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Central Intelligence

Posted on by Charlotte_Sometimes

A surprisingly hilarious Summer comedy

Central Intelligence does not try to reinvent the wheel, it has the typical rhythms and beats of a Summer buddy-movie, but this is not a bad thing. Though it may have the cliches and lazy set-up it is a genuinely hilarious movie that works far better than you’d expect. Plus, some unexpected and on point Sixteen Candles references for the 80’s movie connoisseurs among us (as in I started cry-laughing at one point..)

In 1996, during the last senior assembly school legend Calvin Joyner (Kevin Hart) is awarded the school prize for ‘Most Likely To Succeed’. In the very same assembly overweight school loser Richard Wheirdicht (Dwayne Johnson) is thrown into the room by the school bullies, completely naked. Richard leaves school and is never seen again. 20 years later and a school reunion is on the horizon. Calvin, who married his high school sweetheart Maggic (Danielle Nicolet), is refusing to go as he does not feel he has truly ‘succeeded’ at life and feels like he peaked at high school. Seemingly by coincidence, on the day before the reunion, a mysterious ‘Bob Stone’ adds Calvin on Facebook. It turns out that is the name Richard now goes by. The two meet and Calvin cannot believe the transformation Richard/Bob has undergone. He also can’t believe the series of events that follow which result in his being wanted by the CIA…

In terms of storyline this film will not win awards for originality, the school reunion as a concept is an overused plot point. As is the ‘wrong man’ story arc. As is the generic misunderstandings and bland gunplay that occurs as a result. And yet, in terms of execution, Central Intelligence does an excellent job of standing out from the rest of the crowd.  This is primarily due to the star power the film has, which it utilizes to it’s fullest. Kevin Hart does his usual Kevin Hart schtick – lots of shrieking combined with lots of race and short jokes – yet it ends up being more bearable than usual. This is down to the fact that his character Calvin is rather well-rooted, a conflicted character who we end up actually caring for. It’s a universal fear to worry that you have not fulfilled your potential, that you should/could/would have done things differently. His character arc covers this well and ends with a resolution that isn’t all that cloying.

However, this is Dwayne Johnson’s show. The man is a comedic revelation – creating a character who is imposing physically yet haunted by insecurities, truly funny both intentionally and unintentionally, and a proper oddball. This is a man who wears a unicorn tee with pride, unironically owns fanny packs (aka bum-bags) and whose favourite movie is Sixteen Candles.He could also hurt or kill you very easily. Yet what Johnson manages to do, in a film that isn’t perhaps the most nuanced seeming, is provide his character with more than one dimension. As goofy as his character appears he still seems rather real, rather loveable and rather riotous. 

Although it is the two leads that drive the movie and make it as unexpectedly entertaining as it is honourable mentions have to go to the supporting cast. Amy Ryan is excellent as the deadpan CIA boss. Jason Bateman awful (as in nasty character, Bateman is never awful!) yet brilliant as the school bully. Aaron Paul as Bob Stone’s ex CIA partner is brilliant. There’s also a cameo from a female comedy actress that I don’t want to spoil (it’s a small part but a goody). Also, for the Veronica Mars fans amongst you Ryan Hansen (Dick Casablancas) plays the kind of character you’d expect and that he does oh so well. 

Central Intelligence will surprise you. It will make you laugh more than you’d think and has a lovely feel good message. Plus, for a mainstream Hollywood comedy, it has a superb amount of oddness that makes it something of a rarity. Unpredictably delightful.

stars

Captain America: Civil War

Posted on by Charlotte_Sometimes

Is this Marvel’s greatest hour?

To start, let’s kick off with a bit of a retrospective. In 2008 Iron Man surprised the world – a superhero film packed with action, warmth and wit was a relatively new concept. The fact this one had a brilliant storyline along with making a hero most people outside of comic book fandom did not know/care about into someone they wanted to see even more of – that was the truly incredible thing. Skipping ahead several movies we then arrive at Avengers in 2012 which managed to bring the Earth’s mightest heroes together in a way that gave the entire ensemble space to shine. Captain America: Winter Soldier shook things up in 2014, showing that comic book movies could be more than just punch ups. They could come a espionage thriller editions too. Last year’s Age Of Ultron was ultimately a disappointment (though not in terms of box office) as it was too po-face and side piece-y. Now, one week ahead of the USA, we have Civil War. Civil War fixes the problems of Age Of Ultron, takes the smarts of Winter Soldier, the high-stakes suspense of Avengers and the character driven focus of Iron Man. In many ways it is one of the best Marvel movies yet, but is it really the five star perfection the majority of reviews are touting?

