Rampage (2018) – Film Review

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

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

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

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

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

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

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

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

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Pixels (2015) – Film Review

Despite its undeniably-promising story and talented supporting cast, 2015’s ‘Pixels’ is sure to greatly disappoint any viewer hoping for a hilarious and nostalgic throwback to 1980s arcade classics. As due to heavy involvement from Adam Sandler and his production company Happy Madison Productions both on and off-screen, ‘Pixels’ massively stumbles in its transition from the low-budget short film it’s originally based on into an explosive blockbuster, losing all of its charm and creative ideas to become simply another Adam Sandler comedy with some inspired visual effects.

Plot Summary: When aliens misinterpret a satellite video feed of 1980s arcade games as a declaration of war, they begin a full-scale invasion of Earth using games like ‘PAC-MAN,’ ‘Donkey Kong,’ ‘Centipede’ and ‘Space Invaders’ as models for their various assaults. Eventually leading U.S. President: ‘Will Cooper’ to call on his childhood best friend, 80s video game champion: ‘Sam Brenner,’ to lead a team of old-school arcaders to help defeat the alien invaders and save the planet…

As previously mentioned, ‘Pixels’ is actually based on a 2011 short film of the same name by French director Patrick Jean, which since being uploaded to YouTube has racked-in well over two-million views. And whilst I personally believe the short film’s story of video games characters invading Earth is a superb set-up for sci-fi-comedy, ‘Pixels’ unique plot is quickly butchered by screenwriter Tim Herlihy’s continuous writing fall-backs, as the film is content to stick with the usual Sandler template, using its inventive premise as simply framework to focus on a tired romantic hook-up storyline. Not even director Chris Columbus (Home Alone, Mrs. Doubtfire, Harry Potter and the Philosopher’s Stone) manages to elevate the film’s story when the eight-bit antagonists aren’t on-screen, which is all quite frustrating when considering the film’s enormous budget of over £64 million.

Although the supporting cast of Peter Dinklage, Brian Cox and Sean Bean do feel as if they are trying their best considering the mélange of underwritten characters and awful dialogue they have to work with. Adam Sandler, Kevin James, Josh Gad and surprisingly even Michelle Monaghan are all immensely irritating throughout the film, playing into their standard goofball personas without even a single attempt to lean outside of their comfort-zones as actors. Josh Gad certainly suffers the worst in this regard however, as his character: ‘Ludlow Lamonsoff’ serves as the cliché for video game enthusiasts, portraying ‘Ludlow’ as a loud yet awkward loner who spends all of his time playing games rather than socialising, a gag which gets old very quick.

The cinematography by Amir Mokri does allow for a few pleasant shots here and there, but whenever the film focuses more on dialogue than action, the camerawork seemingly takes a swift dive into drabness. Luckily, this is where ‘Pixels’ many, many visual effects shots come into play, adding a great level of colour and 1980s authenticity into the film just as the many arcade cabinets littering the sets do, even if games such as: ‘Asteroids,’ ‘Battle Zone’ and ‘Gravitar’ did cause issues on-set due to them being vector-class games, meaning the camera couldn’t pick-up their gameplay from certain angles without the use of a special monitor.

When it comes to the original score by Henry Jackman, ‘Pixels’ doesn’t improve much here either, as tracks like ‘The Invasion,’ ‘To the White House’ and ‘Sweet Spot’ only continue to empathise the true extent of the soundtrack’s bland and forgettable nature, and similar to Jackman’s score for: ‘Wreck-It Ralph,’ I couldn’t help but wonder as to why Jackman didn’t go for a more traditional eight-bit approach.

Whilst we never actually see the invader’s true form at any point during the film, ‘Pixel’s CG effects are consistent and by far the film’s finest attribute. As each iconic video game character is represented exactly as they were in their original game(s), just as colourful and robotic as when they first appeared to gamers during the 80s. And just like the original short film, when destroyed the various characters also explode, bursting into pixels (glowing multi-coloured cubes), before then configuring themselves back together to transform into another instantly-recognisable hieroglyph from video gaming’s past, which never fails to look enticing.

