Hellboy (2019) – Film Review

In mid 2012, actor Ron Perlman once again endured the four-hour make-up routine required to transform him into his iconic character: ‘Hellboy’ and fulfill the Make-A-Wish request of a six-year-old boy with leukemia. Director Guillermo del Toro was so touched by this event that it inspired him to start production on a third: ‘Hellboy’ instalment. But following a dispute between del Toro and producer Mike Mignola, the project was soon cancelled, and instead, Mignola and his team began work on a reboot of the franchise, which finally released in 2019 to truly abysmal results.

Plot Summary: Whilst working side-by-side with his adopted father for the ‘Bureau for Paranormal Research and Defence.’ ‘Hellboy,’ a supernatural creature who came into our world in 1944 as a result of a demonic Nazi ritual, struggles to accept which world he belongs to, that being one of monsters or one of men. All the while, an evil sorceress known as ‘The Blood Queen,’ returns to the modern world, eager to take her revenge on humanity for imprisoning her centuries ago…

According to Mike Mignola, the intention with this reboot was to replicant a style and tone closer to that of the original source material. As despite del Toro’s version of: ‘Hellboy’ often being light-hearted aside from one or two disturbing moments, the original comic series created by Mike Mignola is in reality, far darker and more gruesome. And whilst this goal of wanting to make a ‘Hellboy’ film more horror/fantasy-oriented rather than just a typical superhero blockbuster is commendable, this reboot of the series continuously stumbles due to this tonal-shift, even with talented director Neil Marshall (The Descent, Dog Soldiers) overseeing the project. Yet this is only one of the film’s many problems, as its hard to sit through even a single viewing of: ‘Hellboy’ without noticing the film’s incredibly fast-pacing, awful comedic moments and beyond-messy plot, which for some reason draws from four different comic storylines.

‘Hellboy,’ or particularly, David Harbour’s performance as the titular character, is possibly the film’s finest aspect. As rather than just lazily mimicking Perlman’s beloved version of the character, Harbour displays a less mature interpretation of the superhero. Portraying the horned-hero as a conflicted character, younger and stronger than Perlman’s version, but unsure as to if he is a real hero, which is an interesting internal conflict to explore and about the only element of the film that is consistent. Then there is Ian McShane as ‘Hellboy’s father-figure, who is serviceable in his role alongside Milla Jovovich as the villainous: ‘Blood Queen,’ who unfortunately, gives one of the most over-the-top performances of her entire career here.

Aside from the small detail of the filmmakers ensuring the colour red is never present in the same scenes as ‘Hellboy’ himself (excluding scenes where blood is shed of course), the cinematography by Lorenzo Senatore is your usual affair for a superhero flick, having a handful of pleasant shots scattered amongst the plethora of bland hand-held camerawork utilised for action scenes and grand moments of destruction. But regardless of how impressive the cinematography may or may not be, there is no distracting from the film’s unappealing CG effects. As in spite of the creature department clearly trying their best with the detailed costumes/prosthetics on-display, nearly all of the CG effects throughout ‘Hellboy’ appear instantly-dated.

The original score by Benjamin Wallfisch is a peculiar concoction, being an odd mish-mash of orchestral and electronic tracks which only succeed in making the soundtrack feel quite dull when it’s not overly-loud and irritating. Or at least, that’s the score before mentioning it’s use of electric guitars, which try desperately to present the soundtrack as something ‘awesome,’ but only comes-off as annoying at best, with the film’s signature track: ‘Big Red’ being the biggest-offender for this.

However, an aspect of the film that is more in-line with del Toro’s previous ‘Hellboy’ adaptation is its creatures, as although the effects that bring them to-life aren’t impeccable, the actual creature designs are something be admired, with the ‘Hellboy’ comics clearly providing the filmmakers with plenty of visual-influence. Even ‘Hellboy’s redesign was inspired by David Harbour’s own features, with the crew adding a larger jaw and a heavier brow to further fit with Harbour’s facial structure.

