Hotel Artemis (2018) – Film Review

Easily one of the most overlooked and commercially-underwhelming films of 2018, ‘Hotel Artemis’ is one of those rare releases that feels very unsuited to the genre its actually a part of. As whilst this enclosed story set within the walls of an illegal hospital is certainly interesting, ‘Hotel Artemis’ also bizarrely serves as a science fiction flick. Boasting plenty of futuristic technology alongside its snappy dialogue, charismatic performances and gorgeously-designed central location. Its just a shame the film doesn’t always know what to do with any of the above.

Plot Summary: In the riot-torn, near-future of Los Angeles, 2028. Disgruntled thieves and criminals make their way to ‘Hotel Artemis’, a secret members-only hospital operated by ‘The Nurse’, a no-nonsense doctor who tends to their injuries under the condition that anyone who enters the hotel sticks to the set-rules. But after ‘The Nurse’ receives word the notorious crime lord: ‘The Wolf King’ is in-bound with a gunshot wound, ‘The Nurse’ is forced to break her own rules as the hotel is thrown into violent chaos.

Written and directed by Drew Pearce, ‘Hotel Artemis’ is actually Pearce’s directorial debut, as before this film Pearce had exclusively worked as a screenwriter, writing blockbusters such as: ‘Iron Man 3’ and ‘Mission Impossible: Rogue Nation’ as well as the ‘Fast and Furious’ spin-off: ‘Hobbs and Shaw’ later down the line. This might explain why ‘Hotel Artemis’ is as compellingly-written as it is, as in spite of its quick-pacing and very limited number of locations, the script manages to squeeze a fair amount into its extremely tight runtime. As the film explores some of world outside of the hotel in addition to developing many of the hotel’s criminal inhabitants, all the while the film remains tense as a result of the interactions between the characters and the impending arrive of: ‘The Wolf King’.

Jodie Foster leads the cast as ‘The Nurse’, her first acting role since the sci-fi film: ‘Elysium’ in 2013. And her all too-rare screen-presence is a pleasure to see again, as she gives a convincingly mournful performance, portraying ‘The Nurse’ as an elderly women refined to the sanctuary of her work following the tragic death of her son. Then there are also the criminals, assassins and thieves (and hotel security) portrayed by Sterling K. Brown, Sofia Boutella, Dave Bautista, Charlie Day, Zachary Quinto and Jeff Goldblum, who are all enjoyable to watch as the various scum of the futuristic Los Angles, and all receive a fair amount of development although many characters don’t receive the payoff they truly deserve.

The film’s greatest strength is without a doubt its setting, as the penthouse floor of: ‘The Artemis’ is rich with atmosphere as the hotel’s design is incredibly reminiscent of the Art Deco-style of 1930s hotels, almost giving the impression its a building from days past. From the velvet cushions to the green slightly-teared wallpaper, ‘Hotel Artemis’ is a very memorable location, its just unfortunate the film attempts to weave-in sci-fi wires and screens etc. The cinematography by Chung-hoon Chung also greatly adds to the film’s visuals, as the film keeps its shots and colourful lighting as diverse as possible and avoids utilising too-much hand-held camerawork.

Cliff Martinez’s original score is another superb element of the film, as the soundtrack features plenty of noteworthy tracks like ‘It Smells Like Somebody Died in Here’, ‘Hands Off the Gooch’, ‘I Only Kill Important People’ and ‘Don’t Cross My Line’, all of which elevate both the tension and style of the film. ‘Hotel Artemis’ also integrates a few songs from the 1970s such as: ‘California Dreamin’ and ‘Helpless’, which whilst catchy, further adds to the idea of the film seeming out-of-place as a science fiction flick, but then I suppose without the link to that genre we wouldn’t have the rest of this fantastically-computerised score.

As mentioned many times, the biggest flaw of: ‘Hotel Artemis’ for me is its near-future setting, as due to many of the film’s characters feeling like modern-day criminals in their actions and personalities, it soon becomes clear that with just a few small alterations the entire narrative could really be switched to fit within a modern time-period, making the sci-fi aspects ultimately pointless. However, with the idea of a hotel for criminals already being explored with the ‘Continental Hotel’ in the ‘John Wick’ series, its possible that these characteristics were introduced as a way of avoiding too-many similarities with that franchise.

So whilst some characters may not quite get the resolution they deserve and a number of concepts do feel undercooked, ‘Hotel Artemis’ is still a tense and engaging story with many exciting moments of action in-between. Although I personally would only recommend the film to audiences who specifically adore sci-fi-thrillers, it is a pity ‘Hotel Artemis’ received lukewarm reviews and was an utter box-office failure, because there is clearly a level of effort put into the film, and I do feel its worth a watch should it seem appealing. Final Rating: low 7/10.

hotel_artemis_xxlg

This Year in Film (2020) – Film List

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

Soul

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

soul_ver3_xlg

Mank

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

mank_xxlg

Tenet

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

tenet_xxlg

Mulan

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

mulan_ver4_xlg

Scoob!

