Tag Archives: summer

Battle of the Summer Blockbusters: Rise of the Planet of the Apes vs. Super 8


It’s been a while since I went to the cinema. But it feels much longer than it actually is. That’s because it’s summer blockbuster season and every week a new big gun toting production swaggers into town. Stay away from the saloon for too long and you’ll have nothing to talk about with your fellow drinkers because they’re engrossed in conversation about things you haven’t seen or experienced. Sure you can try to chip in with your recycled opinions but you feel like a cheat. And most of all you feel jealous.

Some films I would have liked to have seen had already been EXPELLIARMUSED!  from multiplexes by a certain boy wizard’s refusal to die quietly and works of art like The Smurfs and Mr Popper’s Penguins. I know that later in August I want to see Cowboys and Aliens, One Day and the film of the TV series that defined my generation, The Inbetweeners Movie, so I figured I better catch up before then.

At the time of writing Rise of the Planet of the Apes and Super 8 have exactly the same score on Rotten Tomatoes, with 82% each. They also have identical ratings from numerous respected reviewers, including four stars apiece from Empire Magazine. Because of this it was completely logical of me to decide to watch both films and report back with absolute certainty on which is the best blockbuster of the summer, as clearly the others and those yet to be released, can be discounted.

First up then at 11.30 in Screen 10 was Rise of the Planet of the Apes. I couldn’t quite believe I’d paid to see this as I walked in. I’d never really enjoyed the previous films from what I could remember of them. I was also genuinely baffled by the growing chorus of support for the motion capture technology used to create the rebellious cheeky monkeys. The first trailer I saw for the film helped me decide in a nanosecond not to make the effort to see it. It looked like a naff CGI fest with a ridiculous concept and some awful lines of dialogue. And there was the sickening clumsiness of that double “of the” in the title.

I was persuaded to give Rise a watch by the film reviewing community online and I now have a newfound trust in them. There’s no doubt that this will be the runaway surprise success, at least critically, of the summer, if not the whole year. It’s not what you expect it to be and yet it delivers what summer audiences are after. By the end of its 105 minute runtime I was converted from a suspicious sceptic into someone salivating at the thought of the sequels.

It’s hardly a spoiler to say that the apes rise up in this film and that events begin to take place that will lead to the “Planet of the Apes”. As other reviewers have pointed out though, what’s really interesting and remarkable about this film is how we get to the final twenty minutes of solidly entertaining, action packed revolt. The climax is explosive and plays out on a hugely impressive scale, with stunning special effects and fresh ideas for set pieces. But the drama of this action comes from the build-up in the rest of the film.

It charts the life of Caesar, an ape played via motion capture by Andy Serkis, a veteran of the technology after his iconic roles as Gollum and King Kong. Serkis is unquestionably the real star of this production, despite other big names like James Franco, Brian Cox, Freida Pinto and Harry Potter’s Tom Felton orbiting Caesar’s central story. The effects are vastly improved from the initial trailer that underwhelmed me. Facial expressions and movements are so lifelike that despite the lack of dialogue, indeed perhaps partly because of its absence, the scenes amongst the apes with no human interference are some of the most intense and engaging in the entire movie, well handled by director Rupert Wyatt.

Caesar is the offspring of an ape called Brighteyes that responded to an experimental cure to Alzheimer’s. However she was killed when she rampaged, in a maternal rage, around the headquarters of the pharmaceutical company James Franco’s character, Will, works for. Will took the baby ape home so it could avoid the cull ordered by his profit minded superior played by David Oyelowo. He cares for Caesar, practically as a son, for a number of years at home, where he notices increasing signs of a heightened intelligence passed
on from the effects of Will’s drug on his mother.

I make it all sound dull. But a bizarrely convincing and charming family dynamic, which just happens to feature an ape, begins to form. Conveniently, for plot purposes at least, Will’s Dad has Alzheimer’s. Encouraged by Caesar’s progress Will treats his father with the drug, which cures him in the blink of an eye; for a while at least.

