Extraction (2020) – Film Review

Based on the graphic novel: ‘Ciudad’ by Ande Parks, which in itself was based on an unproduced screenplay written by Joe Russo in 2014. 2020’s ‘Extraction’ transfers the story it’s adapting from the Paraguayan city of Ciudad Del Este to Dhaka in Bangladesh whilst still indulging in all of the same barbaric violence and exciting action set-pieces. Yet despite its spectacular stunt work, impressive one-takes and electric performance from Chris Hemsworth, ‘Extraction’ isn’t entirely saved from its generic complexion, as the film frequently falls back on many of the usual tropes we tend to see in modern action flicks.

Plot Summary: In an underworld of weapons dealers and traffickers, ‘Ovi Mahajan,’ the son of a notorious drug lord, becomes the pawn in a war between two criminal syndicates. Now, held hostage by a group of kidnappers in one of the world’s most impenetrable cities, his rescue beckons the unparalleled skill of black-market mercenary: ‘Tyler Rake,’ a broken man with nothing to lose, harbouring a death wish that makes an already dangerous mission near impossible…

‘Extraction’ marks the feature-length directorial debut of: ‘Avengers: Endgame’ stunt coordinator/second unit director Sam Hargrave, who producers Joe and Anthony Russo hand-picked to helm the project following their collaboration on that film. Meaning, of course, that Hargrave’s profession as a stunt coordinator (and stunt double) repeatedly comes into focus as each of the film’s action sequences are relentlessly thrilling and well-orchestrated. If truth be told, however, most of: ‘Extraction’s faults come not from the directing, but rather the screenplay, as, in many ways, ‘Extraction’s screenplay is structured much like a video-game, continuously introducing new ‘Bosses’ which ‘Tyler’ must defeat before advancing, e.g. a corrupt general who also happens to be the country’s best sniper. Quickly equalling to tiring formula, especially when the film introduces the odd interesting idea, such as a subplot focusing on a troubled teenager taking his first steps into the world of organised crime.

Although Chris Hemsworth gives an admirable performance as the film’s protagonist: ‘Tyler Rake,’ a fearless mercenary and former SASR operator, discreetly mourning the loss of his son who died from lymphoma. The character’s promising (if a little cliché) set-up is soon spoilt by the complete lack of development from that point onwards, as ‘Tyler’ essentially goes nowhere after the groundwork for his character is laid, cementing him as a by-the-book action hero and nothing more. Surprising, considering that ‘Extraction’ was effectively conceived as a star-vehicle for Hemsworth, a remarkable actor who has struggled to obtain a signature role outside of: ‘Thor Odinson.’ On the flip of this, there is the school-age son of a Mumbai drug lord: ‘Ovi Mahajan,’ portrayed by Rudhraksh Jaiswal, who serves his purpose as an innocent child caught in the crossfire between two gangs, it’s just unfortunate that the story tries to build a parental relationship between the two, merely reminding the audience how paper-thin its characters actually are.

When overlooking the murky, displeasing colour palette, a majority of the visuals throughout ‘Extraction’ are spellbinding, as the film uses its dynamic, hand-held cinematography by Newton Thomas Sigel to place the audience alongside the characters in the busy streets of Dhaka, having ‘Tyler’ grapple with corrupt police officers while tuk-tuks and scooters disorderly rush past, a feeling that is only amplified by the film’s multiple one-takes. One of said takes, which clocks in at around eleven minutes and twenty-nine seconds, is, in actuality, comprised of thirty-six stitched sequences, some of which took over twenty-five takes to line-up correctly, according to director Sam Hargrave.

Regrettably, the original score by Henry Jackman and Alex Belcher isn’t as innovative, as the soundtrack almost solely consists of indistinguishable ostinato-driven action tracks such as: ‘Police Search’ and ‘Checkpoint,’ all of which have a heavy emphasis on percussion, with only the occasional pause for breath. And whilst there’s no stand-out theme as such, ‘Extraction’ does have an effective little motif that runs through some of the tracks to give the score a bit of personality.

Naturally, the action sequences of: ‘Extraction’ are what most of the film hinders on, and luckily, they do deliver, being brutal, bloody and fast-paced. As unlike a character like ‘John Wick,’ for example, whose fighting style is inherently tactical and calculated, ‘Tyler Rake’ engages in combat more spontaneously, improvising weapons and thinking on his feet whenever he is thrown into a dangerous scenario. As previously mentioned, much of the film’s camerawork also adds to many of these moments, particularly during one car chase sequence in which Sam Hargrave actually manned the camera himself whilst strapped to the front of a pursuing vehicle.

On the whole, ‘Extraction’ is slightly contrived and sporadically over-the-top, and there’s no question that the film’s characters are essentially just cardboard cutouts delivering line-after-line of uninspired dialogue. In fact, for most of its runtime, ‘Extraction’ almost feels as if you’re watching someone play a video-game, which as I’m sure any lover of video-games will tell you, is only amusing for a short time. But purely in terms of action, Hargrave and the Russo Brothers bring the noise with a film fulled by the charisma and physicality of its star, suggesting that Hemsworth has found his genre once he retires his iconic superhero. Final Rating: high 6/10.

extraction_netflix_xxlg

Upgrade (2018) – Film Review

Recently gaining a large amount of traction through his reinterpretation of the horror classic: ‘The Invisible Man’ in 2020, writer and director Lee Whannell first proved himself a talented filmmaker with ‘Upgrade’ in 2018. A riveting sci-fi-thriller that combined elements of: ‘Black Mirror,’ ‘Minority Report’ and 1990s action flicks to construct a gripping yet dreary tale of revenge, morality and technology through detailed world-building and stimulating action sequences, promptly overcoming its handful of minor glitches.