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

scoob_ver2_xlg

Onward

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

onward_xxlg

The Hunt

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

hunt_ver2_xxlg

Possessor

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

possessor_ver3_xxlg

Extraction

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

extraction_netflix_xxlg

His House

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

his_house_xxlg

Underwater

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

underwater_xxlg

The Gentlemen

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

gentlemen_ver8_xxlg

The Midnight Sky

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

midnight_sky_ver2_xxlg

The Invisible Man

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

invisible_man_ver13_xlg

We Can Be Heroes

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

we_can_be_heroes_xxlg

Color Out of Space

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

color_out_of_space_ver3_xxlg

The New Mutants

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

new_mutants_ver3_xxlg

Sonic the Hedgehog

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

sonic_the_hedgehog_ver6_xxlg

The Devil All the Time

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

devil_all_the_time_ver2_xxlg

The King of Staten Island

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

king_of_staten_island_xlg

The Babysitter: Killer Queen

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

babysitter_killer_queen_xxlg

The SpongeBob Movie: Sponge on the Run

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

its_a_wonderful_sponge_ver2_xxlg

Chronicle (2012) – Film Review

Despite its short runtime and novice director, ‘Chronicle’ is both a unique and refreshing take on the found-footage sub-genre. Diverting from the usual teen horror stories that have completely overtaken the found-footage style for a more sci-fi-esque narrative, which overcomes its gimmicky camerawork and occasionally dated CG effects through riveting moments of action, fast-paced direction and charismatic performances from its young cast.

Plot Summary: After three high-school friends venture into a mysterious hole which travels deep beneath the Earth, they reemerge with incredible telekinetic abilities, with introvert: ‘Andrew’ becoming the most powerful of the three. But as ‘Andrew’ struggles to cope with his mother’s terminal illness and his father’s alcoholic abuse towards him, his friends ‘Matt’ and ‘Steve’ soon realise ‘Andrew’s abilities are beginning to consume him.

Directed by the infamous Josh Trank (Fantastic Four, Calpone) and written by Max Landis, most known for his work on Netflix’s ‘Bright’ and ‘Dirk Gently’s Holistic Detective Agency’. ‘Chronicle’ takes a lot of inspiration from modern superhero blockbusters, which in a way is ironic, as cast members Dane DeHaan and Michael B. Jordan would later go on to star in big-budget superhero films, with DeHaan portraying ‘Harry Osborn/The Green Goblin’ in ‘The Amazing Spider-Man 2’, and Jordan going on to portray ‘Johnny Storm’ in the ‘Fantastic Four’ remake as well as the antagonist: ‘Killmonger’ in 2018’s ‘Black Panther’. So for DeHann and Jordan, ‘Chronicle’ essentially served as the jumping-off point for their future careers.

Before filming actually began on ‘Chronicle’, director Josh Trank had actors Dane DeHaan, Alex Russell and Michael B. Jordan live in a house together for fifteen days, and its due to this (in addition to Landis’ teenage-accurate writing) that you do feel a genuine bond between the three. As the group of friends act like real teenagers, reckless and immature yet not totally unlikable, which was an important area to succeed in as a large majority of the story early on leans on their antics as they share banter and test how far their abilities can truly go. However, even with all three characters having quite diverse personalities, it’s ‘Andrew’ who really steals the film as a character. As his descent into hysteria serves as a compelling character-arc within the story, and is well-executed aside from one or two lines nearing the end of the runtime, which are reminiscent of a cheesy supervillain quote from an early 2000s blockbuster.

While the film’s cinematography by Matthew Jensen does begin as your standard affair for a found-footage flick, when it comes to the film’s final act it can be quite difficult to tell where (or what) the camera is actually supposed to be. As its during the final act the characters fully embrace their abilities, allowing them to fly, tear through buildings, make objects float with ease and even throw vehicles, with many of their impowered actions being seen through various CCTV footage or onlooker’s floating phones and tablets, resulting in a fairly chaotic conclusion in spite of its creativity.

Also as a result of its found-footage style, ‘Chronicle’ lacks an original score, yet the film still features many songs through sources within the world of the film itself like radios and phones. And while the film does have a more realistic feel because of this, the film’s constant overreliance on glitchy edits/transitions have the complete opposite effect, as the overuse of glitches soon becomes just as irritating as it is distracting considering ‘Andrew’ is often filming through a contemporary camera.

Sadly, in the years since it’s release, much of the CGI throughout ‘Chronicle’ hasn’t aged well. As while some of the CG effects still hold-up, there is such a huge number of effects seen within the film that it would’ve been difficult for all of them to remain unblemished. These dated CG visuals might also relate to the film’s budget of £8.9 million, which may seem like a large amount, but is actually quite thin when taking into account what is required of it. The film’s budget also played a part in where it was filmed, as ‘Chronicle’ was primarily shot in Cape Town, South Africa, with American-designed vehicles needing to be shipped-over for the production, even though the story takes-place in Seattle.

