Rating: 8/10

The Dark Crystal (1982) – Film Review

/ Joe Baker / Leave a comment

Despite the success of the recent prequel series; ‘The Dark Crystal: Age of Resistance,’ on Netflix, most audiences still seem relatively unaware of the original ‘Dark Crystal’s existence, which, unfortunately, received mostly lukewarm reviews and massively underperformed at the box-office upon its initial release. Yet, regardless of its age, ‘The Dark Crystal’ is still, in my opinion, an extraordinary family adventure. Creating an intriguing and developed fantasy world brimming with plenty of memorable characters, spectacular locations, and terrifying creatures, all flawlessly brought to life by the film’s enormous array of brilliant practical effects and detailed puppets.

Plot Summary: Centuries ago on the world of ‘Thra,’ the mysterious ‘Dark Crystal’ was cracked and brought forth two races. One, the villainous bird-like creatures known as the ‘Skeksis,’ who now rule over the planet with an iron-fist, and the other, a peaceful of wizards race known as the ‘Mystics.’ But, after a young ‘Gelfling’s ‘Mystic’ master passes on, ‘Jen’ is sent on a quest to locate the missing shard of ‘The Dark Crystal’ and save his homeworld…

Directed by legendary puppeteers Jim Henson and Frank Oz, most known for their creation of the beloved ‘Muppets’ franchise. ‘The Dark Crystal’ is known by many for being rather frightening for younger viewers, as the film always explores its fantasy world without ever shying away from any of its darker elements. Resulting in many who experienced the film at a young age only recalling it due to being ‘traumatised’ by the film’s menacing antagonists, the ‘Skeksis.’ However, despite ‘The Dark Crystal’ giving this ghastly depth to the world it’s narrative takes place within, the film still suffers from the occasional story cliché, as while I’m sure these ideas were less-familiar in the early 1980s, the concept of ‘Jen’ being the last of his kind and having to undertake an epic journey does feel fairly overdone by today’s standards.

Stephen Garlick and Lisa Maxwell lend their voices well to the two protagonists; ‘Jen’ and ‘Kira,’ alongside the voice of Billie Whitelaw and the late Jim Henson and Frank Oz themselves as puppeteers, and while Jim Henson and Frank Oz both do a fantastic job as usual when it comes to their work with puppeteered characters. It’s the late Barry Dennen as the most devious of the ‘Skeksis,’ ‘The Chamberlain,’ who is truly superb, as ‘The Chamberlain’ soon becomes a very memorable antagonist, heavily in part because of his intentionally obnoxious high-pitched voice and now-iconic whimper.

Whilst the cinematography by the late Oswald Morris does serve the film’s story effectively, many shots throughout ‘The Dark Crystal’ are a little restricted due to the focus primarily being placed on the puppets themselves (especially when there is a large number of characters on-screen). That being said, the cinematography does still manage to provide plenty of beautiful wide shots to establish the story’s various locations, the majority of which are elevated through some incredibly impressive matte paintings and miniature sculptures.

Although I do prefer the original score by Daniel Pemberton for the Netflix prequel series, the score for the original film by Trevor Jones is still terrific, feeling like a mixture between a classic fantasy score along with some sinister undertones to help build tension. From the film’s signature track; ‘The Dark Crystal Overture,’ through the track that plays over one of the film’s final moments; ‘The Great Conjunction,’ the film’s original score is still an enjoyable piece to hear, even if it seems most audiences prefer the soundtrack of Jim Henson’s other ’80s fantasy flick; ‘Labyrinth.’

Of course, the main draw of ‘The Dark Crystal’ is (and will always be) the puppets themselves, as while the idea of not a single human appearing within a live-action film may sound daunting to some, the film’s huge variety of practical effects, from the different creatures that prowl the forests and swamps to each one of the detailed and intricate sets for ‘The Castle of the Crystal,’ every single creative aspect of the film in regards to its designs constantly feels as if great talent and effort has been put into each of them, with much of the film’s visuals actually being inspired by the illustrations of Brian Froud, who would eventually join the production as a conceptual designer.

In summary, ‘The Dark Crystal’ was truly a film ahead of its time, as despite the new prequel series helping the unique fantasy series reach a wider audience, I’m not too surprised this ambitious film has been largely forgotten in modern pop culture, as the film’s fascinating and fleshed-out world alongside its entertaining story and huge number of amazing practical effects sadly weren’t enough to save it from its eventual neglected fate. Still, even if this fantastical family adventure didn’t receive the praise it deserved when it was released in 1982, I feel it certainly can now from modern audiences, if just for its painstaking puppeteering work and great character designs alone. Final Rating: 8/10.

dark_crystal_xlg

Inside Out (2015) – Film Review

/ Joe Baker / 1 Comment

From the iconic animation studio Pixar, who brought-us animated classics, such as ‘Toy Story,’ ‘Monsters, Inc.,’ ‘Finding Nemo,’ ‘The Incredibles,’ and ‘Ratatouille,’ among many others, comes another emotional and beautifully animated adventure with some surprisingly deep concepts and ideas to boot. As, ‘Inside Out’ takes place nearly entirely inside the mind of a young girl, focusing on how her various emotions handle new and unexpected changes within her life.