Rise of the Planet of the Apes is carefully constructed. It helps its structure that the conclusion is clearly defined from the off but it could still have been a flop. Instead a movie with some ludicrous components and some walking pace, stereotypical acting from most of the humans, including Franco at times, manages to be clever, funny and incredibly involving. The apes really are the key pieces of the puzzle, with Caesar a complex character in his own right who looks certain to remain compelling as he tackles rival apes (introduced here) in a power struggle in the sequels. There are so many interesting directions this series could follow, after ditching all the bad aspects of the original franchise, in favour of character based thrills with some genuinely insightful social commentary on big themes.

After a pause for a Greggs baguette and sausage roll, I was back at the cinema by 14.45 for Super 8 in Screen 1. I invested in popcorn because I’d been told for months now that Super 8 was getting back to what movies should be about, so I thought I’d better go the whole hog and sit back in anticipation. If I’d enjoyed Planet of the Apes I was going to love this.

In case you’ve been living in a secret underwater kingdom for ages, Super 8 follows a group of friends making a zombie film who witness a train derailing in spectacular fashion. They are then embroiled in weird goings on and Air Force conspiracies in their local sleepy town, as something appears to run wild. Oh and it’s pretty much a Steven Spielberg film, executive produced by the man himself and helmed by JJ Abrams.

The start works well, as most critics have said. Well at least it makes sense. You can’t help but be sucked in by the young cast and fascinated by their relationships. Joe is the focus of the story. His mother has died in an industrial accident and he barely sees his father, the Deputy Sheriff. His fat friend is making a zombie movie for a film festival with the help of a kid who likes fireworks, a shy and lanky lead and Joe’s makeup skills. Joe begins to fall for the beautiful Alice when they manage to recruit her to act in their masterpiece.

Then there’s that gigantic train crash. It was jaw dropping stuff at times but did anyone else think there were a few too many random explosions and balls of flame? I’m not complaining…well I am actually. Aspects of the crash didn’t feel that real. And as for the rest of the film, JJ’s trademark mystery is teased out too long, and when we finally see the monster it is a disappointment. The threat of the alien is never powerful enough to match the fabulous group dynamic between the friends.

Super 8 feels like the film Abrams wanted to make when he was younger. It’s sharply executed but more than a little messy and dare I say a tad immature? For all its influences it feels as though a particularly talented youngster is behind the camera at points, with a huge budget to burn compared to the DIY methods of the kids. Just like the kids making their own project, it’s as if JJ thought of the premise and the lives of the characters in detail but couldn’t decide where to take them.

So let’s compare and contrast. Both Rise of the Planet of the Apes and Super 8 have creatures (irrelevant) and post-credit sequences (even more irrelevant). In one film the humans disappoint and in the other the beast. If Rise had the human heart of Super 8 it would be the film of the summer. If Super 8 had the coherent structure of Rise to go with its incredibly moving moments, it too could have been one of the year’s best films. As it is they are both simply very good and worth seeing.

Sorry to end so abruptly, rather like Super 8. But if I had to choose one I’d go Apes.

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Film Review: X-Men: First Class


Flickering Myth ran a poll earlier in the year about which summer superhero movie people were most looking forward to. The contenders were surprise hit Thor, The Green Lantern, Captain America and this X-Men prequel, steered by director of Kick-Ass Matthew Vaughan. For me X-Men: First Class was the most anticipated of the selection by a mile.

The trailers promised a truly epic reinvention of a stagnating franchise. Vaughan went for a completely new look cast of mutants, with the exception of one comic cameo. Amongst this cast the partnership of James McAvoy and Michael Fassbender takes centre stage, with the enormous task of matching and exploring the rivalry portrayed by thespian heavyweights Patrick Stewart and Ian McKellen in the previous Bryan Singer films. For the most part, their youthful interpretations bring something different that really works.