To conclude, whilst the film has its issues like many other found-footage flicks, ‘Chronicle’ is certainly an under-appreciated entry in the subgenre, excelling in many different ways. And since the film’s initial release, there have been plenty of rumours regarding a sequel, with Max Landis constantly being attached and then unattached as its writer. But I think it’s pretty evident now that we’ll probably never see a sequel to this underrated science fiction story, which I believe is a good thing. As although the film does have some concepts which could be further explored, I feel the story of: ‘Andrew’s psychotic downfall will always be the main focus of: ‘Chronicle’, and without his character, it would seem incomplete. Final Rating: 7/10.

chronicle-teaser-poster

Midnight Special (2016) – Film Review

Written and directed by Jeff Nichols (Take Shelter, Mud, Loving), ‘Midnight Special’ may not be one of the most original or imaginative science fiction films to be released in recent years. But regardless of its many recycled story elements and unexplored ideas, this low-budget sci-fi drama/thriller still manages to retain a sufficient amount of entertaining scenes, impressive CG effects and terrific performances to-boot. All equalling to a fairly enjoyable experience, even if the film never quite reaches its full potential.

Plot Summary: ‘Alton Meyer’ is a boy unlike any other, a child with powerful abilities and strange weaknesses alike. But after ‘Alton’s abilities attract the attention of both an isolated cult and the U.S. government, ‘Alton’s father: ‘Roy’, vows to protect his son as the two rival forces pursue the pair across the country.

Although ‘Midnight Special’ was Nichols’ first film made in-conjunction with a large production company, Nichols wanted to ensure he had full creative control over the project just as he had previously with his low-budget indie films. So despite Nichols originally considering making the film with an independent film studio rather than with Warner Bros Pictures. During his last meeting with the company, the producers actually agreed to all his demands, due to the small-budget needed for the film. Meaning Nichols got his complete-control, and the film was more successful at the box-office as a result of its wider release. This did however, mean many audience members were left a little dissatisfied with the film, as ‘Midnight Special’ doesn’t follow the usual sci-fi clichés many would expect.

Michael Shannon leads the film as the concerned father: ‘Roy Meyer’, and as per-usual, excels in his role as this simple yet engaging character, wanting to protect his son at any cost, occasionally even at the expense of others. Playing into the age-old theme of doing anything to protect your child. Then there is also Jaeden Martell as ‘Alton’ himself, who considering his young age of twelve at the time of filming, gives a competent performance. As even though ‘Alton’ may look like a normal child, he acts in a very robotic and eccentric manner. Whilst this is completely intentional, this type of performance does sometimes make it quite difficult to resonate with ‘Alton’ as effectively as his father. The supporting cast of Joel Edgerton, Kristen Dunst and Adam Driver are all also great additions to the film, even though their characters don’t add much to the overall narrative.

Well shot throughout, Adam Stone’s cinematography for: ‘Midnight Special’ may not be some of the most astounding camerawork ever seen within the sci-fi genre, but due to the film mostly being set at night, the film does manage to enhance many of its already attractive shots through its dim lighting. In addition to the cinematography, the film also makes fantastic use of its many CG effects, with the majority of them being used quite sparsely to ensure they all appear as detailed as possible without going over-budget.

The original score by David Wingo also isn’t too memorable when compared to some other scores composed for science fiction flicks, but it still greatly adds to the film. Alternating from slow piano-focused tracks to more electronic pulse-pounding tracks when necessary, the entire soundtrack is both atmospheric and suitably sci-fi, with my two personal favourite tracks: ‘Doak and Levi’ and ‘New World’ being the perfect two examples of this change in tone when it comes to the score. The film also features a new rendition of the classic folk song: ‘Midnight Special’ during its end credits, which is actually where the film gets its title.

Yet in spite of its appealing cinematography and remarkable original score, the area where ‘Midnight Special’ falls flat is its story. As whilst many stories similar to this have been executed-well in film before, most notably the sci-fi classic: ‘Starman’ from 1984. ‘Midnight Special’ revels in not providing its audience with much information, keeping many aspects of: ‘Alton’s character, his abilities, and the world the story takes-place within a mystery. This is most evident when it comes to the (presumably) sinister cult known as ‘The Ranch’, as while the cult does play a small role in the story, they remain mostly underdeveloped throughout the film, and as the runtime approaches its end, soon disappear entirely.

To conclude, ‘Midnight Special’ is a sci-fi film that will appeal to a more niche audience. As whilst a simple pitch of the plot may sound both familiar and interesting to many fans of the genre, its the way ‘Midnight Special’ goes about its story that will divide many viewers. If the film was to provide a little more backstory/exposition here-and-there, perhaps the story would’ve felt more fleshed-out and matched with the brilliant efforts of its filmmaking. But as it is, ‘Midnight Special’ feels like a bit of a wasted opportunity, as it remains a decent film that could’ve been so much more. Final Rating: high 6/10.

MIDNIGHT-SPECIAL-ONE-SHEET

Edge of Tomorrow (2014) – Film Review

Exceeding expectations in more ways than one and combining the star-power of both Tom Cruise and Emily Blunt, ‘Edge of Tomorrow’ is an explosive summer blockbuster which reimagines the comedy classic: ‘Groundhog Day’ into a thrilling sci-fi flick to fantastic results. Directed by Doug Liman (Swingers, The Bourne Identity, American Made) and based on the Japanese manga: ‘All You Need is Kill’ by Hiroshi Sakurazaka, ‘Edge of Tomorrow’ or ‘Live Die Repeat’ as its now more commonly referred, manages to succeed in nearly every aspect an exciting science fiction film would need to.