One year after the events in Sokovia – Steve Rodgers/Captain America (Chris Evans), Natasha Romanoff/Black Widow (Scarlett Johansson), Wanda Maximoff/Scarlet Witch (Elizabeth Olsen) and Sam WIlson/Falcon (Anthony Mackie) are in Nigeria trying to prevent the theft of a biological weapon. In the process Wanda  loses control of her powers and a building is destroyed, killing several people. It’s the final straw and the governments of nation’s from around the world demand that the Avengers be held accountable for their actions. The United Nations puts forward the Sokovia Act which would put a governing body in charge of monitoring and policing the world’s growing inhuman population. Tony Stark/Iron Man (Robert Downey Jr.) is in favour of signing that act as he has become all too aware of the consequences of their past actions. Steve, having become distrustful of government after the fall of S.H.I.E.LD, firmly disagrees. When Bucky Barnes/Winter Soldier (Sebastian Stan), Steve’s childhood friend who was tortured by H.Y.D.R.A and forced to become an assassin, becomes involved what was once a a fracture becomes a break – forcing the Avengers to take sides. United they stood tall but when divided who will be left standing?

This film is pretty superb. It balances humour with action, characterisation with big set pieces, superpowers with humanity. The end product is pure cinematic escapism, with some big questions being posed along with some laugh-out-loud gags. For instance that age old mantra from Spiderman’s Uncle Ben ‘With great power comes great responsibility’ – if you are the one in possession of great power and you do not use it (however unintentionally) responsibly, who should you be accountable to? If you are capable of destroying cities, constantly having to make life or death decisions, should you have permission? All of Marvel’s past films have led to this point, where tough unanswerable questions slot in with huge/gigantic/speculator action sequences.

However, going somewhat against the tide here, I don’t think it’s perfect. Though its ambition is admirable and mostly successful it is a watching experience akin to going to your favourite restaurant, having your favourite meals but for some reason there is a delay between courses. There are some wonderful/brilliant/extraordinary moments, but then there is a bit of waiting around before the next wonderful/brilliant/extraordinary moment. In many ways this just goes to show just how could the wonderful/brilliant/extraordinary moments are, that they are of such a high caliber that the momentum cannot be maintained. It could also be a by-product of the film’s running time, which clocks in at 147 minutes. Going back to my eating-out analogy perhaps the portion size is overly large, the chef’s eyes were bigger than my belly, and that skimming a bit off the plate may have made for a more satisfying experience.

Saying that does not ignore or take the shine away from the incredible fest that this film offers. It may just be Marvel’s most mature film yet, displaying its spectacle and smarts with great confidence. The central debate is hugely topical – so much so that Batman V Superman featured simillar just a few weeks back. But this film is the antithesis of the fatally flawed BVS:DOJ (which confused dark with murky). Civil War has an edge to it – the Airport fight-out sequence between the two newly-split allegiances easily earns a place in top five scenes in a Marvel movies. Then there’s the new depths added to RDJ’s Tony Stark, a man who seems to be enjoying the continuing evolution of his character. His authority plays a role in his relationships with his fellow Avengers, in his fraternal alliance with Steve Rodgers and most excitingly hints at what looks to be a legendary rapport with the latest incarnation of Spiderman (Tom Holland). Holland is a breath of fresh air to the franchise – he’s cheeky and full of energy, a blend of nerd and cool which neither of the previous film versions seemed to capture. The brewing mentor/mentee relationship between he and Tony Stark is one to truly get excited about. 

Without question this is the best Avengers movie yet – even if the name itself doesn’t lend itself to that. By having the pre-colon say Captain America it almost implies it is a stand-alone movie. It’s not. Although it is Cap’s conflicted conscience which drives the majority of the plot the film is made by the ensemble. Is it the best Marvel movie yet? Instinctively, after great internal battle, I have to say no. In terms of viewing experience I rank Guardians of the Galaxy  far higher and in terms of cerebrality Winter Soldier wins. However, this does not take away from what a spectacular is for the most part. It never feels overstuffed, joyfully introduces new heroes and pays great tribute to our existing heroes.

4.5

 

Bastille Day

Posted on by Charlotte_Sometimes

Remove brain and enjoy the stupid

To put it simply, there is nothing clever about this film. It’s too po-faced about going about its business to be a parody even when the film really feels like it’s parodying ‘the maverick detective’ genre – our ‘maverick’ is even introduced via a CIA briefing where a prior report described him as ‘reckless and prone to violence’, he does things that are so against the rule book that he’s ‘own his own’ and he punches or shoots everyone he comes into contact with. Aside from this not a single character has any actual characterisation, each one simply remains a job title or character trait. Yet somehow, and if you really try not to think too hard, this film has enough charisma and talent to actually be rather entertaining… for the most part.

