Genre: Adventure

Puss in Boots (2011) – Film Review

/ Joe Baker / Leave a comment

“Fear Me, if You Dare!” – Puss in Boots

Released in 2011, one year after the highly-praised Shrek series supposedly concluded with Shrek Forever After (2010), Puss in Boots acts as a spin-off and prequel to the endearing ogre’s renowned franchise, retaining its emphasis on parodying fairy tales whilst supplying the titular heroic feline with an amusing, stand-alone adventure that frequently pays tribute to Spanish cinema. While not profound in terms of storytelling nor revolutionary in terms of animation, for what it lacks in depth, Puss in Boots, directed by Chris Miller (Shrek the Third), makes up for with an abundance of family-friendly wit and excitement, in spite of the initial plan to turn the film into a mere direct-to-DVD spin-off.

Plot Summary: Long before meeting Shrek and Donkey, the adorable yet cunning vigilante Puss in Boots aimed to clear his name, striving to escape his notoriety as the suspected thief of his hometown, San Ricardo. Then, one faithful night, after overhearing that the murderous outlaws Jack and Jill have come into possession of magic beans, Puss senses a window of opportunity, setting out to steal the beans in pursuit of the treasure they lead to, eventually crossing paths with an old friend…

In contrast to the Shrek films, which were in production for around three years (except for the first, which was in production for almost five), Puss in Boots took over seven years to produce, entering development just after the release of Shrek 2 (2004). The film also differs from the Shrek series in other ways, most notably in its inspirations. Where the Shrek franchise became recognised for its parodying of classic fairy tales and modern pop culture, Puss in Boots is more reminiscent of Spanish cinema, namely, Spanish action and adventure flicks, harbouring references to well-known flicks, like The Mask of Zorro (1998), a film which interestingly, also featured Antonio Banderas as the lead, and Desperado (1995), another release featuring Banderas as well as his co-star Salma Hayek. As such, Puss in Boots operates as a successful mish-mash of ideas, blending elements of fairy tale fantasy with solid action sequences reminiscent of traditional vigilante flicks. The majority of the story, though, is a riff on the famed fable of Jack and the Beanstalk, a fairy tale adapted time and again. Thankfully, the writers were aware of this, implementing a handful of original ideas to form their own take on the well-worn story.

The central cast of Antonio Banderas, Salma Hayek, Zach Galifianakis, Billy Bob Thornton and Amy Sedaris are superb in their vocal performances, with the newly-introduced characters being well-defined and entertaining, from Humpty Dumpty, Puss’ intelligent yet untrustworthy ally, to Jack and Jill, an amusingly fiendish pair of villains, and the skilled thief Kitty Softpaws, who bears a fairly moving backstory. Truly, the only character that lacks interesting characterisation is Puss himself, who is essentially the same character he was in 2004, with little difference in his personality despite being younger, less experienced and more independent, harbouring no major distinctions or a compelling character arc.

For this film, an admirable decision was made to make the world of Puss in Boots appear very different from that depicted in the Shrek series. In the latter, the environments were similar to classic fairy tale illustrations, often featuring extravagant kingdoms and vibrant forests, with even the earliest appearance of Puss in Boots himself being depicted in clean, pencilled illustrations in a vast woodland environment amidst the book; Histories or Tales of Past Times, Told By Mother Goose, written by Italian author Giovanni Francesco Straparola in 1551. However, the film has a distinctly Spanish feel, with most of the runtime being set in deserts and rural towns sporting Colonial architecture, in addition to a warmer, more terracotta colour palette. The animated cinematography and the animation itself also go a long way in enhancing the film’s many action sequences and visual gags, including one set piece with a gigantic creature wreaking havoc, undoubtedly inspired by the Godzilla series.

Capturing the spirit of adventure much like the film at large, the original score by Henry Jackman is rousing, occasionally even harbouring a slight western feel. Furthermore, tracks such as Chasing Tail and Farewell San Ricardo convey Puss’ heroism and vigilante persona flawlessly, whilst Jack and Jill are granted a monstrously malicious melodic cue with the plainly-named track; Jack and Jill. The end credits song; Americano by Lady Gaga, seems rather out-of-place among the rest of the soundtrack, however, given that Puss in Boots never employed contemporary songs in its fantastical setting before this moment, unlike the Shrek franchise.

Humorously, the animators behind Puss in Boots didn’t bring any cats into the studio to study their movements for the various felines that appear throughout the runtime. Instead, they simply watched some of the millions of widespread cat videos on YouTube to make each cat’s movements as lifelike as possible and take inspiration for some of the film’s cat-related antics.

In summary, Puss in Boots is a delightful adventure with enough entertainment value to keep both younger and older audience members engaged, even if the film isn’t as memorable as some of the entries from the series its protagonist originated. Still, it likely goes without saying the film’s late-to-the-party sequel; Puss in Boots: The Last Wish (2022), was an improvement over its predecessor in almost every way. Rating: 6/10.

Love and Monsters (2020) – Film Review

/ Joe Baker / Leave a comment

“I Didn’t Really Have Your Typical Upbringing. I Mean, I Did at First… but Then the World Ended.” – Joel Dawson

Originally titled; Monster Problems, the Netflix Original, Love and Monsters, released in 2020, is a comedic, post-apocalyptic romance filled with plenty of heart, humour, clever world-building and, as its title suggests, gigantic monsters. Despite housing a few blemishes here and there, Love and Monsters covers an abundance of emotional ground throughout its story, standing as an entertaining, monster-filled adventure, the sort of film that delivers wit, excitement and creativity all in generous portions, making for an amusing time during ‘the end of times,’ as it were.

Plot Summary: Seven years after the world-ending event known as the “Monsterpocalypse,” twenty-three-year-old Joel Dawson, along with the rest of humanity, is wearily living underground in a hidden bunker since colossal mutated monsters took control of the surface. But, after reconnecting over the radio with his high school girlfriend, Aimee, who is now eighty miles away at a coastal colony, Joel courageously decides to venture out into the monstrous open-air to find her…

Demonstrating his storytelling capability almost immediately, director Michael Matthews (Five Fingers for Marseilles) artfully lays out the film’s premise during the opening sequence, employing a voiceover from Joel and a variety of animated illustrations made to appear as if they were pencil-sketched by Joel in his notebook. Through this opening, we learn that several years ago, the human race fired a series of rockets into space to destroy an impending asteroid nicknamed; “Agatha 616,” which successfully blew the rock to smithereens. However, this action had consequences, as the chemical compounds used to launch the missiles rained back down to Earth and transformed the cold-blooded wodge of the animal kingdom into mutated monstrosities, forcing the human race to flee underground. From this point on, Love and Monsters continually explores its unique world, building upon the notion of the “Monsterpocalypse” in several ways whilst also taking cues from 2009’s Zombieland by not taking itself too seriously, avoiding the common concern of its post-apocalyptic setting feeling ‘played out.’ Of course, this does mean that Love and Monsters includes a number of tonal shifts, some of which occur rather suddenly, similar to how many of the film’s gags vary in quality.