Plot Summary: When an alien race invades Earth and releases an unrelenting assault unbeatable by any military unit in the world. ‘Major William Cage’, an officer who has never seen a day of combat, is unceremoniously dropped into the front-line. Getting killed within minutes, ‘Cage’ now finds himself thrown into a time-loop forcing him to live-out the same battle over-and-over again. But with each reset, ‘Cage’ learns to defend himself with the help of Special Forces soldier: ‘Rita Vrataski’, who together, hatch a plan to defeat the creatures, permanently.

Taking inspiration from sci-fi war epics such as: ‘Aliens’, ‘Starship Troopers’, ‘Independence Day’ in addition to the previously mentioned: ‘Groundhog Day’. ‘Edge of Tomorrow’ may have initially had disappointing returns when it released in cinemas in 2014, but mostly through word-of-mouth, the film has since continued on to become a modern science fiction classic, keeping itself distinct through its signature ‘resetting the day’ idea and couple of amusing moments in between its action-packed story.

For a large majority of the film, Tom Cruise actively plays against his usual type, as ‘Major William Cage’ is essentially the complete opposite of his character: ‘Ethan Hunt’ from the ‘Mission Impossible’ franchise, with most of the character’s screen-time being spent dying continuously in horrific (yet also somewhat comedic) ways, alongside his genuinely cowardly and untrained demeanour. Cruise also bounces-off his co-star Emily Blunt very well throughout the film, with Blunt portraying the complete opposite of Cruise’s character as ‘Rita Vrataski’, a hard-as-nails solider who is a skilled as they come. And whilst a romantic subplot can sometimes derail a film’s story, ‘Edge of Tomorrow’ manages to pull its off mostly due to the chemistry between its duo.

Although the cinematography by Dion Beebe does rely heavily on hand-held camerawork, this hand-held approach does remarkably add to many scenes within the film. Replicating the chaos of the constant war that surrounds ‘Cage’ as he tries different tactics in an attempt to survive on the battlefront, not to say that the cinematography doesn’t still allow for the occasional attractive shot however. Much of the film’s CG visuals are also up-to-par, excluding the ‘Exo-Suits’ of course, which are actually practical costumes for the most part. This was done so the suits would appear more real to the audience, which does stop the film from feeling too CGI-heavy during many of the film’s action sequences, even if the suits did weigh between eighty-five to ninety-pounds on-set.

The original score by Christophe Beck is certainly no where near as memorable as the film itself, being a mostly typical soundtrack for a action blockbuster with little charm or even a slight sci-fi twist to help the score stand-out. This unfortunately, even applies to the best track of the score: ‘Solo Flight’, which does at least utilise what sounds like metal-clanging audio effects to add a little more impact wherever it can.

The film’s main issues mostly revolve around two particular areas, firstly, the designs of the alien creatures known as ‘Mimics’. As whilst the CG effects that bring the creatures to life do look superb, the creatures feel a little too similar to video game enemies, as their different breeds are only distinct by colour, being either red or blue, with the remainder of their design being almost identical. While this is slightly redeemed by their unique sound design, it can become difficult to even tell the creatures apart when they are in large groups. My other complaint with the film is with its final act, as whilst the narrative throughout most of the runtime remains engaging and rousing. The film’s final portion ends-up becoming a little more generic after losing its signature time-looping concept.

Since even my first viewing of: ‘Edge of Tomorrow’ I’ve always been impressed by this science fiction flick, as while the film isn’t flawless and does still suffer from its cloned creature designs and weak final act. ‘Edge of Tomorrow’ is still a far more enjoyable and enthralling sci-fi than many may initially think. Even though the film didn’t thrive at the box-office on its release, it seems with its recent change in marketing to ‘Live Die Repeat’ many more sci-fi fanatics have now stumbled across this underrated gem, and with a blockbuster as riveting and surprisingly clever as this one is, I feel it can always be praised further. Final Rating: low 8/10.

rFSStxPT5CBiDWUotReCvRXltQk

The Hunger Games (2012) – Film Review

While nowadays ‘The Hunger Games’ may be known as an iconic blockbuster franchise, there was a time when most were unfamiliar with ‘Katniss’ and the sovereign state of: ‘Panem’. That until the first adaptation of the novel series by Suzanne Collins was released in 2012, kicking-off a new film franchise which would receive bigger and bigger budgets with each entry. Yet even with all this success, this science fiction series has always had more issues than most care to admit, which is mostly why I’ve never found as much enjoyment in this franchise as many others.

Plot Summary: In a dystopian future, ‘Katniss Everdeen’ volunteers to take her younger sister’s place in ‘The Hunger Games’, a televised competition in which two teenagers from each of the twelve districts are chosen at random to fight to the death in a forest arena. Now ‘Katniss’ and her male counterpart: ‘Peeta’, find themselves pitted against larger, more fearsome opponents, some of whom have been training their entire lives for this moment.