The film starts off brilliantly with Fassbender’s Erik Lehnsherr and McAvoy’s Charles Xavier on separate paths. Xavier is a brilliant Oxford academic with a fondness for pubs and science heavy chat up lines, which seem rather redundant when he can read minds. Lehnsherr however is driven by revenge into stalking the globe in search of his enemy and his mother’s murderer, Kevin Bacon’s Sebastian Shaw.

We see both of our key protagonists as children. The film starts with the young Erik, played rather limply by Bill Milner, being threatened in a Nazi concentration camp, by a toying doctor who turns out to be Shaw, into manipulating metal by moving a coin. We see the young Charles, far more convincingly played by Laurence Belcher (who was also excellent in the Doctor Who Christmas special), finding a fellow mutant, shape shifter Raven, in his kitchen and taking her in as a sister.

Things really get interesting when Xavier has graduated as a Professor in genetics and the CIA come to call on him. He then demonstrates his mind reading telepath tricks in a variety of ways, until he is believed enough to get free rein to create a team of mutants to take on Shaw, who is engineering a nuclear war via the Cuban Missile crisis, which he hopes will leave only mutants as Earth’s dominant species. The best bit of First Class however, is Fassbender’s pursuit of his Nazi nemesis.

What really excited me, more than anything else, was the historical setting of this film. Fassbender has been championed as a future 007 in the past and there hasn’t been a review of X-Men: First Class that doesn’t praise the mini James Bond adventure within it. Adult Erik travels in stylish, suave period suits to banks in Switzerland to interrogate the keepers of Nazi gold for info, by painfully plucking out fillings with his powers, and to bars in Argentina in cool summer gear to kill hiding Nazis with flying knives and magnetically manipulated pistols. In all these locations Fassbender speaks the native tongue and oozes the steely determination of a complex and damaged killer. His quest is a snapshot of what a modern Bond set in the past, bilingual and faithful to Fleming’s creation, could be like.

Aside from the dreams of a reinvented Bond though, the Cold War setting is exciting and thought provoking for other reasons.  The mutant situation mirrors the struggles at the time for civil rights for black Americans and other minorities, such as homosexuals (hinted at by the line “Mutant and Proud”). The whole film can make the most of the visual benefits of period costume, with fabulous suits and dresses, as well as period locations and set designs. The rooms on Shaw’s secret submarine resemble a villainous Ken Adam Bond set. And the ideological conflict between the US and Russia, echoes the differences in outlook between Xavier and Lehnsherr.

Despite rave reviews at first, respected critics have given X-Men: First Class an average rating. I think this is mostly because the film doesn’t live up to the enormous possibilities of its setting and doesn’t explore as well as it could the beginnings of the relationships in the X-Men. It is still a good film. For a blockbuster this is a slow burning watch, which I liked, but I admit that the action scenes could have been more frequent; even though a couple are terrific the film never really ignites. All in all Vaughan’s prequel is good but not as good as it could have been.

One of the reasons cited for disappointment is a lack of focus on the rest of the X-Men. It was a difficult balance to strike, with Xavier and Lehnsherr’s relationship proving so fascinating and McAvoy and Fassbender having so much chemistry, both comic and serious. I actually thought that characters like Beast and Raven were fleshed out more than I was expecting. A much criticised code name scene, in which the younger X-Men members sit around joking about what they’d like to be called, has been pummelled with criticism. I thought this scene was funny, as much of the film is, for not taking itself too seriously and entertaining for introducing the powers of the characters.

X-Men: First Class will divide audiences. Some will think it’s boring, others will love its action punctuated with character development and solid acting. Fans of X-Men will differ with some salivating over the explanations to Professor X’s wheelchair and Magneto’s helmet and others feeling letdown by the promise of so much more. Perhaps the most reliable fan base for this film is James Bond fans waiting for next year’s Bond 23. Fassbender’s literally magnetic and chilling performance is Bondian, as are the locations, the villains and babes on show like January Jones and Rose Byrne.