In terms of characters, the timid, self-deprecating protagonist of Joel Dawson is perfectly cast with Dylan O’Brien, as the screenplay allows the young actor to flex every acting muscle he possesses, toeing the line between weighty and light-hearted scenes through his myriad of interactions with the other survivors of his monster-infested world. For Joel, the world-ending cataclysm was particularly bad timing as he was on a date with his girlfriend Aimee when the pair were separated and shipped to different colonies. While terrified of almost everything at first, Joel eventually pushes himself out of love, serving as a likeable yet dimwitted guide through a world of horrors and devastation, discovering more about himself along the way. In addition to O’Brien, the cast is studded with some great talent, from Jessica Henwick, who manages to make Aimee seem capable and sympathetic in spite of her limited screen-time, to the unlikely pairing of Michael Rooker and Ariana Greenblatt as Clyde and Minnow, two world-weary survivors travelling together after their respective families were killed by undisclosed creatures. Moreover, whilst on his journey, Joel encounters the grieving, intelligent canine, Boy, who is remarkably well-portrayed on-screen by the two Australian kelpies, Hero and Dodge.

Given that much of the film is a voyage across post-apocalyptic America, Love and Monsters is almost episodic in its visual presentation, following Joel as he treks past devastated, overgrown suburbs, corroded fairgrounds and expansive meadows, all of which are wrapped in impressive details like spider-like webbing enfolding the rooftops and trickling egg sacks sprouting on trees. Lachlan Milne’s cinematography and the film’s wonderful production design (considering its modest budget for a premise of this scale) lend themselves brilliantly to this concept with an ample amount of wide shots, thoroughly embracing the strange beauty and vibrant colours of the “Monsterpocalypse.”

Drawing inspiration from the scores of larger-than-life science fiction classics from the 1950s and 1960s, composers Marco Beltrami and Marcus Trumpp provide Love and Monsters with a grand, stimulating and highly vigorous orchestral score. Through tracks such as; Bunker Breach, Wisdom of the Wild, Amiee’s Colony and End Credits, the original score works in tandem with practically all the scenes it can be heard, whether they are stirring or unsettling.

As you’d hope for a monster-centric flick, the titular creatures of Love and Monsters are widely imaginative, with oversized centipedes, frogs, snails and crabs all featured throughout the runtime, all outlandish and intimidating in design, yet still recognisable to their real-world counterparts, brought to life via exquisite practical and CG effects, ultimately leading the film to become an Oscar nominee in 2021’s Best Visual Effects category, alongside Tenet (2021) and The Midnight Sky (2021).

In summary, Love and Monsters is an enjoyable, earnest and comforting flick, packed with splendid creature designs, charming characters and a delightful cast. In many ways, the film is a high school rom-com that just so happens to be set in a post-apocalyptic world, serving as a terrific template for crafting a leaner, less bloated summer flick that virtually all can enjoy. And, for once, with the film leaving things open-ended enough for a sequel, this is the rare scenario where, I’d say, another instalment would actually be welcome. Rating: low 8/10.

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Gods of Egypt (2016) – Film Review

/ Joe Baker / 1 Comment

“Every Night the Battle Between Chaos and Creation Must Go On. Otherwise, the World Will Be Destroyed…” – Ra

Based on the Egyptian myth; The Contendings of Horus and Set, a mythological tale from the Twentieth Dynasty of Egypt found in the pages of a biblical text, recounting a battle between Horus, a god who takes the form of a falcon, and Set, a sky god, lord of the desert and master of storms, disorder and warfare, Gods of Egypt, released in 2016, is a visually overblown, poorly plotted and needlessly CGI-heavy fantasy blockbuster. Playing fast and loose with its world-building and the Egyptian mythology it’s based upon, Gods of Egypt squanders much of its talented cast and admirable visual effects in exchange for shallow, action-lead spectacle. As a result, the film has largely (and unsurprisingly) been lost to the sands of time, similar to many other lustreless blockbusters of the 2010s.

Plot Summary: In an alternate Ancient Egypt where the world is flat and Egyptian gods live amongst humans, differing from mortals by their tremendous height, golden blood and ability to transform into their animalistic forms, a young thief, Bek, and his beloved girlfriend, Zaya, are attending the coronation of Horus. But, during the ceremony, Horus’ father, Osiris, is murdered by his envious brother, Set, who seizes the throne and declares a new, brutal regime…

Directed by Alex Proyas (The Crow, Dark City, I, Robot), Gods of Egypt is, as of now, Proyas’ most recent directorial effort, as the critical and commercial failure of the film (along with its casting controversy, as the film was criticised for casting predominantly caucasian actors), seriously hindered his reputation. Consequently, he has only directed a couple of short films since. While this is a cruel turn of fate for Proyas, who has demonstrated in the past that he can helm entertaining blockbusters, Gods of Egypt is evidently desultorily directed, frequently lacking polish, dramatic weight, comedic timing and vital fragments of exposition, especially when considering the film’s immense budget of over £110 million.

Ranging from uninspired to cringe-worthy, the performances throughout Gods of Egypt are inconsistent, to say the least, as Nikolaj Coster-Waldau’s valiant Horus lacks the balance of arrogance and self-pity many of his previous performances retain, whilst the performances of Brenton Thwaites, Elodie Yung, Rufus Sewell and the late Chadwick Boseman come across as superficial and exaggerated, further facilitated by their half-baked characterisation. Moreover, as the detestable Set, Gerard Butler struts, growls and bellows like an enraged grizzly bear, possessing none of the self-awareness that could have made such an over-the-top performance more enjoyable.