To conclude, while I can appreciate the effort that went into ‘Hellboy’ in some areas, the film’s flaws are just so evident its near-impossible to ignore them. From its convoluted and overstuffed story to its dreadful CG effects, ‘Hellboy’s thrilling moments of action or amusing dark humour are minor when compared to its faults. Yet by far the most frustrating part of this reboot is that it stripped-away our final chance of seeing a third entry in the original: ‘Hellboy’ series, an instalment myself and many other fans of this beloved character had been wanting to see for quite sometime. Instead, we’re now stuck with this disappointing reboot, which failed miserably to reignite the spark of excitement in this superhero franchise. Final Rating: low 3/10.

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About Time (2013) – Film Review

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

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

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

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

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

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

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

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

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A Monster Calls (2016) – Film Review

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

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

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

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

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

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

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

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

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This Year in Film (2020) – Film List

Due to COVID-19, the film industry (much like the world itself) has deeply suffered this year, with many films be pushed-back or even put on-hold indefinitely. And while I obviously agree with all of the new precautions introduced for the safety of both the cast and crew for films currently in production, I’m also truly hoping that the film industry can recover by next year. Regardless, in no particular order, here’s my thoughts on what few films I did manage to see this year, which I will update in time as I get around to seeing any other films I may have missed.

Soul

A return to form for Pixar Animation, Pixar’s ‘Soul’ not only features the usual gorgeous animation the company is known for, but also delivers on an original and unique story with many fascinating ideas melded within. Although some of its concepts may be a little difficult for younger viewers to understand, ‘Soul’ is still a wonderful mixture of heart and creativity, and is such a breath of fresh-air for both the animated genre and Pixar themselves.

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Mank

Capturing the look and feel of a 1940s film, the sharply-written and brilliantly performed: ‘Mank,’ peers behind-the-scenes of one of the greatest films ever made, that being: ‘Citizen Kane,’ to tell an old Hollywood tale that is just as engaging as it is well-crafted. And while I don’t believe the film will end-up becoming a classic in its own right, as I could see general audiences finding the film quite dull, cinephiles will surely get a kick out of this remarkable drama.

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Tenet

Thrilling and distinctive yet very flawed in terms of its writing, ‘Tenet’ is nowhere near as compelling as many of Christopher Nolan’s other blockbusters, suffering from an incredibly undeveloped protagonist/antagonist as well as a handful of moments that feel like spectacle-over-substance. But through its impressive CG effects and exciting action sequences, ‘Tenet’ does certainly have plenty of entertainment-value even if it’s script was in need of some refinement.

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Mulan

Another of Disney’s live-action reimaginings of their beloved classics, the new incarnation of: ‘Mulan’ is beyond lacklustre, with its unlikable protagonist, dull filmmaking and more historically-accurate yet uninteresting story all being far less enjoyable than the original animated adventure. And with this film flopping at the box-office due to its purchasable release on Disney+, we can only hope that ‘Mulan’ is one of the last remakes Disney decides to force upon its viewers, but after looking at their current release schedule, this does seem unlikely.

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Scoob!

Serving as what was intended to be the first film in an animated Hanna-Barbara cinematic universe, ‘Scoob!’ Is an enormous missed opportunity for a reboot of: ‘Mystery Inc.’ As the film quickly becomes distracted by its singular goal of setting-up this interconnected universe and as a result, forgets to tell the entertaining and charming origin story its trailers promised, or even a classic spooky adventure more in-line with the original animated show.

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Onward

An intriguing idea/story quickly spoiled by its overly-fast-pacing and overstuffed world, before ‘Soul’ came along and redeemed their streak, ‘Onward’ simply felt like another disappointing film in the long-list of underwhelming Pixar flicks released in recent years. Whilst the modern-fantasy world the film takes-place within does take its opportunities to be amusing or charming, it also isn’t very memorable in the long-run.

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The Hunt

While the political-commentary throughout ‘The Hunt’ is quite easy to ignore if you only desire to see some dark comedy and intense violence. ‘The Hunt’ still somehow managed to be one of the most controversial yet also most neglected films of the year, eventually leading Blumhouse Pictures to use the film’s controversy to market the film, which really displays the company’s lack of faith in the film itself, which is nothing short of a slightly more comedic but just as bland ‘Purge’ flick.