Overall, while I, like many others am not a Sandler fanatic, ‘Pixels’ is a film that truly baffles me as to just how far it is from its original inspiration. As even in spite of its annoying cast, childish characters and forced romantic subplot, there could still be a fairly enjoyable throwback to alien invasion flicks and 1980s gaming hidden somewhere within this mess. But when looking at the film head-on, I now think it’s just too hard to ignore all its problems, and while most had the common sense to stay clear of this abysmal sci-fi/comedy, I’m still amazed ‘Pixels’ managed to ruin all of its fleeting moments of eight-bit invaders wreaking havoc just to fall into Adam Sandler’s long list of detestable comedies. Final Rating: low 3/10.

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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 producer 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 truly 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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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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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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The Purge (2013) – Film Review

The first instalment in the now-iconic horror franchise, the original entry in ‘The Purge’ series is a fantastic idea quickly ruined by its poor execution. As whilst the film’s main concept of one night a year where all crime is legalised is both a terrifying and intriguing notion, the entire series (in particular the first film) seem to explore the horrific world its story is set within in all the least interesting ways.

Plot Summary: In the near future, America celebrates ‘The Purge’ once a year, a national event in which all crime is legal for twelve hours. On this night of chaos and murder, a wealthy family soon find themselves hostages for harbouring the target of a murderous syndicate after he gains access into their fortified home…

Directed by James DeMonaco, this director has actually taken on every instalment of: ‘The Purge’ series from the original film through to the latest entry: ‘The First Purge’ in 2018. According to DeMonaco, the idea for the film first came about during a moment of road-rage when he and his wife were cut-off in traffic by a drunk driver, resulting in DeMonaco wishing you could have one free murder a year after witnessing the driver’s complete lack of regret. While a creative and disturbing concept by itself, ‘The Purge’ series has also captivated many through its many themes. Although mostly focused on in later films, the various themes of this horror franchise could be interpreted by viewers in a number of different ways, from political to psychological.

Ethan Hawke, Lena Headey, Max Burkholder and Adelaide Kane portray the main family of the film: ‘The Sandins,’ who unfortunately, with the exception of Ethan Hawke as the father: ‘James Sandin,’ all give relatively weak performances, portraying the family as excessively mundane throughout. However, this is also heavily due to their characters, as nearly every character within the film is written as either very peculiar or very cliché, with the son: ‘Charlie Sandin’ having a medical problem which he takes medication for, in addition to having a strange character quirk for building and driving a remote control car attached to a disfigured baby doll, which ‘Charlie’ uses to navigate his way around the house. But due to how specific the latter is, he (and his sister) end-up seeming like nothing more than plot devices to put the rest of the family in further peril.

Aside from one or two shots, the cinematography by Jacques Jouffreet is unsurprisingly quite bland. Mostly unitising mid-shots and close-ups, ‘The Purge’ never really attempts to do anything overly-inventive with its cinematography, usually relying on rough hand-held shots. Alongside this, the lighting throughout the film is immensely dark. As after the murderous syndicate cut the power to the family’s home, the remainder of the film’s runtime is spent in nearly-total darkness, which can become a little irritating after a point as the constant dark corridors make the characters even harder to follow than they already were, as the cinematography doesn’t allow the viewer any understanding of the house’s convoluted and confusing layout.

Even though many modern horrors lack an ingenious score, the original score by Nathan Whitehead is fairly uninspired. As in spite of the soundtrack helping to build-up a tense atmosphere during a few scenes, the original score simply isn’t memorable in the slightest and is barely distinguishable from any other generic horror/thriller soundtrack, despite the huge list of tracks the film has to offer. However, the excellent costume design of: ‘The Purge’ does help redeem the weak score, as the many different ‘Purge’ masks and costumes make for some memorably-creepy visuals.

