Tag Archives: 2013

There and Back Again, Again…

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The Hobbit: The Desolation of Smaug, 2013

Having been a big fan of the LotR series of films, and enjoying Peter Jackson‘s vision of Middle Earth (despite some somewhat irritating departures from the books). I had been quite keen to see the first installment of The Hobbit.  However, having been thoroughly underwhelmed by the first installment of this trilogy – An Unexpected Journey was unexpectedly clunky with average 3D and an overly convoluted storyline (I know, not my usual positive fare, but I’ve come to expect more from Peter Jackson) – I really wanted to enjoy this film.  The word from those around me was that it was marginally better than the first installment, but still not fantastic.  I lowered my expectations.  So last night, sick in bed with a sniffle, with a glass of red next to me, I settled in to watch The Desolation of Smaug.

Just to make it clear, I was watching it in 2D, not the intended 3D – the reason being firstly my experience of the first film, and secondly that my hubby is not a LotR fan, so I didn’t end up seeing it at the cinema.  I am generally not overly impressed by 3D anyway. I truly believe that a film should be able to stand on its own in 2D as well, and not totally rely on 3D to impress viewers – if for no other reason than some people can’t watch 3D as it makes them ill. I digress…

The first thing that struck me whilst watching this film is that Peter Jackson couldn’t resist a cameo in opening sequence.  The cameo has become a tradition for Jackson, although it’s usually later in the film. The second thing that struck me was the somewhat childlike/storybook/computer game CGI/animation. I wasn’t sure if this was because it was intended to be viewed in 3D or if it was a conscious decision given the book is often regarded as a children’s book. I don’t remember noticing this in the LotR films.

Once again, the true stars of this film are the sheer immensity of Tolkien’s imagination and the stunning New Zealand landscape.  I don’t think I’ll ever get over just how thoroughly and well conceived the world of Middle Earth actually is – complete with several languages and a long and complex history.

Although this is not what I would consider a brilliant film, it has some very beautiful, magical and even trippy moments.  I have to mention the horses at Beorn’s house.  They are only on screen for about a minute, but these are the most beautiful horses I have ever seen.  I also couldn’t help but think of The Hitchhikers Guide to the Galaxy when the white mice made an appearance.

Special note for arachnophobes – when the dwarves enter Mirkwood you might want to fast forward for a bit.  The first scene in Mirkwood is delightfully trippy, until the giant spiders turn up. 

The connection between Tauriel (the beautiful Evangeline Lilly) and Kili (Aidan Turner), and their first conversation is one of those magical moments. However, Tolkien purists may object to the introduction of a new female character who doesn’t exist in the book at all – I think she’s a welcome addition in a very male dominated film franchise.  The barrel’o’dwarves escape from Mirkwood is another great sequence, and the first appearance of Laketown (Esgaroth) is surprisingly magical.

There are some stand out and somewhat surprising performances in this film.  I feel that without Martin Freeman (Sherlock, Fargo, The Hitchhikers Guide to the Galaxy) this movie would really be missing something – and I think Freeman’s talents are underused.  I don’t know what it is about Lee Pace (The Fall, Pushing Daisies, A Single Man), but he always draws me in. Richard Armitage (Robin Hood, Captain America: The First Avenger) plays a fabulous Thorin, the hero-with-a-slightly-dark-side, and shares some great angry/smoldering looks with Bard – played by the very intense Luke Evans (Fast & Furious 6, The Raven). Stephen Fry was also a pleasant surprise as the Master of Laketown.  And then there’s Benedict Cumberbatch

If there’s one part of this film that had to succeed it was Smaug.  A massive, fire breathing, talking dragon made immortal, not just by being a dragon, but by a famous work of literary fiction – this has to be bloody fantastic right? Thankfully Smaug doesn’t disappoint. As far as the voice of the dragon is concerned Benedict Cumberbatch (Sherlock, Star Trek Into Darkness, War Horse) was such an inspired choice – it’s amazing how he oozes charisma just through his voice.  The last third of the film is by far the best thanks to the dragon sequences – The CGI/animation (Weta Workshop) is fantastic even without being in 3D (apparently if a single computer processor had been used, each scale would have taken a whole week to render).
The film ends at just the right point. Although I wasn’t overwhelmed by The Desolation of Smaug, I found myself keen to see how it concludes (even though I sort of know already), and how Peter Jackson interprets the final chapters of The Hobbit in The Battle of the Five Armies (set for release in December).

As a big kid watching a fun adventure film set in a fantasy world I’m very fond of, I enjoyed this film. If you’re not a fan of Middle Earth who can suspend their disbelief/maintain their childlike wonder for almost 3 hours (the credits alone feel like they go for half an hour!), this is probably not a movie for you.


A Place of Perfect Bliss or One of the Seven Levels of Hell?

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Elysium, 2013

*Warning* – slight political rant ahead…

All I knew about Elysium upon walking into the cinema was that it was written and directed by the same director as the alien ‘apartheid’ film District 9 – South African born Neill Blomkamp – and stars Matt Damon. I hadn’t read or heard many reviews or seen many previews for it – but that was enough for me to get out and see it, even whilst trying to fight off a head cold. I have no regrets at all.