Plot Summary: After young ‘Riley’ is uprooted from her Midwest life and moved to San Francisco, her emotions; ‘Joy,’ ‘Sadness,’ ‘Fear,’ ‘Anger,’ and ‘Disgust,’ all being to conflict on how best to navigate a new city, house, and school. But, after a freak accident causes ‘Joy’ and ‘Sadness’ to be flung from ‘Headquarters’ with ‘Riley’s ‘Core Memories,’ the two have to find their way back before it’s too late…

Even though ‘Inside Out’ usually streamlines many of its story’s concepts and themes to make them more understandable for children, the animated flick also never fails to remain both very imaginative and very colourful throughout its runtime. As, with the film’s story taking place within the mind of an eleven-year-old girl, ‘Inside Out’ doesn’t hold back from bringing to life the world within a child’s head, a world not confined by the barriers of logic and psychics. From ‘Imagination Land’ to ‘The Train of Thought,’ and ‘Long Term Memory,’ ‘Inside Out’ constantly explores plenty of amusing locations and is always building on its enchanting ideas.

Despite some characters not receiving quite as much screen-time as others, ‘Riley’s various emotions are portrayed superbly by Amy Poehler, Phyllis Smith, Bill Hader, Lewis Black, and Mindy Kaling, with Poehler and Smith as ‘Joy’ and ‘Sadness’ being the true stand outs of the cast, as their two characters bounce extremely well of each other due to the polarity of their friendship, which also makes for plenty of humorous moments. Richard Kind also makes an appearance within the film as ‘Bing Bong,’ ‘Riley’s imaginary friend from when she was younger, who in many ways is the true heart of the film, as alongside his variety of entertaining quirks (some of which do result in a few immature jokes). ‘Bing Bong’ also ends up becoming a very likeable and charming character mostly as a result of the scene; ‘The Memory Dump,’ easily one of ‘Inside Out’s most impactful and heartbreaking moments.

Filled with plenty of inventive shots throughout, the animated cinematography does add to the film’s already incredibly vibrant colour palette and varied locations, with a constant array of attractive shots, the film’s visuals are always appealing to look at when inside ‘Riley’s mind. Yet, when the viewer is thrown back into the real world, the colour palette is far more pale and tame, creating a clear visual contrast between the two.

Featuring a number of memorable tracks, such as ‘Bundle of Joy,’ ‘Team Building,’ ‘Rainbow Flyer,’ and even the track that plays over the film’s ending credits; ‘The Joy of Credits,’ the original score by Michael Giacchino is truly one of the best scores Pixar has to offer, even when taking into account their already impressive list of soundtracks, as nearly all of the film’s best moments whether comedic or emotional are elevated by the film’s wonderful score, with many of the tracks throughout ‘Inside Out’ displaying great variety and talent.

Similar to many of the other films from Pixar’s catalogue, the animation throughout ‘Inside Out’ is simply gorgeous. As not only do all of the designs of the different emotions differ drastically depending on which emotion they representing, but the level of detail on every character and location throughout the film is astounding, with the individual particles that make up each emotion even being visible during many of the film’s close-ups. Interestingly, when ‘Inside Out’ was in the very early stages of its development, many other emotions were also considered as characters (around twenty-seven in total). But, after the writer’s decided to just settle on the core five emotions to make the narrative less-complicated, many other potential characters had to be left on the cutting-room floor, e.g. ‘Surprise,’ ‘Pride,’ and ‘Trust.’

In summary, ‘Inside Out’ is definitely worth a watch for any age, as although this animated flick isn’t without its faults, ‘Inside Out’ still remains a delightful experience from start-to-finish, mostly due to its unique story, great voice performances, and extraordinary visuals, the film really feels as if there isn’t the slightest ounce of laziness put into crafting it. And, whilst there has been plenty of other exceptional animated classics produced by Pixar in the past, their fifteenth animated feature is certainly one of their most experimental yet least discussed to-date, which I think is a shame, as while ‘Inside Out’ may be aimed mostly towards children, I feel this film might speak an even deeper volume to adults. Final Rating: 8/10.

inside_out_xxlg

Tangled (2010) – Film Review

/ Joe Baker / Leave a comment

Disney’s first CG animated fairytale is both incredibly funny and heartwarming, as ‘Tangled’ brings to life the well-known fairy princess; ‘Rapunzel,’ now updated for a new generation of children. Through some beautiful animation, wonderful original songs and an incredibly vibrant colour palette. ‘Tangled’ feels almost as if it’s an enchanting classic restored from Disney’s golden age of animation, despite its few small problems here and there.

Plot Summary: When the ‘Kingdom of Corona’s most-wanted and most charming bandit: ‘Flynn Rider’ hides out in a mysterious tower, he’s taken hostage by ‘Rapunzel,’ a feisty tower-bound teen with magical golden hair. Eventually leading the two of them to strike a deal so ‘Rapunzel’ can achieve her long-desired dream of seeing the annual release of the kingdom’s lanterns…

Heavily praised since its release, ‘Tangled’ was created by Walt Disney Animation Studios, which have produced a variety of fantastic animated films in recent days. Releasing films such as: ‘Bolt,’ ‘Zootropolis,’ ‘Wreck-It Ralph’, ‘Moana’ and, of course, the smash-hit; ‘Frozen,’ in 2013. Many of which even beginning to surpass Disney’s other animation company over time, this obviously being Pixar, who now seem to be far more focused on creating constant sequels, prequels and spin-offs rather than original stories.