The most obvious issue ‘The Purge’ has been criticised for is its focus on being more of a home-invasion thriller than what most would imagine (and desire) a ‘Purge’ film to be, as the original film is actually extremely contained, being set nearly entirely within the family’s home and relying on only a small group of characters. While director James DeMonaco has stated this was mostly due to the film’s small-budget and lack of shooting days, you can’t help but feel the film isn’t exploring its chaotic world as effectively as it could whilst watching. Of course, being a modern horror, ‘The Purge’ is also littered with jump-scares throughout, many of which are very predictable due to the build-up to each one, eventually making them feel nothing but tedious.

Whilst I personally don’t feel ‘The Purge’ series improves much even throughout its future entries. There are still some aspects I enjoy within this modern horror, from its interesting ideas and themes to its decently entertaining performance from Ethan Hawke and array of menacing masks/costumes, ‘The Purge’ does have great potential, but I simply feel it was just never fully-realised. While this horror series does have a devoted fan-base, I’ve never quite understood its appeal. As for me, ‘The Purge’ franchise will always have its intriguing ideas spoiled by its dull filmmaking. Final Rating: high 3/10.

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Venom (2018) – Film Review

Directed by Ruben Fleischer (Zombieland, Gangster Squad, Zombieland: Double Tap), ‘Venom’ follows in the footsteps of many other mature superhero flicks before it such as: ‘Deadpool’ and ‘Kiss-Ass.’ Attempting to focus more on the story of an anti-hero than the usual heroically noble protagonist we expect from this genre, all alongside some dark comedy and plenty of action scenes for good measure. However, just from the first half an hour alone, it’s clear that ‘Venom’ bites-off far more than it can chew.

Plot Summary: When investigative journalist: ‘Eddie Brock’ attempts a comeback by investigating recent illegal experiments in San Francisco, he soon end-ups accidentally becoming the host of an alien symbiote that gives him a violent super alter-ego known as ‘Venom.’ But after a shadowy organisation begins looking for a symbiote of their own, ‘Eddie’ must use his newfound powers to protect his planet…

Although it may surprise many, ‘Venom’ has actually an age-rating of twelve in the United Kingdom, which is very bizarre as the film clearly tries to appeal to an older audience throughout its runtime, with ‘Venom’ constantly committing horrific acts like biting people’s heads off, yet of course, in a completely bloodless manor. As ‘Venom’ has always been one of: ‘Spider-Man’s most violent and sinister villains, the film feels incredibly inconsistent as a result of this rating, and could’ve been so much more if it indulged further into its dark central character.

Tom Hardy sadly gives one of his weakest performances to date here, as throughout nearly the entirety of the film, Tom Hardy’s portrayal of: ‘Eddie’ is very over-the-top, with his overly-nervous reactions becoming a little obnoxious after a while. This is also due in part to the large amount of improvising Tom Hardy did on-set, usually from items he noticed in various filming locations, including the now infamous: ‘Lobster Tank’ scene, in which, ‘Eddie’ publicly climbs into a restaurant’s lobster aquarium after claiming he’s burning-up from a fever. The cast also features Michelle Williams and Riz Ahmed as the film’s antagonist, who also give fairly underwhelming performances. Unfortunately, the characterisation isn’t much of an improvement either, as every character is nothing more than a cardboard cut-out, with the antagonist: ‘Carlton Drake’ in particular, having a confusing and undeveloped motivation for his malevolent scheme.

The cinematography by Matthew Libatique is actually quite chaotic during a number of scenes, as the shots attempt to keep-up with ‘Venom’ as he tears his way through various buildings and enemies, yet when the film goes back to its more character-focused scenes, the cinematography is relatively bland, mostly relying on shot-reverse-shot for the majority of these moments. The writing throughout the narrative is also severely lacking, as aside from a couple of humorous conversations between ‘Eddie’ and ‘Venom,’ the film is truly dripping with line-after-line of cheesy dialogue, much of which has been heard time-and-again in other superhero flicks.

Although there are a number of forgettable superhero scores out-there, the original score by Ludwig Göransson is pretty dull overall. As aside from working decently during some of the more heroic moments within the story, the soundtrack is really nothing more than a straight-forward superhero affair with a few inclines horror thrown-in to fit more with the character of: ‘Venom.’ A few of these tracks do back-up the film’s action scenes well however, as ‘Venom’ does have its fair share of exciting moments despite its predictable story, many of which make great use of: ‘Venom’s unique symbiote abilities.