Zoe Naville (Charlotte Le Bon) is persuaded by the man she thinks she loves to walk into the office of a political party candidate after hours and leave behind a bomb. He promises her that it’s safe, the office will be empty and no-one will get hurt. When Zoe finds the office to be full of cleaners she ends up being stuck in the middle of Paris with a literal ticking time bomb. That’s when con artist and thief Michael Mason (Richard Madden) spots an opportunity and steals her bag without knowing the contents. After stealing her phone he drops the back of at a bin – time has run out and the bomb explodes. Michael survives but CIA surveillance now implicates him as the instigator of the bomb so they put their best rogue lone-wolf officer on the case, Sean Briar (Idris Elba). Once Mason proves his innocence and his masterful skill of pick-pocketing the pair team up to find out the truth and stop any further lives being taken by the terrorists, who are soon found to be part of the French police force. – but just how high up does this conspiracy go? 

Again, I reiterate, there is nothing genre-defying or genre-defining here. The plot is riddled with more bullet holes than actually feature in the film – which is really saying something as every single character appears to try to shoot their way out of every single situation. Considering the main issue at hand is terrorism there is nothing logical about how any of the involved parties handle the situation.  The terrorist use a hashtag for their exploits, which magically transforms all the citizens of Paris into Bastille Day warriors. I’m sure there are many social media advertising companies who would love to know their secret.

Their ‘secret’ may just be Idris Elba who genuinely saves this film from being utter dross. He manages to droll lines which are so poorly manufactured and cliche-ridden that other actor would need to do the whole ‘nudge-nudge wink-wink’ to the camera. Instead Elba can say utterly farcical fare in such a way that you still get the joke and can laugh at multiple people’s expense. His charisma and sheer screen presence make the film as enjoyable as it is. That and the fact the film is a lean 90-odd minutes, no plot device or scene out stays its welcome and there is more than enough action. If you can ignore the utter waste of Kelly Reilly‘s talent and some of the film’s complicated (read: flawed) ideas about numerous topics then you’re good to go. 

It’s cheesy and hackneyed and only saved by Idris Elba. But, if you make sure you switch off both your phone and your brain at the start of the film, then you’ve found an entertaining enough way to while away 1.5 hours.

2 stars

Eye in the Sky

Posted on by Charlotte_Sometimes

A powerful and reflective examination of the cost of warfare. 

Very few films are this good. It’s well-acted by a truly terrific cast, impeccably shot with a thrillingly taut script. It also poses such incredibly cerebral and difficult questions without copping out and providing easy answers. Then again, war itself doesn’t provide any easy answers.

Colonel Katherine Powell (Helen Mirren) arrives at a military base in Sussex to oversee a high-level mission, to capture Al-Shabaab extremists who are meeting at a safe-house in Nairobi. Jama Farah (Barkhad Abdi) is one of numerous undercover Kenyan field agents on the scene using covert surveillance. In Nevada USAF pilot Steve Watts (Aaron Paul) takes his seat alongside rookie Carrie Gershon (Phoebe Fox) to provide aerial surveillance (the Eye in the Sky). Lt. General Frank Benson (Alan Rickman) arrives at his work, an office in London, taking the seat at the head of a table with members of the government to oversee the operation. What starts of as a seemingly routine capture mission soon becomes deeply complicated when it’s discovered the extremists are preparing to send two suicide bombers into the busy city streets. The only option appears to be to drop a hellfire missile on the safe house, but a little girl is out on the street nearby who would be fatally injured in the process. Those involved are deeply conflicted about what to do, and time is quickly running out.

I do not say this words lightly, but I firmly believe that everyone should see this film. Far beyond the fact that it is superbly acted and written, things I will discuss shortly, few films about war are this suspenseful and affecting.. The very term ‘collateral damage’ is a term complicated enough when you reflect on the fact it is a label used for human beings  caught in the crossfire but having the film truly immersing the audience debate generates a new level of soul searching. This is a genuine nail-biting thriller, with moments of true edge-of-your-seat-ness and wringing your hands in despair.

The cast for this film is awe-worthy and all of their performances justify completely justify that awe. This is one of two posthumous roles for Alan Rickman and serves as a reminder of what a genuine talent we lost this year. His iconic tone and manner are both fully in display here, truly serving his character and the film itself very well indeed. Helen Mirren is wonderful and fully believable as the stoic Colonel who watches her mission escalate from out of her control yet never losing her calm or nerve in the process. Aaron Paul is extraordinary as a man with two years experience in the job who is finally being told to pull the trigger, torn between duty and morality. Barkhad Abdi is one of the characters we know least about yet the strength and depth of his performance allows the audience to truly understand his role in events.

The script, cinematography, sound and performances of Eye in the Sky align to make this easily one of the best movies of the year so far. A riveting, fully entertaining yet equally chilling study of the morality of warfare. The questions it raises are not and cannot be truly answered yet will continue to haunt long after the credits roll.

This needs to be seen by all.

five star

Deadpool

Posted on by Charlotte_Sometimes

The Merc with a Mouth has a big heart, and an excellent first film.