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Possessor

From the son of David Cronenberg, Brandon Cronenberg. ‘Possessor’ may not be quite as ground-breaking as horror/sci-fi classics like ‘The Fly’ or ‘Scanners’, but this original and intriguing narrative is only complimented by its compelling themes and exceptional filmmaking, and serves as a brilliant second outing for this iconic director’s son, who I personally can’t wait to see more from.

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Extraction

Although ‘Extraction’ is very loose on story and characterisation alike, the film’s exciting action set-pieces will be more than enough to satisfy action fanatics. As Chris Hemsworth fittingly places all of his training and gruff-exterior to the forefront for the film’s many violent, exhilarating and occasionally even over-the-top moments.

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His House

A low-budget British horror with some intriguing themes, ‘His House’ is a terrifying and eye-opening look at the specters of the refugee experience. Directed by first-time filmmaker Remi Weekes, the film is certainly not for everyone, as it avoids many common horror clichés in favour of aggressively playing into its central concept, which usually works quite well aside from one or two moments where it can feel a little heavy-handed.

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Underwater

A fantastic throwback to 80s creature-features, ‘Underwater’ was undoubtedly one of the most overlooked entries into the sci-if genre this year. And although it’s story isn’t anything we haven’t seen before, this simplistic yet flashy flick will surely please any fans of cult horrors and science fiction stories, having heavy inspirations of both H.P. Lovecraft and even the 1979 classic: ‘Alien.’

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The Gentlemen

Going back to his ‘Snatch’ roots, ‘The Gentlemen’ directed by the brilliant Guy Richie is simultaneously stylish, well-crafted and hilarious. Whilst I personally feel ‘Snatch’ still has a slight edge over Richie’s latest feature, it’s still a very enjoyable ride nevertheless, and is more than likely one of my favourites from this year.

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The Midnight Sky

Iconic actor George Clooney returned to directing this year with the Netflix Original: ‘The Midnight Sky,’ and even though it lacks the dramatic heft to match its narrative scale, its flaws are often balanced by its thoughtful themes and poignant performances from both Felicity Jones and George Clooney himself.

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The Invisible Man

Another one of my personal favourites from this year, this remake of the classic 1930s monster flick: ‘The Invisible Man,’ is a refreshing and very well-directed take on the iconic character. Remaining tense and entertaining throughout its mostly original storyline, all the while continuing to impress with its excellent performances, effective cinematography and impactful original score.

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We Can Be Heroes

Attempting to capture both the imagination of younger viewers as well as the nostalgia of older audiences who grew-up with colourful family flicks like ‘SpyKids’ and ‘The Adventures of Sharkboy and Lavagirl,’ ‘We Can Be Heroes’ had an opportunity to interject some light-hearted fun into this challenging year. But with its predictable and overly-marketed focus on superheroes, not to mention its clearly inexperienced young cast and abysmal CG effects and costume-design, ‘We Can Be Heroes’ ended-up being just as irritating as it was corny, lacking any of the charm those older films had for all their problems.

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Color Out of Space

A wonderful slice of cosmic-horror, ‘Color Out of Space’ explores this subgenre and its weirdly-fascinating story remarkably well. As although I personally adore cosmic-horror, this subgenre has always received little attention in modern-day cinema, yet this adaptation of H.P. Lovecraft’s novel of the same name is just as creative and disturbing as it’s source material, sometimes even more so despite a few moments of robotic dialogue and weak acting, resulting in a strange yet truly captivating experience.

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The New Mutants

Finally, after years and years of waiting, the horror-esque superhero flick: ‘The New Mutants’ was released in 2020. And it’s fair to say it made its way into cinemas with little applause, missing its train of anticipation by years at this point, and as a result, ‘The New Mutants’ seemed to have just gone unwatched by most, and for those who did see the film such as myself, simply experienced a dull, cheesy and messy film which felt unsure of what it even wanted to be by the runtime’s end.