Without a doubt, the worst aspect of: ‘Venom’ is it’s CG effects, as throughout the film both ‘Venom’ and his symbiote antagonist: ‘Riot’ are far too shiny and continuously bounce around the screen as if they are animated cartoon characters, with nearly every visual effect feeling as if it has virtually no weight or density. Although it could probably go without saying, the lack of any kind appearance/reference from/to ‘Spider-Man’ himself is also quite distracting, as Sony didn’t actually obtain the rights to use the character within this film, nor have this film take-place within the Marvel Cinematic Universe alongside films such as: ‘The Avengers’ and ‘Guardians of the Galaxy,’ despite the Sony’s many attempts at tricking its viewers into believing it does.

While ‘Venom’ is nowhere near as awful as some other superhero blockbusters, with ‘Catwomen,’ ‘Fantastic Four’ and ‘Suicide Squad’ all being far worse in terms of filmmaking. ‘Venom’ is simply a decent idea ruined by its poor execution, as aside from the film’s accuracy to the comic books its based on as well as it’s memorable action set-pieces, the film feels like nothing more than a cliché superhero story we’ve seen many times before, and I personally don’t feel it deserves the huge amount of praise it’s received from most audiences. Unless you’re an enormous fan of this iconic anti-hero, I’d probably recommend you give this character’s first individual outing a miss. Final Rating: 3/10.

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The Snowman (2017) – Film Review

Despite being directed by Tomas Alfredson, head of some great films in the past such as: ‘Let the Right One In’ and ‘Tinker Tailor Soldier Spy,’ ‘The Snowman’ is a complete mess of a thriller from start-to-finish. Mostly as a result of the variety of issues it faced during its production, from a rushed shooting schedule to plenty of scenes and story elements being left on the cutting-room floor. Although the film’s isolated location alongside the visually pleasing cinematography by Dion Beebe may be very effective at points, they simply aren’t enough to save the film from its weak writing and boring/confusing narrative, even with the film’s decent source material.

Plot Summary: As a rough detective (Harry Hole) investigates the disappearance of a woman whose scarf is found wrapped around an ominous-looking snowman, he begins to fear an elusive serial killer may be active again. So with the help of a brilliant recruit, ‘Harry’ must now connect decades-old cold cases in the hopes of outwitting this threat before the next snowfall…

‘The Snowman’ is based on the novel of the same name by Jo Nesbø, also known as: ‘Snømannen’ in Norwegian. However, although this is the first time audiences are seeing the character of: ‘Harry Hole’ portrayed on-screen, ‘The Snowman’ is actually the seventh entry in the character’s novel series. Making the narrative itself feel very underdeveloped and even a little out-of-place, almost as if the viewer hasn’t been informed of any of the film’s in-world events before the current story begins (this may also be why the film is brimming with overly-long flashbacks).

Michael Fassbender portrays the protagonist: ‘Harry Hole’ within the film, which is unfortunately one of his weakest performances to date, not only due to his poorly-written character (who is incredibly cliché as an uncaring alcoholic detective) but also as a result of his fairly bland line delivery. The rest of the cast featuring Rebecca Ferguson, Charlotte Gainsbourg, Jonas Karlsson and even a short appearance from J.K. Simmons, are all decent with what they are given, although they also suffer from similar poorly-written characters. Many of the characters throughout the film also never seem to react very realistically to situations, as characters usually just shrug-off horrific sights with ease. Never really delving into how traumatic these experiences would actually be for a person to witness.

The cinematography by Dion Beebe is undoubtedly the best aspect of the film however, as the beautiful yet isolated locations of the story really add to the film’s enormous array of wide-shots and uncomfortable close-ups. Needlessly to say, this doesn’t really help with the lack of tension within the film, as although the film makes more than a few attempts at crafting tension-filled moments when ‘Harry’ investigates various crime scenes, the film never quite manages it, usually failing to build-up much of an eerie atmosphere.