Primarily shot in the Australian desert, as filming in the Sahara Desert was considered too dangerous, the cinematography by Peter Menzies Jr. occasionally allows for pleasant shots of the desert landscapes and their imposing Egyptian structures. However, many of these shots are often spoilt by the enormous barrage of CGI, making every frame appear glossy and oddly sterile, even during scenes where gigantic crowds are present. Additionally, while terrifyingly indelible creatures are not as frequent in Egyptian mythology as they are in, say, Greek or Norse mythology, Gods of Egypt still features a handful of stately creature designs, namely, the massive, serpentine creature known as Apophis, an Egyptian deity of chaos that is commonly depicted as a snake in Egyptian hieroglyphs.

On another note, it’s fascinating how, despite having no evidence as to what music in Ancient Egypt sounded like, composers have adopted a specific style to depict that location and era, likely beginning with 1954’s The Egyptian, before enduring through dozens of other scores over the years, including Land of the Pharaohs (1955), The Prince of Egypt (1998) and The Mummy (1999). In regard to the orginal score for Gods of Egypt, composer Marco Beltrami weaves several Egyptian-esque themes in and around each other, as the two central deities, Horus and Set, harbour their own motifs, with Horus’ motif sounding valiant, conveying him as the more sympathetic of the two, whilst Set’s motif is far darker and shares many similarities to your more typical ‘villain themes,’ built around intense, descending brass lines. The problem, however, is that all of these tracks aren’t that memorable or unique in spite of their functionality, with most of the score just consisting of staggeringly generic action pieces. 

Due to nearly all of the film heavily utilising visual effects, it’s not surprising that the considerable CG effects implemented throughout the runtime are one of the few shining aspects of Gods of Egypt. Aside from a handful of shots which have aged questionably, most of the visual effects are impressive. In fact, one of the more unusual challenges the visual effects team faced during post-production was placing the cast inside an array of virtual environments, as most of the scenes were shot against a bluescreen. An added complexity came in the form of the size differences between gods and mortals, as the gods stand around nine feet tall, so the visual effects team had to constantly consider these size variations.

In summary, Gods of Egypt is an insipid blockbuster lacking originality, excitement and entertainment value. The film merely meanders through waves of corny dialogue, mind-numbing, CGI-reliant action sequences and a monotonous, drawn-out story brimming with contrivances and the odd interesting concept. Once again proving, alongside other poorly-received blockbusters, such as Justice League (2017), Independence Day: Resurgence (2016) and Transformers: The Last Knight (2017), that an enormous budget doesn’t necessarily yield enormous success. Rating: low 3/10.

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Jumanji: Welcome to the Jungle (2017) – Film Review

/ Joe Baker / 2 Comments

“A Game for Those Who Seek to Find… a Way to Leave Their World Behind…” – Spencer

Seeking to modernise the premise of the 1995 fantasy-adventure classic; Jumanji, a striking premise first presented in the children’s picture book of the same name, written and illustrated by Chris Van Allsburg. 2017’s Jumanji: Welcome to the Jungle switches the concept of an enchanted, four-piece board game for a ’90s-style video game cartridge, rooting itself in well-known video game tropes. And while not quite as enjoyable as the original flick, in my opinion, Jumanji: Welcome to the Jungle is still an entertaining yet undemanding soft reboot that manages to stand on its own two feet as a jungle-set adventure, utilising its charming cast and humorous moments effectively under the capable direction of Jake Kasdan (Zero Effect, Orange Country, Sex Tape).

Plot Summary: After Jumanji, the bewitched jungle-themed board game, receives a mysterious modification, converting the wooden parlour game into a 1990s video game cartridge, the game is stumbled upon by high school students; Spencer, Martha, Fridge and Bethany, who are promptly pulled into its perilous world. Now, in order to return home, the group must inhabit their chosen avatars, survive the cadaverous creatures and complete the game…

Despite the original Jumanji receiving fairly mixed-to-positive reviews both when it was initially released and in the years since, recounting the simple yet captivating story of Alan Parrish, a troubled boy who comes across a cursed board game that releases lions, elephants, giant spiders and carnivorous plants into the real world to pursue its unsuspecting players. Jumanji: Welcome to the Jungle remains in the same continuity, continuing on from Alan, Sarah, Judy and Peter’s adventure by having a separate group of characters unwillingly play the game. To keep the franchise feeling fresh, however, Jumanji: Welcome to the Jungle cleverly inverts the premise of the original, transporting the characters (and, by extension, the audience) into the treacherous world of Jumanji, where many references to the original flick can be seen, including a cluster of overgrown statues modelled after the iconic board game pieces and a handcrafted hut that Alan resided inside when he was trapped in Jumanji, serving as a sweet yet modest tribute to the late Robin Williams, who portrayed the older iteration of the character.

This time around, the protagonists consist of four high schoolers serving detention together before they are transported into Jumanji following their discovery of the video game’s cartridge in their school’s storage room. Spencer, a skinny, awkward gamer becomes Dr. Smolder Braveston, portrayed by Dwayne “The Rock” Johnson, the introverted, Martha, becomes Ruby Roundhouse, portrayed by Karen Gillan, the tall and muscular jock, Fridge, becomes Franklin “Moose” Finbar, portrayed by Kevin Hart, and the would-be popular girl, Bethany, becomes Professor Shelly Oberon, portrayed by Jack Black. As can be expected with an all-star cast such as this, everyone possesses terrific chemistry with each other and embodies their real-world counterparts sufficiently whilst playing into the obvious humour in each of the teens altering into entirely different individuals, particularly in the case of Bethany, who transforms from an Instagram-obsessed teenage girl to an overweight, middle-aged cartography professor. Unfortunately, the film’s power-hungry antagonist, Van Pelt, doesn’t fare as well, lacking depth, fearfulness and presence in spite of Bobby Cannavale’s serviceable performance.

Taking advantage of the naturally beautiful scenery of Honolulu, Hawaii, specifically within the Kualoa Ranch nature reserve, Jumanji: Welcome to the Jungle makes exceptional use of its true-to-life locations and vibrant sets to immerse the audience in the precarious world of Jumanji, exhibiting the immense jungles, massive waterfalls and vast pastures that are only hinted towards in the original flick, even if the actual cinematography by Gyula Pados is somewhat flavourless.

Through tracks such as Brantford High and A Test of Friendship, Jumanji: Welcome to the Jungle‘s original score by Henry Jackman constructs a clear contrast between Jumanji and the real world, as the formerly-mentioned tracks are contemporary and uplifting in nature, while tracks like Digging Up the Past, The Legend of the Jewel and The Power of Bravestone, are much more exhilarating and adventure-esque, going so far as to bring back the “Jumanji Drums,” a staple of the original Jumanji soundtrack.