Few films produce the level of antici…pation that Deadpool had prior to release. Even fewer films meet, let alone exceed, the eager expectation of its future audience. Deadpool is, thankfully, on of those films. It even led to a reshuffle of my top five Marvel-related films (as of 14/02/16: 1) Guardians of the Galaxy, 2) Deadpool, 3) Winter Soldier, 4) Ant Man and 5) Thor). The film is filthy, frantic and feverish. I can see (if I squint and put on my reflective hat) that those three reasons for why I love it so much are the same three reasons why a small minority may hate it (if you are in the later category I will *try* not to judge). However, the film is exactly my kind of humour and, heck, it’s my name in the blog title (chica chica!) Even my overuse of brackets in this paragraph (sorry, no sorry!) would indicate the fourth wall breaks/sidebars of the film. Anyway, I’ve rambled on enough here… let’s get cracking!

The film opens with a truly hilarious montage of Deadpool (Ryan Reynolds) in an overturned car with some villains (soundtracked to ‘Angel Of The Morning’ by Juice Newton). Through an array of flashbacks and flashforwards we learn about the past and present of the man behind the mask. Wade Wilson was a bad guy who was paid to hurt even badder guys. He was definitely *not* a hero. One night, after a successful job, he meets Vanessa (Morena Baccarin). They have simillar senses of humour and the connection between them is electric. One date leds to one year of happiness – a year than ends with Wade being diagnosed with terminal cancer. He’s offered a solution: to join a secret program that will get rid of his cancer and grant him superpowers. Ajax/Francis (Ed Skrein) is the man running the program and injects Wade with a secret serum, teaming up with Angel Dust (Gina Carano) to torture Wade for weeks on end in an effort to trigger a mutation. One torture in successful in triggering the mutation, providing with the power of healing that is so great he is essentially immortal,  but in the process leads to Wade being totally disfigured. Once escaped Wade seeks out the man who destroyed his life, desperate for revenge and a cure. 

Where to begin with reasons for why I love this film so greatly, without turning this review into a stream of consciousness? Ryan Reynolds is utterly fantastic in this role, creating a character who is nuanced and full of depth whilst also making cock jokes. Reynolds has not been given the opportunity to  show of his funny bone for so long, and having spent ten years getting this show on the road, the fact it is a clear passion product for him really illuminates just how good he is.

Often with superhero films the mask is a barrier between the ‘hero’ and the audience. In this case the barrier is shattered literally by having Deadpool talk directly to the audience (just like in the comic books)  and through his use of facial expressions. Even with the red mask on we can see the facial expressions, the eyebrow raises, glaring, moments of surprise and amusement. With regards the jokes, not every joke lands but there are so many that when one does fall flat there will be two more in the next 30 seconds to get you laughing again.

His take on Deadpool is also the required level of sexy. I don’t just mean fanciable (though, yes.) But his interactions with Vanessa are sparky, sweet yet erotic. When you really think about it, how many superheros in film adaptations are given that side to their character? Batman is rather caste and crippled by his past, Superman looks great but is too noble for that, Captain America too innocent and Ironman is implied – all talk and no action (though admittedly Stark’s conquests occur in films rated 12/12A). Wade Wilson has a fully-functioning relationship with Vanessa , raunchy  yet founded-in love. Which sums up the whole films ethos really – it may parody the entire genre but is done so with love and thus still honouring it. One way of doing this is with the treatment of its big baddie.

Skrein makes a fantastic villain, reaching towards (though no equal to) the heights of Tom Hiddleston’s Loki. Ajax/Francis is a nasty man, who ‘enjoys’ causing others man and misery yet he’s so charming in the process. We want Wade to get the vengeance he is so desperately wants, which means we get to see more Ajax/Francis in the process (a total win-win). His cool, calm borderline-psychopath-at-the-core sit he perfect contrast to the maniac ‘talker’ that is Wade Wilson. Their onscreen rapport brings the best out of both characters.

Baccarin is good, if slightly underused, as Wilson’s girlfriend. Brianna Hildebrand is awesome as Negasonic Teenage Warhead, the X-Men trainee who is shadowing Stefan Kapicic‘s Colossous. Using such little-known and under-valued X-men was a great idea, bringing out the best from Wade Wilson. Including some of the films stand-out gags… 

This may be the perfect Valentine’s Day film. There’s romance, sex, dirty jokes, lots and lots of killing (think Kick-Ass or Kingsmen level violence) and more dirty jokes.

I’m seeing it for the third time this week. Go see it!

Triple 9

Posted on by Charlotte_Sometimes

A.K.A what happens when bad movies happen to good actors

Sometimes you will go the cinema and see a film for one actor you particularly like. Occasionally, you are lucky enough to see a film that for two or three of actors who like. It’s rare to find a film that has an entire lead cast that you truly admire. Triple 9 has a cast made up of some truly talented actors (listed with my favourite of their works):

The trailer for the film looked engaging enough, full of twists and deceit. Then, last night at Cineworld’s Unlimited Secret Screening, I got to see Triple 9. The film is a flawed, convoluted and bitterly depressing 116-minute journey. In all honesty, I would have walked out at about 30 minutes in, if it were not for wanting to find out what happened to the characters played by the above actors along with the fact that I wanted to write a fully-informed review about it. My main hope from writing this review is to discover why I instinctively and vehemently did not like this movie.