The film is a terrifying and beautiful depiction of the best and worst aspects of human nature, and where we could end up if we don’t learn from our mistakes quick smart.

Kick your imagination into gear for a moment – no matter how over or underused it is. Imagine, if you will, that you have nothing but the clothes on your back. The single room ramshackle hut that you live in is built from whatever materials you can find, and has minimal amenities or basic conveniences such as water, electricity or plumbing.

Try to imagine a place where no matter how hard you work, no matter what you do, you will never achieve a better quality of life. You will live in that hut, and possibly suffer from various illnesses or disabilities that cause serious pain, discomfort or eventual death. You are surrounded by brutality, violence and an utter disrespect for human life.

Now imagine that you’ve heard of a place where all of your illnesses could be cured easily, where people live in large comfortable homes with lawns and swimming pools and landscaping. Where all your fears of violence, famine, sickness and death would be a thing of the past. What would you do? What would you give to get to that place? Would you save up every cent you earn, give it to some dodgy looking guy with an equally dodgy looking ship, so that you could get your family to that place, where they might – just might – have a chance at a better, happier and possibly longer life? Answer honestly now…

If I stopped the description there, it could be describing the existence of countless people in war torn and famine ravaged countries in the world right now. However, in this film…

This is the position that the citizens of Earth in the year 2154 find themselves – the Earth is diseased and polluted beyond recognition and the wealthy have deserted the planet for an idyllic space station in the sky. A space station called Elysium (from Greek mythology meaning ‘any place or state of perfect happiness; paradise’) where they can keep their perfect way of life close and the filthy diseased, poor at more than an arms length. On Elysium they have med-bays that can cure anything from broken bones to leukemia to reconstructing a grenade damaged face. There is no sign of poverty, unhappiness or disease. There is, however, an undercurrent of unpleasantness brought about by Minister Delacourt played by Jodie Foster, a staunch anti-immigration politician who will go to appalling lengths to ‘stop the boats’.

To me, as an Australian suffering in the intellectual void that is Australian politics at the moment, this really hit close to home. For those readers who are not Australian, or who may have been living under a rock, asylum seekers/refugees/boat people have been a hot issue during the current election campaign. If you are undecided about the issue, or if you have difficulty understanding why a person might risk their lives and the lives of their family by getting on a leaky boat only to end up dead or if they’re ‘lucky’ in a detention centre on Christmas Island – I would recommend seeing this film. It’s a slightly more extreme situation, but effective nonetheless.

Even bigger than the refugee issue is that of the future of this planet that we call home. It seems to me that Neill Blomkamp has a very clear vision for where the world is headed if we don’t change our ways very soon, and it isn’t pretty. Abandoning the planet because we’ve made a mess of it is not an option folks – we need to seize the best side of our humanity with both hands, and pull together as the Human race, rather than fighting amongst ourselves and destroying our own future.

I really enjoyed this film, it is visually stunning – both the scenes on Earth and Elysium – and the performances from all the cast are excellent, especially the ‘villains’ who are wonderfully chilling in their disregard for the lives of the poor – special mention to Sharlto Copley who plays an absolutely insane assassin/mercenary to perfection. However, it does miss some potential opportunities for more depth to the story line. I would have liked to see more detail of the lives of the citizens living on Elysium – but the lack of information does seem to add to the mysterious, illusive, and unattainable nature of the paradise that is the space station. A bit more character development wouldn’t have gone astray either – however there are time restrictions. Not every director wants to make the audience sit through 3-4 hours of sometimes unnecessary detail. A quick note for those reviewers who whine about not seeing much of Elysium itself or its people, do you think it’s possible you may have missed the fact that Bomkamp was possibly keeping it at a distance to help the audience develop empathy for those remaining on Earth, rather than encouraging the audience to covet life on a pretty space station? Just a thought.

If you enjoyed District 9, chances are you’ll like this film. It’s a dark and bleak vision for the future, but it’s hopeful as well.


Finally the Return to Old-school Horror!

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The Conjuring, 2013

*Warning* – if you’re not a fan of horror, if you don’t love to be bat-shit scared, DO NOT see this film.

Finally a decent return to the real horror genre. With tastes from classics like The Exorcist and Amityville Horror, this film will scare the pants off you!

As with most of the best horror classics, The Conjuring is set in the 1970s when exorcisms seemed to be slightly more commonplace (?) and houses in Connecticut were über isolated and surrounded by woods (oh hang on they still are!). The story centers around two families, the Warrens and the Perrons. The Warrens are a couple of demonologists with a young daughter, who spend their time investigating paranormal/unusual phenomena and occasionally assist with exorcisms. The Perrons are a family of seven (5 daughters) who have just moved to their new home in a beautiful wooded area in Connecticut – beautiful, isolated and haunted.

Again, as with most great horror films, this one opens with the simple newsprint type pre-amble telling us about the Warrens, and that this is based on true events that were so terrifying that they’ve been kept secret for many years.