The Hangover: Part III? – A trilogy already in the offing after success of comedy sequel


With the dust barely settling after a barnstorming opening weekend for The Hangover: Part II, talk of a third instalment of drunken hilarity from “the wolf pack” is morphing into concrete action. The writer behind the script for Part II, Craig Mazin, has been approached by Warner Brothers to craft a story for a possible end to the trilogy.

Director Todd Phillips had already let slip, just before the release of the latest film, that he had an idea for Part III. Presumably, on the evidence of Part II, his brainwave is to copy as closely as possible the events of the opening films, but possibly in a different city.

Critics may have loathed the rehash of 2009’s surprise hit but a loyal and wide fan base clearly can’t get enough. It’s no wonder that Warner Brothers are already getting things moving for a third film, with opening weekend figures of £10,409,017 in the UK. Such gigantic starts are usually reserved for British icons like Harry Potter or James Bond, or American superheroes. Successful comedies never reach such stratospheric heights. Bridget Jones: Edge of Reason is the only comic creation ever to better the takings of the latest Hangover (and only fractionally), with past hits like Hot Fuzz and Borat all opening satisfactorily at around £5-6 million.

One huge stumbling block could derail the winning formula for a trilogy however: keeping the wolf pack together. Brad Cooper and Zach Galifianakis in particular, are forging Hollywood careers beyond the franchise. According to Total Film, Galifianakis was “negative” throughout the filming of Part II, no doubt fearing becoming typecast. And as the review at Flickering Myth points out, the comedic charms of Alan are crucial to the appeal of these crazy capers.

If Part III lost any of the film’s big stars, especially Galifianakis, it would surely not reach the heights of Part II. It might not even get made. But, with piles of money to throw at his actors, Todd Phillips might just get yet another amnesiac night on the town. 

Who knows maybe British fans will be rewarded by setting the next set of shenanigans in London?

Doctor Who: Series 6: Episode 6 – The Almost People


Yet again I am late with my thoughts on the latest episode. I’d actually been putting off my standard pre-blog second viewing, for two reasons. On the one hand I was so blown away by the unexpected cliff hanger that I didn’t think I would be able to say much besides “what will happen next week?” in various different ways. On the other, I was disappointed with The Almost People.

I should qualify that statement by explaining that when it comes to Doctor Who, even a below par outing is a must see event I can always derive satisfaction from. A bad Doctor Who episode is merely relatively poor, compared to the greatness of other episodes, and still one of the best things on telly.

Why was I disappointed though? It’s difficult to pinpoint an exact reason. As the Guardian series blog points out, the shocking and momentous twist at the end would overshadow whatever came before it, no matter how good it was. But The Almost People was certainly not as good as it could have been and not as good as the promise set up in The Rebel Flesh. In fact there were some shockingly bad elements.

As I said in last week’s piece, Matthew Graham’s script was inconsistent. After watching The Almost People for a second time, I liked it a lot more and appreciated the extremely intricate and clever plotting. All of the character development ploughed into the Gangers, for Jimmy and his son, Cleaves and her blood clot, even the Doctors shoe swapping, made more sense once you knew that this was all part of the Doctor mulling over Amy’s impostor. The Doctor still gets the odd good line; with Matt Smith making most of the disappointing ones look good too with a varied and vibrant performance. Re-watch it and see the burden of worry about where the real Amy is on his face, way before we find out.

 However Graham’s script also contained such truly awful lines as “who are the real monsters?” and “It will destroy them all”. And whilst you can see the idea behind the development of the Gangers far more clearly after a second viewing, it doesn’t always come off, with stereotypical northern Buzzer not convincing at all as he moans “I should have been a postman like me dad”. Then there’s the terrible acting, which I touched upon last week, even more noticeable this time. Cleaves and Jennifer in particular are woefully portrayed.

