Steve Jobs (2015) – Film Review

The third film to be based on the real-life story of tech-designer Steve Jobs following ‘Pirates of Silicon Valley’ in 1999 and ‘Jobs’ in 2013. ‘Steve Jobs’ is a gripping drama which interestingly chooses to take-place over the time-span of three iconic product-launches, focusing on much of the backstage drama of Jobs’ life as he attempts to revolutionise the world of technology and eventually become the CEO of Apple Inc. Making for the best cinematic-interpretation of Steve Jobs’ life story as of yet, despite the film lacking in memorability in a few areas.

Plot Summary: Steven Paul Jobs has always been known a major player in the digital-revolution of the 1980s and 1990s, his passion and ingenuity being the driving force behind the digital-age we currently inhabit. Yet whilst his commitment to revolutionise the technological-landscape was more than commendable, it was also sacrificial, as Jobs’ work often took a toll on his family life.

Directed by Danny Boyle (Trainspotting, 28 Days Later, Slumdog Millionaire), ‘Steve Jobs’ was actually considered a box-office failure upon its initial release, with the film being pulled from over two-thousand cinemas after just two-weeks. And while I can’t say this is too surprising, as a biography focused around the story of a computer-designer does sound dull at a first mention. In execution, ‘Steve Jobs’ is anything but boring, as the film’s sharply-written screenplay makes for a very captivating watch, and draws many parallels to ‘The Social Network’ from 2010. Which is no coincidence, as both films were written by Aaron Sorkin. Furthermore, David Fincher was once attached to direct the film following his previous collaboration with Sorkin on ‘The Social Network,’ but Fincher was eventually dropped in favour of Danny Boyle after he demanded a higher-salary.

First and foremost, ‘Steve Jobs’ is definitely an actor’s film, as the performances outweigh nearly every other aspect of the film aside from perhaps the writing, with Kate Winslet, Seth Rogen, Michael Stuhlbarg and Jeff Daniels all giving tremendous portrayals of these real-life figures. With Michael Fassbender portraying the titular man himself, and although Fassbender is quite far physically from Jobs’ appearance (with Fassbender going the extra-mile to wear brown eye-contacts to achieve a closer look), Fassbender impresses as usual, presenting Steve Jobs as a brilliant success when it comes to his products, but a significant failure when he tries to communicate with the people in his life. And refreshingly, the film is never afraid to delve into Jobs’ many personality flaws.

With the film playing-out over the course of three different product-launches, beginning with the Macintosh in 1984 and ending with the unveiling of the iMac in 1998. The three time-periods are cleverly represented through the cinematography by Alwin H. Küchler, with each segment being shot on 16mm, 35mm, and digital to illustrate the advancement in Apple’s technology across the sixteen-years of Jobs’ depicted life. And with the camera constantly tracking the actors as they walk through ever-changing locations, the camerawork really helps to make the film more engaging. Director Danny Boyle even integrates some of his signature ‘Trainspotting’ style with the film’s editing, displaying flashbacks through snappy quick-cuts and projection-like images which appear stretched over the walls behind those in frame.

From ‘It’s Not Working’ to ‘Child (Father),’ ‘Russian Roulette’ and ‘1998. The New Mac.’ The original score by Daniel Pemberton is a perfect mixture of minimalist electronic and grand orchestral tracks, encapsulating both the technological achievements of Jobs’ career as well as the spectacle of each one of unveilings. Unfortunately, the one moment the film’s soundtrack falters is an important one, as the film’s very last scene is sadly spoilt by the use of the pop-song: ‘Grew Up at Midnight,’ which feels immensely out-of-place when compared to the remainder of the film’s score.

Whilst ‘Steve Jobs’ is well-written on all regards, with much of the film’s dialogue being continuously witty and humorous in addition to playing-into Jobs’ God-complex and smug nature. However, with that said, a large amount of the film’s writing also relies on tech-specific dialogue, with everything from circuit boards to graphical interfaces and binary code all being casually mentioned in conversations, which I imagine could be fairly confusing for some viewers depending on how familiar they may be with that terminology.

In conclusion, ‘Steve Jobs’ is certainly one of the better biographies in recent years. Although I’m sure many will still be disinterested in the film purely for its main focus, the film does have a lot to offer, and in my opinion not only excels past the previous films based on the story the late tech-designer, but also the novel: ‘Pirates of Silicon Valley’ which the screenplay actually takes heavy-inspiration from. And even in spite of several of Jobs’ associates claiming the film doesn’t represent the man they knew, just like Mark Zuckerberg in ‘The Social Network,’ this version of Jobs is very much a creation of its writer, and what a sensational creation it is. Final Rating: 8/10.

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The Voices (2014) – Film Review

This obscure horror-comedy released in late 2014 will certainly make for a divisive viewing, as while ‘The Voices’ does feature an inspired use of colour and set-design alongside a stand-out performance from Ryan Reynolds, the film is also far more disturbing than much of its marketing would lead you to believe, swerving from absurd moments of humour to visceral moments of gore in a heart-beat. The resulting film essentially becoming a parody/throwback of/to classic horrors like ‘American Psycho,’ and is a far-cry from a realistic study of psychosis for better, and for worse.