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Sonic the Hedgehog

Jim Carrey makes his long-awaited return to the silver screen in this adaptation of the iconic video game character: ‘Sonic the Hedgehog,’ delivering an expectedly over-the-top performance as the film’s antagonist: ‘Dr. Robotnik.’ And while the film follows the usual formula many family films stick-to, never really doing anything unexpected or overly-impressive, it does remain enjoyable-enough for children and fans of the video game series alike throughout its simplistic story.

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The Devil All the Time

Gripping, tense and dramatic, ‘The Devil All the Time’s descent into darkness may be harrowing to the point of unwatchability for some, and isn’t a film I’d recommend to general audiences. Having a devilish mix of neo-noir intrigue and gothic horror based on William Hjortsberg’s page-turning novel, the film is a compelling feature only elevated by the strong work from its all-star cast.

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The King of Staten Island

This comedy/drama from director Judd Apatow isn’t one of the director’s best films to-date, as ‘The King of Staten Island’s uncertain tone and indulgent length stop this coming-of-age dramedy’s ability to find itself, but Pete Davidson’s soulful performance and the director’s usual flair for comedy do manage to keep the film afloat.

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The Babysitter: Killer Queen

Whilst this sequel to 2017’s ‘The Babysitter’ does delve more into the supernatural aspects only hinted at in the first film, ‘The Babysitter: Killer Queen’ is worse than it’s predecessor when it comes to both its comedy and it’s pacing. Ending-up as a mostly straight-forward and drawn-out chase sequence similar to the original film, only this time without the amusing jokes or clever horror satire to hold it up.

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The SpongeBob Movie: Sponge on the Run

Aside from its attractive animation and extremely vibrant colour palette, the third major film focusing on the iconic cartoon character: ‘SpongeBob SquarePants,’ contains barley any story or hilarious moments. Instead, relying on bizarre celebrity cameos and strange dream sequences to fill it’s short runtime, which is sure to do nothing other than leave children bored, adults confused and fans of the beloved animated show immensely disappointed.

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Arthur Christmas (2011) – Film Review

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

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

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

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

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

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

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

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

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The Grinch (2018) – Film Review

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

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

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

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

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

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

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

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

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Krampus (2015) – Film Review

Whilst most Christmas films get across their message about how family is the true meaning of the holiday in a wholesome and light-hearted fashion, ‘Krampus’ takes quite a different approach. As director Michael Dougherty (Trick ‘r Treat, Godzilla: King of the Monsters) crafts a cynical and amusing horror-comedy based-around: ‘Krampus,’ a creature from European folklore with origins stretching back to the days before Christianity, serving as essentially the sinister twin of jolly ‘Saint Nicholas,’ punishing those who misbehave in various odious ways. And while the film is far from perfect, ‘Krampus’ creative ideas and impressive practical effects make the film worth it’s runtime.

Plot Summary: When his dysfunctional family clash over the holidays, young ‘Max’ finally decides to turn his back on Christmas, tearing-up his letter to ‘Santa Clause’ in a fit of rage. Little does he know, his lack of Christmas spirit has unleashed the wrath of: ‘Krampus,’ an ancient demon who punishes those who don’t celebrate the festive season. Forcing ‘Max’ and the rest of his family to fight for one another if they hope to survive.

Although there are plenty of enjoyable films out there to watch over the festive season, I usually always find myself craving something new around the Christmas-period, as the cliché narrative of children helping ‘Santa Claus’ save Christmas gets very old quick. ‘Krampus’ however, does certainly attempt something new, even if it isn’t always successful. As whilst the original outline for the film was closer to a straight-forward horror, focusing mostly on ‘Krampus’ picking people off throughout ‘Max’s town, it was eventually decided to make it more of a dark retelling of a traditional Christmas film. This is why the plot is kicked-off with a letter to ‘Santa.’ and why the film’s first act begins much like a family film would, before then having a drastic turn towards horror and dark fantasy.