So despite a lot of potential, with intelligent moral dilemmas and frightening psychological horror, this double bill never really grabbed my attention completely. Until the climax that is. With the rather random and forced CGI monster out of the way and the ridiculous farewell hugs when the beast was supposedly breaking down the door, the Doctor becomes grave and ushers Amy and Rory into the TARDIS. He had a reason for his visit to the factory with the flesh. Amy has not been with them for some time.

But how long? She must surely have been there for the Doctor’s death at the beginning of the series? Did the swap take place during an adventure we saw on screen or another in between time? It would seem a bit of a cop out if it just happened somewhere along the line and we’re not given a precise explanation as to when.

There are endless other questions, and knowing Moffat, the majority will be left unanswered. We are promised that next week’s A Good Man Goes to War will see the unveiling of River Song’s true identity though. And the trailer shows us that the Cybermen are back, but once again, knowing Moffat, they’re unlikely to be the real masterminds behind it all. Who impregnated Amy? Was the Timelord child from the opening two parter hers? The Doctor shouts something about not using a baby as a weapon in the trailer, to mysterious eye patch midwife Madame Kovarian, so how exactly does she do that?

After this disappointing pair of episodes following the superb The Doctor’s Wife by Neil Gaiman, doubts resurface, for me at least, about trying to do too much with the story arc. In overlaying so many secrets, which are often tagged onto the ends of episodes, Moffat risks devaluing the standalone stories and turning the increasingly strained relationships within the TARDIS into soap opera. I’m sure that A Good Man Goes to War will be an improvement on The Almost People, if only in terms of the quality of the dialogue. But hopefully, with some real answers, Doctor Who will also begin to get back to just telling damn good stories every week too.

Adapting good and successful novels: One Day, A Very Private Gentleman (The American) and Room


I’ve discussed the business of adapting books into films before on this blog, and indeed the increasing phenomenon of the adaptation as opposed to original screenplays. I’ve bemoaned the lack of creativity in the film industry, leading to such a focus on both true stories and transformations of already existing fiction dominating this year’s Oscars, for example. But for all my ranting and raving there’s something irresistible about a good adaptation, because if your source material’s good there’s a good chance your interpretation of it will be. It’s like a kind of quality guarantee.

Then again it’s a treacherous tightrope to walk, especially when you’re bringing not only a good novel but a commercially successful one to the screen. Films based on novels with a huge and devoted following will benefit from the diversity and commitment of that fan base at the box office, but perhaps also suffer critically if they don’t capture the brilliance of the book.

After mingling the words in your mind and arranging them on the page, watching their finely tuned order blossom into a bestseller and basking in the praise and revenue, it must be hard for an author to relinquish control of his characters, no matter what the financial compensations. This is presumably why many decide to remain attached to the cinematic versions of their creations as writer or producer or something, even with the risk of their original being tarnished and overshadowed.

David Nicholls did just this for the adaptation of his immensely successful One Day, choosing to write the screenplay himself. There is now a trailer online for the film, which can be seen over at Empire Magazine via this link: http://www.empireonline.com/news/story.asp?NID=30843

I was absolutely absorbed in One Day when I read it and funnily enough I think I read it in roughly one day. It’s one of those books that you have to try really hard not to call a “page turner” because of how limp and cliché that sounds. It really is difficult to put down though. It became an ever present feature of the landscape of bookshops for a long, long time and still lurks prominently in the shadows. No doubt it will enjoy a revival with the release of the film. It was not the usual sort of addictive trash either. There was an organic originality to the concept, a humour and truth to the writing. The two main characters, Dexter and Emma, were fabulously realised. It was at once epic and emotional, experimental and accessible.

It did divide critical opinion, but the overwhelming consensus was that it was a cracking read, a verdict echoed at tills across the country. It’s the story of Dexter and Emma, who meet and sleep together one day at the end of their time at Edinburgh University. In bed they discuss the future, their hopes, fears and dreams for it. The novel follows them on the same date of the year, whatever they’re doing, for every year that follows their meeting. It mostly focuses on their relationship as friends but also charts their development as people, journeying through alternative aspects of British history like dodgy 90s TV along the way.

