (“Memoirs of a Geisha,” “Crouching Tiger, Hidden Dragon”).

    The new story follows the heroic efforts of the crypto-zoological agency Monarch as its members face off against a battery of god-sized monsters, including the mighty Godzilla, who collides with Mothra, Rodan, and his ultimate nemesis, the three-headed King Ghidorah. When these ancient super-species—thought to be mere myths—rise again, they all vie for supremacy,leaving humanity’s very existence hanging in the balance.

    Dougherty directed from a script he wrote with Zach Shields. The film was produced by Mary Parent, Alex Garcia, Brian Rogers, Thomas Tull and Jon Jashni, with Zach Shields, Barry H. Waldman, Dan Lin, Roy Lee, Yoshimitsu Banno and Kenji Okuhira serving as executive producers, and Alexandra Mendes and Jay Ashenfelter co-producing for Legendary.

    Behind the scenes, Dougherty’s creative team included director of photography Lawrence Sher, whose past credits include “War Dogs” and “Godzilla,” for which he handled additional

    photography; production designer Scott Chambliss (“Guardians of the Galaxy Vol. 2,” “Star TrekInto Darkness”); editors Roger Barton (“Pirates of the Caribbean: Dead Men Tell No Tales,” the “Transformers” films), Oscar nominee Richard Pearson (“United 93,” “Kong: Skull Island”), and Bob Ducsay (“Godzilla,” “Star Wars: The Last Jedi”); costume designer Louise Mingenbach (the“X-Men” and “Hangover” films); and Oscar-winning VFX supervisor Guillaume Rocheron(“Godzilla,” “Ghost in the Shell,” and part of the Oscar-winning team behind “Life of Pi”).

    A presentation of Warner Bros. Pictures and Legendary Pictures, “Godzilla: King of the Monsters” hits theaters on May 30, 2019. It will be distributed in 3D and 2D and IMAX by Warner Bros. Pictures, except in Japan, where it will be distributed by Toho Co., Ltd.

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  • SDCC trailer: “Fantastic Beasts: The Crimes of Grindelwald” (2018)

    SDCC trailer: “Fantastic Beasts: The Crimes of Grindelwald” (2018)

    “Fantastic Beasts: The Crimes of Grindelwald” (2018)

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    Warner Bros. Pictures’ “Fantastic Beasts: The Crimes of Grindelwald” is the secondof five all new adventures in J.K. Rowling’s Wizarding WorldTM.

    At the end of the first film, the powerful Dark wizard Gellert Grindelwald (Johnny Depp) was captured by MACUSA (Magical Congress of the United States of America), with the help of Newt Scamander (Eddie Redmayne). But, making good on his threat, Grindelwald escaped custody and has set about gathering followers, most unsuspecting of his true agenda: to raise pure-blood wizards up to rule over all non-magical beings.

    In an effort to thwart Grindelwald’s plans, Albus Dumbledore (Jude Law) enlists his former student Newt Scamander, who agrees to help, unaware of the dangers that lie ahead. Lines are drawn as love and loyalty are tested, even among the truest friends and family, in an increasingly divided wizarding world.

    The film features an ensemble cast led by Eddie Redmayne, Katherine Waterston, Dan Fogler, Alison Sudol, Ezra Miller, Zoë Kravitz, Callum Turner, Claudia Kim, William Nadylam, Kevin Guthrie, Carmen Ejogo, Poppy Corby-Tuech, with Jude Law and Johnny Depp.

    “Fantastic Beasts: The Crimes of Grindelwald” is directed by David Yates, from a screenplay by J.K. Rowling. The film is produced by David Heyman, J.K. Rowling, Steve Kloves and Lionel Wigram. Tim Lewis, Neil Blair, Rick Senat and Danny Cohen serve as executive producers.

    The film reunites the behind-the-scenes creative team from the first “FantasticBeasts” film, including Oscar-winning director of photography Philippe Rousselot (“A RiverRuns Through It”), three-time Oscar-winning production designer Stuart Craig (“The English

    Patient,” “Dangerous Liaisons,” “Gandhi,” the “Harry Potter” films), four-time Oscar-winning costume designer Colleen Atwood (“Chicago,” “Memoirs of a Geisha,” “Alice in Wonderland,” “Fantastic Beasts and Where to Find Them”), and Yates’ longtime editor Mark Day (the last four “Harry Potter” films). The music is by eight-time Oscar nominee James Newton Howard(“Defiance,” “Michael Clayton,” “The Hunger Games” films).

    Slated for release November 15, 2018, the film will be distributed worldwide in 2D and 3D in select theatres and IMAX by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

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