Alongside the ‘Harry Potter’ series, ‘The Hunger Games’ is one of the main films responsible for creating the rise of teen adaptations in recent years such as: ‘Divergent’, ‘The Maze Runner’, ‘Ender’s Game’ and ‘The Host’ to name a few. However, similar to many of these other franchises, ‘The Hunger Games’ has always suffered in my opinion from attempting too much at one time. As whilst the world the story takes-place within is certainly interesting, many ideas and elements feel fairly undercooked or even completely unexplored due to a lack of time, in particular, the aspect of: ‘Districts’ within the story, or even the centric: ‘Hunger’ part of the film’s title, which along with the many intriguing side characters, is barely developed during the runtime.

Mostly known for her work-on indie films at the time, Jennifer Lawrence leads the cast as ‘Katniss Everdeen’, and while many of the performances she has given throughout her career do tend to filp-flop in quality. She is mostly solid in her role as the film’s protagonist, serving as a likeable character through her actions in addition to also being a strong female icon for young girls. The rest of the cast of Joshua Hutcherson, Woody Harrelson, Elizabeth Banks and Liam Hemsworth all give passable performances, despite not being given much to do in this first entry of the series aside from support ‘Katniss’.

The cinematography by Tom Stern is definitely the weakest element of the film, being almost chaotic at points, the cinematography relies nearly entirely on hand-held camerawork. Almost giving the impression the filmmakers had some-kind of a phobia of utilising tripods, as aside from the initial moment of: ‘Katniss’ entering ‘The Hunger Games’, I felt the hand-held approach was very necessary, and resulted in plenty of shots losing their alluring potential. Although not often, occasionally, the cinematography even slips in-and-out of focus mid-scene, which alongside the CG effects (which also range drastically throughout the film) can be quite distracting.

Despite James Newton Howard’s original score not becoming as iconic or as beloved as many other signature scores from blockbuster franchises like ‘Star Wars’, ‘Jurassic Park’ or the previously mentioned: ‘Harry Potter’ series. Tracks such as: ‘The Hunger Games’, ‘Entering the Capital’ and ‘Rue’s Farewell’ do all serve the narrative well, adding to the drama and tension throughout the film even if they aren’t some of the most distinctive tracks this talented composer has to offer.

Although ‘The Hunger Games’ doesn’t develop its world as much as I would’ve have personally preferred, there is one detail I did admire within the world of the film. This being the visual contrast between the poverty-stricken and starving: ‘District 12’ and the wealthy and futuristic: ‘Capital’, even if this more futuristic setting allows for more outlandish sci-fi dangers like genetically-engineered hornets and dogs. This alternate version of Earth even plays into the costume design within the film, as many of the wealthy citizens of: ‘The Captial’ wear colourful (and even slightly bizarre) suits, dresses, hats and/or make-up, which excellently displays the difference in opulence throughout the film’s fictional-world purely through clothing.

To conclude, ‘The Hunger Games’ does have its entertainment value here-and-there, but just like many other blockbuster franchises, I feel many hardcore fans of the novels and films alike do seem to overlook the flaws this adaptation and its sequels have. From its cheesy and predicable dialogue, to its unexplored story aspects and its absence of both realistic violence and innovative filmmaking. ‘The Hunger Games’ is certainly not the worst sci-fi adaptations has to offer, but its still far from the best. If you’re a passionate fan of the novels then I’m sure you’ll thoroughly enjoy this adaptation, but if your just looking for an exciting science fiction flick, maybe look towards some older franchises or possibly even the gruesome Japanese thriller: ‘Battle Royale’, which shares many of the same ideas. Final Rating: high 5/10.

hunger_games_ver24_xxlg

Hot Tub Time Machine (2010) – Film Review

Taking heavy inspiration from the smash-hit comedy: ‘The Hangover’ released a year prior, this 2010 comedy revels in its absurdist tone and nonsensical plot right from its earliest scenes. As despite featuring some very dull cinematography and a completely forgettable original score to-boot, ‘Hot Tub Time Machine’ does manage to escape some of its flaws due to the original story and amusing moments its ludicrous title would imply.

Plot Summary: When a group of friends impulsively decide to take their low-life pal: ‘Lou’ back to the ‘Kodiak Valley Ski Resort’ after a potential suicide attempt, a place that was once their hotspot for thriving party-filled weekends. The group soon find themselves being sent back in time to 1986 after a drunken dip into their malfunctioning hot tub, allowing them to relive one of the best weekends of their entire lives.

Although comedy as a genre has always been quite divisive, ‘Hot Tub Time Machine’ is a film that values its comedy over anything else, as the film continuously throws-in as many jokes and references as it possibly can throughout its runtime. Most of which do come at the expense of messing with the film’s overall structure and pacing (regardless of how comical some of them actually are). As the film goes about its narrative mostly by jumping from comedic scene to comedic scene with most of the character’s different shenanigans having minuscule impact on the others, resulting in the film feeling mostly like a collection of individual comedy skits with little connection between them aside from their numerous riffs on 80s pop-culture.

At a first mention, John Cusack seems like a slightly odd choice for a straight comedy in my opinion, as the actor while talented (and even quite amusing at points during the film) usually specialises more in dramas, thrillers and occasionally even romance over comedies. Whereas the rest of the cast of Rob Corddry, Graig Robinson, Clark Duke, Chevy Chase are all very experienced within the realm of comedy, which is most likely why many of the film’s funniest moments belong to their characters. The film even features a short appearance from a young Sebastian Stan as the angsty teenager: ‘Blaine’, many years before his breakout role as ‘The Winter Soldier’ in the Marvel Cinematic Universe.