Plot Summary: In the near future, technology controls almost every aspect of day-to-day life, as the world relies on artificial intelligence to complete even the most basic of tasks. As a result, the old-school, tech-shy mechanic: ‘Grey Trace,’ feels like a fish out of water in an ever-changing world. But after a brutal assault leaves ‘Grey’ paralysed and his beloved wife dead, he’s approached by the reclusive tech mogul: ‘Eron Keen,’ who offers him a solution; a powerful microchip named: ‘STEM’ that will bridge the gap between his mind and unresponsive limbs. Now, able to walk once again, ‘Grey’ decides to seek revenge against the thugs who destroyed his life…

Originally titled: ‘STEM.’ ‘Upgrade’ was Whannell’s first project outside of the horror genre, being best known beforehand for his collaborations with writer-director James Wan, co-writing and starring in both the ‘Saw’ and ‘Insidious’ series. And for being the first time Whannell has truly stepped-out of Wan’s shadow, ‘Upgrade’ immediately proves Whannell to be a more than capable director with a distinct style, a style that certainly wasn’t displayed in his directorial debut: ‘Insidious: Chapter 3’ three years prior. ‘Upgrade’ also exhibits Whannell’s almost tongue-in-cheek approach to writing, with some scenes feeling as if they’ve been ripped straight from an ’80s buddy-cop comedy as ‘Grey’ humorously argues with the artificial intelligence residing inside his body. This isn’t to say that the film is light-hearted, however, as ‘Upgrade’ is, in reality, quite the opposite, never shying away from bloody, squirm-inducing violence even with it’s surprisingly modest budget.

With regard to the cast, Logan Marshall-Green gives a very ranged performance as protagonist: ‘Grey Trace,’ quickly being established as a technophobe whose main devotions in life are mechanical tinkering and his beautiful wife: ‘Asha Grey.’ That is before the seemingly unprompted assault leaves him crippled, alone and infuriated by his situation to the point of attempted suicide. Then, once receiving ‘STEM,’ ‘Grey’ begins to express far more concern regarding how much bodily control he’s handed over, with Marshall-Green’s performance becoming far more physically demanding as he slowly loses control of his own body. Harrison Gilbertson and Simon Maiden as ‘Eron Keen’ and the voice of: ‘STEM,’ respectively, also portrayal their roles well, with Maiden doing a particularly great job at giving ‘STEM’ a soothing yet simultaneously menacing voice.

But one of the greatest parts of: ‘Upgrade’ by far its zestful cinematography by Stefan Duscio, as after obtaining ‘STEM,’ the camera itself visually reflects ‘Grey’s newly acquired agility/coordination by wildly tilting with every movement ‘Grey’ makes, keeping him in the centre of the frame at all times to provide the audience with a unique perspective without sacrificing visibility as a result. Furthermore, despite the story being set in America, ‘Upgrade’ was actually filmed in Melbourne, Australia, this location was chosen in order to take advantage of the city’s gothic architecture, giving the film an expansive backdrop not too dissimilar to that of: ‘Minority Report’ and ‘The Matrix’ sequels. However, unlike those films, ‘Upgrade’ does occasionally run into the issue of its sci-fi world feeling slightly inconsistent between shots, as the city’s slick, looming skyscrapers almost seem out-of-place when compared to the graffitied and dilapidated warehouses on street level.

Managing to be moody, suspenseful and tranquil, occasionally even all at the same time, Jed Palmer’s original score is more than fitting for a film like ‘Upgrade.’ As the electronic score echoes films like ‘Blade Runner’ during its quieter moments through tracks such as: ‘Aftermath’ and ‘A Better Place,’ before the more action-orientated cues kick in with tracks like ‘We Can’t Let Them Win.’ The sound design throughout the film is equally excellent, with every thrust and slash hitting hard during the various action sequences.

On that note, ‘Upgrade’s absurdly well-executed action set-pieces are possibly some of the finest the sci-fi genre has seen in a long time, as not only does the camera ceaselessly track ‘Grey,’ as previously mentioned, but the choreography is almost faultless. It’s also during these scenes that the cutting-edge technology of: ‘Upgrade’s criminal underworld first appears, from bio-mechanically-implanted firearms to memory-retaining contact lenses and even a weaponised nanotech sneeze, ‘The Upgraded’ (as they are nicknamed) are essentially seen as the next stage of human evolution, blatantly showing the audience the true extent to which humanity now relies on technology.

To conclude, even though ‘Upgrade’ is guilty of playing into some overly familiar ideas, with its story being based around the well-trodden concept of artificial intelligence outmatching humanity. There are enough twists and turns within its narrative to ensure that the film will hold-up upon multiple viewings, serving as an exciting and stylish sci-fi-thriller in addition to providing undeniable evidence that exchanging one genre for another is a risky yet rewarding road when it comes to certain filmmakers. Final Rating: 8/10.

upgrade-p1046488

Skyline (2010) – Film Review

Spawning multiple direct-to-streaming sequels despite its discouraging box-office return, 2010’s ‘Skyline’ is, at best, a middling sci-fi-action blockbuster. Offering undeniable evidence that impressive visual effects alone can’t overcome a predictable storyline, cliché dialogue and vapid characters, with much of: ‘Skyline’s runtime being dedicated to tedious indoor melodrama rather than the potentially exhilarating extraterrestrial invasion occurring just outside, ultimately making for a science fiction flick with few original ideas and very limited scope.

Plot Summary: In the wake of an unexpected pregnancy, ‘Elaine’ and her boyfriend: ‘Jarrod’ travel to Los Angeles to convene with their old friend, now-successful entrepreneur: ‘Terry,’ for a party-filled weekend getaway. But the morning after their arrival, a cluster of strange lights begin to descend over the city, drawing residents outside like moths to a flame as an extraterrestrial force threatens to wipe the entire human population off the face of the planet…

Predominantly visual effects artists, directors Colin and Greg Strause (Aliens vs. Predator: Requiem) financed ‘Skyline’ almost entirely by themselves without the assistance of any major production company, with filming only costing around £372,000, while the visual effects cost an additional £742,000. However, whilst it is commendable what The Brothers Strause achieved on such a low-budget for a blockbuster-level film, ‘Skyline’ eschews a creditable screenplay in order to focus purely on boundless CG spectacle. That is when the film doesn’t just consist of the characters hiding away in ‘Terry’s penthouse, peeping through his conveniently installed telescope to observe the chaos transpiring on the streets below, which, while at first, may sound like an interesting way to experience an extraterrestrial incursion, in execution, is rather dull due to a severe lack of tension, an issue that the later sequels: ‘Beyond Skyline’ and ‘Skylines’ did somewhat rectify.