Marco Beltrami handles the original score for the film, and although this composer usually does terrific work, his score for: ‘The Snowman’ is mostly very dull. As with the exception of the tracks: ‘Main Titles’ and ‘Down the Harry Hole,’ the entire soundtrack feels as of it could’ve been taken from almost any other generic thriller, which is a huge shame, as I personally feel a more impactful score could’ve really helped with the film’s total lack of tension.

The film’s location probably intrigued a large number of viewers just on itself, clearly taking inspiration from films such as: ‘Deadfall’ and the dark comedy classic: ‘Fargo’ from 1996, the film’s snowy Norway setting really gives the film a distinct look, with the bright red blood from many of the killer’s victims standing-out immensely amongst the white snow. These visuals also help to distract from the film’s slow-pacing, as the film’s main mystery usually feels like quite a drag, with clues only being revealed very slowly over the course of the film.

In conclusion, ‘The Snowman’ definitely fails in more categories than one, as despite its interesting location and pretty fantastic cinematography, the film’s messy story and bland performances make the film pretty unappealing when considering it’s over two-hour runtime. Whilst I’m sure ‘The Snowman’ had the potential to be a great semi-Noir thriller at some-point in time, especially considering it was initially going to be directed by the legendary Martain Scorsese, who eventually left the film to pursue other projects. ‘The Snowman’ is still far from the chilling crime tale it attempted to be, and overall, is a complete disappointment. Final Rating: 3/10.

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Mom and Dad (2018) – Film Review

I was very disappointed upon my initial watch of: ‘Mom and Dad,’ as I originally went into this one anticipating an extremely funny, gory and over-the-top dark comedy. Featuring an equally over-the-top performance by the infamous Nicolas Cage. However, I soon found out this wasn’t the case at all, as the film didn’t deliver enough on most of the elements I was expecting, resulting in an extremely weird film for all the wrong reasons.

Plot Summary: When a teenage daughter returns home after a day at school, she and her younger brother must try to survive a twenty-four-hour period in which a mass hysteria of unknown origins causes parents to violently kill their own children…

Although it’s never fully explored, I personally feel this strange yet unique idea for a narrative is one of the best elements of the film. But with a plot sounding this insane, and of course featuring Nicolas Cage (a man known for his crazy and very memorable performances) I expected something truly special for the comedy-horror genre. But I was very underwhelmed. As the film didn’t really deliver on any of it’s best aspects for me, with the story is very simple and barely getting any development beyond the initial idea, with the same sadly being said for the characters.

The film also gives nowhere near enough screen-time to Nicholas Cage, as although he does have a few memorable moments throughout the story. It’s his co-star Selma Blair who takes up the majority of the scenes, and considering his name is all over the marketing, and his over-the-top style of acting would suit a film like this perfectly, it’s not unfair to have expected more from him. The children in the film portrayed by Anne Winters and Zackary Arthur are both decent but very forgettable.

In regards to the actual filmmaking, the film is nothing too impressive. As film contains mostly bland cinematography by Daniel Pearl, relying on large amounts of shaky-cam for the majority of the runtime. The editing in the film is also very distracting, as aside from the opening title sequence of the film which is framed very similar to the opening of a family sitcom, which I found quite amusing. Unfortunately, everything after this intro I did not. As the film’s editing comes off as very messy and out-of-time at points, as it feels to me like director Bryan Taylor was trying to capture a similar tone to his ‘Crank’ series of films. With the film feels very energetic and fast-paced, but it simply comes off as unusual to me.

One of the element of the film I did sum-what enjoy however is the original score composed by ‘Mr. Bill.’ As the film’s soundtrack does help to build tension during many of the chase scenes. However, although I do like this score for its’s originality, it doesn’t always fit within the film or it’s pacing. Alongside this, the film also seems to shy away from more violent scenes, as we only see a few actual deaths on-screen. The remainder of the violence is usually off-screen, only showing small bits of blood to the audience now and then, for a fun comedy-horror like this, I believe that’s a huge mistake. As I feel the film should have gone all-in on the gore/fun factor.