Similar to many other modern comedies, ‘Hot Tub Time Machine’ nearly always places far more of an emphasis on its comedic writing rather than its cinematography, usually resulting in a large majority of the film’s camerawork being fairly bland. In the case of: ‘Hot Tub Time Machine’s cinematography by Jack N. Green, this means having a variety of scenes shot through hand-held camera, in addition to a few moments where shots can make some of the rooms within the ski resort feel far more like sets than they should, usually leave a lot to be desired in terms of visuals.

The original score by Christophe Beck is immensely generic (even in spite of it barley being utilised throughout the film). Yet while the score’s lack of memorability is a missed opportunity, it certainly isn’t its biggest. As with the film being set within the 1980s, I felt it was a pretty obvious choice to have a synth/rock soundtrack which would meld perfectly with the long list of iconic 80s songs that also populate the film, the most notable of which definitely being: ‘Safety Dance’ when the gang first realise they have arrived in the past.

However, even if ‘Hot Tub Time Machine’ doesn’t always make the most of its time-period, the film does at least have an interesting location on-itself, as the ‘Kodiak Valley Ski Resort’ temporary home of the music festival: ‘Winterfest 86’, allows for plenty of visually-pleasing locations when covered in the snow, ice and vibrant coloured lights alike. Yet sadly, this still doesn’t manage to make-up for what is easily the film’s biggest misstep. As whilst I would say ‘Hot Tub Time Machine’ lands more jokes than it misses, the film does overly-rely on gross-out humour for sure, having a number of scenes where simply having a character getting covered in urine/faeces (or something even worse) is the entirety of the joke, which obviously fails to do anything other than disgust its audience through its pathetic idea of comedy.

Overall, ‘Hot Tub Time Machine’. Even though I personally feel the film is far more problematic than many other modern comedies, I appreciate the film’s effort to scale-up the preposterous nature of many other comedies, taking its ridiculous story concept and managing to make it work better then many would initially think. But just like many other films within this genre, the bland filmmaking on-display and simply unnecessary amounts of gross-out humour leave it a very mixed-bag for me, with that said however, I could still see the film being enjoyable for anyone in search of a raunchy comedy for a Saturday night with friends. Final Rating: 5/10.

hot_tub_time_machine_xlg

Dawn of the Planet of the Apes (2014) – Film Review

The second outing of the revamped: ‘Planet of the Apes’ series and in my opinion, the best of the most-recent trilogy. ‘Dawn of the Planet of the Apes’ takes-place a decade after the previous film, now taking the story into an apocalyptic world where humans and intelligent apes co-exist. Featuring another spectacular performance from Andy Serkis as ‘Caesar’ as well as a much larger role for the vicious ape: ‘Koba’ this time around (now portrayed by Toby Kebbell), this thrilling and propulsive sci-fi blockbuster is sure to keep most viewers gripped to the screen.

Plot Summary: Many years after ‘Caesar’s escape from captivity and the outbreak of: ‘Simian Flu’ that followed, the clan of intelligent apes and chimps now resident within the Muir Woods just outside a derelict San Francisco. Living a peaceful existence amongst themselves until a group of human survivors journey into their territory in order to find a solution to their colony’s lack of power, soon leading both sides to consider the possibility of war.

Now giving directorial control over to Matt Reeves (Cloverfield, Let Me In), Reeves would write/direct both this film and the following entry in the series: ‘War for the Planet of the Apes’, allowing Reeves to really give a sense of continuity within the story and style (not to say the sequel doesn’t retain continuity from the first film). Yet what makes this sequel stand-out when placed against the first entry in the trilogy is its narrative focus, as ‘Dawn of the Planet of the Apes’ continuously builds tension throughout its runtime, with much of the film leaning on the two species as they balance on the brink of a war that could desolate both parties.

Andy Serkis leads the motion-capture cast of apes once again as ‘Caesar‘, developing his character even further after the first film as ‘Caesar‘ now cares for the clan of apes alongside his newly-found family, and just like the first film, Serkis once again manages to make an animalistic ape a far more interesting and likeable character than would initially seem possible. Its the criminally underrated actor Toby Kebbell who shines most within the film however, as the sequel provides the war-mongering ape: ‘Koba’ with a much larger role, having the ape serve as the film’s main antagonist. In addition to the apes, the film also features a number of human characters portrayed by Jason Clarke, Keri Russell and Gary Oldman, who are all great in spite of their limited screen-time.

Whilst ‘Rise of the Planet of the Apes’ did feature plenty of attractive shots, Michael Seresin’s cinematography is actually an improvement over the previous entry, as the sequel manages to utilise its dim lighting and overgrown/dilapidated cityscape of San Francisco to fantastic results. The cinematography also helps add too much of the film’s action, as despite the film only containing two action set-pieces, both scenes manage to feel like an excellent pay-off to the large amount of build-up before them. Yet personally, I believe one of the most impressive aspects of the film has to be its practical sets, from the overcrowded ‘Human Colony’ to the decrepit streets of San Francisco, nearly all of the film’s sets are breathtaking in both size and detail, with the ‘Ape Village’ being the clearest example of this superb craftsmanship.