Michael (Ejiofor) is the head of a criminal crew that is formed of cops and criminals. The film opens with Michael and his crew (Reedus, Mackie, Paul and Clifton Collins Jr.) undertaking a bank robbery. The men are vicious, with an arsenal of tools to threaten. These include guns, explosives and even a portfolio of information about the bank manager’s personal life to adequately blackmail. The crew get what they came for and leave, but their escape is made messy by greed, which leads to the accidental opening of a dye pack which marks all of them. This mistake aside, all appears well and they hand over the item they stole for gangster Irina Vlasov (Winslet). She withholds their payment however, as she wants them to commit an even more high-profile robbery. A robbery that the men think would be impossible. That’s when one of them realises that it would be possible if the gang splits into two. One half would commit the robbery itself, whilst the other half would provide the police with a distraction. The only crime that would distract an entire police force would be  a Triple 9 – the shooting of a fellow officer. The new partner of Marcus (Mackie) would be the ideal target. However Chris (Affleck) is the Sergeant Detective’s (Harleston) nephew, and both men are highly suspicious as to the identities of the crew.  

First and foremost, it is not the cast who are at fault with this movie.Each of the actors brings a great deal to role, not one of them phones in their performance. Each actor uses what little they have been given to great effect. It’s practically everything else that is a problem. The opening sequence is comprised of tight-framing, minimal lighting and dialogue that poses more questions than answers. By starting in media res (mid action) the film trying to engage you what is going on, but does not provide any reason to actually care about the characters who are participating in these events. This is true of the entire film, we are given little-to-no reason to care about any of the characters. The crew are not charismatic or conflicted enough to be anti-heroes, and the ‘heroes’ are too flawed to side with.

The story that then plays out appears cleverer than it actually is, often leaving the audience unsure what is going on but not motivated enough to figure it out. There is little connection between each scene, jumping around between different characters at different times, without any clarity of how much time has passed. It drifts between place, people and time without giving the viewer anything to anchor on. If a point is trying to be created through this technique, some attempt at social-cultural-political commentary, it does not succeed.

Then there’s the music which accompanies each sequence. The entire soundtrack is a lesson on how not-to-be-subtle, and how-to-bulldoze-your-audience. A soundtrack which is effective at building tension should be a mix of soft and loud to truly emphasize the points of tension. It should not be turned up to eleven for Each. And. Every. Single. Dramatic. Moment.

The cinematography is another example of how the film tried to be clever, but instead isolated the audience.  There’s shaky cam, fast-paced editing with a camera that moves too fast to allow the viewer to actually focus on anything. On the Sky Superscreen at the o2 Arena the effect was rather nauseating instead of tension-building.

Finally, for a cast of this skill and range, a director who could reign them in would be key- a key requirement that was clearly forgotten or ignored. At times many of the cast mumble their lines, making dialogue frequently incomprehensible. Perhaps this was a choice of tone, but frustrated audience is perhaps not really a tone. Many of the actors chew the scenery with over-acting and flailing about, always looking so bitter or impassive at what is going on. Then there’s Casey Affleck, not chewing the scenery but chewing gum in every single scene. His manner of chewing gum in this film rivals the mastication skills of a cow, imposing on his dialogue and stealing every scene he’s in just because it is so aggravating. Someone seems to have told him that his character must be channelled through his chewing gum habit, because Affleck seems to put every once of his acting skill into they way he chews that gum. I’ve never seen chewing gum chewed so aggressively or arrogantly outside of the secondary school I work out. He uses it to show the mood of his character, clearly using that instead of acting to provide any semblance of characterisation.

For a film that wants to be the next The Usual Suspects, L.A Confidential or Training Day Triple 9 is a film that is far too hurried (a remarkable feat at two hours long) and far-fetched to be so. For an account of corrupt cops that is completely true, and is far more powerful and gripping, watch Precinct Seven Five.

Goosebumps

Posted on by Charlotte_Sometimes

“Viewer beware, you’re in for a scare!”

It’s easy to be a book snob. It’s easy to tell children which books are good to read and which books are bad to read. What constitutes a bad book for children? If it inspires just one child’s imagination,  gives them fears and feels in equal measure,  then surely a book can’t be bad? I’ve read Wilde, Dickens and both Poe. But I’ve also read Rowling, Wilson and Stein. Those six authors, along with countless authors, formulated my literary past and thus set the foundations for books to be read in the present and the future. J.K.Rowling may have figuratively taken me to Hogwarts and made me lament not receiving my letter when I was 11 (obviously during that period the ministry of magic was busy with other matters…), but it was R.L Stein that gave me a taste for ghouls, goblins and gore. Watching ‘Goosebumps’ felt like a risk, either prompting rage from my inner adolescent or transformative nostalgia. I’m very happy to report it’s the latter. Through a blend of live-action and animation the film manages to capture the goosebump-inducing fear of the books whilst also being rather light-hearted and funny.