The film’s biggest downfall comes when we are introduced to the characters, as even when ignoring the apathetic performances from Eric Balfour, Scottie Thompson, Brittany Daniel, Donald Faison and David Zayas alike, the main group of individuals are just no different to the characters of any other alien invasion story. Being given the absolute bare minimum of characterisation, every member of the group (including the two protagonists) feel incredibly underwritten and frequently come across as unlikeable, even if the film does attempt to keep its characters grounded in realism by representing them as genuine civilians, as the characters never contemplate sprinting outside and confronting the extraterrestrial force face-to-face. Instead, they simply hunker down and use what little knowledge they obtain to their advantage.

When it comes to visuals, Michael Watson’s cinematography fulfils its purpose in showcasing the scale of the invasion across the world, but beyond that, the camerawork doesn’t get any more imaginative, primarily relying on hand-held mid-shots and close-ups, never attempting the utilise the claustrophobic penthouse setting (which, in reality, was part of co-director Greg Stause’s condo building) to its full effect. Another element that spoils the handful of pleasant visuals ‘Skyline’ has its use of blue lighting, as although the abnormal blue lights seen throughout the film are a crucial plot component (being the source that draws civilians outside before they are abducted), their constant usage does result in the film having a hefty over-reliance on vexing lens flares, an issue that even extends to the captions/credits.

A mix of both electronic and orchestral tracks, the original score by Matthew Margeson, unfortunately, has quite the shortage of memorability, with simplistic tracks like ‘The Escape,’ ‘They’re Not Dead’ and ‘Arrival’ being nothing but unremarkable. With that said, credit has to be given that the computerised segments of the score do produce an eerie alien-like sound. And whilst on the topic of audio, the film’s sound design is serviceable though nothing spectacular, with the aliens having a daunting set of screeches and grunts.

Featuring over one thousand visual effects shots, ‘Skyline’s main selling point is unmistakably its CG effects and subsequent action sequences, which are actually few and far between due to a large majority of the narrative taking place within one location. Luckily, the rare moments of excitement we do receive don’t squander the extraterrestrial force, from the oily, cephalopod-like ‘Harvesters,’ who possess the ability to purloin and utilise the brains of different species to revitalise themselves, to the towering brutes known as ‘Tankers,’ who use their immense size and strength to tear through buildings, the film’s hyper-advanced extraterrestrials are given some much-needed variety between their designs. Most of the spaceships were even designed from the basis of low-altitude clouds ranging from Stratocumulus to Cumulus, and are all brought to life through some solid CGI, especially when they are seen swallowing masses of the population in one of the film’s most striking shots.

In short, whilst the broad premise of: ‘Skyline’ has promise, the resulting film is fairly predictable. Not only because of its numerous faults, but because the film was fighting a losing battle right from its inception, with nearly every possible idea relating to the concept of an extraterrestrial invasion already being seen. From the original: ‘War of the Worlds’ in 1953, all the way up to the patriotic all-American blockbuster: ‘Independence Day’ in 1996, it’s an onerous task to fabricate new ways of writing an alien intrusion, further proved by the countless other extraterrestrial occupation stories that have freshly emerged. Final Rating: 4/10.

SKL_CMYK_TSR1SHT_AUG12.indd

Dredd (2012) – Film Review

A considerably overlooked film when it comes to the sci-fi genre, ‘Dredd,’ written by Alex Garland and directed by Pete Travis (Vantage Point, Endgame, City of Tiny Lights), focuses on said character, whose comic strip in the science fiction anthology series: ‘2000 AD’ was one of the longest-running in the magazine’s history, being featured since it’s second issue in 1977. Merging futurism with law enforcement, ‘Dredd’ and his fellow ‘Judges’ are empowered to arrest, sentence and even execute criminals on the spot, and this modern film adaptation, fuelled by much of the same bombastic violence and sci-fi imagery, does a remarkable job of capturing its source material’s gritty spirit.

Plot Summary: In a dystopian future on the American East Coast, lies the overpopulated and crime-ridden metropolis known as ‘Mega-City One,’ where police have the authority to act as judge, jury and executioner. Within this city, one of these officers, the resolute: ‘Judge Dredd,’ is assigned to assess rookie: ‘Cassandra Anderson’ as the two are ordered to reach the top of an apartment complex and stop ‘Ma-Ma’ and her clan from manufacturing and distributing narcotics. But when the pair enter the complex, they find themselves ensnared as ‘Ma-Ma’ locks down the building, forcing ‘Dredd’ and his newfangled partner to fight their way out, one level at a time…

Technically a reboot following the character’s first cinematic interpretation with 1995’s ‘Judge Dredd,’ which featured Sylvester Stallone as the titular character. ‘Dredd’ is a far more faithful adaption, as while Stallone may have looked the part, it was clear that the film itself thoroughly misunderstood the source material. ‘Dredd,’ however, immediately thrusts its audience into a riveting and intense story, which considering how self-contained it is, also manages to fit a surprising amount of world-building in-between, hinting towards the many other districts of: ‘Mega-City One’ we could’ve seen should ‘Dredd’ have been a box-office success rather than the commercial disappointment it sadly was, earning a little over £41 million on a budget of £45 million.

Speaking only when necessary and never giving even the slightest hint of emotion, Karl Urban portrays the film’s protagonist: ‘Judge Dredd’ with extreme accuracy. Displaying Urban’s clear understanding of the role as ‘Dredd,’ just as he does in the comic strips, never breaks or goes through a character-arc, but instead, is just an incorruptible officer with no time for low-life criminals, and Urban nails this portrayal, even with half his head being obscured by a helmet for the entirety of the runtime. ‘Dredd’s partner: ‘Cassandra Anderson,’ portrayed by Olivia Thirlby, is also a compelling character, demonstrating a level of skill far below her superior, yet possessing psychic abilities which make her too valuable to dismiss. Lastly, there is ‘Ma-Ma,’ the film’s antagonist who was originally written as an elderly woman before Lena Headey convinced Alex Garland to make her a middle-aged misandrist. And although there isn’t the same depth to her character as ‘Dredd’ or his rookie partner, ‘Ma-Ma’ is still a convincing felon, as Headey portrays a ruthless individual living in an equally ruthless world.