Capturing the bleak and ominous tone of the story flawlessly, the original score by Michael Giacchino is also continuously brilliant, and personally I think very underrated. As immediately from the stylish opening sequence which informs the audience of all of the events that have taken-place prior to this film, the backing-track titled: ‘Level Plaguing Field’ really elevates the scene’s overall emotional impact, with later tracks like ‘Past Their Primates’ and ‘Along Simian Lines’ continuing this trend. 

Although it could go without saying, the visual effects throughout are the film are fantastic, while still perhaps not as pristine as ‘War for the Planet of the Apes’s effects, the CG visuals do still hold-up very well since 2014 and contain an immense amount of detail in areas. In fact, the company that created the apes, Weta Digital, were even brought-back to bring-to-life a variety of other animals for the film including: deers, horses and a grizzly bear, each sharing the same high-level of detail.

To conclude, ‘Dawn of the Planet of the Apes’ is another remarkable instalment in this new series, upping the stakes and visuals from the previous film alongside continuing the story in a meaningful and entertaining fashion. This science fiction sequel is certainly worth a high 8/10, and whilst I would recommend watching the entire trilogy in order to experience the full story of: ‘Caesar’ as a character, if you have limited time or perhaps don’t usually enjoy sci-fi, then I’d say the middle chapter of this trilogy is truly the most exciting/memorable of the three.

dawn_of_the_planet_of_the_apes_ver6_xxlg

Tron: Legacy (2010) – Film Review

Although Disney has had more than enough success when it comes to its animated filmography, the iconic production company has seemingly always struggled with its live-action endeavours. As aside from ‘The Pirates of the Caribbean’ franchise, many of Disney’s attempts to kick-off a live-action film series such as: ‘John Carter’, ‘The Sorcerer’s Apprentice’ and ‘Tomorrowland: A World Beyond’ have all been relative flops (with the exception of their remakes of animated classics). ‘Tron: Legacy’, the action-packed sequel to the ground-breaking cult sci-fi: ‘Tron’ from 1982, is a slight improvement in this area, yet still results in a film more focused-on style-over-substance.

Plot Summary: After the tech-savvy and rebellious: ‘Sam Flynn’ begins looking into his father’s disappearance, he soon finds himself pulled into the digital world of: ‘The Grid’, where he discovers his father has been trapped for over twenty-years. All the while, his father’s malevolent program: ‘CLU’, who rules ‘The Grid’, plans to prevent the pair’s escape and take the real-world for himself.

Being set in a virtual world, nearly every scene within ‘Tron: Legacy’ takes place in fully CG locations, and although most of the film’s CG effects do hold-up well and are visually appealing. The digital world of: ‘The Grid’ does begin to feel quite unvaried after a point, as whilst it may look unique at first glance, the illuminated buildings and vehicles throughout the city of: ‘Tron’ feel fairly repetitive despite the film’s variety of different locations. In fact, its the film’s CG visuals that actually made ‘Tron: Legacy’ the most expensive film ever made by a first-time director at the time of its release, with the costume budget alone costing over £10 million.

Garrett Hudlund portrays the film’s protagonist: ‘Sam’, alongside the supporting cast of Jeff Bridges, Olivia Wilde and also Michael Sheen in a small role. Who all give decent performances despite their dull characters, as ‘Tron: Legacy’s story and characters follow many of the same-beats as any-other sci-fi adventure. However, easily the worst element of the film when it comes to its characters is the film’s antagonist. Known only as ‘CLU’, a corrupt program created by Jeff Bridges’ character: ‘Kevin Flynn’ as a digital copy of himself, this villain not only suffers from a barley-developed motivation but also due to him being a program which doesn’t age, the film utilises CGI to make Jeff Bridges appear a similar age to that of his in the original film, which is one of the few CG effects that really hasn’t aged-well, appearing almost laughably-bad at points.

Claudio Miranda handles the cinematography throughout ‘Tron: Legacy’, and although the film definitely puts far more of an emphasis on its CG effects than its cinematography, there are still a fair amount of interesting shots including plenty of stunning wide-shots to display the true scale of the digital world. The cinematography also makes great use out of the film’s few sleek futuristic sets despite their very limited screen-time, most notably: ‘Flynn’s Safehouse’ located on the edge of: ‘The Grid’.

The original score for the film is actually composed by the techno band: ‘Daft Punk’, whose type of music does suitably fit the sci-fi genre, and whilst some tracks do feel a little too similar to an actual techno album in my opinion. For the most part, the soundtrack does back-up the film’s narrative and adventurous tone very effectively. ‘Daft Punk’ themselves even make a short cameo within the film as a pair of DJs in the ‘End of Line’ nightclub, wearing their iconic helmets as they play one of the film’s most memorable tracks.

Another great aspect of: ‘Tron: Legacy’ is certainly its action set-pieces, as although many of the action scenes throughout the film aren’t anything incredibly inventive. The original: ‘Tron’ did introduce the creative concepts of: ‘Identity/Light Disks’ and ‘Light Cycles’, both of which return in the sequel and result in plenty of thrilling and fast-paced action sequences as ‘Sam’ is thrown-into an array of gladiator-esque challenges near the beginning of the film. The various costumes worn by the characters who live within ‘The Grid’ are also worth a quick mention, as most of the characters wear a ‘Light Suit’, which usually feature fluorescent-like glowing strips that illuminate each suit in a range of colours, which never fails to be visually-striking.