The film’s large cast of Adam Scott, Toni Collette, Emjay Anthony, David Koechner, Allison Tolman, Stefania LaVie Owen, Conchata Ferrell and Krista Stadler are all serviceable in their roles, even though many of their characters aren’t developed nowhere near enough. Additionally, ‘Tom Engel,’ a.k.a. ‘Max’s father, also has many moments where he doesn’t seem to take their life-threating situation that seriously, almost as if he is acknowledging how bizarre the story is, which does diminish the film’s tension at points. But with ‘Krampus’ featuring moments of humour and fright alike, the film obviously has many shifts in tone between scenes.

Jules O’Loughlin’s cinematography is nothing amazing altogether, as in spite of the film having quite a few memorable and attractive shots, there are also a large amount of bland shots whenever the camera is focusing on the actors themselves. What is far more admirable though is how the camerawork enhances the film’s set-design, making the audience believe that the film was shot inside a real house and outside on a real wintry street. When in reality, over 95% of the film was shot on a soundstage, with the snow covering the ground being made from a material that’s commonly used for making nappies.

Composer Douglas Pipes handles the film’s original score, and he described his soundtrack as “A Collection of Twisted Christmas Carols with Pagan Thrown in.” As the score incorporates everything from the sounds of chains, bells, bones and animal-skin drums in addition to having choirs chant and whisper in different tongues, making for a foreboding but suitably Christmassy score. The track: ‘A Cold Wind’ also does a phenomenal job of reiterating ‘Krampus’ as the ominous shadow of: ‘Santa Clause’ through its use of sleigh bells. However, the film’s actual sound design features some incredibly strange choices for a horror, as many goofy/cartoonish sound effects can be heard within the film, feeling immensely out-of-place every-time they are.

One of the finest aspects of: ‘Krampus’ as a film has to be its effects, as rather than having an over-reliance on CG visuals, ‘Krampus’ brings all of its uniquely-creepy creatures to-life through detailed costumes and animatronics, harkening back to classic 80s horror-comedies like ‘Gremlins.’ Many of the film’s terrifying monsters also share wonderfully-horrific designs, with the final design for: ‘Krampus’ and his elves being distilled from various postcards and illustrations seen over-time. Or in the case of the malevolent toys, taking inspiration from the 1992 low-budget horror: ‘Demonic Toys,’ with the angel ornament, teddy bear, robot and Jack-in-a-box that attack the family sharing many similarities to that obscure film.

In conclusion, ‘Krampus’ is a rollicking ride of a Christmas film even if it isn’t quite as polished as Dougherty’s Halloween flick: ‘Trick ‘r Treat.’ As the film’s excellent practical effects, menacing creature designs and great original score all lend themselves very well to the distinctive story, despite the narrative itself often feeling like wasted potential considering ‘Krampus’ doesn’t fully appear until near the end of the runtime. Regardless, this horror-comedy is still the best on-screen interpretation of: ‘Krampus’ and his minions as of yet. Final Rating: 7/10.

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How to Train Your Dragon (2010) – Film Review

One of the highest-regarded films from DreamWorks Animation, 2010’s ‘How to Train Your Dragon’ is successful in nearly every regard as an animated feature, making many changes to its original source material (all of which for the better), to excel as a brilliant piece of family-focused storytelling. With plenty of memorable characters, exhilarating action sequences and an outstanding original score by John Powell, ‘How to Train Your Dragon’ would soon go on to become one of DreamWorks’ most recognisable and profitable franchises for good reason.

Plot Summary: On the island of: ‘Berk,’ ‘Hiccup,’ the frail son of the Viking Chief, aspires to hunt dragons and keep his home safe like the rest of his clan, earning the respect of his fellow Vikings. But after inuring a ‘Night Fury,’ one of the rarest and most powerful dragons known to exist, ‘Hiccup’ forms an unlikely friendship with the creature, soon realising that dragons aren’t at all what Vikings believe them to be.