When it comes to action sequences, Jumanji: Welcome To The Jungle isn’t likely to impress anyone, leaning more on the amusing moments between its cast than its scenes of hand-to-hand combat or hippopotamus ambushes. Nevertheless, most of the action throughout the runtime is passable, with one fight sequence featuring Dr. Braveston even playing into the video game truism of fighting off multiple enemies at once as the playable character. Additionally, although almost all of the CGI in the film is convincing, it’s regrettable that Jumanji: Welcome to the Jungle harbours very few practical effects, given how heavily praised the physical elements of renowned adventure flicks like The Goonies (1985) and the first three instalments of the Indiana Jones franchise are today.

In summary, whilst it’s doubtful that Jumanji: Welcome to the Jungle will be recognised for years to come as a groundbreaking 2010s blockbuster, it is a comical flick with defects, functioning as a superficial yet enjoyable soft reboot/stand-alone sequel that innovatively expands on the ideas introduced in the original Jumanji. In a bizarre way, Jumanji: Welcome to the Jungle almost feels like a self-actualisation teen flick set against the unusual backdrop of an adventurous video game due to its infrequent high school setting and marginal character growth. Rating: 6/10.

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The Lost World: Jurassic Park (1997) – Film Review

/ Joe Baker / 1 Comment

“Oh, Yeah. Oooh, Ahhh, That’s How It Always Starts. Then Later There’s Running and Screaming…” – Dr. Ian Malcolm

Strangely dubbed; The Lost World: Jurassic Park, a title that appears to be out of order in its literary arrangement. This adventurous sequel to the timeless classic; Jurassic Park, released in 1993, was once among the most anticipated films of the 1990s. Yet, upon its initial release in 1997, The Lost World: Jurassic Park disappointed many for not living up to the lofty expectations set by the original, including Spielberg himself, who expressed disappointment with the film after becoming increasingly disenchanted with it during production. Nevertheless, I have always considered The Lost World: Jurassic Park somewhat underrated, harbouring an intriguing story and a more foreboding tone/aesthetic, which offsets some of its screenplay-centric faults.

Plot Summary: Four years after the catastrophe of Jurassic Park, the now-humbled John Hammond, strives to redeem himself by studying the well-being of the dinosaurs roaming free on InGen’s secondary site for bio-engineering, the secluded island of Isla Sorna. While assembling his team for this study, Hammond contacts the reluctant Dr. Ian Malcolm to convince him to join the expedition. Meanwhile, Hammond’s ignorant nephew, Peter Ludlow, intends to use his newly-obtained position as the CEO of InGen to capture as many of the island’s prehistoric species as possible for a new attraction opening in central San Diego…

Similar to the original film, The Lost World: Jurassic Park is loosely based on the novel of the same name by Michael Crichton and helmed by celebrated director Steven Spielberg. So, as is to be expected, under this masterful direction, The Lost World: Jurassic Park boasts several edge-of-your-seat moments, the stand outs of which are a scene that features a Tyrannosaurus Rex tandem bashing a mobile trailer over a cliff, as well as a sequence in which a Tyrannosaurus Rex rampages through San Diego destroying everything in its path, morphing the audience’s perception of dinosaurs from captivating, awe-inspiring creatures to truly terrifying prehistoric beasts, following the incident on Isla Nublar. However, as the runtime continues, it becomes increasingly evident that Spielberg desperately wanted to integrate as many of his own ideas into the framework of Crichton’s sequel novel as he could. A desire that ultimately results in the narrative becoming unfocused, eventually losing itself almost entirely near the end of the second act to concentrate on exciting dinosaur sequences.

Returning from the original film is Jeff Goldblum as Dr. Ian Malcolm, the remarkably entertaining pessimistic mathematician with a dry sense of humour. Accompanying Malcolm this time around is his adolescent daughter, Kelly Curtis, portrayed by Vanessa Lee Chester, and his palaeontologist girlfriend, Sarah Harding, portrayed by Julianne Moore, in addition to the other members of Hammond’s research team; wildlife photographer, Nick Van Owen, portrayed by Vince Vaughn, and tech expert, Eddie Carr, portrayed by Richard Schiff. Whilst every cast member turns in a solid performance, however, there is undoubtedly a lack of well-defined characters in The Lost World: Jurassic Park, as every character has a shortage of development beyond the dexterities they bring to their team. Roland Tembo, portrayed by the late Pete Postlethwaite, is perhaps the most compelling character of this particular entry in the series, being depicted as a jaded big-game hunter, determined to capture a male Tyrannosaurus Rex, single-handedly.

Swapping out the tidied facilities and tropical foliage of Jurassic Park for dim lighting, expansive forests and more intense violence, The Lost World: Jurassic Park‘s visuals are substantially darker than its predecessor, corresponding with the more downbeat tone of the narrative. Furthermore, the cinematography by Janusz Kaminski retains a tremendous sense of movement, while the film’s abundant use of marvellous CG effects, detailed miniatures and impressive life-sized animatronics effectively bring the dinosaurs (and a handful of locations) to life, all whilst demonstrating how far CGI had come since the first instalment in the franchise in ’93.

Once again composed by John Williams, the original score for The Lost World: Jurassic Park only contains minor hints towards the iconic theme and secondary motifs of Jurassic Park. Instead, the score houses much of its own appeal (not too dissimilar to how the visuals differ from the original film) as Williams constructs a different thematic and textural landscape for InGen’s Site B, a.k.a. Isla Sorna. As such, the soundtrack sheds much of the amazement and beauty of John Hammond’s prehistoric theme park for a more ominous soundscape. Excluding the film’s unfairly neglected theme; The Lost World, which is more wildlife adventure-inspired.

On a separate note, whilst its amusing to see franchise-staple dinosaurs like the Tyrannosaurus Rex and the Velociraptors return in The Lost World: Jurassic Park, I’ve always felt its a shame the filmmakers didn’t attempt to introduce a selection of lesser-known dinosaurs, especially with how many fantastic choices there are, as the carnivorous Alioramus, Majungasaurus and Spinosaurus (which would later appear in 2001’s Jurassic Park III), all would’ve served as significant threats and upped the ante for this much-anticipated sequel.

In summary, while it truthfully does pale in comparison to the original film, there is plenty to appreciate about The Lost World: Jurassic Park when viewed from a different perspective, as the film retains an overabundance of spectacle and exceptional visual effects, affirmed by the film’s Academy Award nomination for Best Visual Effects in 1998. Essentially, The Lost World: Jurassic Park is a perfect example of just how difficult it can be to craft an engaging sequel to a beloved cinema-altering blockbuster. Rating: 6/10.