This film is brilliant for several reasons – including the scares, the casting, and the filming/editing. The scares are what separates this movie from the basic “scary movie” and brings it into the horror genre. There isn’t any over reliance on CGI , they simply rely on your fear of things that go bump in the night, that something behind the door, or under the bed. They begin subtly, and for the connoisseur of the genre, just when you think you know there’ll be a scare, there’s that false sense of security, and then BAM they hit you when you weren’t expecting it. As always, the sound track is integral to the success of horror.

Patrick Wilson plays Ed Warren, the only non-priest demonologist to be recognised by the Catholic church. Wilson plays a character who could come across as tortured with great strength. Vera Farmiga plays Lorraine Warren, the talented clairvoyant wife of Ed and an important part of their team. Farmiga is stunning as always with a gentleness and tenderness yet a strength to her character. The Perrons – especially Lili Taylor as Carolyn Perron – were perfect. Even the skeptical cop was just right.

The filming/editing make a massive difference to how a movie can come across. The use of unusual camera angles during particular scenes allowed the audience to empathize more that usual with the feelings of fear and disorientation that the characters were experiencing.

I was expecting to be scared by this movie, I enjoy being scared by horror movies – I was not disappointed. Take a friend or loved one along to see this movie, you’ll need someone to cling on to!


Yippee Ki-Yay Mother F**ker

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A Good Day to Die Hard, 2013
Let me start by saying that I am a huge fan of the Die Hard franchise. I feel that they have the ultimate action film blend of down-trodden hero, dastardly villain, unlikely sidekick, and awesome (albeit unlikely) action sequences. The truly dark motives of the villain would threaten to drown out the film if it wasn’t for the perfectly timed and sometimes unexpected (although no longer) comic moments. These comic moments are delivered by both villain and hero at times, but are especially superbly delivered by the often underrated Bruce Willis.

The two Die Hard films that really stand out for me, in terms of the winning formula, are Die Hard and Die Hard: With A Vengeance (the first and third installments). Interestingly these two were both directed by John McTiernan (Predator, Last Action Hero, The Hunt For Red October). Although Die Hard 4.0 (also known as Live Free or Die Hard) wasn’t directed by McTiernan, he produced and it still had an awesome villain in Timothy Olyphant, and brilliantly funny sidekick Justin Long.

This most recent installment was neither directed or produced by McTiernan, which doesn’t bode well in terms of adhering to the beloved formula. However…

As a stand alone it makes for a good action film. It has all the big budget, high adrenaline action sequences that we have come to expect from these films. Car chases (mostly involving Mercedes interestingly enough…), explosions, helicopter crashes, Chernobyl (don’t ask), it has them all.

If you were expecting our usual John McClane misadventure, unfortunately this film misses a few key targets. It seriously lacks in the comic department, the first funny moment is more than half way through. It opens feeling very maudlin and bitter, and that feeling doesn’t really lift throughout. The entire first half feels like one long opening sequence, and who the villain is and their motivation is rather more muddled than it should be for a Die Hard movie. I get the feeling that Willis still has what it takes in terms of comic timing and that he was seriously underused. It was great to see Australian Jai Courtney playing McClane’s son, but again I think his skills were also underused.

Overall this was a fun action film full of explosions and gun fights. But for the die hard Die Hard fan, it didn’t quite hit all the right notes. Now, if you’ll excuse me, I’ll be off making fists with my toes…


Fast & Furious 6

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Fast & Furious 6, 2013
In my view this series just gets better and better, especially since Justin Lin has been at the helm. Yes, most of the action sequences are incredibly unrealistic (aren’t they in every film?), but my god they are fun! Thankfully they have steered clear of the overuse of CGI that we saw in the second film, and kept it as real and gritty as possible.

And there’s plenty of muscle, of both the varieties that I like. The driving is fantastic, and the intense action sequences are peppered with humour and throw-away one-liners delivered superbly by Dwayne Johnson and Tyrese Gibson in particular.

It’s nice to see one of my favourite cinematic families back together again. I just wish I could tell Han not to go to Tokyo…


The Great Gatsby

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The Great Gatsby, 2013

Gatsby – in a word? Magnificent. Beautiful film making with, in my view, the most effective use of 3D I’ve seen in a long time. The most wonderful set and costume design – Catherine Martin is a genius. And the casting was perfect. Leonardo DiCaprio just gets better and better, Carey Mulligan was stunning, and Joel Edgerton was wonderfully horrible. I came out of the movie feeling like Jay Gatsby was one of the saddest, yet hopeful and courageous literary characters. Baz Luhrmann – I take my hat off to you, you are a visionary and genius in the cinematic world, and you have made our world richer.

Luhrmann’s films aren’t for everyone. I know there are those who call this film boring or too over the top, and those who simply refuse to see it because it was directed by Baz Luhrmann. If you don’t like your cinema colorful, visually rich and full of nuance hidden in the layers of excess, you might not like this movie – but open your mind, let go of your preconceptions and see where the film takes you. You might just like it!