Plot Summary: After working a nine-to-five job at his local bathtub factory, the mentally ill: ‘Jerry’ finds comfort in returning home to his beloved pets: ‘Bosco’ and ‘Mr. Whiskers.’ Until one day, with the help of his psychiatrist, ‘Jerry’ decides to pursue his office crush: ‘Fiona.’ But when their relationship takes a sudden, murderous turn leaving ‘Jerry’ with the corpse of his co-worker, he tries desperately to strive for normalcy, only to fall deeper into instability…

Early in the pre-production of: ‘The Voices,’ director Mark Romanek, best known for the 2002 drama: ‘One Hour Photo’ was attached as the film’s director, before Marjane Satrapi (Persepolis, Chicken with Plums, Radioactive) later took-over as the head of the project. And whilst ‘The Voices’ does feel like quite a large shift from Satrapi’s usual work, its hard to know exactly which director would’ve excelled with a screenplay as original as this one is. As while ‘The Voices’ does share some similarities to other serial killer flicks, many of the film’s ideas are just brimming with personality, as everything from ‘Jerry’ showing symptoms of OCD when cutting-up the bodies of his victims, to ‘Jerry’ living above an abandoned bowling alley, the film just has such a unique appeal.

Ryan Reynolds really gets a chance to shine portraying the film’s mentally ill protagonist, as whilst ‘Jerry’ does commit many horrible acts over the course of the runtime, Reynolds manages to capture the idea of: ‘Jerry’ being a man forced down a road of violence. He is a distinct serial killer in the sense that he desires companionship and happiness, and doesn’t receive any pleasure from killing. So when its eventually revealed what happened to him as a child, you can’t help but sympathise with him, invoking a level of emotion that many murderous characters struggle to achieve. But unfortunately, the film’s side characters portrayed by Gemma Arterton, Anna Kendrick and Jacki Weaver, all feel quite thin as a result of them only being in the story to serve as ‘Jerry’s potential victims.

Maxime Alexandre handles the film’s cinematography well, as the camerawork throughout ‘The Voices’ remains fairly creative. The film’s visuals are most impressive most however, when it comes to the film’s colour palette and set-design. As with nearly the entirety of the story being seen through ‘Jerry’s perspective, the film displays the true extent of: ‘Jerry’s delusions through its use of colour/sets. For example, when not on his prescribed medication, ‘Jerry’ views his apartment as very clean and organised, giving the location a much more comfortable feel, whereas when ‘Jerry’ does take his medication, he sees the grim reality of his home.

The original score by Olivier Bernet is similar, never reaching into full-on horror, but being a mixture of cartoonish dreamlike tracks such as: ‘In the Woods’ and ‘Jesus Dad,’ before then moving onto more upbeat tracks like ‘Don’t Mess with Milton’. A seemingly a ironic track focused around the fictional woodland town of: ‘Milton’ where the story is set, claiming the town to be nothing but a friendly and welcoming place.

The main aspect of: ‘The Voices’ that I feel could make or break the film for many is likely to be its comedy, as whilst it is revealed fairly early on that many of the film’s bizarre moments such as: ‘Jerry’s pets speaking to him or ‘Jesus’ appearing on a forklift are all taking-place within his mind, much of this strange humour is very hit-or-miss. However, an interesting yet small detail regarding the talking pets is that Ryan Reynolds actually voices each one of the animals himself, with each pet having a different accent, furthering ‘Jerry’s delusions. In fact, Reynolds actually modelled the voice of: ‘Mr. Whiskers,’ a.k.a. ‘Jerry’s cat, after a Scottish friend he knew for over twenty-years.

Overall, while ‘The Voices’ is overflowing with both charm and wit, it also has many issues. From its quickly altering tone and many jokes that fall-flat, the film is far from a perfect horror-comedy. But it does redeem many of its faults through its great performances and eccentric style, all playing into the film’s quirky personality. And its due to all of this that the film feels as if its made for a very niche audience, yet for those ‘The Voices’ does appeal to, there is a fair amount to enjoy here. Final Rating: low 7/10.

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About Time (2013) – Film Review

Written and directed by Richard Curtis (Love Actually, Pirate Radio), ‘About Time’ would go on to be the final outing for Curtis as a director, as after this time-travelling drama’s release in 2013, Curtis would return to exclusively being a screenwriter, which I feel is probably for the best. As whilst ‘About Time’ does manage to keep itself afloat thanks to its captivating writing and wonderful performances, the film is often let-down by its fairly bland presentation and apparent disinterest in exploring its unique time-travelling concept, ensuring the film’s eventual confusion with many of the other romantic-dramas seen in recent years.

Plot Summary: At the age of twenty-one, the timid: ‘Tim Lake’ is informed by his father that men in their family have the unique ability to travel through time. Although this ability is restricted to the window of their own lives, it can be used to undo any past mistakes, so ‘Tim’ decides to use his newly-found ability to escape his current lonely existence, visiting all of his past loves to find the one who could be his future.

Due to Richard Curtis writing a number of iconic rom-coms from ‘Love Actually’ to ‘Four Weddings and a Funeral’ and ‘Bridget Jones’ Diary’ in the past, it comes as no surprise that ‘About Time’s screenplay is certainly its finest aspect. As in many scenes, the film chooses to push ‘Tim’s time-travelling ability aside in favour of delivering sincere character moments, playing into the story’s theme of life itself being the greatest experience. Yet while I do like both of these ideas, its a shame that the film barley touches upon the great deal of consequence time-travelling can have, as scenes focusing on time-paradoxes/the butterfly effect could’ve made for some of the film’s most impactful story-beats. Sadly, they are incredibly sparse and only appear when the story necessitates them.

The main couple of: ‘Tim’ and ‘Mary’ portrayed by Domhnall Gleeson and Rachel McAdams do share a good amount of chemistry and have plenty of charming moments together, as ‘Tim’ tries desperately to impress ‘Mary’ by recalling everything he remembers about her from his past encounters. The supporting cast of Lydia Wilson, Lindsay Duncan, Tom Hollander and Margot Robbie are all also great, as each member of the cast serve an important purpose within the narrative whether big or small. But its ‘Tim’s father portrayed by Bill Nighy who is the true emotional core of the film outside of: ‘Tim’s love-life, with Nighy doing a fantastic job as usual.