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Men in Black: International (2019) – Film Review

/ Joe Baker / Leave a comment

“Always Remember: The Universe Has a Way of Leading You to Where You’re Supposed to Be at the Moment You’re Supposed to Be There.” – Agent High T

Emerging several years after the entertaining yet faulty; Men in Black 3, Men in Black: International, released in 2019, serves as a soft reboot of the series, aiming to bring the undisclosed extraterrestrial defenders back for another similarly amusing, alien-blasting adventure. However, predominantly due to its outlandish story, trite humour and absurdly horrendous dialogue, Men in Black: International rarely reaches the heights of the 1997 sci-fi-comedy classic, nor the later, lesser entries in the well-known franchise, even with its noteworthy stars of Chris Hemsworth and Tessa Thompson carrying over much of their on-screen chemistry from 2017’s Thor: Ragnarok.

Plot Summary: After sharing an eye-opening encounter with an extraterrestrial as a child, Agent M, the M.I.B.’s newest probationary recruit, finds herself under the wing of Agent H, a past-his-prime hero of the closemouthed organisation, operating at the London branch. Meanwhile, a duo of shape-shifting alien assassins arrive on Earth, seeking a devastating super-weapon that could place the entire galaxy at risk…

Based on The Men in Black comic book series, created and written by Lowell Cunningham, Men in Black: International is the first film in the franchise not directed by Barry Sonnenfeld. Instead, the film was directed by F. Gary Gray (Friday, The Negotiator, Straight Outta Compton), making Men in Black: International the second Gray-directed sequel to a Sonnenfeld flick, the first being; Be Cool in 2005, a sequel to 1995’s Get Shorty. Needless to say, this change in leadership (and screenwriters) could be seen as more of a negative than a positive, as the film lacks much of the disturbing violence and revolting practical effects present in the original trilogy as extensively as the satire. Furthermore, Men in Black: International‘s narrative leaves much to be desired, appearing overly simplistic and somehow equally convoluted, barring a couple of interesting concepts, such as a portal for transporting alien refugees or a mole within the M.I.B. organisation. The film is dragged down further by its ever-present cringey dialogue, which is near vomit-inducing in its many attempts to seem relevant. To its credit, Men in Black: International does, at least, manage to expand the universe of the films by introducing various international branches of the covert organisation, as its title suggests.

With Will Smith and Tommy Lee Jones openly stating they would not return to the franchise for Men in Black: International, new leading actors/actresses had to be chosen. Still, they do appear in the film briefly, having long passed into legend as agents in a dramatised painting in the M.I.B. London head office. Regrettably, however, the revamped cast of Chris Hemsworth, Tessa Thompson, Liam Neeson, Rafe Spall and Rebecca Ferguson are continually overblown in their performances, bouncing from scene to scene with ample energy regardless of tone. This issue is only made worse by the characterisation, which frequently forgets to provide the characters with motivations for their actions or any semblance of depth beyond the basics we learn of them, with Agent H being the foolish, once-hotshot agent of M.I.B. having previously saved Earth from an extraterrestrial invasion, whilst Agent M has desired to be an agent of the organisation since she was young.

Immaculate and radiant yet unimaginative, the cinematography by Stuart Dryburgh shares more of a visual resemblance to superhero blockbusters from the Marvel Cinematic Universe than any previous Men in Black instalment. Likewise, dissimilar to earlier entries in the franchise, Men in Black: International‘s plethora of extraterrestrial designs are dreadfully cartoonish in appearance, lacking the individuality and repulsive naturality of the series’ previous designs, all of which are unfortunately brought to life exclusively via CGI, with very few costumes/prosthetic make-up pieces employed. Having said that, there is one exception to this defect; the designs of the primary antagonists, the Hive, who retain a visually striking design, taking on the appearance of luminous, orange star clusters in a human physique.

In keeping with the rest of the Men in Black series, the original score is composed by Danny Elfman and newby Chris Bacon, who strive to capture the same musical spirit as previous franchise instalments through tracks like Job Interview, Here Comes Trouble and End Credits. And, for the most part, the composers are successful in this goal as the score sounds reminiscent of the original trilogy’s soundtracks while thankfully avoiding any lousy endeavours to modernise the series’ iconic theme.

When it comes to the humour, it’s apparent that there is a hefty deficiency of wit and surprise within the screenplay. As a result, most of the jokes throughout the runtime are either sluggish, irritating or immature. Additionally, during one particular scene, set within a hidden, extraterrestrial-filled nightclub, there is a weirdly out-of-place gag where Agent H attempts to spitefully manipulate Agent M into pleasuring Vungus, a party-hungry alien visiting Earth, which will surely make some audience members feel uncomfortable.

In summary, the mere notion of a Men in Black revival without the presence of Smith or Jones seems like an unmistakably terrible idea, comparable to how another swashbuckling Pirates of the Caribbean sequel without Johnny Depp’s inclusion would seem incomplete, stand-alone story or not. Even with its original cast in attendance, however, Men in Black: International likely still would’ve failed on account of its many other shortcomings, grinding its cast’s chemistry through the gears of a sci-fi franchise running low on reasons to persist. Rating: 3/10.

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Oz the Great and Powerful (2013) – Film Review

/ Joe Baker / Leave a comment

“I Don’t Want to Be a Good Man, I Want to Be a Great One.” – Oscar ‘Oz’ Diggs

Since its release in 1939, the illustrious fantasy-musical; The Wizard of Oz, an adaptation of L. Frank Baum’s beloved children’s novel; The Wonderful Wizard of Oz, has been engraining itself into the memories of adults and youngsters alike through its catchy melodies, imaginative world-building and groundbreaking practical effects. In 2013, Walt Disney Pictures sought to return to the Land of Oz with Oz the Great and Powerful, a prequel to the novel and, in a way, its silver screen counterpart (despite ownership of the harmonious classic belonging to Warner Bros. Pictures), with celebrated director Sam Raimi (The Evil Dead, Spider-Man, Doctor Strange in the Multiverse of Madness) attached to helm the project, ascertaining its potential as an enchanted prequel. Shortly after its release, however, most seem to forget about the film, which is unfortunate given that Oz the Great and Powerful is a largely enjoyable fantasy adventure that pays homage to the iconography and timeless sense of wonder present in the original musical while avoiding an absence of its own, unique ideas.