The first film to be directed by duo Chris Sanders and Dean DeBlois since the Disney classic: ‘Lilo and Stitch’ in 2002. The film adaptation of: ‘How to Train Your Dragon’ makes many alterations to the story seen in the original children’s book. As firstly, ‘Hiccup’ does not have a love interest, and the now-iconic DreamWorks character: ‘Toothless’ is about the size of the ‘Terrible Terror’ dragon breed, his skin is also green and red, not black. Furthermore, ‘Toothless’ gets his name when ‘Hiccup’ first finds him with no teeth. But the film’s producers decided, with the approval of author Cressida Cowell, that it would be more cinematic to make ‘Toothless’ large enough to be ridden as a flying mount. As such, ‘Toothless’ was completely redesigned as a rare ‘Night Fury,’ a highly intelligent breed of dragon evolved for speed and stealth with teeth that retract into their jaw when shooting a fiery-pulse.

Protagonist: ‘Hiccup’ is portrayed by Jay Baruchel, a fairly under-the-radar actor. But similar to his character in ‘The Sorcerer’s Apprentice’ from 2011, Baruuchel suits a nervous character like ‘Hiccup’ extremely well due to his naturally-anxious voice, making for a likeable yet never vexatious protagonist. Gerard Butler as ‘Hiccup’s father: ‘Stoick’ is another member of the cast who naturally fits his character, as Butler’s rough Scottish voice melds with the hefty Viking leader’s design perfectly. The film also features a great ensemble cast for the other young dragon recruits through America Ferrera, Jonah Hill, Christopher Mintz-Plasse, T.J. Miller and Kristen Wiig, who together provide many of the film’s comedic moments.

The animated cinematography throughout ‘How to Train Your Dragon’ is superior to a number of other animated flicks when put in comparison, as the film continuously features beautiful visuals. The most obvious being within the scene: ‘First Flight,’ in which, ‘Hiccup’ hops aboard ‘Toothless’ for the first-time as they soar across the stunning land of: ‘Berk,’ breezing over acres of forest and past/through cliffs all while being tracked by the camera. Interestingly, many of these dragon-flying moments are also inspired by combat and aerobatic aircrafts, as ‘Toothless’ performs many aerobatic maneuvers and combinations such as a ‘Loop and Snap.’

Nominated for an Oscar at one point-in-time, the original score by John Powell is truly sensational, a majestic score that occasionally even utilises bag-pipes in order to further fit with the film’s Scottish setting (which is alluded to by the many Scottish accents). And while Powell has always been known for creating phenomenal scores for animated flicks, with ‘Ice Age,’ ‘Kung Fu Panda’ and ‘Horton Hears a Who!’ being just some of his sublime work, the soundtrack for: ‘How to Train Your Dragon’ is by far some of his best, with the tracks: ‘This is Berk’ and ‘Forbidden Friendship’ becoming some of the most notable tracks in all animation.

The animation itself has begun to show its age in a handful of shots since the film’s initial release, but as a result of the film’s many wonderful designs, usually in relation to its dragons, which display different abilities, colours, horns and skin-tones for each breed, the film manages to redeem any shot that feels at all dated. These pleasant designs also help distract from the film’s overly-fast-pacing, as whilst I understand that younger viewers may have shorter attention-spans, the film can sometimes feel as if its rushing through one scene to quickly get to the next.

Although I share the quite controversial opinion of disliking the sequels to ‘How to Train Your Dragon,’ as I personally find them much more generic and paint-by-numbers in terms of plot. The original film is still one of DreamWorks Animation’s best efforts, and I’d even argue is on the level of beating-out their previous fantasy franchise: ‘Shrek’ when it comes to its characters and world-building. So even if you don’t enjoy animated/family films, perhaps ‘How to Train Your Dragon’ will sway you into the genre just as it does with its wonderous story. Final Rating: low 8/10.

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Don’t Be Afraid of the Dark (2010) – Film Review

Co-written/produced by Guillermo del Toro and directed by Troy Nixey, ‘Don’t Be Afraid of the Dark’ embraces many of the same elements as del Toro’s other films, crafting a narrative which combines both traditional gothic horror and childlike fantasy. But sadly, unlike a usual del Toro project, there is a noticeable absence in everything from captivating characters to memorising practical effects/creatures, resulting in a film that feels like a mostly copy-and-paste effort beyond one or two interesting ideas.