Playing into the idea of this post-apocalyptic world being in constant disarray, the ‘Dredd’s grimy set-design along with its murky brown colour palette present ‘Mega-City One’ (a.k.a. Johannesburg with some CG enhancements) as a rundown metropolis with similarly rundown technology, as the filthy hallways of the apartment complex: ‘Peach Trees’ are continuously permeated with litter and spraypainted walls. Moreover, the film is given a great sense of style through the energetic camerawork by Anthony Dod Mantle and smooth integration of CG effects, which outside of a few scenes where the film fully indulges in graphic violence by having blood flung towards the camera, have aged admirably.

As you’d expect from a pessimistic sci-fi film, the original score by Paul Leonard-Morgan is both rousing and brooding, with tracks such as: ‘Mega-City One’ and ‘You Look Ready’ all perfectly accompanying what’s on-screen through their heady mix of guitar riffs and thumping electronic beats. Making for a score that even with twenty-two distinct tracks, has no real filler, as every piece flawlessly correlates with the film’s fast-paced action.

Continuing to be true to the original comic strip, ‘Dredd’s primary form of transportation; the ‘Lawmaster’ motorcycle, is faithfully recreated for the film, as the production team created a series of functional bikes for filming. They achieved this by having the chassis of normal bikes extended and then adding custom fairings, as well as fitting the bikes with larger tires so they could remain operable. In a similar sense, ‘Dredd’s iconic outfit is also recreated, only being modified slightly to give the suit a sleeker, more modernised look.

In summary, though many may see this sci-fi action-thriller as pure style-over-substance and nothing else, ‘Dredd’ is a film deeply committed to the genres it’s trying to represent. With thrilling action sequences, substantial world-building and impressive visual effects all rooted in deadpan humour, ‘Dredd’ is a more than entertaining ride. And in a world full of compromised adaptations, this film is something of a triumph, as ‘Dredd’ avoids the common misstep adaptations tend to take where the final product ends-up bearing little resemblance to its source material aside from the title, as self-indulgent screenwriters/directors make whatever changes they desire without much thought or consideration. Final Rating: low 8/10.

dredd-p689332

Into the Storm (2014) – Film Review

Clumsily written and populated with forgettable characters, ‘Into the Storm,’ released in 2014, has little to offer beyond its admittedly prodigious CG effects. Taking heavy inspiration from the exemplary tornado blockbuster: ‘Twister’ from 1996, ‘Into the Storm’ plays it fast and loose with its story, jumping from scene-to-scene without much thought as to how well everything connects or even functions, this is especially clear when looking at the film’s visuals, which rarely stick to the found-footage style its camerawork is trying to emulate.

Plot Summary: In the span of a single day, the small town of Silverton, Oklahoma is ravaged by an unprecedented onslaught of tornadoes, forcing residents to abandon their daily duties and seek shelter as fast as they possibly can. But as the entire town is at the mercy of the destructive cyclones, one group of storm-chasers ride directly into the storm, risking their lives to study the phenomenon and procure that perfect shot…

Directed by Steven Quale (Starfire, Final Destination 5, American Renegades), ‘Into the Storm’ not only takes (perhaps a little too much) inspiration from ‘Twister’ for its plot, but also many real-world events. Specifically, a catastrophe that occurred in Dallas County in 1986, where there were several reported occurrences of multiple tornadoes striking the same county over a roughly one hour time-period. And whilst the image of a tornado of fire may sound like a creation ripped straight out of a campy ’80s action flick, the cyclone of flames is, in reality, just one of the many seemingly absurd moments in the film that were actually based on real-life events, at least, according to screenwriter John Swetnam.

While disaster films have always valued spectacle over character, ‘Into the Storm’ is on another level, as the entire cast of Richard Armitage, Sarah Wayne Callies, Max Deacon, Nathan Kress, Arlen Escarpeta and Alycia Jasmin Debnam-Carey are all immensely dull to watch, not necessarily because of their performances, but because of the screenplay. As aside from the single-minded storm-chaser: ‘Pete’ portrayed by Matt Walsh, who has at least something resembling a personality, most of the characters feel as if they are made out of wood, exclaiming cringy jokes and unnatural lines of dialogue that come across as nothing but forced. It seems many of the actors even tried to make their characters more interesting where they could, as supposedly there was a fair amount of improvisation on set.

Despite ‘Into the Storm’ apparently also being a found-footage flick, it’s rare that the cinematography by Brian Pearson actually appears like one, from vast wide-shots to intimate close-ups, many shots are completely devoid of harsh movements and always retain flawless quality regardless of which character is filming or what device they are filming on. Moreover, with much of the film’s narrative relying on the idea of the film itself being a documentary, various interviews are featured near the beginning and end of the runtime, yet this potentially stimulating concept is soon spoilt as a result of the film’s structure, which is fairly disorganised. The only aspect of this found-footage approach that comes across effectivity is in the final scene, as the film utilises archive footage from news stations that covered a real EF5 tornado that hit Oklahoma in 2013.

Although the original score by Brian Tyler is expectedly quite bland, there are still a few tracks such as: ‘Into the Storm,’ ‘Fate’ and ‘We Stay Together’ that back-up many of the film’s exciting moments successfully. But the issue here isn’t within the score itself, it’s the fact that there is a score to begin with, as every second ‘Into the Storm’ attempts to be an intense and realistic disaster epic, its simultaneously sabotaging itself by bombarding the audience with a loud, non-diegetic soundtrack, often distracting from the destructive chaos on-screen with its whirling violins and blaring brass horns.

When it comes to realism, some film buffs have questioned whether certain events within the story could occur in real-life, such as whether a tornado could actually lift an aircraft off the ground as depicted in one scene. Nevertheless, there’s no denying that the CG effects during these scenes are certainly the finest element of: ‘Into the Storm,’ as along with its voluminous set-design, which perfectly displays the incredible force of nature that a tornado is with cars, trees, and billboards thrown in every direction, are magnificent in their sheer scale alone. Even if the film would’ve benefited from the use of a few more practical effects to even out its enormous use of CGI, harkening back in a way to the classic disaster films of the ’70s like ‘Airport’ and ‘Earthquake.’