Plot Summary: After Oscar ‘Oz’ Diggs, a small-time circus magician with dubious ethics, is hurled away from his dusty abode in Kansas to the vibrant Land of Oz, he believes he’s hit the jackpot as he’s told to assume his rightful place as monarch of Emerald City. But, when Oscar meets the sisters of Theodora and Evanora, who aren’t entirely convinced that he is the great wizard their prophecy has spoken of, Oscar is summoned on a quest to slay the Wicked Witch that threatens Oz and prove his worth…

Whilst Oz the Great and Powerful may seem like just another cinematic interpretation of the whimsical Land of Oz, Walt Disney Pictures actually had to be very cautious with what aspects of the story they utilised, on account of Warner Bros. Pictures owning the rights to specific elements of The Wizard of Oz, as previously mentioned, including the ruby slippers Dorothy Gale dons throughout the runtime. These restrictions even extended to the particular shade of green used for the Wicked Witch’s skin, for which Disney employed what its legal department considered a sufficiently different shade dubbed; “Theostein,” a portmanteau of Theodora and Frankenstein, yet Disney could not use the signature chin mole from Margaret Hamilton’s renowned portrayal of the Wicked Witch of the West.

In terms of the actual narrative, Oz the Great and Powerful tells the origin of the titular Wizard of Oz, whom we all know from previous iterations to be a fraud. Before he was viewed as a mythical wizard, Oscar Diggs was merely a talented illusionist and an egotistical, womanising con man performing at a travelling circus in Kansas. ‘Oz’ (as his friends call him) underpays his assistant and recruits many beautiful women to appear in his performances, manipulating them with lies and empty romantic gestures. However, while Oscar receives an abundance of characterisation during the story and is evidently a gifted magician, James Franco’s performance is primarily to blame for the character’s shortcomings, as Oscar suffers from an underbaked character arc and a lack of empathy in certain scenes, suggesting that Franco lacks the charisma necessary to win over the audience amid Oscar’s immense arrogance. Dissimilarly, the supporting cast of Mila Kunis, Rachel Weisz, Michelle Williams, Zach Braff and Joey King are all sufficient in their varied roles, human and otherwise.

Recreating imagery like the Yellow Brick Road and the Emerald City in addition to introducing a handful of never-before-seen locations, such as a miniature village compromised of larger-than-life crockery and ceramic residents, known as China Town. Oz the Great and Powerful impressively brings the Land of Oz to life via a combination of expansive sets and green screens. Similar to the original musical, Oz the Great and Powerful also opens in a colourless, tight aspect ratio for the Kansas sequences before widening out and blossoming into colour once Oscar enters the Land of Oz, making for an unforgettable visual juncture. Moreover, the cinematography by Peter Deming is frequently effective in implementing Sam Rami’s familiar style of camerawork, as the camera is repeatedly rocketing towards characters’ faces, particularly when they’re reacting to the surprising number of jump-scares.

Although the original score for Oz the Great and Powerful by Danny Elfman isn’t one of the composer’s finest, nor is it exceedingly memorable, tracks, like Main Titles, A Strange World and The Bubble Voyage are all remarkably uplifting, whereas the orchestral tracks; Bad Witch and Witch Fight, are much more ominous in tone, allowing Elfman to exhibit his grand, gothically melodic roots.

On a separate note, all of the CG effects throughout Oz the Great and Powerful hold up well for their age, aside from a few wide shots where the environment surrounding the characters appears excessively distant and overly bright. And, whenever physical sets are employed instead of green screens, they are magnificently multicoloured and extensive.

In summary, while Oz the Great and Powerful suffers from some tonal inconsistency and an underdeveloped character arc for its protagonist, the film retains enough spectacle, wit and creativity to be entertaining in its own right as a bewitched prequel. Faithfully reproducing iconic imagery like flying primates, a golden-bricked road and a cackling, broom-riding Wicked Witch, I feel nearly every fanatic of The Wizard of Oz (and/or its source material) will find amusement in this non-musical, fantasy blockbuster. Rating: low 7/10.

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Jupiter Ascending (2015) – Film Review

/ Joe Baker / 1 Comment

“I Will Harvest That Planet Tomorrow Before I Let Her Take It From Me.” – Balem Abrasax

A sci-fi blockbuster from the writer-directors behind; Cloud Atlas, V for Vendetta and The Matrix trilogy, Lana Wachowski and Lilly Wachowski, a.k.a. the Wachowskis. 2015’s Jupiter Ascending is a rarely exciting, often laughable science fiction flick that attempts to explore a number of interesting concepts yet frequently fails on almost every other front. Unquestionably the singular work of the Wachowskis, Jupiter Ascending exhibits many of the filmmakers’ worst tendencies, recounting a campy, overblown spectacle of a story that retains barely any of the visionary leadership that drove some of their earlier filmographies to be held in such high regard.

Plot Summary: Born under a night sky, with signs predicting she was destined for great things, Jupiter Jones dreams of the stars but awakens to the cold reality of a dead-end cleaning job in Chicago. But, when Caine Wise, a genetically engineered ex-military bounty hunter, arrives on Earth to track her down, Jupiter begins to realise what the universe has in store for her as she is marked next in line for a royal inheritance that could alter the balance of the cosmos…

Originally slated to release on July 25th, 2014, before the production slipped over six months to provide more time for the visual effect team to complete the elaborate effects. Jupiter Ascending possesses many attributes that commonly make for an entertaining sci-fi epic, with large-scale set pieces, thrilling action sequences and moments of world-building all appearing throughout its runtime. However, similar to The Matrix sequels, where the sheer scale of the storytelling seemed to overwhelm the Wachowskis, Jupiter Ascending frequently appears unfocused and carries little dramatic weight as it places all of its attention on exploring its vast universe, with the plot itself resembling planet-hopping stories like Dune and the Star Wars prequel trilogy, revolving around various factions grasping for power. It’s a serviceable story, to be sure, but it usually feels secondary to the world-building which, as previously mentioned, comes across as cluttered and forces countless characters to serve as exposition dumps for Jupiter, even if there are some interesting ideas at play, such as humans not originating from Earth and being sighted as cattle to species that consider themselves superior.