It was quite a few months ago now that I read One Day but I am still excited about seeing its rebirth in cinemas. It will be difficult to bottle up the simultaneously intimate and epic feel of the book for the audience, but as I’ve said before what really matters is capturing the spirit, the essence and sentiment of a story. The trailer certainly seems to strike some of the right emotional chords, as One Day really was enormously touching and moving as well as gripping. It may simply be that my age, one of transition between worlds, allowed me to inhabit Dexter and Emma’s shoes perfectly and marvel at the rollercoaster of their lives, grounded in those student beginnings. But then again, One Day shows snapshots of its key characters at a variety of ages, so anyone should be able to jump right in and live their human journeys. Perhaps that is part of the secret to its appeal.

Three Cs are very important for a good adaptation: cutting, casting and creativity. Nicholls would certainly have had to ruthlessly cut chunks of his already lovingly crafted and edited novel for the screen, as well as find the right leads. Anne Hathaway and Jim Sturgess are the chosen ones, and they seem to fit the bill in the trailer, in spite of wavering accents on occasion, as Empire point out in their commentary on the footage. I’ve also recently seen and reviewed The American, starring George Clooney, which was based on the novel A Very Private Gentleman by Martin Booth. Screenwriter Rowan Joffe changed aspects of the story rather dramatically, including its conclusion, for a modern and cinematic update to the book. Despite my gripes about the increasing frequency of adaptations, it is possible to be really creative and bold with them, with the added benefit of a proven base material to work with. Joffe was certainly creative, as was Clooney, who needed to exhibit the right physical mannerisms to convey the book’s character in miniscule brush strokes, compared to Booth’s first person narration.

Having now both read the book and watched the film, Joffe appears to have done a good job in creating The American. And as I’ve said, perhaps what is most admirable is that he has created something, not merely transplanted the book to the screen, which can be the worst mistake when adapting something that’s already celebrated art. The original novel, written in the first person about a gun maker nearing retirement, was impossible to adapt as it was. It needed more drama and would lack the charismatic voice of the page. It needed new sources of charisma.

The film does drop key themes of the novel. Interestingly as a student of history, Booth’s recluse (known as Signor Farfalla or Mr Butterfly, as his cover is painting them) is outwardly repulsed by the idea of history and progress, unless it is the history of ordinary men. And yet his narration repeatedly comes back to the idea through imagery, symbolism and anecdotes. Mr Butterfly claims that he is truly influencing history by providing the weapons for assassination with deft craftsmanship behind the scenes. But what the novel hints at, which a film couldn’t do in the same way, is that the narrator is struggling with the idea that after his retirement no one will remember his life’s work. If he has altered history it is unnoticeably so. He never says as much but the light implications are there and extremely fascinating.

Booth was also a constant traveller, as well as a writer of history, which might explain Mr Butterfly’s anecdotes of the world and some of his eye for detail, along with his warped fascination with the past. One of the ways the film captures the incredibly vivid and visual style of the book is through director Anton Corbijn’s direction. Corbijn used to be a photographer, and in the film this becomes Clooney’s character’s cover and he never gains the nickname Signor Farfalla, only The American. This somewhat spoils Booth’s unassuming character blending into any background, but the essence of him remains the same and the parallels with the striking visuals of the film and the descriptions of the book are appropriate.

The American is a very minimalist and restrained production. You get more from the book in terms of the character, but still not a great deal, so Joffe reflects this with the dialogue. This is still a man in isolation with a unique existence, who forms meagre relationships that are still too much for a man of his profession. He is growing too susceptible to these ties with age. What I liked particularly about The American is that it stands alone from the book and one can be enjoyed without the other, just as well as the two together. They are distinctive and different but enjoyable entities of subtlety.

Of course some books should simply never be adapted. Something about them cannot be replicated and without this something any adaptation becomes a pointless exercise. A bad adaptation of such a book is painful and a great shame. I think that Room by Emma Donghue, shortlisted for last year’s Booker Prize, is such an un-adaptable book.