Despite visuals never being the main focus of rom-coms, the cinematography by John Guleserian is the film’s worst element. As any even somewhat-creative shots are rarely seen throughout the runtime, with the film usually just relying on mid-shots or close-ups to enhance the drama. The film’s colour palette doesn’t help in this regard either, as the pale colours almost present the film as if each scene is an extension of a photo framed in the family’s home, which is ingenious if that was the filmmakers’ attention, yet I’m not entirely sure it was. ‘Tim’s time-traveling ability however, is a little more visually-interesting in spite of its simplicity. As the film makes use of rapid-editing to cut between many different events during ‘Tim’s life, a straight-forward but understandable method of displaying how ‘Tim’ is flicking-through his memories.

Although ‘About Time’s cinematography is lacking, the original score by Nick Laird-Clowes is far more enthralling, as the film’s soundtrack utilises ticking clocks and heart-beating sound effects to relate to the story’s aspect of time-travel. And when focusing more on the story’s characters, the score switches things-up to be piano-focused, depicting a variety of experiences of life such as joy, heartbreak, reflection and confusion. ‘About Time’ also features a number of recognisable songs similar to much of Richard Curtis’ other work, which luckily, never distract from the story.

While ‘About Time’ does eventually continue on to cover a fair number of years throughout the character’s lives, much of the early portion of the film leans on ‘Tim’ trying to ignite the spark with ‘Mary,’ and with Rachel McAdams’ previously portraying the titular character in ‘The Time Traveler’s Wife’ from 2009, this should seem like familiar ground. However, unlike McAdams’ character in that sci-fi flick, ‘Mary’ is never made aware of: ‘Tim’s time-bending secret, which might make some viewers a little uncomfortable regarding the absence of honesty in their relationship.

To conclude, ‘About Time’ is enjoyable overall, it just doesn’t quite live-up to its interesting ideas or nearly two-hour runtime. As unfortunately, whilst the film’s many humorous and heartwarming moments do excel, the story’s huge missed opportunities are always ever-present, and the mostly dull cinematography/colour palette simply can’t be ignored. Although I would personally only recommend ‘About Time’ to those who have a sweet-tooth for light-hearted romantic-dramas, I can’t deny that the film is heartfelt, with a fragile sort of sincerity at its centre. Final Rating: 6/10.

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Black Swan (2010) – Film Review

Fantastically deranged at all times, ‘Black Swan’ directed by Darren Aronofsky (Requiem for a Dream, The Wrestler, Mother!) is for many, the pinnacle of the director’s filmography as of yet. As the film’s combination of numerous genres soon evolves into an incredibly unique experience that leaps onto the stage in an effort to impress, with its gorgeous lighting, dreamlike atmosphere and occasionally grotesque visuals all elevating the film’s twisted tale of a dancer obsessed with achieving her dreams. And whilst the film does trip over itself once or twice, its faults are few and far between.

Plot Summary: When ‘Nina,’ a ballerina for the New York ballet company discovers she has been chosen for the lead role in the company’s production of: ‘Swan Lake,’ she struggles to maintain her sanity as her rival dancers, eccentric casting director and obsessive mother twist her perception of reality, forcing ‘Nina’ to prove herself worthy of the duel role and be the exemplary for both the ‘White’ and ‘Black Swan.’

Although the film was never marketed as such, director Darren Aronofsky has always maintained that ‘Black Swan’ is first and foremost a psychological horror film, as the story delves into themes of mental illness and obsession, in addition to displaying many graphic sequences of what is essentially body-horror. And yet, the film also somehow manages to never feel restrained to just one genre, which is what keeps it so compelling. This experimental nature might also explain why it took around ten-years to be green-lit, as Aronofsky made many changes to the original screenplay in an attempt to get the film funded, with his original hopes for a budget of around £22 million being drastically-lowered to roughly £9 million in the end.

The phenomenal lead performance from Natalie Portman nabbed the actress an Oscar back in 2010, and throughout the film it quickly becomes clear as to why she won, as Portman flawlessly portrays ‘Nina’ as a committed and talented dancer being crushed by the pressure of the role she is undertaking. Portman even went to the extent of altering her voice (which had been continuously criticised by directors in the past for its childish qualities), as Aronofsky requested that for the role of: ‘Nina,’ Portman would need to regress backwards and make her voice more child-like. Furthermore, Portman not only lost over twenty-pounds for the role, but at least 95% of the dancing seen within the film was performed by Portman herself, with the professional ballerina Sarah Lane acting as her body/dance-double for the complex en-pointe work. All of this is without even mentioning the excellent supporting cast of Mila Kunis, Vincent Cassel, Barbara Hershey and Winona Ryder, whose performances all add to the film’s surrealist feel.

Matthew Libatique handles the film’s cinematography, which despite relying far too heavily on hand-held shots during some scenes, also makes for some truly astonishing visuals at points. As the film’s cinematic lighting alongside the grand gothic-influence that the film borrows from cult horrors and other art-house films, most notably, the stylised supernatural horror: ‘Suspiria’ from 1977, grant the film a very distinct and striking look. Aronofsky’s trademark of camerawork also creeps its way into the film, as there are a number of moments throughout the runtime where the camera tracks ‘Nina’ from behind as she walks through various locations, giving the cinematography a great sense of movement not too dissimilar to dancing.

The original score by Clint Mansell suitably feels like a score composed for a ballerina recital, as ‘Black Swan’s orchestral soundtrack is mostly a variation on Pyotr Ilyich Tchaikovsky’s ‘Swan Lake’ ballet, the only difference being that the notes are played backwards in a distorted manner. This makes the entire score feel very extravagant and almost overly-dramatic, as tracks like ‘Nina’s Dream,’ ‘A Swan is Born’ and ‘Perfection’ add to both the tragedy and beauty of the story.