Plot Summary: After being sent to live with her father and his new girlfriend at their recently-renovated manor, the previous home of the long-missing painter: ‘Emerson Blackwood’. Young ‘Sally’ begins to hear ominous voices emanating from the basement’s ash-pit, soon leading her to discover the cause of the painter’s disappearance…

Taking heavy inspiration from the classic H.P. Lovecraft short story: ‘The Rats in the Walls.’ ‘Don’t Be Afraid of the Dark’ is actually a remake of a low-budget 1973 TV film, as the now-iconic director Guillermo del Toro has stated in the past that he was terrified of the film when he first watched it as a child, later inspiring him to reimagine the mostly-unknown horror flick. Yet even with a much larger-budget and a more well-known cast, the film is still quite underwhelming when it comes to both its scares and story, as the film’s narrative follows a formula almost identical to many other modern horrors.

All of the performances throughout the film aren’t anything overly-impressive, as whilst Katie Holmes does try her best to portray a young girl witnessing sights that no one else believes. Her character: ‘Sally’ (similar to the rest of the film’s characters) receives very limited characterisation, which does make many of the scenes revolving around the family-dynamic far less entertaining. Then there is also ‘Sally’s father and his girlfriend: ‘Kim’ portrayed by Guy Pearce and Bailee Madison respectively, and although Madison gives a serviceable performance, Pearce may give one of the weakest performances of his career here. As ‘Sally’s father: ‘Alex,’ always shows little concern or remorse when it comes to his daughter, making the character immensely difficult to resonate with.

The cinematography by Oliver Stapleton is very grand in its execution, allowing for a large number of wide-shots, some of which even flow smootly-around the various rooms of the manor. But it’s the film’s colour palette which is most worth noting, as the film utilises much more red and yellow than many other modern horrors, which is a pleasant change in terms of visuals as the more vibrant colours reflect the manor’s elegant design, which is probably one of the most visually-striking ‘haunted houses’ in recent memory, with even the manor’s front entrance having a beautiful carving of an old oak tree merged into the multi-coloured glass.

Marco Beltrami and Buck Sanders provide the original score for the film, which similar to the film’s cinematography, gives the story a much more ‘epic’ feel. As the heavy-orchestral score could’ve easily been taken from any classic gothic horror, lending itself effectively to many scenes aside from a couple of generic tracks. The film often also features some fantastically-creepy sound design, as the film’s creatures continuously speak to ‘Sally’ using their ghostly whispering voices, which seemingly echo throughout the usually-empty corridors of the manor.

Although many of del Toro’s other outings do provide plenty of wonderful practical effects to gaze at, usually creating an array of unsettling/memorable creatures, ‘Don’t Be Afraid of the Dark’ takes another (less-appealing) route to its monsters. As the film’s creatures are brought-to-life almost entirely though CG effects, which not only makes some shots appear slightly dated, but also manages to take-away from nearly all of the film’s tense moments. Additionally, the film’s creature designs aren’t all that menacing, as despite the idea of evil fairytale monsters being quite unique (as the creatures are later revealed to be a sinister incarnation of tooth-fairies). The creature’s extremely small-size does make them feel very unthreatening even if it is a nice change-of-pace over having one large entity, as the film never does enough with its miniature antagonists regardless of what knives/tools they arm themselves with.

‘Don’t Be Afraid of the Dark’ is regrettably a film that is just not worth its short runtime. As while I admire the effort to combine famed fairytale stories with a chilling atmosphere, the predominantly poor performances and numerous unexplored concepts leave the film simply another bland horror flick with a surprisingly weak screenplay by del Toro to-boot, especially when compared to much of his other work. Still, with all that said, I feel that Troy Nixey does deserve another shot in the director’s chair someday, as since this film’s initial release, he actually hasn’t worked on any other projects, which is unfortunate, as I do believe he does have some talent as a filmmaker when looking at this film’s merits. Final Rating: high 3/10.