It’s been a while since I finished reading Room, and in any case my observations and insights would not compare to fellow blogger Tom Cat’s: http://tomcatintheredroom.wordpress.com/2010/08/12/room-emma-donoghue/

I will briefly say why I think any adaptation would fail however. Room is reliant on the first person narration of Jack, a five year old who has been imprisoned since birth in a small room with his mother. This is the controversial novel inspired by the Fritzl case. I was sceptical about reading it and presumed it to be an exercise in creative writing drawing rather shamefully off of ghastly deeds in the media.

After I read the first pages of Room however I was hooked enough to buy it. And Jack himself is never abused. The novel is bleak and harrowing at times, but usually because of what Jack doesn’t say. The obvious implications, for example when Jack counts the creaks in his mother’s bed from his hiding place of the wardrobe, are the chilling thing for the reader.

What Room is really about is a unique five year old, nurtured with extremely intimate and confined love from his mother. As Tom Cat points out in his review, the philosophical points potentially there to be explored are many. Instead of really delving these depths however Room is more intriguing for its characterisation of Jack and the original voice Donoghue gives him. He makes incredibly perceptive observations about the modern world through both his innocence and ignorance. Occasionally his impressive vocabulary doesn’t quite sit right and convince, despite it mostly being explained away by his intense education from an early age; sometimes Jack obviously uses Donoghue’s word or phrase rather than his own. But the fact that this only happens now and then is a remarkable achievement.

For the most part Room is a heartbreaking, funny and thrilling story that takes a fresh view of modern life and culture. Everything good about this story derives from Jack’s completely original and skilfully executed narrative voice though. Many of the reviews of Room call its concept unique, but it really isn’t that astounding, simply ripped from extensive news coverage. It’s the clever angle from which Donoghue approaches her story that’s so wonderful and this couldn’t be transformed into film, no matter how they attempted to do it. Voiceover would not work; we are witnessing the thoughts tumbling through Jack’s head not a commentary of events. Jack’s innocence wouldn’t transfer to the screen, so neither would the appeal and success of the novel.

GI Joe: The Rise of Cobra – yes you read that correctly


I’ll start with a revelation; I paid actual money to own this on DVD. It was cheap, it was on offer, but nevertheless I handed over real currency. Why not just burn a wad of cash instead? The answer is that these days I am so enjoying wearing my critic’s hat that I actively sought out a film on the shelves of HMV that would prove the perfect target for a volley of vitriol on a day of frustration. Yes bad films can be painful to endure, but take a tip from me; write derisively about them afterwards and the whole experience is transformed into the best kind of therapy.

I also thought that given the hordes of superhero blockbusters soon set for release, a great many of which based on cinematically underused characters, it would be interesting to examine a film trying to establish a franchise. And more than likely point out all the areas it fails in, thus advising the big cheeses at Marvel and DC and the like, who all hang on my every word.

Having said this despite day after day of dismalness since I purchased GI Joe, days in which I could have done with a cleansing rant, I could not bring myself to sit down to watch it, knowing that watching the film itself would probably shovel manure onto my already foul smelling mood.

Now though the deed is done. All of GI Joe’s 113 minutes rammed down my eyeballs and willingly into the vaults of memory. My verdict will be far from surprising. As usual it’s simultaneously comforting and disheartening to have my own views almost precisely tally with the summary on Rotten Tomatoes:

While fans of the Hasbro toy franchise may revel in a bit of nostalgia, G.I. Joe: The Rise of Cobra is largely a cartoonish, over-the-top action fest propelled by silly writing, inconsistent visual effects, and merely passable performances”

Yes I might be getting it right, but what’s the point in me if I don’t say anything new?