As previously mentioned, due to its many scenes of graphic (and frankly disturbing) moments of mutilation, ‘Black Swan’ is far from an easy watch. As while the film doesn’t feature any ‘gore’ per-say, all of the scenes of: ‘Nina’s harmful acts towards herself feel more grounded in realism as a result of how minimal they are, with all of the skin-picking and dancing injuries she endures being reminiscent of a real disorder, known to medical professions as Dermatillomania, a disorder primarily focused on skin-picking.

In conclusion, although many believe ‘Black Swan’ to be Aronofsky’s best effort, ‘Requiem for a Dream’ will always be my personal favourite film from the director. As in spite of: ‘Black Swan’s beautiful visuals and captivating narrative, the film also feels like it isn’t quite reaching its full potential, mostly due to its overuse of hand-held camerawork and unexplored characters/ideas. Regardless, this art-house horror does sustain its entertainment-value for the most part, and just like many other art-house films, can be interpreted very differently from viewer to viewer. Final Rating: high 7/10.

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The Invitation (2015) – Film Review

A fairly subdued but very effective thriller, ‘The Invitation’ released in 2015, builds-up an almost absurd amount of tension over the course of its ninety-nine-minute runtime, maintaining the intrigue within its plot whilst also constantly defying the viewer’s expectations. Although the film does eventually devolve into generic slasher-territory for its final act, this indie thriller utilises its confined location and fantastic performances so effectively that it soon overcomes the majority of its flaws.

Plot Summary: After ‘Will’ and his girlfriend: ‘Kira’ accept a formal invitation to a dinner party in the Hollywood Hills hosted by his ex-wife: ‘Eden’ and her new husband, ‘Will’ begins to feel unsettled as his ex-wife seems overly-eager to reunite with her previous lover and the friends she lost contact with over two years ago. But as the dinner party continues, ‘Will’ is presented with mounting evidence that their hosts have a more sinister agenda…

Directed by Karyn Kusama (Girlfight, Jennifer’s Body, Destroyer), ‘The Invitation’ is a low-budget film in the best possible way, as the director and writers had complete creative-control over the project due to it being produced without any involvement from major production companies. This is more than likely why the film lacks any unnecessary jump-scares or a forced cliffhanger ending to serve as sequel/prequel bait. Instead, the story has strong underlining themes of past trauma, as the protagonist: ‘Will’ along with his ex-wife: ‘Eden’ both share a dark past which looms over their present-day lives.

Logan Marshall-Green portrays: ‘Will’ very well, as the excellent character-writing combined with Marshall-Green’s performance make ‘Will’ feel like not only a realistic character, but also somewhat of a stand-in for the audience themselves. As upon ‘Will’s arrival at the party, he immediately suspects that something is wrong, as he analyses the small yet strange details of their hosts. But obviously its also understandable as to why the other guests question or even just deny his claims, as his traumatic background makes him appear almost jealous that his ex-wife has moved on from their past in search of happiness. The rest of the cast of Tammy Blanchard, Emayatzy Corinealdi, John Carroll Lynch and Toby Huss (just to name a few), are all also stellar in their respective roles.

Everything from the film’s colour palette to its lighting to its cinematography by Bobby Shore, all visually-display the contrast between the story’s cozy setting and the tension and discomfort that is building throughout the narrative. As the film’s visuals are intentionally quite dim and warm in order to relate to the idea of the lavish house being a safe environment, when in reality, something far more ominous is at work, which in a way is also visually-represented through the darkness of the night creeping its way into the house via the windows. Additionally, the film’s huge amount of variety when it comes to its camerawork helps to make ‘The Invitation’ a more engrossing experience, as with the film mostly relying on its structure of every combination of characters slinking away into the next room for a conversation, it manages to avoid becoming tiresome as a result of its cinematography and score.

Speaking of the soundtrack, the original score by Theodore Shapiro goes a long way to accentuate the feeling of foreboding that the story protrudes, as the soundtrack only utilises solitary stringed instruments. This minimalist approach works perfectly, as the subtlety is reflective of both the story itself and the dimmed-down visuals, really driving a knife through the viewer through the simple use of a violin. The two tracks: ‘Into the Canyon’ and ‘I’m Actually Early’ are brilliant examples of this, but in all honesty, the score features so many wonderful tracks that its difficult to pick favourites.

Spoilers ahead in this section for those who wish to go in blind. But when its finally revealed that the goal of the dinner party is to murder all the guests present for a malevolent cult, the film does lose much of its charm. As the short scene we see of the guests being shot one-by-one doesn’t feel like a truly rewarding payoff considering how long the build-up actually was. However, the film does still make an attempt to develop the cult, and it quickly becomes clear that the group share many similarities to real-world cults, with the two most obvious being: ‘Heaven’s Gate’ and of course, Charles Manson and ‘The Manson Family’.

To conclude, ‘The Invitation’ is quite the underappreciated gem, as the film makes great use of its thin budget to craft a slow-burning yet layered thriller. While there are a few minor plot threads left lingering, the film does give enough clues/hints for keen-eyed viewers to find, and aside from perhaps the lacklustre climax, I personally have very few gripes with ‘The Invitation,’ and I would recommend it to anyone in search of a tense and entrancing story with equally entrancing filmmaking. Final Rating: low 8/10.