Mandy Moore and Zachary Levi bounce extremely well off of each other as ‘Rapunzel’ and ‘Flynn Rider,’ with both the characters having plenty of amusing moments in addition to some surprisingly great chemistry (considering they are fully animated). The cast also features Donna Murphy as ‘Mother Gothel’ and Ron Perlman as one of the ‘Stabbington Brothers’ (a.k.a. The antagonists of the film), and although neither of these two villains ever become quite as memorable or as iconic as some other Disney antagonists. They do serve their roles within the story effectively and are intimidating enough. During the story, ‘Rapunzel’ also receives a character arc, growing as a character to become more confident and independent as the runtime continues on, which I feel is not only executed well, but also gets across an important message for children.

Featuring an array of stunning wide shots, the animated cinematography throughout ‘Tangled’ is decent overall. While nothing overly imaginative, the animated cinematography works really well for many of the film’s fast-paced action sequences. The animated cinematography is also improved by the film’s incredibly colourful visuals, as many scenes throughout the film are dripping with bright colours and magnificent lighting. Some of the colouring of character’s clothing even reflect their personalities, as ‘Rapunzel’ wears purple, a colour often associated with royalty and ‘Flynn’ wears blue and white, colours that often stand for goodness. Whereas ‘Mother Gothel’ wears red, a colour that usually symbolises evil.

The original score by Alan Menken is certainly the weakest element of the film, as ignoring the actual songs within the film, most notably; ‘When Will My Life Begin’ and ‘I See the Light.’ The score is mostly generic and little bland at points when it comes to animated flicks, as I feel the soundtrack could’ve been greatly improved if the score would’ve embraced the more fantasy-esque aspects of its narrative. Occasionally, the film can also over-rely on musical cues, as during a number of scenes the film feels the need to accompany every action or piece of humour with a trumpet cue, which feels nothing but unnecessary throughout.

Being many years on from the film’s initial release, it’s inevitable that the film’s animation would begin to age. However, although a couple of the close-ups on character’s faces may look a little outdated. ‘Tangled’s animation predominantly holds-up well since 2010. In particular, the CG effects on ‘Rapunzel’s long hair, which still look marvellous even today. The film’s humour is also fairly excellent, as the film has a large amount of range when it comes to its jokes, usually having plenty of comedic moments that will appeal to older viewers as well as young children. ‘Tangled’ also gets some great comedic moments out of its horse character; ‘Maximus,’ who, quickly ends up becoming one of the film’s greatest characters through his constant drive to catch ‘Flynn Rider,’ with many of his movements being presented as if he is a large dog or even a human.

In summary, although it may not be one of Disney’s best, ‘Tangled’ is still very enjoyable from start-to-finish. Despite its sometimes overly fast pacing and slightly dated animation, the film has more than enough to please families, with some likeable protagonists, plenty of memorable songs and an overall joyful and adventurous tone. ‘Tangled’ is, in my opinion, on the upper level of fantastical family films, and whilst some may feel the film is aimed more towards one gender with its story being based around a fairy princess, I’d argue otherwise. Final Rating: 8/10.

tangled_ver3_xxlg

Joker (2019) – Film Review

/ Joe Baker / 1 Comment

Since even the first day of its release, ‘Joker’ has seemingly split audiences straight down the middle, being hit with numerous reviews all with varied ratings. Everything from the film’s violence to its intricate themes to especially its Oscar-nominations, have all been brought up in recent conversation, as this film’s character-driven narrative focuses on the origins of ‘The Joker,’ arch-nemesis of the ‘Caped Crusader,’ ‘Batman.’ Yet, ultimately, becomes far more of an affecting and compelling drama/thriller rather than your standard superhero affair.

Plot Summary: In ‘Gotham City’ during the 1980s, mentally troubled comedian ‘Arthur Fleck,’ is disregarded and mistreated by society. Over time, this leads him to embark on a downward spiral of revolution and bloody crime, eventually bringing him face-to-face with his chaotic alter-ego; ‘The Joker.’

Being directed by Todd Phillips (Old School, The Hangover, War Dogs), throughout ‘Joker’ you really get the sense that Phillips truly puts his all into it, pretty much leaving behind the realm of comedy flicks entirely to craft a film which puts more of an emphasis on character and filmmaking. As every aspect of the film from its performances to it’s writing, cinematography and even original score, all feel as if they’ve been thought over profusely. ‘Joker’ also attempts to back-up its story with plenty of thought-provoking themes of mental health and the cruel nature of modern-day society, which I feel are represented very well throughout the film, giving Phillip’s version of this iconic character more depth beyond him being a mysterious and lawless antagonist.

From ‘Joker’s laugh to his broken mental state, Joaquin Phoenix gives a true powerhouse performance as the classic comic book villain. Making the character sadistic and dangerous yet also sympathetic wherever possible, as even though ‘Arthur’ commits many horrible acts as the runtime continues on. You can’t help but feel sorry for him, being beaten relentlessly by the world he lives within. In my opinion, Joaquin Phoenix’s portrayal of this iconic character truly elevates the film as a whole, and I’d even argue is up there with Heath Ledger’s beloved performance in ‘The Dark Knight’ many years earlier. The supporting cast of Robert De Niro, Zazie Beetz, Frances Conroy and Brett Cullen are all also great within the film, with Robert De Niro’s character, ‘Murray Franklin,’ being an obvious throwback to his character from the classic Martin Scorsese film; ‘The King of Comedy,’ from 1982.

All of the cinematography by Lawrence Sher throughout the film is very impressive, which is actually quite surprising considering ‘Joker’ is shot by the same cinematographer as the rest of Phillip’s work (which all contain mostly bland shots due to their focus on comedic writing). Featuring a variety of both stunning and memorable shots throughout, ‘Joker’s cinematography does serve its narrative and dark tone very well, with the now-iconic scene; ‘Staircase Dance,’ since becoming one of the most recognised and celebrated moments of 2019 pop culture. Additionally, ‘Joker’ continues to steer away from becoming an average superhero flick through its implementation of bloody violence, never shining away from displaying scenes of visceral murder.