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Where the Wild Things Are (2009) – Film Review

Although its themes and ideas may go over many younger viewer’s heads, ‘Where the Wild Things Are’ feels like a film that reflects what many felt whilst being a child themselves. As writer-director Spike Jonze (Being John Malkovich, Adaptation, Her) creates a moving, thoughtful and occasionally even woeful experience that dramatically elevates its original source material, with a charming soundtrack compiled by musician ‘Karen O’ and plenty of wonderful creature designs and locations. ‘Where the Wild Things Are’ is truly a unique yet uncompromising film that sends its audience back to the innocent days of childhood.

Plot Summary: Following a fight with his mother and yearning for adventure, a young boy runs-away from home and sails to a mysterious island filled with creatures who take him in as their king after ‘Max’ makes a promise to solve all their problems.

As previously mentioned, the film adaptation of: ‘Where the Wild Things Are’ is a large step-up from the original children’s book it’s based on by Maurice Sendak. As while the classic story of a young boy visiting a land of fantastical creatures in order to escape reality has always been a staple of children’s literature, Jonze manages to deepen the overall narrative with his adaptation. Having themes of maturity, imagination and balancing ones own emotions (all of which are presented in a mature and subtle way). In fact, the film’s production company, Warner Brothers Pictures. Were initially so unhappy with the final film (as it was far-less family-friendly than they imagined) that they wanted Jonze to reshoot the entire film, instead, the two agreed to satisfy both parties by giving the film more time in production.

Max Records leads the cast as the excitable and resentful: ‘Max,’ who gives a genuinely brilliant performance considering the actor’s young age at the time of filming. Alongside him of course, is the group of creatures portrayed by the voice cast of Lauren Ambrose, Chris Cooper, Catherine O’Hara, Forest Whitaker and Paul Dano. Whose voices all match their respective characters flawlessly. Its the late James Gandolfini as ‘Carol’ who really shines within the film however, having the most memorable design of the all the creatures within the original book, ‘Carol’ serves as a reflection of: ‘Max’s childish attributes, from his tantrums to his jealously and sadness, all of which is given such life through Gandolfini’s performance.

While the film’s colour palette remains fairly vibrant throughout despite featuring a large amount of beiges and browns, the cinematography by Lance Acord is sadly the weakest aspect of the film. As ignoring the large array of stunning sunrise/sunset shots, ‘Where the Wild Things Are’ utilises hand-held camera for the majority of its runtime, which when combined with the film’s occasionally chaotic editing can make some scenes feel a little impetuous. Yet despite not having an overly large-budget, the film’s CG effects do still hold-up remarkably well, with all of the facial expressions of the creatures and extensions to many of the island’s locations not seeming even remotely out-of-place.

The film’s soundtrack complied by musician: ‘Karen O’ really benefits to the film’s already calming and mature presentation. From the opening track: ‘Igloo’ through to the more upbeat tracks: ‘Rumpus’ and ‘Sailing Home,’ to even the film’s more lyric-based tracks with ‘All is Love’ and ‘Hideaway.’ The soundtrack for: ‘Where the Wild Things Are’ doesn’t feel like a traditional film score in the best possible sense, giving more of an impression of a slow-paced yet beautiful acoustic guitar album, which just like the film itself, is immensely under-appreciated.

However, one of my personal favourite elements of the film and certainly the most visually-striking has to be the many different designs of the creatures who live on the island. As not only do the designs fit each character’s personality, but every design is also a perfect live-action recreation of the creature’s original appearances within the pages of the book, with all of the creatures being brought-to-life using enormous and heavily-detailed suits from the Jim Henson Company rather than just simply using CGI. The Jim Henson Company are known of course, for the creation of: ‘The Muppets,’ whose familiar charm isn’t lost here.

‘Where the Wild Things Are’ is to me, an incredibly underrated modern classic. Despite its few flaws, the film surpasses its source material and then some, creating a genuinely gut-wrenching experience at points. Whilst the film has been criticised by some since its release mostly as a result of being seen as too mature and possibly even a little frighting for younger viewers. I believe the film gets across a number of important messages for children, and I appreciate the film’s more in-depth approach to crafting an imaginative family adventure. So, although Jonze may not have an extensive catalogue of films as a director, the films he has made never cease to impress me, and ‘Where the Wild Things Are’ fits as just another piece of the puzzle. Final Rating: low 8/10.

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