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Hotel Artemis (2018) – Film Review

Easily one of the most overlooked and commercially-underwhelming films of 2018, ‘Hotel Artemis’ is one of those rare releases that feels very unsuited to the genre its actually a part of. As whilst this enclosed story set within the walls of an illegal hospital is certainly interesting, ‘Hotel Artemis’ also bizarrely serves as a science fiction flick. Boasting plenty of futuristic technology alongside its snappy dialogue, charismatic performances and gorgeously-designed central location. Its just a shame the film doesn’t always know what to do with any of the above.

Plot Summary: In the riot-torn, near-future of Los Angeles, 2028. Disgruntled thieves and criminals make their way to ‘Hotel Artemis,’ a secret members-only hospital operated by ‘The Nurse,’ a no-nonsense doctor who tends to their injuries under the condition that anyone who enters the hotel sticks to the set-rules. But after ‘The Nurse’ receives word the notorious crime lord: ‘The Wolf King’ is in-bound with a gunshot wound, ‘The Nurse’ is forced to break her own rules as the hotel is thrown into violent chaos.

Written and directed by Drew Pearce, ‘Hotel Artemis’ is actually Pearce’s directorial debut, as before this film Pearce had exclusively worked as a screenwriter, writing blockbusters such as: ‘Iron Man 3’ and ‘Mission Impossible: Rogue Nation’ as well as the ‘Fast and Furious’ spin-off: ‘Hobbs and Shaw’ later down the line. This might explain why ‘Hotel Artemis’ is as compellingly-written as it is, as in spite of its quick-pacing and very limited number of locations, the script manages to squeeze a fair amount into its extremely tight runtime. As the film explores some of world outside of the hotel in addition to developing many of the hotel’s criminal inhabitants, all the while the film remains tense as a result of the interactions between the characters and the impending arrive of: ‘The Wolf King.’

Jodie Foster leads the cast as ‘The Nurse,’ her first acting role since the sci-fi film: ‘Elysium’ in 2013. And her all too-rare screen-presence is a pleasure to see again, as she gives a convincingly mournful performance, portraying ‘The Nurse’ as an elderly women refined to the sanctuary of her work following the tragic death of her son. Then there are also the criminals, assassins and thieves (and hotel security) portrayed by Sterling K. Brown, Sofia Boutella, Dave Bautista, Charlie Day, Zachary Quinto and Jeff Goldblum, who are all enjoyable to watch as the various scum of the futuristic Los Angles, and all receive a fair amount of development although many characters don’t receive a payoff.

The film’s greatest strength is without a doubt its setting, as the penthouse floor of: ‘The Artemis’ is rich with atmosphere as the hotel’s design is incredibly reminiscent of the Art Deco style of 1930s hotels, almost giving the impression its a building from day’s past. From the velvet cushions to the green slightly-teared wallpaper, ‘Hotel Artemis’ is a very memorable location, its just unfortunate the film attempts to weave-in sci-fi wires and screens etc. The cinematography by Chung-hoon Chung also greatly adds to the film’s visuals, as the film keeps its shots and colourful lighting as diverse as possible and avoids utilising too-much hand-held camerawork.

Cliff Martinez’s original score is another superb element of the film, as the soundtrack features plenty of noteworthy tracks like ‘It Smells Like Somebody Died in Here,’ ‘Hands Off the Gooch,’ ‘I Only Kill Important People’ and ‘Don’t Cross My Line,’ all of which elevate both the tension and style of the film. ‘Hotel Artemis’ also integrates a few songs from the 1970s such as: ‘California Dreamin’ and ‘Helpless,’ which whilst catchy, further adds to the idea of the film seeming out-of-place as a science fiction flick, but then I suppose without the link to that genre we wouldn’t have the rest of this fantastically-computerised score.

As mentioned many times, the biggest flaw of: ‘Hotel Artemis’ for me is its near-future setting, as due to many of the film’s characters feeling like modern-day criminals in their actions and personalities, it soon becomes clear that with just a few small alterations the entire narrative could really be switched to fit within a modern time-period, making the sci-fi aspects ultimately pointless. However, with the idea of a hotel for criminals already being explored with the ‘Continental Hotel’ in the ‘John Wick’ series, its possible that these characteristics were introduced as a way of avoiding too-many similarities with that franchise.

So whilst some characters may not quite get the resolution they deserve and a number of concepts do feel undercooked, ‘Hotel Artemis’ is still a tense and engaging story with many exciting moments of action in-between. Although I personally would only recommend the film to audiences who specifically adore sci-fi-thrillers, it is a pity ‘Hotel Artemis’ received lukewarm reviews and was an utter box-office failure, because there is clearly a level of effort put into the film, and I do feel its worth a watch should it seem appealing. Final Rating: low 7/10.

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Escape Room (2019) – Film Review

Divertive yet still quite thrilling in parts, ‘Escape Room’ directed by Adam Robitel (The Taking of Deborah Logan, Insidious: The Last Key) fails to unlock much of the potential in its premise, eventually devolving into what is simply scene-after-scene of the film’s characters solving puzzles in a number of themed rooms whilst on a strict time-limit. Yet depending on what you desire to see from a modern thriller, this may be enough to serve a passing diversion, as the film chooses to just ignore its lack of realism and originality in favour of distracting its audience through creative set-design and tense fast-paced sequences.

Plot Summary: When six strangers are each sent a mysterious black puzzle box withholding an invitation to an immersive escape room, they all make their way to the ‘Minos’ facility on the promise of being able to win a fortune should they escape. But after entering what seems to be the building’s waiting area, innocent fun soon turns into a deadly game as the group discover each room is actually an elaborate trap…

From a mere mention of the film’s plot, the ‘Saw’ and ‘Cube’ franchises are understandably the first two things that come to mind. As in many ways, ‘Escape Room’ is effectively just a far-less violent version of those familiar set-ups, with a character heading into a room only to be greeted with a convoluted trap that will result in their death should they not escape it. And while ‘Escape Room’ does contain at least a couple of sparks regarding something original, the film is also far from subtle in both its storytelling and dialogue, with plenty of cheesy lines, implausible events and character’s backstories being shown through literal flashbacks.