Despite feeling a little unfitting during some scenes, the original score by Hildur Guðnadóttir is both very beautiful and also quite tragic, as the score really enhances the audience’s journey into ‘Arthur’s depressing and broken state of mind. However, that being said, some of the tracks can begin to feel a little too similar over time, with the signature track; ‘Bathroom Dance,’ almost beginning to feel replicated later within the film, despite the soundtrack’s many attempts to do otherwise.

The main criticism ‘Joker’ has faced since its release has been its overreliance on borrowing elements from other films, most notably classic Martin Scorsese films, such as ‘Taxi Driver’ and the previously mentioned ‘The King of Comedy.’ As, ‘Joker’ utilises a style very reminiscent of ‘Taxi Driver’ whilst also featuring a protagonist not too dissimilar to the protagonist from ‘The King of Comedy,’ and while I definitely understand these complaints, I also feel many films throughout history have always borrowed elements from others, and in addition to having Martin Scorsese himself on board as an executive producer, ‘Joker’ does include some aspects of its own making to help it stand out.

In summary, ‘Joker’ isn’t perfect, but I do feel the film is successful enough, as while its occasional cheesy dialogue and derivative aspects may drag the film down, its stunning cinematography and haunting original score really lend themselves effectively to the already gripping story. Not to mention Joaquin Phoenix’s captivating performance, all of which leave ‘Joker’ an impactful and refreshing origin story for this cherished comic book character. So, if you’re a huge fan of this iconic antagonist or just have a fondness for character studies/intense dramas, I’d recommend you give ‘Joker’ a watch in spite of its mixed reception. Final Rating: low 8/10.

joker_ver2_xxlg

Chef (2014) – Film Review

/ Joe Baker / 1 Comment

Even after working in blockbuster franchises, such as ‘Star Wars’ and the Marvel Cinematic Universe, director Jon Favreau (Zathura, Iron Man, The Lion King) crafts one of his finest films to date with this clear passion project. Being obsessed with food and cooking in his spare time, Favreau puts his kitchen knowledge to perfect use as his film ‘Chef’ focuses on the story of a middle-aged man taking his wonderful tastes across America, and whilst fairly simplistic, this lower-budget flick still manages to remain a charming comedy-drama from beginning to end.

Plot Summary: ‘Carl Casper,’ an acclaimed chef with a family life that seems as decaying as his artistic freedom. But, after being fired from his restaurant job due to an aggressive confrontation with a snarky food critic, ‘Carl’ decides to travel across America selling his own dishes in a second-hand taco truck…

Although not directly based on a true story per se, ‘Chef’ does take inspiration from plenty of real-world figures, in addition to Jon Favreau’s own history in cuisine. The main source of inspiration for the film, however, was the professional food truck chef Roy Choi. Who, actually agreed to give Favreau further chef training for the film under the exception he agreed to present a truly authentic portrayal of the life of a chef, and considering the film’s focus on ‘Carl’s struggling funds and the impact the cynical words of food critics can have, I feel the director certainly succeeded.

Jon Favreau portrays ‘Carl’ superbly throughout the film, giving the protagonist a decent amount of range despite him never receiving an enormous amount of characterisation. The rest of the cast of John Leguizamo, Emjay Anthony, and Sofía Vergara, as well as Scarlett Johansson and Dustin Hoffman for a short period, are all decent within their respective roles, with Robert Downey Jr. even making a short appearance in the film as ‘Marvin’, which interestingly he agreed to do for free as a favour to Favreau for the decision he made to cast him as ‘Tony Stark,’ a.k.a. ‘Iron Man,’ years earlier, which most now believe to be his most iconic role.

While ‘Chef’ does have a fairly bright colour palette, the cinematography by Kramer Morgenthau is ultimately nothing above average, as while the film does have some interesting shots, they’re fairly infrequent throughout. However, this is with the exception of the many close-ups of the food itself, as ‘Chef’ does a superb job at making the audience’s mouth water through the delicious food it presents, as the film features a variety of both very creative and tasty-looking dishes. The film even manages to contain a little stylistic flair with Twitter being represented by animated blue birds which flutter into the sky whenever a character tweets, which actually plays into the story quite well.

The original score by Lyle Workman isn’t anything overly memorable, but the soundtrack’s Mexican feel does back up the film’s story effectively and really fits with many of the locations the food truck stops at as ‘Carl’ travels across the states of America. ‘Chef’ also utilises a huge range of iconic songs throughout its runtime, most of which also stick to the film’s Mexican aesthetic. From ‘I Like It Like That’ to ‘Lucky Man’ and even ‘Sexual Healing,’ the film’s lengthy list of songs really adds to its predominantly upbeat tone.

Unfortunately, ‘Chef’ is mostly dragged down by its overall emotional depth, as although the film is usually entertaining and engaging throughout, the film sometimes lacks the real emotional weight a drama needs, as ‘Carl’s rough relationship with his ex-wife receives little-to-no development, with most of the narrative’s focus being placed on ‘Carl’ reconnecting with his son, ‘Percy,’ which mostly makes for amusing and somewhat relatable scenes rather than any real dramatic moments. Whilst it doesn’t hurt the film really, some characters throughout ‘Chef’ also seem to disappear without a trace, in particular, the character; ‘Jen,’ portrayed by Amy Sedaris, who on ly appears in a single scene and has virtually no impact on the plot, which comes across as a little odd.