With this in mind then, here are some things that were surprising about GI Joe: The Rise of Cobra:

1)      It’s got a really impressive cast! People pop up from all over the world of film and TV, for even the slightest of roles, and in particular from places kids will love. There’s a Doctor Who being bad (a suitably evil and decent performance from Christopher Eccleston), the Mummy from The Mummy, the villain from Bond film Tomorrow Never Dies as the President, the guy who stops the Mummy in The Mummy, that cool street dance kid, her from Stardust, the serious one from Inception (Joseph Gordon-Levitt, who’s soon to be in Batman too!) and that shouty scientist who saves the world from the inevitability of global warming in The Day After Tomorrow. I can only assume that all the American stars in this loved the toys and all the Brits were paid treasure chests full of booty for their unavoidably sinister accents.

2)      Talking of booty GI Joe has an awful lot of it for a family friendly action story. Dennis Quaid struts around as a General with a stunning beautiful assistant always to hand. Sienna Miller’s cleavage deserved its own recognition on the billboards. Red headed, blonde and brunette beauties are showcased in everything from skin tight “accelerator” suits, to tiny jogging tops or outfits made from 100% leather. Obviously to enjoy GI Joe at all you leave plausibility and realism at home. But there’s something disturbing about all this flesh for a potential franchise based on toys and a film with a 12 rating. It’s like the Playboy bunnies broke into Toys R Us and are teasing you before an orgy.

3)      I enjoyed (some of) it. Maybe it was just Sienna’s constant pouting. But the extended action set piece in Paris was quite creative at times; over the top and overflowing with visual effects for sure, but enjoyable compared to the other numerous grandstand battles.

The most annoying thing about GI Joe: The Rise of Cobra was its endless focus on the back-story of various characters. This is saying something. Most of its irritating faults are obvious; the wooden and unwatchable Channing Tatum, the relentless pointless noise, the other mechanical actors playing cartoon cut outs, the fact that the whole thing is a lifeless mess. Perhaps what was really annoying about the continual flashbacks and diversions to show how the characters all had past grudges against each other, was that it made GI Joe have ambitions that went beyond making noise. Almost as if they thought they were telling a narrative that could be called “engaging” or kick-starting a franchise that could be “successful”.

The very opening scene, with absolutely atrocious French and Scottish accents in the 17th century, tried far too hard to give the characters meaning and seemed redundant in reality. Studio chiefs take note: don’t fuck with history or flit through the past lives of your characters. Even if you’re trying to sell the toys they’re based on.

The Adjustment Bureau


Last night a whole pack of films competed for America’s attention during the much talked about Super Bowl Ad Breaks. It was the start of a long, hotly contested race for summer Blockbuster glory.

You can check out the TV spot trailers over at Flickering Myth: http://flickeringmyth.blogspot.com/2011/02/super-bowl-tv-spots-captain-america.html

Keep an eye out for the fourth Pirates film, which I thought showed more promise than expected.

Looking through the year’s other upcoming films though I stumbled across The Adjustment Bureau, starring Matt Damon and Emily Blunt. The synopsis was extremely vague at first, so I delved deeper, checking out the film’s site and the trailer. Out in March, The Adjustment Bureau is far more interesting than it first appears to be. It’s something very few films can claim to be: romantic sci-fi.

It’s also based on a Phillip K. Dick short story, an extremely inventive writer I studied for an in depth, extended project at A-Level. Sci-fi stories often get bad press but the likes of Dick and Ray Bradbury wrote extremely beautifully and explored ideas conventional fiction barely scratched the surface of. In this case the story seems to explore the ideas of free will and fate, and the possible forces manipulating that fate. Again I studied this issue in Philosophy and found it a fascinating debate, and it will be interesting to see how The Adjustment Bureau works it into a sensationalised story.

From the trailer it’s hard to tell how good it will be. The premise is what interests me the most and I can only hope the film itself does the idea justice. But it also looks glossy and exciting at times. The lead actors are beautiful. Despite some predictable, less interesting sections, I’ll definitely be checking this out at the cinema.

http://www.theadjustmentbureau.com/