On a screenplay level, Jupiter Ascending is hardly revolutionary, depicting the protagonist, Jupiter Jones, as a young, seemingly insignificant woman who discovers she actually holds the key to extraordinary power. Yet, the screenplay rarely treats Jupiter as anything more than a damsel in distress, constantly needing to be protected by the fearless soldier turned bounty hunter, Caine Wise. As a result, the central duo of Mila Kunis and Channing Tatum deliver rather bland performances, occasionally wisecracking as they travel from location to location, continually in danger and continually underdeveloped, especially when they develop feelings for one another. In keeping with their surroundings, the supporting cast of Sean Bean, Eddie Redmayne, Douglas Booth and Tuppence Middleton turn in similarly lacklustre performances, with Redmayne’s performance as the antagonist, Balem Abrasax, being the true standout (unintentionally so), whispering some lines and shrieking others.

The visuals of Jupiter Ascending are one of the film’s best aspects, as the cinematography by John Toll captures the majesty of outer space in several creative ways, presenting the universe with much more colour and lavishness than many other sci-fi blockbusters. Speaking of other science fiction franchises, unlike Stark Trek or Battlestar Galactica, all of the spaceship designs throughout the film are pristine and elegant, almost comparable to floating cathedrals, as they maintain a golden colour scheme to play into the idea of the proprietors of said ships (and accompanying opulent costumes) belonging to a royal bloodline. Many of the interiors of the spaceships even appear inspired by European architecture, specifically Renaissance architecture, massively deviating from the grey, metallic interiors seen in most of the sci-fi genre. Sadly, however, it’s difficult to fully concentrate on the myriad of beautiful visuals due to the abysmal dialogue, which ranges from dull and overly expositional to unconsciously hilarious.

On another cynical note, the original score by Michael Giacchino is regrettably one of the composer’s weakest scores to date. Moving from thunderous, brassy statements to a deeply menacing voice choir that evokes memories of The Emperor’s Theme from Star Wars: Episode VI – Return of the Jedi, released in 1983, the soundtrack for Jupiter Ascending certainly fits within the science fiction genre, yet never feels distinguishable or greatly adds to the emotion/excitement playing out on-screen.

In terms of action, Jupiter Ascending makes the most of its few action sequences by having Caine Wise and the assorted adversaries he goes against cleverly utilise a selection of futuristic weapons and gadgets. In particular, one early sequence of Jupiter and Caine escaping an extraterrestrial attack squad in a chase above the twilight streets of Chicago is both eye-catching and exhilarating.

In summary, at its heart, Jupiter Ascending is a jumbled wish-fulfilment narrative whereby a despondent cleaner turns out to be the secret proprietor of Earth. And with so many heroes’ journey-type franchises existing nowadays, it is a bold stroke to make the ‘chosen one’ a respected monarch. But, on account of the sheer magnitude of the story and world-building, Jupiter Ascending quickly crumbles under its only weight, only being saved from total collapse by its impressive visual effects and stimulating action set pieces, subsequently failing to start what would have been yet another big-budget science fiction franchise. Rating: low 4/10.

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The Green Knight (2021) – Film Review

/ Joe Baker / Leave a comment

“One Year Hence…” – The Green Knight

Written, produced, edited and directed by David Lowery (Pete’s Dragon, A Ghost Story, The Old Man & the Gun), The Green Knight, released in 2021, is a visually stunning fantasy odyssey based on the 14th-century Middle English poem; Sir Gawain and the Green Knight by the Gawain Poet. Steered by a spectacular performance from Dev Patel, The Green Knight takes the timeless legends of King Arthur and the Knights of the Round Table and deconstructs many aspects of the famed fables, leaving a lot of its story open to interpretation while casting a captivating spell on its audience through a slow-paced, mature and stylistic fantasy adventure.

Plot Summary: On Christmas Day, before the noble King Arthur and his loyal Knights of the Round Table, the King’s headstrong nephew, Sir Gawain, agrees to a challenge from a formidable foe; in a year’s time, travel to the remote Green Chapel and face its ghastly lord, the Green Knight. But, as the one-year milestone arrives, Gawain embarks on his peril-laden journey with great apprehension, traversing the land in an effort to honour his promise and prove his mettle…

A large majority of The Green Knight‘s narrative revolves around the five traditional knightly virtues of friendship, generosity, chastity, courtesy and piety. Throughout the runtime, Gawain, when tested, fails at all five of these virtues through a variety of situations, demonstrating that Gawain is not yet ready to be a knight and adding to the subtext of his journey. Moreover, in order to make his vision of the Arthurian world appear more distinct, Lowery’s screenplay freely capitalises on folk elements derived from Welsh, Irish and English stories, as well as the French chivalric tradition of the Middle Ages to flesh out the world-building and Gawain’s mystical encounters that are only alluded to in the original verse.

Whilst the supporting cast of Alicia Vikander, Joel Edgerton, Sean Harris, Barry Keoghan and Erin Kellyman are all sublime in their various roles, Dev Patel truly knocks it out of the park performance-wise, portraying Sir Gawain as a troubled yet well-intending relative of the celebrated hero and monarch, King Arthur, evidently anxious about overcoming his personal flaws to find his honour and live up to the legacy left by his uncle and his faithful Knights, all in the hope of one day becoming the monarch himself. Patel is simply a magnet for the audience’s sympathy and the protagonist Gawain is a character anyone can get behind, with his journey of trials, temptations, trouble and self-discovery only adding to his subtle characterisation.

Primarily shot in Ireland, presumably to capture much of the island’s natural beauty. Practically all of the cinematography by Andrew Droz Palermo is visually astonishing, depicting a grounded and eerie fantasy world that makes fantastical concepts like spirits, giants and a talking fox seem almost ordinary. From soggy marshes to lonely mountain roads and extensive forests wrapped in mist, the camerawork never fails to visually grasp the looming dread that grips the land, mirroring Gawain’s fear of the Green Knight. The set design is also remarkably impressive, assuring the shadowy interiors of each structure are equally atmospheric. The only real downside concerning the visuals would be the CG effects, which often appear too glossy and clean when compared to the rest of the unkept visual aesthetic. Still, all of this is somewhat to be expected, as Lowery has always been a gifted visual storyteller, especially when it comes to colour usage, and The Green Knight is no exception, retaining a wildly diverse colour palette of earthly tones, making the film perhaps Lowery’s most sumptuous work to date.

Similarly, the original score by Daniel Hart manages to convey the setting, time period and action/emotion without performing the same tricks too many times over. Through tracks like Excalibur and Now I’m Ready, I’m Ready Now, the Pagan-like percussion and xylophone come and go, frequently followed by a whistle or pipe lead and rattling backing, making for an almost medieval-like dance rhythm. The score also utilises acoustic drums, bass strings, angelic vocals, bottles and harps. And it’s this unique combination of instruments that allows the soundtrack to expertly back up Gawain’s journey across numerous scenes, whether triumphant or fearful.