In summary, while there are definitely more memorable comedy-dramas out there, ‘Chef’ delivers on what it sets out to do, featuring some likeable characters portrayed by its great cast, alongside its fantastic soundtrack and scrumptious-looking food, the film is truly a treat whether your an expert in the kitchen yourself or not. It is a shame the film’s more dramatic side doesn’t fully deliver, as I do genuinely feel ‘Chef’ is a perfect example of Favreau’s filmmaking/acting talent outside of any franchise. Final Rating: low 8/10.

chef_xxlg

Rango (2011) – Film Review

/ Joe Baker / 1 Comment

From the director of ‘The Ring’ and the first three entries in the ‘Pirates of the Caribbean’ series, Gore Verbinski, comes ‘Rango,’ an animated western featuring a bizarre cast of comically grotesque animals. And, even though that strange concept may not sound as if it couldn’t possibly work, ‘Rango’ is without a doubt one of my favourite animated films in recent memory, as the film’s entertaining story and classic western visuals make the film an incredibly fun watch, regardless of your age.

Plot Summary: When ‘Rango,’ an ordinary pet chameleon accidentally winds up in the small town of ‘Dirt’ following a car accident, he begins to realise the dry, lawless outpost is in desperate need of a new sheriff. Being the talented actor that he is, ‘Rango’ poses as the answer to their problems…

Whilst ‘Rango’ is front and foremost a family flick, ‘Rango’ also serves a pretty successful throwback to classic westerns, balancing plenty of hilarious moments with more serious scenes and even some exciting action sequences throughout its story. The film even features a reference to the icon of the western-era himself, that being Clint Eastwood as the ‘Spirit of the West,’ which I really appreciated as a fan of the genre. However, the character himself isn’t actually portrayed by Clint Eastwood, which I did feel slightly took away from the scene he appears in despite its short length.

Although the supporting cast of Isa Fisher, Abigail Breslin, Bill Nighy, Alfred Molina, and Ned Beatty are all fantastic as the residents of the small town of ‘Dirt,’ each having a western accent which sometimes even makes their voice unrecognisable in Isla Fisher’s case. Johnny Depp as the protagonist ‘Rango’ is truly some flawless casting, as Depp always portrays ‘Rango’ as likeable and funny, yet cowardly, with plenty of humorous lines throughout the runtime. The film’s antagonist ‘Rattlesnake Jake’ is also worth mentioning, as Bill Nighy lends his voice to this gigantic menacing gunslinger, actually mirroring the two actor’s characters within the ‘Pirates of the Caribbean’ series, whether intentional or not.

‘Rango’ is also one of the rare animated films which actually has some pretty stunning cinematography, as all of the film’s animated cinematography is very reminiscent of classic westerns. From extreme close-ups of characters’ faces during stand-offs to wide shots of the barren desert, to even close-ups of broken bottles hanging above a door-frame, every shot really adds to the narrative, whilst also displaying the film’s large variety of distinct locations. Truly utilising the limitless potential of animated cinematography. Legendary cinematographer, Roger Deakins, who worked on iconic films, like ‘The Shawshank Redemption,’ ‘No Country for Old Men’ and ‘Skyfall,’ in the past, was even consulted when it came to the film’s cinematography.

Revered composer Hans Zimmer returns to the work once again with director Gore Verbinski, and once again with another magnificent original score. This time replicating classic western scores without taking away from the film’s adventurous tone. Making fantastic use of both electric and acoustic guitars, tracks such as ‘Rango and Beans’ and ‘Rango Returns,’ feel as if they were ripped straight out of the golden age of film. The soundtrack even includes a unique western-esque version of the orchestral classic; ‘Ride of the Valkyries,’ which backs up what is already a memorable action sequence.

The animation itself is wonderful throughout the film, as ‘Rango’ takes a more daring and unique route when it comes to its animation, as rather than being overly colourful and cartoonishly attractive similar to films, like ‘Toy Story,’ ‘Frozen,’ or ‘Despicable Me,’ ‘Rango’ focuses far more on being rather realistic and dirty, with each location always feeling very old and rustic. The character designs themselves also reflect this, as every piece of clothing and every object is enveloped in scratches and dirt, giving the film an unpleasant yet not necessarily unattractive look. This animation style also continues to the film’s colour palette, as the pale beiges and browns give the film a true western feel. Due to ‘Rango’s reliance on this highly detailed kind of animation, however, there is the occasional shot where the animation looks slightly dated by today’s standards.

In summary, packed with plenty of great comedic moments, attractive visuals, a great original score and, of course, its marvellous cast. ‘Rango’ stands as one of the best modern animated films to date, as this western adventure truly does anything it can to make itself stand out. As, despite the film’s few fourth-wall-breaking moments (which come across as slightly cheesy) and the film’s sometimes overly fast pacing, ‘Rango’ still remains an enthralling ride. Although this animated flick may seem pretty unusual when compared to many other films the family can enjoy together, this true oddball of a film is sure to please those who decide to give it a chance. Final Rating: 8/10.

rango_ver2_xxlg

Buried (2010) – Film Review

/ Joe Baker / Leave a comment

Ryan Reynolds impressively carries an entire film on his shoulders with ‘Buried,’ as this fast-paced and extremely tense thriller focuses entirely on a single character trapped within an enclosed space, building up a tension-filled atmosphere and displaying constant filmmaking talent throughout (especially since the film was shot in only seven days). ‘Buried’ manages to keep its audience on constant edge as we experience this terrifying event right alongside our protagonist.