‘Tron: Legacy’ is by no means a terrible film, when it comes to Disney’s other ventures into live-action, ‘Tron: Legacy’ could even be seen as a success for some. But with its fairly paint-by-numbers story, bland characters and onslaught of over-done clichés, this sci-fi sequel ends-up becoming more of a display for its impressive CG visuals and electronic original score rather than an exhilarating sci-fi odyssey. A low 6/10 from me. If you’re a fan of the original: ‘Tron’ I feel you will surely enjoy this follow-up, if not, maybe look elsewhere for your fill of original science fiction.

tron_legacy_ver11_xxlg

Super 8 (2011) – Film Review

A few years before ‘Stranger Things’ hit our Netflix accounts, director J. J. Abrams (Mission Impossible III, Star Trek, Star Wars: The Force Awakens), tried his hand at creating an 80s sci-fi throwback with ‘Super 8’. While the film did get mostly positive reviews from both critics and audiences alike upon its initial release, I’ve never been a huge fan of this science fiction flick, with many strange decisions at play in addition to its overreliance on borrowing story elements from classic films of the 1980s. ‘Super 8’ has always seemed more like simple pandering rather than an enjoyable and nostalgic throwback to me.

Plot Summary: During the summer of 1979, a group of young friends shooting a short zombie film are witnesses to a devastating train crash. Soon after, the group find themselves investigating the subsequent unexplained events throughout their small town.

Even with legendary director Steven Spielberg on-board as a producer, ‘Super 8’ mostly lacks the fun tone many of Spielberg’s classics usually overflow with, taking itself pretty seriously aside from a few short moments. Although ‘Super 8’ may not feature this aspect of Spielberg’s work however, the film does utilise many different ideas from his filmography. As while most throwbacks do usually contain a few story elements taken from the films they are inspired by, ‘Super 8’ begins to feel a little derivative at points, eventually developing a plot which feels almost identical to ‘E. T. the Extra-Terrestrial’ and ‘Close Encounters of the Third Kind’ without much experimentation.

Although Joel Courtney, Elle Fanning, Gabriel Basso, Riley Griffiths, Ryan Lee and Zach Mills all do a great job at portraying their young characters, the writing throughout the film definitely has room for improvement, as many of the younger characters never quite manage to become incredibly amusing or likeable, with most of them receiving barely any development at all. Following this, as the film’s narrative becomes more tense and dangerous nearing its end, the group’s frustration and panic begins to surface, which although realistic, does result in them becoming rather irritating after a while due to their constant screaming and arguing. Kyle Chandler also makes an appearance within the film as ‘Jackson Lamb’ one of the group’s parents, who does give a decent performance as a strict yet caring father even with his limited screen-time.

The cinematography by Larry Fong is visually pleasing for the most part, creating many different and attractive shots throughout the film. Due to its colour palette and lighting however, the film’s visuals are dragged-down by simply how dark the film is, as a large majority of the story takes place at night, ‘Super 8′ relies heavily on dim lighting and shadows (alongside Abrams’ continued obsession with lens-flares). The film’s CG effects are also serviceable, with many of the film’s more CGI-heavy moments taking-place at night, meaning any of the CG visuals which may be lacking are usually saved as a result of them being covered by darkness.

Michael Giacchino is a composer I usually adore, from his astonishing work on films such as: ‘The Incredibles’ and ‘Jojo Rabbit’. He normally succeeds far beyond expectations. However, in the case of: ‘Super 8’, his score is simply just ‘okay’, as although it does serve the film’s story decently well, the film’s soundtrack isn’t very unique or memorable. Being a traditional orchestral like many other modern blockbusters, I couldn’t help but feel a classic 80s synth score more along the lines of: ‘Stranger Things’ would’ve worked extremely well for this kind of film, even with the film’s narrative technically being set in the 1970s.

An aspect of: ‘Super 8’ I do truly enjoy is the film’s sound design, an aspect of filmmaking that I rarely mention, ‘Super 8’ actually does a fairly brilliant job of building tension or mystery through its eerie sci-fi noises. In particular, in the scene in which the young group of friends are attacked by an otherworldly creature whilst on-board military transport, as mostly in part to its sound design, this is in my opinion, one of the most effective and memorable scenes of the film.

‘Super 8’ overall feels like a huge waste of potential, as whilst the film is far from awful and does have some interesting aspects scattered throughout its runtime. The film’s weak writing and forgettable original score make the film feel a little bland in areas. In addition to its lack of anything truly original (which is the film’s biggest flaw in my opinion). As unlike ‘Stranger Things’ where the show’s story at least introduces concepts like ‘The Upside Down’ which are somewhat creative, ‘Super 8′ lacks much of anything that hasn’t be explored in sci-fi before. While this film is still a perfect example of J. J. Abrams’ talent for visuals, ‘Super 8’ never really manages to elevate itself beyond being just a simple nostalgia-fest. Altogether, a high 5/10.

super_eight_ver2_xlg