All in all, ‘Into the Storm’ is essentially just a visual effects showreel lasting over ninety-minutes, as although the film boats some exhilarating yet feasible moments of peril as director Steven Quale crafts plenty of riveting set-pieces ranging from crashing trucks to golf ball-sized hailstorms. Due to the film’s lack of compelling characters, inconsistent filmmaking, and truly awful lines of dialogue, such thrills soon become monotonous, and by the end of its runtime, ‘Into the Storm’ winds-up as either an unimaginative disaster flick, or a near-remake of: ‘Twister’ depending on your perspective. Final Rating: 3/10.

into_the_storm-p890380 (1)

Guns Akimbo (2019) – Film Review

Frenetic to a fault, 2019’s ‘Guns Akimbo’ relishes in its video-game-like violence, utilising its fluid editing, fast-pacing and wild visuals to construct a thrilling action-comedy inspired by riveting 1980s blockbusters like ‘The Terminator’ and ‘The Running Man.’ Yet with all this insanity, it’s inevitable that ‘Guns Akimbo’ will alienate some viewers, especially those hoping for plenty of engrossing commentary concerning televised violence and online culture, but for many others, the film’s super-charged, energetic action sequences along with Daniel Radcliffe’s committed performance will surely hit the spot as an explosive jaunt.

Plot Summary: When ‘Miles Lee Harris,’ a spineless video-game programmer, awakens one morning to discover that his hands have been bloodily bolted to a pair of pistols, ‘Miles’ is forced to use the fused-firearms to his advantage to save his ex-girlfriend from a group of kidnappers working for a criminal organisation named: ‘Skizm,’ which pits maniacal criminals against each other in live-streamed deathmatches…

Written and directed by Jason Lei Howden (Deathgasm), ‘Guns Akimbo’ is, in many ways, trying to be a satire of the digital age we currently live in, displaying how apps like Instagram and YouTube have made us cynical, and in some instances, even dehumanised us. The problem here being that the film soon becomes exactly what it’s satirising, constantly mocking the online community of: ‘Skizm’ for watching the grisly livestreams even though the film itself is taking just as much pleasure in displaying them to its audience, but considering ‘Guns Akimbo’ is primarily an action flick over anything else, I feel this muddled message is far from the film’s central focus. An issue the film does actually suffer from, however, is its screenplay, as by the time it’s third act arrives, the film is clearly beginning to run out of steam, devolving into essentially just non-stop action with little charm when compared to the first half of the film.

By far one of the film’s best aspects, Daniel Radcliffe’s performance as asthmatic protagonist: ‘Miles Lee Harris’ is both hilarious and manic, as ‘Miles’ is forced to leave his boring life as a programmer for a company whose games are designed to exploit children for micro-transactions, to undertake a whole new identity after unwillingly entering: ‘Skizm’ and their city-wide game of death. And whilst ‘Miles’ continuous moments of cowardice and constant wheedling over his ex-girlfriend could’ve been annoying if they were over-played, Radcliffe portrays the character in such a way where it’s easy for the audience to root for him similar to how ‘Skizm’s online audience do. On the flip side of this matchup there is ‘Nix,’ a cocaine-fuelled killer who relishes in profane one-liners and is brilliantly portrayed by Samara Weaving, being the current reigning champion of: ‘Skizm,’ ‘Nix’ serves her purpose as a baleful adversary to ‘Miles’ in addition to having a surprisingly dramatic backstory.

An utterly merciless blend of: ‘Crank,’ ‘Shoot ‘Em Up’ and ‘Scott Pilgrim vs. The World,’ the cinematography throughout ‘Guns Akimbo’ never fails to be visually dynamic, as cinematographer Stefan Ciupek aims to make the camera feel completely unrestricted, having it flow freely through a variety of techniques including making superb use of body-rigs and car-mounts alike, which does help to redeem some of the uninspired firefight choreography. Moreover, as ‘Guns Akimbo’ frequently has the appeal of a vibrant graphic novel, the on-screen graphics and highly saturated lighting lend themselves remarkably well, with many of the lighting rigs used also being controlled via an iPad, so they could easily be adjusted to fit with the mood and colour of any scene.

Enis Rotthoff’s original score is just as hyperactive as the rest of the film, as any scenes that aren’t filled with iconic songs such as: ‘We’ll Be Good Friends,’ ‘Super Freak’ or ‘You Spin Me Round’ are amplified by Rotthoff’s thumping techno soundtrack, with tracks like ‘Neon Grey’ and ‘Playcare’ being perfectly in tune with whatever moment of the story they are a part of.

However, even when keeping all these elements in mind, whether you enjoy ‘Guns Akimbo’ or not will ultimately have to do with whether you find the distinctively zany concept endearing, as the film greatly leans into the comedy of its premise, imagining what it would be like to try and use the bathroom or attempt to call someone when you literally have pistols for hands, which has always been the film’s most notable distinction. In fact, during the film’s pre-production, an image of Daniel Radcliffe panicking and holding a pair of pistols whilst wearing a robe went viral as soon as it surfaced online, creating an aura of awareness for the film before it even had an official trailer.

Overall, ‘Guns Akimbo’ is bloody, brutal and ballistic, colourful and stylish yet admittedly fairly empty-minded. But for a film like this, I don’t think that’s such a bad thing, as while some may argue the film starts to lose its desirability once you realise it doesn’t have much to offer beyond its high-octane action sequences, ‘Guns Akimbo’ never lies to you about what it is, as the action is every bit as ludicrously over-the-top as it would be in the fictional reality of violent video-games like ‘Grand Theft Auto’ and ‘Doom.’ Final Rating: 7/10.

guns_akimbo_xxlg

The Mummy (2017) – Film Review

When Universal Pictures first announced their plans to build a cinematic universe based around their gallery of iconic monsters, general audiences seemed to roll their eyes at the idea, seeing the forthcoming franchise as nothing more than a shameless attempt to copy and paste the formula of the Marvel Cinematic Universe with the hopes of making the same box-office returns. Nevertheless, Universal continued with their plan, releasing the first instalment of the series in 2017 with ‘The Mummy,’ a film which even with the star-power of Tom Cruise, failed miserably both critically and commercially, instantly destroying any plans for the future of the franchise and embarrassingly leaving the Dark Universe with a single film to its name.