Plot Summary: ‘Paul Conroy,’ a U.S. truck driver currently working in Iraq, wakes up to find he is buried alive inside a wooden coffin after being attacked by terrorists, with only a cigarette lighter and a phone by his side, it’s a race against time for him to contact whoever he can and escape before it’s too late…

In concept, ‘Buried’ is truly a brilliant idea for a low-budget flick, as the entire film takes place within a single location with only the protagonist ever being psychically seen on-screen, the film never breaks from its tension or narrative, with not even a single shot outside of the coffin itself, and yet, the film never fails at keeping those watching glued to the screen, as after the admittedly fairly cheesy opening title sequence, the film never seems to slows down, almost refusing to give the viewer a moment to breathe as ‘Paul’ is faced with one difficult task after the next.

As already mentioned, Ryan Reynolds is the only member of the cast to physically appear on-screen, meaning he has the monumental task of delivering a very emotional and gripping performance to keep the audience engaged, which, thankfully, he does a phenomenal job of, as throughout the film’s tight runtime the actor going against his usual comedic casting to mostly excellent results. ‘Buried’ even manages to give the protagonist some characterisation through his various phone conversations with the other characters, adding the film’s compelling story even further. The various characters who appear as voices through ‘Paul’s phone consist of his wife; ‘Linda Conroy,’ portrayed by Samantha, Mathis alongside José Luis García Pérez, Ivana Miño, Robert Paterson and Stephen Tobolowsky, who give the best performances possible even with their limiting roles.

The cinematography by Eduard Grau has a surprising amount of range, despite the extremely restrictive location, as the majority of shots get uncomfortably close to ‘Paul’s face, almost placing the viewer in the position of the protagonist themselves, pretty much ensuring a feeling of claustrophobia by the film’s end. The film’s dim lighting also adds to its uncomfortable nature, as ‘Paul’ only has a cigarette lighter and small glow stick by his side, the film consists entirely of bright orange and green colour palette, alongside the occasional glow of blue from ‘Paul’s phone. That is, at least when the screen isn’t covered in complete darkness. Another small detail I appreciate about ‘Buried’ is how ‘Paul’ being underground is displayed, as when shots pull outwards from ‘Paul’ within the coffin, nothing but total blackness is shown around him, really emphasising the true loneliness and desperation he feels in his situation.

Victor Reyes handles the original score for the film, and whilst the soundtrack is decent is some scenes where it is used quite subtly, the score is sadly one of the film’s worst aspects, as the original score for ‘Buried’ is usually very generic and feels almost a little too over-the-top for a film as subdued and relentless as this one. Personally, I actually think the film would’ve been improved if more focus was placed on the film’s solid sound design rather than its weak soundtrack.

The film also has some strange editing choices during its runtime, as although not present continuously throughout the film. Many scenes do have short moments where the editing becomes rather erratic, sometimes having shots which quickly close in on ‘Paul’s face as he looks upwards, and whilst I understand this may have been done to add to the film’s tension-building, I feel it only really takes away from it in the long-run.

In summary, I feel ‘Buried’ is a film you can truly immerse yourself in, as this film makes such outstanding use out of its simplistic yet effective script and small budget. Although the film does suffer from an excessive original score and some bizarre editing choices, the remainder of film’s execution alongside Ryan Reynold’s tremendous performance is really something to admire, making an already compelling story even more interesting. If you’re a fan of thrillers in particular, then I’m sure you’ll thoroughly enjoy this inventive indie flick. Final Rating: 8/10.

buried_xlg

Iron Man (2008) – Film Review

/ Joe Baker / 1 Comment

Before ‘The Avengers’ or the ‘Guardians of the Galaxy’ hit the silver screen, director Jon Favreau began the Marvel Cinematic Universe with its first character; ‘Iron Man.’ Blowing audiences away with some incredible visual effects, thrilling action scenes and a very charismatic lead performance by Robert Downey Jr. as the egotistical; ‘Tony Stark.’ And, considering the film was self-financed by Marvel and had a mostly improvised screenplay, it’s incredibly impressive that ‘Iron Man’ is as entertaining and as exhilarating as it is by today’s standards.

Plot Summary: After being held captive by terrorists in an Afghan cave for months, billionaire and weapons engineer: ‘Tony Stark’ builds a weaponised suit of armour to fight his way out after discovering his weapons are being used for a more sinister purpose. Yet even after safely returning home, ‘Tony’ soon uncovers a nefarious plot with global implications, forcing him to don his new suit once again and vow to protect the world as ‘Iron Man.’

Although most now know ‘Iron Man’ as a superhero icon, at the time in 2008, ‘Tony Stark’ was a relatively unknown character. Similar to ‘Thor’ and ‘Captain America,’ many of Marvel’s ‘B’ listers truly owe their now enormous fan-bases and iconic statuses mostly to their first appearances in Marvel’s live-action universe, with the first ‘Iron Man,’ in particular, adapting the character’s comic book origins fairly closely into a hugely successful action blockbuster.