A year after his dad has died, Zach Cooper (Dylan Minnette) and his vice-principal mother (Amy Ryan) move from New York to Madison, Delware. Though frustrated at his new small-town surroundings he knows that his mother’s new job will good for her, and the change in scenery may be good for both of them. When moving in, and having a box fall apart on him, he meets his new home-schooled neighbour (Odeya Rush). But their brief introduction is halted by Hannah’s grumpy and rather scary father, a man who may or may not be R.L. Stein (Jack Black). Hannah manages to sneak out and spend a day with Zach, but upon getting caught by her father she is punished. When Zach goes to rescue her, bringing along loveable loser sidekick (Ryan Lee), he stumbles across a bookshelf filled with what appear to be manuscripts for every Goosebumps story every written. However, after opening the manuscript of ‘The Abominable Snowman of Pasadena’ [side note: it is in my top ten Goosebumps] the Abominable Snowman itself comes out of the book. After a series of exciting events, manufactured by the Dummy of ‘Night of the Living Dummy [side note: definite top five contender] all of the manuscripts are opened, bringing all the monsters that Stein has ever written to live and bringing havoc among their town. Stein, Zach, Hannah and Champ must get all of them back in their books, where they belong. But things won’t be easy, and not everything is as it appears…

I really like this movie for numerous reasons, and in fact have a rather big soft spot for it. First of all, it brings all the monsters that once haunted my imagination to life. During the big crowd sequences I desperately searched the crowd for the familiar faces of the guests who overstayed their welcome in my nightmares. Going back to my opening point, I think it’s important that child can read books that scare them, and then show them how to defeat these fears. For children, and adults of a nervous disposition, this film does have rather spooky moments. There are one or two jumpy moments, and few monsters that are rather unsettling, but these are well contained moments and are more fun than fearful.

This leads me onto my second point, how surprisingly funny the film is. There are jokes for the children, and then there are jokes that will go over their heads and will crack up the adults in the audience. My three personal favourite jokes, which led to the emittance of loud laughter from many at the screening I attended, were a gag about the suffix –phile, a discussion about Stein verses Stephen King and a joke about domestic sales of books. Those three jokes (which I have intentionally poorly paraphrased) were well written, as are many others within the film.

The characterisation is good, with each character being more than likeable. In quite a nice shift, Hannah is the braver one whereas Zach and Champ are both rather jumpy in comparison. The animation is well-placed, never jarring with how it fits into the live-action, which is rather laudable. The music is never interfering, subtlety and successfully building the tension and fear. The pacing is also good, the 1hr 40mins never dragging and filled with more than enough twists and turns. This film is what family cinema should be. It shouldn’t patronise the younger members of the audience, or pander the humour towards them. It should engage them, spook them a little and excite them, just as Stein’s books did for me all those years ago.

If you’re looking for a light-hearted movie with a bit of bite, or something to entertain your children that won’t melt your brain, this is it. A very pleasant surprise.

Creed

Posted on by Charlotte_Sometimes

A new era. A new generation. A new legacy has begun.

First, to address the elephant in the room. I didn’t really want to see this movie. I had no real intentions of seeing it and was more than happy to let it pass me by. But when Cineworld announced a a preview screening for Unlimited card holders I booked a ticket, yet remained uncertain. Then Cineworld had to throw its toys out the pram and refuse to show ‘Hateful 8’. To maintain this weekly cinema-going challenge I almost had to attend.

Now that may be slight information overload, but hopefully it has served a narrative purpose – in establishing the disinterest, bordering on disdain, I felt upon entering Screen 7 at the CIneworld at the O2 arena (have I painted a clear enough picture yet?) Now you should be able to understand the surprise I felt, and admittedly still feel,for how I much I loved this movie. I expected a run-of-the-mill hero’s journey story arc, a mundane blend of drama and people getting punched in the face. But ‘Creed’ truly and utterly defied my expectations – instead being an incredibly emotive feel-good movie will some brutal and realistic fight sequences.

1998. Adonis Johnson has been caught in the middle of a fight in the Los Angeles youth facility and been put in isolation. Again. However this time the young boy has a visitor – Mary Anne Creed (Phylicia Rashad), the wife of deceased former heavyweight champion Apollo Creed. Adonis was conceived during an extramarital affair that Apollo had. Mary Anne offers to take in Adonis as he has no-one else. Seventeen years later and Adonis( Michael B. Jordan) still feels conflicted in his love of his father and his love of boxing. Deciding to pursue his instincts Adonis travels to Philadelphia and gets in touch with his father’s old friend and rival Rocky Balboa (Sylvester Stallone) in the hopes of persuading him to be his coach. In Philadelphia he also meets Bianca (Tessa Thompson), a woman who also has a passion that drives her. Philadelphia may provide Adonis with a new start but it is also haunted by his father’s legacy.