Taylor Russell, Logan Miller, Jay Ellis, Tyler Labine, Deborah Ann Woll and Nik Dodani all give passable performances as the main group of characters forced into a twisted game. Their actual characters however, are possibly the film’s biggest missed opportunity. As whilst a few of the characters do receive development early on in the narrative, its quickly becomes clear as to which characters the film is favouring, making it easy to predict who is going to live, and who is going to die. But if the film would’ve managed to better balance its characterisation, then not only would the story have been more compelling overall, but this would’ve kept the viewer constantly guessing as to who could go next.

Aside from one or two wide-shots when the group first enter a new room, the cinematography by Marc Spicer is mostly uninspired, never really attempting to integrate any incredibly innovative or unique shots. Still, the cinematography does serve its purpose for the most part, backing-up the story without ever relying too-heavily on the use of hand-held camerawork or overly-choppy editing. Additionally, the film’s CG effects (as sparsely used as they may be), are serviceable but not much else beyond that.

Contrarily, the original score by Brian Tyler and John Carey is fairly inventive, as the pulsing and suspenseful electronic score utilises everything from ticking clocks to power tools, representing the time-pressed characters and the constantly changing environments from which they are trying to escape. This means tracks such as: ‘Coaster’ and ‘Testing Your Limits’ massively help to build tension, whereas moody tracks like ‘The King of Trading’ and ‘Let the Games Begin’ feel more sci-fi and atmospheric in nature. The film’s main theme simply titled: ‘Escape Room’, even receives a dubstep-like remix by musicians ‘Madsonik’ and ‘Kill the Noise’, which plays over the film’s stylised end credits.

The film’s set-design is possibly its best aspect, as rather than going for the bog-standard look of libraries and basements for the basis of each room, the film explores an array of diverse environments for its puzzles. From a log cabin complete with a snowy mountain vista to an upside-down billiards bar, the film’s ever-changing locations help keep the story’s signature concept feeling fresh. Many of the rooms also relate to the character’s traumatic backstories, the first room for example, is essentially a giant oven which will burn the group alive should they not escape, this mimics ‘Amanda’s backstory, who was badly burned after she barley survived an IED explosion.

In conclusion, not only is ‘Escape Room’ similar to the ‘Saw’ series in terms of its story and set-up, but unfortunately, also in terms of its franchise potential. As its pretty obvious from the film’s extremely forced ending that Sony Pictures wanted their own low-budget horror/thriller franchise as an easy way to gain profit, and riffing on an already iconic series is a trouble-free way to achieve this. So although it’s set-design and original score are admirable, in addition to a large majority of the filmmaking ‘Escape Room’ has on display being above-average if not better, the film definitely has its share of problems, and in my opinion, isn’t worthy of an entire film series. Final Rating: 5/10.

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A Monster Calls (2016) – Film Review

Based on the novel of the same name by Patrick Ness and directed by J. A. Bayona (The Orphanage, The Impossible, Jurassic World: Fallen Kingdom), 2016’s ‘A Monster Calls’ is far from being the simplistic creature-feature it’s title may imply. Instead, this imaginative and soul-stirring drama balances it’s mature themes and fairytale-esque elements to deliver an engrossing and incredibly moving story, which despite its many positive reviews, has mostly gone unmentioned by many film fanatics since it’s initial release.

Plot Summary: After realising his mother is dying from terminal cancer, twelve-year-old: ‘Conor O’Malley’ struggles to accept that he soon may have to live in a world without his caring mum. Until, later that night, when ‘Conor’ is visited by a tree-like monster in what he believes to be a dream, ‘Conor’ sees an opportunity to save his mother as the creature tells the boy he will heal her after he listens to his three stories.

Focusing on heavy themes of family and loss, the film adaptation of: ‘A Monster Calls’ follows its source material very closely, with only a few small differences. One of these alterations being some additional scenes that were written exclusively for the film, including one scene that takes-place immediately after the ending of the novel. But with the original author Patrick Ness writing the film’s screenplay, this accuracy shouldn’t be too surprising. However, interestingly, it wasn’t Patrick Ness who originated the story, as the novel was actually started by Siobhan Dowd, who sadly left it unfinished after her death, leaving Ness to complete the novel in 2011, yet Dowd is still credited as the creator of the original idea during the film’s end credits.

While the film’s supporting cast of Felicity Jones, Sigourney Weaver, Toby Kebbell and Liam Neeson as the voice of: ‘The Monster’ are all superb in their various roles, its Lewis MacDougall who takes on the lead role as ‘Conor’, which is by no means an easy feat considering his age. As ‘Conor’ is a fairly complex character, being a young boy dealing with a very difficult situation he doesn’t fully understand, unwilling to accept that is mother is in constant pain, and more than likely, won’t be able to recover from her sickness. ‘Conor’s young age also makes his outbursts of rage/sorrow more understandable, as nearly every viewer can probably recall the difficulty of attempting to control their emotions when they themselves were a child. The now sought-after actor Tom Holland also has a small role in the film, as Holland actually served as the stand-in for: ‘The Monster’ on-set, following his previous collaboration with Bayona on ‘The Impossible’ in 2012.

The film’s cinematography by Oscar Faura not only manages to capture the true scale of: ‘The Monster’ at many points, but also allows for a large array of visually-appealing shots, effectively utilising everything from extreme close-ups to aerial wide-shots to increase the story’s overall spectacle. The film’s CG effects aren’t quite as impeccable however, as there are a noticeable amount of CGI-heavy moments which have suffered (if only slightly) from the film’s age.