The supporting cast of Gwyneth Paltrow, Jeff Bridges, Terrence Howard, Clark Gregg and Shaun Toub are great throughout the film, despite only serving small roles within the story. However, it should go without saying that Robert Downey Jr. as ‘Iron Man’ himself absolutely nails the role, as he delivers every line of dialogue as an arrogant, pretentious genius. ‘Tony Stark’ even gives the narrative an engaging thread with his character arc throughout the film, becoming more likeable as the plot continues on, and although done many times before, it still feels pretty satisfying by the end of the runtime. Unfortunately, the biggest problem with Iron Man’ is the same issue that most Marvel flicks suffer from, this being the film’s weak antagonist. Although Jeff Bridges attempts to give his character; ‘Obadiah Stane,’ as much depth as possible, his transformation from a greedy executive to murderous psychopath feels extremely rushed and undeveloped.

Matthew Libatique’s cinematography is fairly creative throughout the film, however, from the various tracking shots of ‘Tony’ soaring through the sky in his suit, through to shots of ‘Iron Man’ taking down groups of terrorists, the majority of the cinematography backs up the quick pacing and utilises movement very effectively. Whilst the film isn’t ever overly focused on its science fiction elements aside from the suit itself, the CG effects throughout the film still hold up very well to say that was it was released in 2008, aside from the occasional shot of ‘Tony Stark’s head being placed atop of the suit.

The original score by Ramin Djawadi is a soundtrack which perfectly fits, alongside the character of ‘Iron Man,’ as the score makes excellent use of electric guitars and a drum kit to match ‘Tony’s young rock-star-like personality and taste in music, as there are multiple scenes of ‘Tony Stark’ listening to rock songs, such as ‘Back in Black’ and ‘Institutionalised,’ throughout the runtime. Not to mention ‘Black Sabbath’s now-iconic; ‘Iron Man,’ played over the end credits.

Even though all of the action scenes throughout the film are quite short, each action set piece is always exciting from start-to-finish, as ‘Iron Man’ takes down his enemies with style every time, utilising an array of different weapons and gadgets the film manages to still represent ‘Tony Stark’s cocky personality through these suited-up action sequences. ‘Iron Man’ was also the first film that kicked off Marvel’s typical style of humour, and while not as noticeable as some of Marvel’s other films, the film still contains plenty of scenes, in which, ‘Tony’ makes sarcastic comments or degrades those around him, and while many of these moments do make for some decent comic relief, I could see many of these scenes becoming irritating for those who don’t enjoy this type of comedy.

In summary, despite its few flaws, ‘Iron Man’ was one hell of an opener for the Marvel Cinematic Universe, as without this film, we truly wouldn’t have what is now considered one of the most successful franchises in cinematic history, even with this ignored, however, the film is still exceedingly fun and is filled with plenty of memorable moments on its own, all of this, of course, held up by the brilliant performance from Robert Downey Jr. If you finally want to get around to watching this long-running film series, I’d say the original ‘Iron Man’ will definitely prepare you for what’s to come. Final Rating: 8/10.

iron_man_ver3_xxlg

Nocturnal Animals (2016) – Film Review

/ Joe Baker / 2 Comments

Part thriller, part drama and part literature fever dream, 2016’s ‘Nocturnal Animals’ may not appeal to every viewer, but those it will, it will certainly leave an impression, as this extremely underrated thriller led by some sublime performances from Amy Adams and Jake Gyllenhaal is incredibly dark and compelling from start-to-finish. Directed by former fashion designer turned director Tom Ford (A Single Man) and based on the novel; ‘Tony and Susan’ by Austin Wright, ‘Nocturnal Animals’ may not be flawless in its execution, but it is definitely worth a watch.

Plot Summary: An unhappy and lamenting art curator (Susan Morrow) begins to imagine herself within the pages of a novel manuscript sent to her by her former husband, whose negative associations of their relationship take on a fictionalised violent direction in a symbolic tale of revenge…

Split between two different storylines, one set in the real world and one set within the pages of the fictional crime novel. ‘Nocturnal Animals’ definitely has some changes in tone, as every scene with ‘Susan’ usually focuses on her broken marriage and current lifestyle, which feels very different when compared to the tense revenge story of the novel, and yet, neither of these stories ever feel dull, as they both are engaging for different reasons. Tom Ford also makes brilliant use of this structure, as for those more keen-eyed viewers, there are a variety of visual links between the two narratives, the most obvious of which being how ‘Susan’ imagines her ex-husband; ‘Edward,’ as the father character within the novel, meaning Jake Gyllenhaal takes on two separate roles.

The central cast of Amy Adams, Jake Gyllenhaal, Michael Shannon, Aaron Taylor-Johnson, Isla Fisher, Ellie Bamber and Armie Hammer, are all brilliant throughout the film as everyone one of the film’s characters gets plenty of development, usually all playing a crucial role within the film regardless of whichever storyline they are in. Although Jake Gyllenhaal does a pretty great job taking on two separate roles, the plot of the novel primarily takes place within the Texas desert, meaning the father character, ‘Tony Hastings,’ possesses a Texas accent, and whilst not terrible, it is a little inconsistent. This is quickly redeemed by the stand out performance from Aaron Taylor-Johnson as ‘Ray Marcus,’ however, as this usually vapid actor gives an amazing performance as a redneck delinquent, who is just as intimidating as he is erratic.

Although the cinematography by Seamus McGarvey is nothing extraordinary, there are still plenty of attractive shots throughout the runtime as the film uses its cinematography fairly effectively to create a contrast between the two stories, using an array of wide shots when focusing on the story within the novel adding too many of its tense moments, whereas the majority of the scenes within the real world mostly use a large number of close-ups and mid-shots to add to the film’s drama.