Rather disarmingly, ‘Creed’ shares much with ‘Star Wars: The Force Awakens’. Both are the seventh films in the franchise. Both belong to franchises which possess recent additions that were of poor-to-awful quality. Most importantly – both of the new releases are successful post-modern sequels that reinvigorate the stalemate series. ‘Creed’, in a joyfully unironic manner, shows a human being with a passion that consumes him. Adonis has an innate need to box, yet remains constantly aware and is frustrated by the fact he must remain in his father’s shadow. A man he never got the chance to meet. What makes the film so marvellous is is that this conflict is not overly reliant on the dialogue to convey this conflict. Yes the dialogue itself is crisp and realistic, but it’s not the only provider of exposition.

It’s built upon with fantastic performances from all the cast. It’s brilliant to finally see Sylvester Stallone is a good movie after years in the cinematic wilderness. Then there’s, rather unexpectedly perhaps, the cinematography. The camera-work on this film is astounding. The choices that have been made are so clever and convey so much. For instance, very early on, we observe Adonis watching a projection of his father in the ring. Adonis then gets up next to the screen and imitates the punches of his father’s opponent. Not only does the camera-work in this sequence make the scene intensive, but the lighting reinforces the notion that Adonis constantly lives metaphorically in the shadow of his father. The scene that is truly stand-out is one of the fight sequences: an entire fight sequence that is one shot – no cuts, no breaks and no respite from the action. The camera places us at the heart of the action, the fighting itself is brutafully (new word I’ve made up for this purpose) choreographed, but it’s the decision to let it play out in one-shot that is remarkable.

The story itself isn’t particularly complicated, often following expected beats and rhythms.Yet somehow, with the aforementioned blend of cinemagic, it’ll manage to capture your heart. You may even find yourself cheering at the end.

 

Star Wars: The Force Awakens

Posted on by Charlotte_Sometimes

AKA. Seven reasons for why I loved the seventh Star Wars movie.

I realised quickly on when planning this review that it would turn into a list of why I liked it so much so I thought, for what will probably be my last review of the year, to write that list. I acknowledge that it is not the perfect film, and I’m sure there are enough valid (the narrative near enough a replication of ‘A New Hope’) or invalid (*ahem that Rey is Mary Sue bollocks*) reasons to dislike it or be disappointed by it. But I liked it and this is my blog so…deal with it! WARNING: There will be spoilers. Ready? Now let’s head off to a long time ago in a galaxy far far away…

1) Rey

The character of Rey (Daisy Ridley) is a natural progression from Princess Leia. Though Carrie Fisher’s character was way ahead of the times upon her first introduction in 1977’s ‘A New Hope’, with her fierce wit and her fearlessness, she is frequently away from the main action. Rey is for the most part where the action actually is within ‘The Force Awakens’. Established as having been abandoned by her family and left to fend for herself on the harsh landscape of Jakku, Rey is clearly independent and able to handle herself. When attacked by scavengers who are after BB-8 she fights two off successfully on her own. Finn comes to her rescue but is not needed or wanted – his then insistence on grabbing her hand when running away is instantly rebuffed. She sees no reason for it. With that small gesture JJ. Abrams sets Rey up as a female character we rarely see in Science Fiction – one who can handle herself and fight her own battles. From thereon Rey’s characterisation further develops her awesomeness and potential power which is a total joy to watch.

rey

2) Kylo Ren

Since first appearing in the trailer with *that* lightsaber the possible/probable villain of the new trilogy has been the focus of much speculation.  Adam Driver gives the man behind the mask the right balance of vulnerability and power. The revelations of his origins add not reduce this capacity, leading to pondering about how much he will take after his grandfather. His fiery temper along with his unconventional charisma make him everything that Anakin Skywalker should have been. He has also led to one of the 2015 funniest twitter accounts, with a teenage Emo Kylo Ren sharing his frustrations with the world…

kylo ren

3) Chewbacca

Of all of the seven (and counting) Star Wars films, this might be Chewbacca’s best outing yet. The source of many of the (unexpectedly) funny film’s gags he is given more to do than just be Han Solo’s sidekick. And if your heart did not break at his reaction to a certain someone’s demise then you have a heart of stone!

chewbacca

4) Finn and Poe

Along with Rey, Finn and Poe are excellent additions to the franchise. Individually they are great characters – a pilot so legendary he makes it into *those* opening credits and a stormtrooper whose PTSD leads him away from the darkside – but it their bromance which is currently breaking the internet. Their bromance will be undoubtedly be shipped by many worldwide and provide a focus for much fan-fiction. There is an instant rapport between the pair, their introduction, separation and eventual reunion are glorious to watch. Though they shared relatively little screen-time we are provided with more than  enough to hint their pairing will provide much joy in forthcoming movies.