Although the story of: ‘A Monster Calls’ is very powerful on-itself, there is no denying it is greatly elevated by Fernando Velázquez’s original score. As many of the film’s accompanying tracks such as: ‘Dad Arrives’, ‘Big Dreams’, ‘The Truth’ and certainly the film’s final track: ‘End Credits’, all massively help to invoke emotion in the viewer, inevitably adding-up to the film’s gut-wrenching conclusion. Any fans of Bayona’s early filmography are also sure to enjoy the film’s quick throwback to the director’s horror-roots, as the score becomes quite dread-inducing during the first scene with ‘The Monster,’ as ‘Conor’ remains unsure of the creature’s intentions.

But without a doubt the most impressive aspect of this adaptation has to be ‘The Monster’s stories, as every-time ‘The Monster’ tells ‘Conor’ these fantastical tales, the film takes a dramatic shift from live-action into animation, bringing its stories to-life through water-coloured drawings and sketches, which not only plays into ‘Conor’ and his mother’s flair for artistry, but these sequences are also when the film is at its most creative, having the camera fly through splurges of paint and water, engulfing the viewer in an array of magnificent colours and locations alike.

To conclude, ‘A Monster Calls’ is truly a touching and prodigious film. Whilst perhaps not completely flawless in its execution, mostly due to its unexplored side characters and occasional piece of hand-held camerawork, I feel most would find it impossible to not relate to the story in someway. As it’s sublime performances, enchanting visuals and beautiful original score all serve their purpose of complimenting the film’s narrative, which is just as captivating as it’s novel counterpart. And for me, ‘A Monster Calls’ still reigns as my personal favourite film from J. A. Bayona, and I’m hopeful the film will become a window of opportunity for Patrick Ness as a successful screenwriter. Final Rating: low 8/10.

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Arthur Christmas (2011) – Film Review

From Sony Pictures Animation and Aardman Animations, the latter being the iconic British company behind many beloved hand-crafted films such as: ‘Wallace and Gromit,’ ‘Chicken Run,’ ‘Morph’ and ‘Early Man.’ Comes a festive family adventure focusing on ‘Santa’s son: ‘Arthur’ as he races across the globe to deliver a present to an overlooked child, and although the film doesn’t feature the impeccable stop-motion animation the company is well-known for, it does make-up for its mostly generic CG visuals through its amusing moments, charming characters and inventive story.

Plot Summary: On the night of Christmas Eve, after ‘Santa’ and his enormous team of elves believe themselves to have succeed in another year of present delivery for the children of the world. ‘Santa’s clumsy son: ‘Arthur’ and a skilled wrapping elf named: ‘Bryony,’ discover a young girl’s present has been misplaced, leaving her the only child in the world without a gift from ‘Santa.’ Fearing what the young girl will think when she awakens to find nothing under the tree Christmas morning, ‘Arthur’ sets-out on a desperate mission with ‘Santa’s elderly father to deliver the forgotten gift.

Directed by Sarah Smith and Barry Cook, ‘Arthur Christmas’ is actually the first directorial effort from Cook since the Disney flick: ‘Mulan’ in 1998, with Smith having never directed a feature before in her career. Yet even with these fairly inexperienced directors, ‘Arthur Christmas’ never gets muddled within its own story, managing to balance its many characters, exciting sequences and themes of family and symbolism/icons immensely well, whilst the film also cleverly answers the question that has perplexed children around the world for years, that being: “How Does Santa Deliver All His Presents in a Single Night?” The only major issue ‘Arthur Christmas’ suffers from as a film is its fast-pacing, which does remain very quick throughout the runtime and results in some scenes feeling very rushed.

James McAvoy portrays the film’s protagonist: ‘Arthur,’ who is likable-enough and easy to root for as a character in wanting to deliver the misplaced present, though I could see McAvoy’s performance irritating some viewers, as ‘Arthur’ is always very energetic, jumping from fearful to cheerful incredibly fast even if it is a nice change-of-pace for a protagonist to have nothing but love for the Christmas season. The rest of the cast of Bill Nighy, Hugh Laurie, Ashley Jensen, Jim Broadbent and Imelda Staunton are all exceptional in their roles as the ‘Claus’ family, adding-up to a splendid family-dynamic which the story actually explores a fair amount of.

Just as lively as the film’s fast-pacing, the animated cinematography for: ‘Arthur Christmas’ is very innovative, constantly displaying a number of visually-interesting and fairly unique shots, many of which capture the massive scale of the ‘S-1’ (the high-tech sleigh-replacement ‘Santa’ now utilises) as it soars across the sky. Additionally, with ‘Arthur’ and ‘Grandsanta’ being unfamiliar with the modern world due to them being mostly confined to the North Pole, much of their journey revolves around them accidently arriving at various locations as they attempt to find the young girl’s home in Trelew, England. And each location manages to feel diverse and allows for many exhilarating set-pieces, from the sleigh being chased by the Spanish police force through Trelew, Argentina, to ‘Arthur’ and ‘Grandsanta’ almost being eaten by lions after finding themselves on the Savannah plains.

However, the original score by Harry Gregson-Williams is the complete opposite, as the film’s soundtrack is your standard animated score with little memorable or interesting about it. From tracks like ‘Trelew, Cornwall, England,’ ‘Operation Christmas’ and ‘Goodbye Evie,’ the original score is fairly disappointing when considering many of the film’s creative ideas in regards to its story. Still, with that said, the track: ‘One Missed Child’ does capture ‘Arthur’s true awe at the sight of the original sleigh perfectly, as short as the scene itself may be.