Without a doubt, however, my personal favourite aspect of the film is the original score by Abel Korzeniowski. Utilising an ensemble of violins, the score for ‘Nocturnal Animals’ is very memorable and excellently builds tension throughout the runtime as the soundtrack always remains very beautiful despite also feeling quite haunting. The original score even manages to capture the feeling of loneliness and sadness from ‘Susan’s storyline, with the tracks; ‘A Solitary Women’ and ‘City Lights,’ fitting this idea perfectly, yet neither of these two tracks beat out my personal favourite; ‘Revenge,’ referred to by most as the film’s signature track.

Throughout either of the two plots, the film is also filled with plenty of themes and underlying messages, many of which relate to the idea of expression through art, which does help distract slightly from the main issue I have with ‘Nocturnal Animals,’ this being the editing, although it may be intentional. At points, the editing throughout the film is rather fast-paced, cutting between shots rapidly, sometimes even using jump-cuts during some of the more drawn-out shots. If this style of editing was present continuously throughout the film, then perhaps it wouldn’t have been as noticeable, but as it was only occasionally, I personally found it quite distracting.

In summary, while ‘Nocturnal Animals’ may not be a shining masterpiece, but I do believe this film is very overlooked when it comes to thrillers, as the outstanding performances from the cast mixed in with the array of very tense moments and wonderful original score make for a genuinely gripping and interesting experience. So, whilst some audience members may not completely understand the themes and messages behind the story, I do feel this film will leave an impact on those it does appeal to. Final Rating: 8/10.

nocturnal_animals_ver5_xlg

Moonrise Kingdom (2012) – Film Review

/ Joe Baker / 1 Comment

Although it may not quite reach the heights of some of his other work, director Wes Anderson (The Royal Tenenbaums, Fantastic Mr. Fox, The Grand Budapest Hotel) crafts another wonderful story with ‘Moonrise Kingdom,’ as throughout its tight runtime, the film is filled with plenty of heartfelt moments and mature humour all backed up by an effective original score by Alexandre Desplat. Resulting in a very enjoyable comedy/drama, despite Anderson not utilising his style to its best extent.

Plot Summary: On a small island off the coast of New England in the 1960s, a young boy-scout and the eldest daughter of unhappy household fall in love after a few weeks of back and forward letters. Soon inspiring them to run away together, leading various factions of the island to mobilise in search of them…

The story itself is definitely one of the best aspects of ‘Moonrise Kingdom,’ as although the film is brimming with plenty of the usual Wes Anderson style. The film’s story is always so enjoyable to watch, as the film’s two protagonists carry the narrative with great comedic charm and an almost childlike innocence. The dialogue throughout the film is also very well-written, as every character is usually extremely specific about everything they say, leading to many quirky moments.

Initially, the thought of a film lead by two very young actors did concern me, as there has been plenty of films throughout history that have been severely let down when it comes to child actors in important roles. ‘Moonrise Kingdom’ is certainly an exception to this, however, as Jared Gilman and Kara Hayward are both brilliant as the young couple; ‘Sam’ and ‘Suzy,’ as the two have excellent chemistry and perfectly fit the hilarious awkwardness of usual Wes Anderson stories. In addition to the two leads, the supporting cast of Bruce Willis, Edward Norton, Bill Murray, Frances McDormand, Tilda Swinton and Jason Schwartzman, are all fantastic within their various roles. Yet, even with these brilliant performances, the film still does suffer from a mostly pointless adultery subplot, whilst this does provide some characterisation at points, it felt mostly meaningless to me by the time the film’s credits rolled.

The cinematography by Robert D. Yeoman is your standard affair for a Wes Anderson film, having the usual array of very appealing shots, most of which make great use of some of the beautiful natural locations the film’s story takes place within. Also featuring a variety of panning shots and perfect symmetry wherever possible, the cinematography even manages to make an ordinary room look far more interesting purely through it’s framing and use of colour. In spite of this, however, ‘Moonrise Kingdom’ did actually have a smaller budget than some of Anderson’s other flicks, which does result in the film feeling slightly held-back from taking its visuals all of the way.

Whilst fairly simplistic when compared to some of his other scores, the original score by Alexandre Desplat is somewhat unique and does suitably fit the tone of the film pretty well, as ‘Moonrise Kingdom’ attempts to add a more scout-troop feel to further add to the film’s narrative. In particular, with the track; ‘The Heroic Weather-Conditions of the Universe Parts 4-6: Thunder, Lightning and Rain’ (what a mouthful), as this track uses trumpets and horns throughout, almost reflecting how the scouts are woken up by their scoutmaster each morning.

One of the most striking elements of ‘Moonrise Kingdom’ certainly has to be it’s bright colour palette, as the film is constantly dripping with beautifully bright colours. From greens to yellows, to blues, the film is always incredibly vibrant and extremely visually appealing to the eye and, of course, as the film’s tone is already fairly fun and light-hearted, the colour palette doesn’t feel even remotely out-of-place. However, I do feel the film could’ve indulged further into the 1960s time-period, as aside from the occasional mention of the date, or piece of technology, the film never really makes use of the ’60s era its set within.

In summary, ‘Moonrise Kingdom’ is definitely an underappreciated gem in director Wes Anderson’s collection, as although the film does have phenomenal reviews from critics and audiences, alike. I can’t help but the feel the film never gets talked about enough, as ‘Moonrise Kingdom’ has all the unique style of Anderson’s other films alongside a heartfelt story and plenty of memorable scenes/dialogue. Despite not being my personal favourite flick from Wes Anderson, the film is undeniably worth a watch, if you’re a fan of the talented director. Final Rating: 8/10.

moonrise_kingdom_xxlg