kylo and finn.jpg

5) Leia and Han Solo

J.J Abrams is hugely successful in achieving a balance between old Star Wars and new Star Wars. The roles Leia and Han Solo play in the events of ‘The Force Awakens’ is no exception. Han’s ‘Chewie, we’re home now’ is air-punch worthy, as is his roguish arrogant charm when handling the mercenaries.  But it’s his brief reunion then parting with Leia that really tugs at the heart strings. Who knows what fate awaits this coupling considering the jaw-dropping fate of one of the pair..?

leia han

6) BB-8

Going into ‘The Force Awakens’ it is unlikely you were looking for a new droid to love but if you were, this would be the droid you were looking for. Just like R2-D2 BB-8 communicates with a series of beeps which are then translated by on-screen characters, but those beeps along with his manerisums communicate so much with so little. Favourite moment has to be when John Boyega’s Finn gives BB-8 a thumbs up, to which our spherical droid responds with a flame that resembles a less than polite gesture.

bb-8

7) Maz Kanta

Maz is a worthy wise and wizened successor to Yoda. The hints to her wide and varied knowledge will undoubtedly be furthered in future films, but for now there is more than enough to mark her out as a character to watch out for. Her bespeckled gaze in terms of ability to induce inner truth is only equalled by ‘Harry Potter’s Professor Trelawney.maz

What truly worked about this film, along with the seven points above, are the amount of questions carefully raised and left unanswered.  J.J Abrams used the familiar narrative of ‘A New Hope’ to both introduce the new and pay tribute to the old. But to truly succeed with this franchise it will have to step out of the mould and not rehash ‘Empire Strikes Back’.

Though next year brings another Star Wars movie, ‘Rogue One’ starring Felicity Jones, it’ll be two years till we return these characters. I for one cannot wait!

 

Spectre

Posted on by Charlotte_Sometimes

Is it Spectre-ular..?

This will probably read as a rather unique review of the latest James Bond release, as I have to make the admission that I have never actually seen a James Bond movie at the cinema. In fact, I have never seen the entirety of a James Bond movie. From bits I’d seen and tropes that have entered cultural infamy (cars, women, booze, guns and repeat) I had somewhat written them off. But – if you have forgiven this near-heresy and are still reading this – you may be pleased to hear that I may be willing to admit I was wrong. Well, a tiny bit. All of the factors that put me off are present by are portrayed in a way that is almost self-referential, lovingly poking fun at the Bond mythology without crossing into the boundary of satire. The tone is almost playful, with nods and winks instead of revelling in history. Yet, whilst reliant on what I can ascertain to be the well-established 007 formula, Spectre is a compelling and exhilarating movie. The fact it manages to maintain viewer interest when clocking in at 2.5 hours is no mean feat…

James Bond (Daniel Craig) is in Mexico during Día de Muertos (Day of the Dead). Bond’s order is to kill an assassin who was previously unknown to him. Upon returning to London, as a result of his actions in Mexico, Bond is placed on leave by the current M (Ralph Fiennes). But, believing there to be more to his mission than he initially realised, he must rely on the help of Moneypenny (Naomie Harris) and Q (Ben Whishaw) uncover threats both personal and that could destroy the 00 programme forever.

Bond and his helpers are incredibly well-played. Craig is a balance of head-strong and charming, playing his Bond as rather self-aware. His rapport with Q, Moneypenny, M and the Bond girls is whip-crack smart and believable. The main threat to his current way of existence is C (Andrew Scott), who believes the 00 programme to be out-dated – that the only way countries can monitor national threats is through constant surveillance and sharing of information between countries. Scott uses his experience as Moriarty in the BBC series Sherlock to great effect – creating a seemingly sinister and smarmy character. Mr. Hinx (Dave Bautista) is a fantastically malicious force, though with little dialogue he manages to have truly terrifying screen presence. Franz Oberhauser (Christoph Waltz) is a rather great Bond villain – essentially presented with less obvious malice than Bautista’s Hinx, he is swiftly revealed to be a true threat.

The opening sequence of the film, set in Mexico during Día de Muertos, is a stand-out sequence. Well-paced and action-packed it hooks the viewer in. The amount of extras is extraordinary, literally thousands all dressed in astonishingly beautiful costumes. It is then followed by a truly weird titled sequence, with a use of octopuses that seemed akin to a certain genre of Hentai. Perhaps an attempt to ensure the Japanese box office..? In this – admittedly rather bizarre context – the song works. Sam Smith’s Writings on the Wall sets up the films bittersweet tinge. The film that then proceeds has enough twists to entertain, big set pieces set all across the world and is solidly good. Perhaps on the overlong side, Spectre is a solid packed with enough punches to ensure that you’re paying attention, and filled with some excellent cast performances.

It’s good. As good as you’d exSpectre…