The animation itself isn’t extremely well-detailed but does remain attractive throughout the story, despite my distaste of a few of the character’s designs that is, as I personally found many of the characters to appear far too cartoonish and even slightly unappealing, particularly when it comes to many of the elves’ designs. These design choices are actually intentional however, as the animators decided to approach the character-designs with the goal of making them feel authentically British and quirky, rather than air-brushed and immensely appealing.

On the whole, ‘Arthur Christmas’ has far more merits than it does faults, as the film serves as a refreshing take on the typical ‘Santa’ saves Christmas story. Interjecting a family-dynamic and a large array of adult-centered humour into what is already an entertaining and surprisingly smart narrative for a family flick. So even in spite of its average-looking animation and overly-fast pacing, ‘Arthur Christmas’ is truly a joyful film to watch with a heartfelt message at its core, and I feel is likely to become a modern Christmas classic in-time. Final Rating: high 7/10.

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The Grinch (2018) – Film Review

Theodor Seuss Geisel, better known as his pen-name: ‘Dr. Seuss,’ is recognised today as one of the best authors in children’s literature. Through his whimsical writing, memorable characters and surreal illustrations, many of Geisel’s stories have become truly timeless as a result of how original they were compared to other children’s books released around the same-period. So of course, it would only be a matter of time till Geisel’s various characters began making their way to the silver screen, with one of his most villainous characters: ‘The Grinch,’ receiving many adaptations, the most recent of which possibly being the worst to-date.

Plot Summary: In the town of: ‘Whoville,’ the residents known as ‘Whos’ excitedly await the arrival of Christmas Day. But just north of: ‘Whoville,’ on the top of: ‘Mount Crumpit,’ the cantankerous and green-furred: ‘Grinch’ begins to hatch a plan with his pet-dog: ‘Max,’ crafting a scheme to steal Christmas from the ‘Whos’ in an attempt to silence their irritating holiday cheer once and for all.

This 2018 readaptation of: ‘How the Grinch Stole Christmas!’ is animated by Illumination Animation, the animation company behind modern family flicks like ‘Despicable Me,’ ‘Sing’ and ‘The Secret Life of Pets’ in addition to a previous ‘Dr. Seuss’ adaptation: ‘The Lorax’ in 2012. This isn’t surprising of course, as Illumination Animation have truly exploded in popularity since 2010, mostly due to their creation of: ‘The Minions.’ And whilst I personally don’t despise the company as a whole as I feel many of their films are entertaining-enough for younger viewers, its fair to say their film catalogue is spotty at best, with many of their films bosting extremely predicable humour and usually attractive yet repetitive-looking animation, and ‘The Grinch’ is unfortunately no exception.

Benedict Cumberbatch portrays the title character, and although Cumberbatch is usually an actor I adore, having given an array of brilliant performances throughout his career. ‘The Grinch’ is without a doubt one of his weakest, as his performance somehow manages to feel both minimum effort and also far too cartoonish. Resulting in this version of the nefarious characters becoming instantly forgettable, especially when put in comparison with Jim Carrey’s beloved performance. Then there is also Cameron Seely and Rashida Jones who portray ‘Cindy-Lou Who’ and her mother: ‘Donna,’ who this time around have their own subplot mostly unrelated to ‘The Grinch’s scheme, which serves little purpose aside from one particular scene. And finally there is Pharrell Williams as the story’s narrator, which is some of the most bizarre casting I’ve ever seen, as his typical American-accent doesn’t remotely fit the role of a traditional storyteller.

Similar to the rest of Illumination Animation’s films, ‘The Grinch’ is visually-impressive at a first-glance, as the film’s animated cinematography and extremely vibrant colour palette is likely to catch any viewer’s eye. Yet also in-line with their other films, Illumination Animation’s style does feel very repetitive after so long, as each character/location does little to make itself stand-out. A perfect example of this is ‘The Grinch’ himself, as while ‘The Grinch’ is implied to have very poor hygiene similar to other adaptations of the story, neither ‘The Grinch’ nor his home within ‘Mount Crumpit’ are ever displayed as unpleasant, even though ‘The Grinch’s home being dark and filthy serves as an extension of his vile personality.

Aside from ‘Tyler the Creator’s abysmal new rendition of: ‘You’re a Mean One, Mr. Grinch,’ the original score by Danny Elfman is completely unremarkable. From ‘A Wonderful Awful Idea’ to ‘Stealing Christmas,’ all of the film’s tracks lack both memorability and charm, barley embracing the fantastical nature of: ‘Dr. Seuss’ stories or the festive season itself, with the rest of the film’s soundtrack just relying on other modern renditions of classic Christmas songs.

Undoubtedly the most disappointing aspect of this readaptation however, is the actual animation style. As one obvious benefit that this new adaptation has over the live-action adaptation of: ‘How the Grinch Stole Christmas!’ is simply being animated, as this allows the film’s designs to greatly lean-into the wonderful illustrations of: ‘Dr. Seuss,’ as his sketches are incredibly difficult to recreate in real-life as result of their harsh curves and gravity-defying arictecture. But strangely, the film doesn’t take advantage of this, with many designs only having a slight ‘Seuss’ influence in spite of the clearly-inspired rhyming dialogue.

Overall, ‘The Grinch’ is a worst-case scenario for a readaptation, as I feel this animated film falls-flat in most areas, never reaching the emotional or comedic heights of: ‘How the Grinch Stole Christmas’ from 2000, or even matching-up to the delightful hand-drawn animation seen in the original 1966 short. So whilst its visuals may appear pleasant at first, it quickly becomes apparent something is missing. As this new adaptation gives the impression it was made by a team of producers rather than just one director, and as a result, fails to breathe new life into this age-old Christmas tale. Final Rating: 3/10.

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