Plot Summary: Once destined to rule all of Egypt, the beautiful princess: ‘Ahmanet’ sees her birth-right stolen from her when her father begets an heir. Knowing this boy would be the Pharaoh’s new successor, ‘Ahmanet’ turns to a dark deity, selling her soul for an unholy power, for which, she is captured by the Pharaoh’s priests, mummified alive and buried in a tomb far from Egypt. Five thousand years later, opportunistic U.S. Army reconnaissance sergeant: ‘Nick Morton,’ accidentally discovers her tomb during a firefight in the Middle East, and once venturing inside, inadvertently sets her free…

According to a number of reports, Tom Cruise not only starred in ‘The Mummy,’ but also has an excessive amount of control over the film, having creative oversight on nearly every aspect of the production. So much so, that Cruise even had influence on the film’s screenplay, as it’s been stated that Cruise had his personal writing team rewrite certain scenes to give his character more screen-time and a more dramatic character-arc, and even though most Universal executives weren’t thrilled about the rewrite, feeling it was disjointed and insipid, they reluctantly agreed to keep Cruise on-board. Regardless, Universal Pictures soon saw the fallacy in their blind faith towards Cruise, as despite ‘The Mummy’ earning nearly £300 million worldwide, it was still considered a financial flop when taking into account its immense marketing campaign, which promoted the film purely as the franchise-vehicle it is as opposed to a riveting blockbuster.

Having both her design and gender altered to avoid any similarities with the titular villain of: ‘X-Men: Apocalypse,’ which released just a year prior, ‘The Mummy/Ahmanet’ herself portrayed by Sofia Boutella, is remarkably forgettable, never developing into a compelling or even threating antagonist, which should be nearly impossible considering ‘The Mummy’ fills over a quarter of its runtime with extensive exposition regarding her backstory and sinister motives. Likewise, the actual protagonist of the film: ‘Nick Morton,’ rarely benefits from Cruise’s natural charisma and wit, as ‘Nick’ is simply an unlikeable character, emerging as a foolish, self-centred adventurer and leaving in the exact same manner, in addition to being miraculously skilled with/in every type of firearm and hand-to-hand combat, of course.

When it comes to visuals, the film’s cinematography by Ben Seresin is generally visually pleasing, resulting in a fair share of alluring wide-shots, yet much of the film’s beauty is consequently hindered by its ghastly colour palette, which hardly ever strays away from greys, blacks and beiges, an issue that is only worsened by the prosaic setting of modern-day London. Furthermore, the film’s action sequences (which are less frequent than most would expect) are fairly unimpressive, with many of the story’s thrilling moments having an over-reliance on apace editing and CG creatures. That is, with the exception of the stunt work, which due to Cruise’s heavy input on the film, is mostly practical and just as awe-inspiring as the stunts in the ‘Mission Impossible’ series, no thanks to director Alex Kurtzman (People Like Us).

Built around two central themes with various less significant tracks cropping-up in-between, the film’s original score by Bryan Tyler is serviceable for the most part, balancing its two main tracks of: ‘The Mummy’ and ‘Nick’s Theme’ before then switching to far more dramatic orchestral tracks like ‘Sandstorm,’ ‘Enchantments’ and ‘World of Monsters’ for the film’s larger-scale set-pieces and handful of brief horror/dream sequences.

Interestingly, ‘The Mummy’ wasn’t actually Universal’s first venture into crafting a cinematic universe of monsters, as the company originally envisioned 2014’s reboot of the renowned vampire: ‘Dracula Untold’ as the first instalment in the series. There was even early talk of: ‘Dracula’ appearing in ‘The Mummy,’ but this idea was ultimately scrapped, and the film was eventually cited as non-canon. However, there are still several props alluding to other monsters within the film, as a vampire skull along with the ‘Creature from the Black Lagoon’s hand can both be seen in ‘Dr. Jekyll’s headquarters.

In all honesty, I feel it’s easy to see why many avoided ‘The Mummy’ when it first released back in 2017, as this film was merely Universal’s first attempt at revitalising the many well-known creatures locked away in their vault by lazily repackaging them for a new generation. The issue being that general audiences had little interest in this concept, and those that did quickly lost their engrossment as the film failed to capture even a fraction of the adventurous spirit present throughout the ’90s reboot. Instead, it seems ‘The Mummy’ will simply be lost to time, unremembered and disregarded. Final Rating: low 3/10.

mummy-poster-1

John Wick (2014) – Film Review

Proving he still has what it takes when it comes to more physically challenging films, fifty-year-old Keanu Reeves triumphantly returned to the action genre in late 2014 with ‘John Wick,’ an exceptional neo-noir action-thriller brimming with incredible stunts, thrilling action sequences, and an unexpectedly high number of attractive shots. And while few films within the action genre are known for their intricate stories or layered dialogue, this included, there’s no denying the dexterity that went into its filming, certifying ‘John Wick’ as a name that will be heard for years to come.

Plot Summary: After retiring from his career as a deadly hitman to marry the love of his life, legendary assassin: ‘John Wick’ finds himself alone once again when her sudden death leaves him in deep mourning. But when a gang of Russian mobsters led by the arrogant mob-prince: ‘Losef Tarasov,’ break into his house in order to steal his prized 1969 Mustang, killing his newly adopted puppy in the process, the last gift from his wife, ‘John’ decides to come out of retirement to track down those that wronged him…

Despite having a smaller-budget than many other action films, directors Chad Stahelski (a former stuntman from a kick-boxing background) and David Leitch, who actually goes uncredited due to DGA regulations only allowing for only one director to be credited, manage to do a lot with very little. Not only in terms of action, but also world-building, as ‘John Wick’ swiftly establishes a seedy criminal underbelly beneath New York City, complete with assassins, mobsters and a contract killer hotel known as ‘The Continental,’ without ever relying on large dumps of exposition from disposable side characters. This fluidity even continues into the film’s screenplay, as the film tells its simplistic yet entertaining story with total proficiency.

Quickly becoming one of his most iconic roles, Keanu Reeves truly shines as ‘John Wick,’ as despite Reeves having given his fair share of weak performances in the past, ‘John Wick’ is certainly not one of them, as Reeves’ preparation for the role included eight hours of weapons and martial arts training every day for over four-months, which he put to great use as Reeves performed over 90% of his own stunts. And although ‘John Wick’s characterisation is minimal, it’s enough to make his inclination for revenge understandable, as what remained of: ‘John’s peaceful life following his wife’s death is unjustly ruined. The rest of the cast, including the late Mikael Nyqvist, Alfie Allen, Willem Dafoe, Adrianne Palicki, John Leguizamo and Ian McShane, all portray their characters well even if many of them simply feel like cogs in a machine, serving their purpose within the plot before then vanishing.