Overall, I wasn’t very impressed with ‘Mom and Dad,’ I feel a film like this would’ve been extremely entertaining if done correctly. But the film really falls short of being the fun gore-fest it set out to be. If the film was more along the lines of something like: ‘Shaun of the Dead’ or ‘Tucker and Dale vs. Evil’ I think it could’ve been something really enjoyable. As I do believe director Bryan Taylor is somewhat talented, being both the director and writer of this film, I could see him directing another strange comedy like this in the future, but hopefully one that’s a little better. Final Rating: high 2/10.

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World War Z (2013) – Film Review

Very loosely based on the novel: ‘World War Z’ by Max Brooks, this film adaptation directed by Marc Forster attempts to tell an enormous globe-trotting story of a spreading zombie virus, and although it does have a few entertaining elements here and there, so much so that it was one of the highest-grossing films of 2013. I personally found the film to be extremely messy, and overall, pretty forgettable.

Plot Summary: After narrowly-escaping an attack in Philadelphia, former United Nations employee: ‘Gerry Lane,’ traverses the world in a race against time to stop a zombie pandemic that is toppling armies and governments, soon threatening the survival of humanity itself…

Even with a pretty standard plot for a zombie flick, the film unfortunately is still brimming with plenty of cliché moments and jump-scares throughout, in addition of course to the film’s overall lack of style. Making the entire experience really struggle to stand on its own amongst the many other films within its genre, which I do feel can be mostly put down to the director Marc Forster (Finding Neverland, Stranger Than Fiction, Christopher Robin).

Brad Pitt, Mireille Enos both do a decent job as ‘Gerry’ and ‘Karin Lane’ within the film, despite their characters having pretty much no characterisation outside of them being a loving family. Their children however, portrayed by Sterling Jerins and Abigail Hargrove. I found very irritating, as aside from their constant screaming and crying, their child performances weren’t very convincing to me at all. Strangely, Peter Capaldi also has a small role within the film, despite barley adding anything to the story.

Ben Seresin handles the cinematography throughout the film, and aside from a few scenes were hand-held camera techniques are used to reflect the chaos we see during many of the zombie attacks, many of the visuals are extremely flat. As the cinematography is very bland and uninspired, usually sticking to very standard shots and never really experimenting with anything incredibly interesting. The CG effects throughout the film’s runtime are also very inconsistent, as in some scenes the visual effects work perfectly fine. Whereas in others, they look truly awful, with many of the zombies bouncing around as if they were made out of rubber. I do appreciate the various aerial shots which are used during many of these scenes however, as I feel these shots really incapsulate the enormous scale of the film’s devastating pandemic.

The film’s original score by Marco Beltrami is decent overall, it works within the film to increase what tension and drama there is on-screen. But outside of the film, it isn’t memorable in the slightest. Coming-off as your standard blockbuster soundtrack with the occasional: ‘Inception’ noise thrown-in for good measure, it is very possible the score was rushed. As for those who may not know, ‘World War Z’ actually went through a very troubled production process, as multiple different directors, writers and producers were brought-on and then dropped-off constantly. This is mostly why the film sometimes feels very unconnected and messy (which also isn’t helped by its quick pacing). Taking this into account, the film definitely could’ve been far worse, but I still found it very noticeable.

Despite all of this however, the film does still have some elements I enjoy. As it is simply fun to watch the madness ensue at various points during the film, as the hordes of zombies bring chaos to the streets of whatever city the film finds itself in. My favourite scene within the film is definitely near it’s ending, as the film takes a very different direction in choosing to focus on a small tension-filled scene, which I thought was pretty well-executed for the most part.

In conclusion, ‘World War Z’ isn’t the worst big-budget film you could spend your time watching, it definitely has a variety of problems. From the predictable and generic plot, to the boring characters and the mix of poor visual effects and writing. Which all ensured that I wasn’t such a huge fan, but if you enjoy a mindless zombie blockbuster every so often, then there may be some enjoyment in this for you. But for me personally, ‘World War Z’ simply felt like a hollow experience, and is nothing more than a generic zombie flick. Final Rating: 3/10.

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