Given that the character’s name is the very title of the film, the Green Knight needed to leave an impact on the story and the audience. Luckily, he does just that. Sporting overgrown, corroded armour engraved with the Sabaic alphabet (Sabaic being a South Arabian language spoken from 1000 BC to 6th Century AD), the Green Knight has a tremendous on-screen presence, appearing ancient, imposing and authentic as a result of his flawless costuming and prosthetic make-up, the Green Knight’s towering appearance only being rivalled by his baritone voice, well-provided by actor, Ralph Ineson.

In summary, The Green Knight is a visually breathtaking fantasy flick, in addition to another exceptional release from production company; A24 Films, outside of its usual brand of horror and drama-centric films. Although its pacing is occasionally too slow for its own good, and many audience members will undoubtedly be turned off by its assortment of interpretive scenes and heavy emphasis on underlying themes, David Lowery employs almost every ounce of his imagination to craft an audacious and demanding Arthurian adaptation that warrants multiple viewings to increase its allure. Rating: low 8/10.

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Mortal Engines (2018) – Film Review

/ Joe Baker / Leave a comment

“Sixty Minutes Is All It Took to Bring Humanity to the Very Brink of Extinction. Mankind Mobilised, a New Age Arose. The Age of the Great Predator Cities…” – Professor Chudleigh Pomeroy

Based on the novel of the same name by Philip Reeve, the first entry in a string of young-adult novels, 2018’s Mortal Engines seemed like a blockbuster destined for success and an ensuing franchise upon its initial release, but, evidently, that was not the case. Carrying over much of the same crew behind The Lord of the Rings and The Hobbit trilogies, Mortal Engines has no shortage of eye-catching visuals and large-scale action set pieces, but the film lacks the interesting characters and engrossing story required to fuel a post-apocalyptic blockbuster of epic proportions.

Plot Summary: Thousands of years after human civilisation was destroyed by a cataclysmic event, mankind has adapted, and a new way of life has evolved. Gigantic roaming cities now wander the Earth, ruthlessly preying upon smaller municipalities to feed their enormous engines. One of these cities; the great traction city of London, is home to Tom Natsworthy, an apprentice historian, who eventually finds himself stranded and fighting for survival in the barren Outlands after encountering the evasive fugitive, Hester Shaw…

Directed by Christian Rivers, a prior storyboard and visual effects artist for both The Lord of the Rings and The Hobbit trilogies. Mortal Engines shares more than a few similarities with co-writer/producer Peter Jackson’s adaptations of J.R.R Tolkien’s high-fantasy novels. For instance, much like the trilogies set within Middle-Earth, Mortal Engines places a hefty emphasis on world-building, continuously introducing new characters, lore and pieces of futuristic technology to flesh out its post-apocalyptic world. However, the diverse mix of locations throughout the narrative is by far the most fascinating aspect of the fictional world. From the roaming city of the former British capital to Airhaven; a metropolis floating amongst the clouds, to the nefarious Rustwater Marshes; an expansive section of swampland where countless unethical exchanges take place. Every location presented during the runtime is far more memorable than any of the characters that traverse them.

Speaking of the characters, whether they derive from one of the monumental roaming cities or the desolate Outlands, the characters of Mortal Engines are exceptionally bland. Harbouring generic traits and obligatory backstories, the characters merely exist to push the story forward. The central cast of Hera Hilmar, Robert Sheehan, Jihae Kim, Ronan Raftery, Leila George and Hugo Weaving, don’t elevate the screenplay either, as their exaggerated British accents and equally exaggerated deliveries of corny and exposition-heavy dialogue make it difficult to care for any of them. Furthermore, by the time the third act arrives, we’re told that Hester and Tom have developed feelings for each other, a plot point that seems extremely far-fetched, considering that the pair share only a handful of conversations that aren’t directly related to the narrative.

Largely consisting of wide shots to establish the extensive amount of locations visited throughout the story, Simon Raby’s cinematography undoubtedly enriches the film by impressively capturing the scope of the world and the enormous cities that roam within it. Moreover, the steampunk aesthetic supplies a hefty dose of personality to the visuals, particularly whenever it comes to scenes set within the roaming city of London, as the rundown futuristic technology combined with British iconography, forms a striking visual meld. Contrarily, the post-apocalyptic landscape of the Outlands is devoid of life and colour, making the industrial levels of the motorised cities almost seem appealing in comparison.

The original score by Tom Holkenborg, a.k.a. Junkie XL, is, for the most part, action-dominated, with tracks, like The Chase, First Strike and No Going Back, all bleeding into one another due to their similarities. And, whilst the soundtrack never really drags, the score does become rather repetitive as Holkenborg struggles to innovate on the action-orientated tracks. Meaning that all of the action sequences essentially contain the same selection of interchangeable tracks, each blaring out pounding percussions and string ostinatos.

Although many of the action sequences are relatively uninspired, the visual effects throughout Mortal Engines cannot be faulted. The most blatant example of how remarkable the visual effects are can be seen with the CG character, Shrike, a cyborg assassin, portrayed by Stephen Lang. While the film’s visual effects company, Weta Digital, is well-known for developing exceptional motion capture characters, such as Gollum in The Lord of the Rings and Caesar in the most recent Planet of the Apes trilogy. In Mortal Engines, Shrike was created using alternative techniques to Weta Digital’s usual approach, as visual effects artists disregarded modern motion capture methods to instead employ traditional keyframe animation and accurately capture Lang’s subtle facial expressions. Nevertheless, much like many of the other characters within Mortal Engines, Shrike and his poignant relationship with protagonist, Hester Shaw, feels greatly underutilised, somewhat dampening the terrific CGI.

In summary, for a blockbuster that revolves around massive roaming cities, soaring airships and steampunk cyborgs, Mortal Engines is strangely forgettable. Whilst the film is visually creative, dynamic and propulsive, emotionally and thematically, it’s hollow and flat, barely giving a reason for its audience to be engaged. And, even though I understand that in the last few years, Peter Jackson seems to have turned his attention towards directing documentaries as opposed to big-budget blockbusters. I believe that Mortal Engines could’ve been improved should Jackson have helmed the project and given the screenplay a few more rewrites and lookovers, potentially capturing some of the magic that made his prior plunges into the mystical world of Middle-Earth so enthralling. Rating: high 4/10.

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