Bathing many of the film’s early scenes in greys and whites before then implementing more colourful visuals through expressive greens and blues as ‘John’ begins to reimmerse himself in the criminal underworld he’d escaped many years ago. The colour palette of: ‘John Wick’ may be grim, but the film never descends into unattractiveness, as the cinematography by Jonathan Sela in addition to the film’s dramatic lighting further enhance the many car chases, fistfights and shootouts ‘John’ finds himself within. Additionally, the film continues to play into its neo-noir style through its subtitles, with each line fading on-screen in a slick font with specific words even having their colours altered to increase their impact.

Moreover, Tyler Bates’ original score considerably helps build tension during many scenes throughout the film, as pulse-pounding tracks such as: ‘Assassins,’ ‘Shots Fired’ and ‘Warehouse Smackdown’ are endlessly energetic without ever distracting from the story, along with the titles themselves being a clear indication of the excitement that is to come. Aside from the more action-oriented tracks, the soundtrack also boasts the perfect theme for: ‘John Wick’ himself, as ‘On the Hunt’ captures the relentless nature of the character flawlessly.

Unlike the shaky camerawork and constant quick cutting that make action flicks like ‘Taken’ and ‘Alex Cross’ nearly unbearable at times, ‘John Wick’ thrives when it comes to its action, as every gunfight and fistfight is fast-paced and kinetic yet never bemusing. This is heavily due to the film’s fight choreography being just as comprehensible as it is exhilarating, with each reverting moment having a clear rhythm as ‘John’ never wastes a bullet nor performs an unnecessary move. Furthermore, ‘John Wick’ even features a good portion of humour within its action sequences, adding small visual gags which poke fun at ‘John’s brutal efficiency.

In short, ‘John Wick’ delivers on exactly what anyone would expect to see from a film like this, as the action is thrilling and the body-count is excessive, plus most of the filmmaking surprisingly is better than average for the action genre. And although it’s true that later films in the ‘John Wick’ franchise are much flashier, I find that the sequels often get bogged down by their continuous attempts to introduce as many new characters and locations as possible, as well as constantly pushing the limit of what ‘John’ can actually survive. So, in many ways, ‘John Wick’ is a film that proves there really is beauty in simplicity, as the admirably lean screenplay propels the film’s galvanising action forward with only the barest of narrative essentials. Final Rating: low 8/10.

john_wick_ver3_xxlg

Rampage (2018) – Film Review

There has been a debate amongst film buffs for many years now regarding whether it’s possible to make a great film based on a video-game, and whilst I’ve always strongly believed it is, I feel the reason we haven’t received a great film as of yet is that many of the video-games chosen for adaptations were simply not the right choices, nor did the films have talented writers or directors behind them. ‘Rampage,’ released in 2018, is the perfect example of this, as this moronic blockbuster is actually based on the arcade classic of the same name, a video-game which contained no characters and little-to-no story, and the film faces all of the repercussions as a result.

Plot Summary: Sharing a special bond with ‘George,’ an extraordinarily intelligent albino gorilla, ‘Davis Okoye,’ a retired U.S. Army soldier and now a San Diego Wildlife Preserve primatologist, sees his world turned upside-down when his primate companion is accidentally exposed to a gene-mutating pathogen. Morphing ‘George’ along with an unsuspecting wolf and crocodile into ravenous monsters as they grow to gargantuan proportions, thrusting ‘Davis’ and ‘Dr. Kate Caldwell’ into a race against time as they struggle to find an antidote….

Even when ignoring its video-game origins, ‘Rampage’ is merely a predictable and at times fairly dull creature-feature, as director Brad Peyton (Cats and Dogs: The Revenge of Kitty Galore, Incarnate, San Andreas) never attempts to do anything to set the film apart from other action blockbusters. For instance, in the original 1986 arcade game, players controlled one of three giant monsters, playing as either: a wolf, a lizard or a gorilla, as they are tasked with destroying cities before the military can shoot them down and transform them back into the humans they once were. This aspect of the creatures being mutated humans could’ve added a more emotional viewpoint to the film not present in many other action flicks, as the characters deal with the morality of their actions, yet the film just abandons this idea in exchange for oblivious animals simply having their growth and aggression altered, which is a far less engrossing concept.

Reteaming with Peyton after the pair worked together on 2015’s ‘San Andreas,’ Dwayne ‘The Rock’ Johnson flashes the same effortless, self-deprecating appeal that’s always been the hallmark of his work. And although I’m personally rather weary of the ‘muscular action hero’ stereotype, there’s no denying Johnson has a natural charisma as ‘Davis Okoye’ beyond his constant smouldering. Naomi Woods, however, is nowhere near her best here, as her character: ‘Dr. Caldwell’ is nothing more than a sassy female scientist with little to offer aside from exposition dumps and an unnecessary romantic subplot with ‘Davis.’ Then there are the film’s antagonists portrayed by Malin Akerman and Jake Lacy, who fully embrace the absurdity of the film they are in, overacting in every scene alongside Jeffrey Dean Morgan, a government agent who saunters around the screen like a modern-day cowboy, speaking in painfully forced good-old-boy idioms.

Aside from one rip-roaring sequence where the trio of monsters rage through the streets of Chicago destroying everything in their path, which is supposed to appear as one singular take. The majority of the film’s cinematography by Jaron Presant is fairly standard for a modern blockbuster, primarily utilising mid-shots for conversations between characters, and wide-shots whenever possible to display the huge scale of the creatures, which luckily helps to distract from the film’s innumerable lines of cringy dialogue.

As the creatively named tracks: ‘Gorillas,’ ‘Kate,’ ‘Cornfield,’ ‘Chicago’ and ‘George’ would imply, the original score by Andrew Lockington is a minimal-level effort from the composer at best, as the predominately orchestral score is instantly forgettable but does its job well enough during the film’s few tender moments. But with action dominating a large portion of: ‘Rampage’s runtime, the score mostly has to rely on aggressive string ostinatos and a collection of simplistic motifs, all of which simply enter one ear and fall out of the other.

While I can appreciate that there was a clear level of effort put into ‘Rampage’s visual effects, with a small crew from Weta Digital even traveling out to Chicago to examine the materials and architecture style of each building before creating a virtual model of the Chicago Loop that could be destroyed in the film’s climactic battle. Many of the CG effects throughout ‘Rampage’ range in quality all the same, specifically with the scene: ‘Plane Crash,’ which looks absolutely horrendous during a handful of shots as Johnson and Woods are digitally recreated as they fall out of the sky.

Overall, whilst ‘Rampage’ does feature some entertaining action sequences and the occasional piece of self-aware humour, I mostly just find the film to be an exasperating waste of potential considering the film is a video-game adaptation. As when there are so many video-games with riveting stories, worlds, and characters, with ‘BioShock,’ ‘Portal,’ ‘Mirror’s Edge,’ ‘Gears of War’ and ‘Red Dead Redemption’ being just a few considerable options, it’s insulting that production companies continue to adapt games with barely any plot or characters to speak of, and with so many of them ultimately ending-up as your run-of-the-mill summer blockbuster, is it even worth the effort? Final Rating: high 3/10.

rampage_xxlg

Inception (2010) – Film Review

After directing the superhero smash-hit: ‘The Dark Knight’ in 2008, established director Christopher Nolan wanted to tackle something far more ambitious, a screenplay that he’d been working on for over nine years focusing on a mind-bending journey through dreams and reality alike. This, of course, was ‘Inception,’ a sci-fi-thriller many now regard as one of the finest films in the science fiction genre, and for good reason, as ‘Inception’ combines striking visuals with an all-star cast and a phenomenal original score by legendary composer Hans Zimmer, all tied together by an enthralling narrative, securing the film as one of Nolan’s most revered efforts.

Plot Summary: When ‘Dominic Cobb,’ a thief who steals corporate secrets through the use of dream-sharing technology is approached by a wealthy business magnate, ‘Cobb’ sees his shot at redemption as he is offered his freedom for accomplishing a seemingly impossible mission: plant an idea inside the mind of a powerful C.E.O. If he succeeds, it will be the perfect crime, but a dangerous enemy anticipates ‘Cobb’s every move…

As its title implies, ‘Inception’ is a film about traveling through dreams, or more accurately, dreams within dreams, which is a very creative concept, yet could leave some viewers confused upon their first viewing, as the characters travel through multiple dreamscapes, each one effecting the others in some way. This complicated style of storytelling may also be why ‘Inception’ took so long to become a reality, as although Christopher Nolan first pitched ‘Inception’ to Warner Bros. Pictures in early 2001, Nolan decided to give himself more time to refine the screenplay, even in spite of the initial interest from Warner Bros. Yet this extra time in the writing room ultimately paid off in the end, as when ‘Inception’ eventually released in 2010, it went to be one of the highest-earning original films in history, grossing over £600 million worldwide.

Featuring a prominent cast of Leonardo DiCaprio, Jason Gordon-Levitt, Tom Hardy, Ellen Page, Ken Watanabe, Cillian Murphy, Dileep Rao, Marion Cotillard and Michael Caine, ‘Inception’ is never short on entertaining performances. However, whilst every actor is given their chance to shine, many of the film’s characters suffer as a result of the film’s attention being placed almost exclusively on ‘Cobb,’ pushing his inner struggle of coping with his wife’s suicide to the forefront of the narrative. And while ‘Cobb’s character-arc is certainly captivating, its unfortunate that many members of: ‘Cobb’s charismatic crew don’t receive any of their own scenes (unrelated to the plot or exposition dumps that is).

Cinematographer Wally Pfister, who has collaborated with Christopher Nolan for every film of his since ‘Memento’ in 2000, is once again behind the camera for: ‘Inception,’ and although much of the camerawork throughout the film isn’t anything exceptional outside of the film’s stylish visual effects, it is still competent. With that said, much of the cinematography does lend itself effectively to the film’s numerous riveting action sequences, as many of these moments (in particular, the snowbound action sequence in the third dream level) are brimming with wide-shots that display the true scale of each thrilling set-piece. Then there is the film’s colour palette, which subtlety changes as the characters enter each new dream level, almost becoming a guide for the audience, visually informing them of what dream level they are currently in.

In spite of the film’s signature track: ‘Time’ being vastly overplayed nowadays, ‘Inception’s original score by Hans Zimmer was nothing short of groundbreaking at the time of the film’s release, as the score went on to be become incredibly iconic in of itself, with the score’s most recognisable motif: a booming foghorn-like brass, being mimicked thereafter by nearly every action blockbuster. But its easy to see why this is, as ‘Inception’s soundtrack adds to both the tension and drama of the film, focusing less on themes and motifs and more on ambience, blurring the lines between dreams and reality with layers of electronic pulses and grand synthesised chords.

Should ‘Inception’ have been directed by any other filmmaker, I can imagine a large amount of the effects seen during the film would’ve been created entirely through CGI, but in true Nolan fashion, many of the effects in ‘Inception’ including the snowbound avalanche, the Penrose stairs and the zero-gravity sequence were all completed practically. The most well-known of these prodigious effects has to be the rotating hallway, however, an effect that was achieved through an enormous hallway rig which spun around as the actors fought inside, making for one truly unforgettable set-piece. Due to these practical effects, ‘Inception’ only had around five hundred visual effects shots, a tiny number compared to most blockbusters, which can feature well over two thousand.

In conclusion, I feel ‘Inception’ is worthy of its paradigmatic status among Christopher Nolan’s filmography, as even though the film isn’t flawless, often stumbling from its lack of compelling side characters and drawn-out blocks of exposition, ‘Inception’ still remains a multi-layered, self-reflexive sci-fi-thriller that fires on all cylinders, manipulating time through meticulous editing to deliver a hard-hitting cinematic experience. And with production companies usually relying on sequels, prequels, remakes, and franchises these days, ‘Inception’ did a difficult thing, being a wholly original blockbuster that succeeds viscerally as well as intellectually. Final Rating: 8/10.

inception_ver3_xxlg