Author Archives: dangent280
“I Am Choosing Between Trials and Tribulations. Do Stop Adding To Them…”
Sandwiched rather effectively between the likes of Their Finest and Christopher Nolan’s upcoming blockbuster, Dunkirk, Brian Cox takes on the challenge of portraying the iconic image of Winston Churchill this week in yet another 2017 release which focuses on a particular element and point of view regarding the historical and wholly barbaric events of the Second World War. Directed by Australian filmmaker Jonathan Teplitzky, perhaps best known for his work on the Colin Firth starring 2013 war drama, The Railway Man, Churchill attempts to bring to life the infamous story of the United Kingdom’s “greatest Briton”, a title unashamedly handed out upon the film’s pre-release trailer, and with the astute reputation of an actor such as Brian Cox in the leading role, stakes couldn’t be set higher for a cinematic interpretation of one of the most instantly recognisable faces of recent history. Whilst Churchill does feature some stellar acting form many of its leading stars, Teplitzky’s movie is unfortunately let down by a shallow and wholly uninteresting narrative, one which believes shouting and screaming is the best way to evoke a sense of drama, whilst the cinematic scale of such a film is so minimal, it really questions whether such a character exercise belongs on the big screen in the first place.
Taking place in 1944, on the eve of the infamous D-Day operations, Churchill unsurprisingly places Brian Cox’s titular conflicted Prime Minister at the heart of every single scene throughout the course of the movie, and whilst Cox seemingly manages to hit the nail on the head in terms of famous Churchill mannerisms, the dialogue and script too often let him down, with Teplitzky choosing to allow every line to be bellowed and screamed, akin to some awful teenage sitcom which just happens to be focused primarily during wartime. Subsequently, the decision to set most of proceedings within the confines of smokey, alcohol ridden low-key environments results in wondering why on earth Churchill belongs in the cinema in the first place, with it most likely to find success upon the medium of television not only due to its’ low-budge sensibility, but because on the face of it, there are a wide range of TV programmes that offer more reasons to be cinematic than that of Churchill. Although a sliding plot at the heart of it threatens to ruin the film entirely, Brian Cox does manage to pull you in and keep you entertained despite moments of utter silliness in terms of dialogue delivery, and whilst many will find a lack of action incredibly dull, ironically Churchill was a film at least I was never bored whilst watching, it just quite baffled me at times.
Overall Score: 5/10
“Time To Grow Up. Time To Fight Your Fight…”
Whilst the notion of centurions within Doctor Who automatically resorts to times gone by within the era of Matt Smith, this weeks’ episode featured a budding mystery regarding the fate of the Ninth Legion of the Imperial Roman Army amidst a narrative which featured too a time-splitting leading alien entity and an incredibly talkative creepy crow. Isn’t science fiction great? Penned by Rona Munro, a writer already well-versed in the ways of all things Time Lord, with her previous works including the Sylvester McCoy led episode “Survival”, the final Classic Who story to air on the BBC until its’ return all the way back in 2005, “The Eaters of Light” is a passably fun tale of adventure, one which comes across as a surreal amalgamation between the BBC-ran adventure series Raven and the portal-weaving adventures within Stargate, but too a tale which feels ever so slightly underwhelming at times to really be considered anything other than just a precursor to much more interesting developments which are set to unravel within next weeks penultimate episode, adding to a year of stories which have been solid enough, but lack in a certain amount of wonder in comparison to the critical acclaim of Series Nine.
With events taking place in the homeland of Capaldi, it comes as no surprise that the inclusion of an abundance of fellow Scots results in an array of Scottish-targeted quips. most of which are expertly managed by the straightforward tone of Capaldi’s take on the travelling Time Lord, and whilst the underlying true-to-life mystery at the heart of the story laid down a possible interesting narrative, “The Eaters of Light” is ironically the most straight-forward tale of good vs. evil so far this series. Aided by an array of slightly dull secondary characters, Munro’s script does ultimately come across as slightly pre-21st century Doctor Who at times, with the cliched plot one in which I struggled to really engage with and whilst the design of the titular monsters is interesting enough, the threat in which they pose is minimal to say the least. Throw into the mix some shady and rather cringe-laden CGI, “The Eaters of Light” is not means a terrible episode, it just lacks the invention and spark of many which have preceded it.
Overall Score: 5/10
“He’s A Good Person. He Wanted Me Before I Was Smart…”
Aside from making moves in the Marvel Cinematic Universe as Captain America, Chris Evans is very seldom seen in other visual ventures between the criss-crossing of fighting Tony Stark and aiding the woes of Bucky Barnes, and whilst this week’s release of Gifted is a far stretch away from CGI-fuelled mayhem and size-bending superheroes, the charismatic manner of the Hollywood star is indeed a welcome sight in a drama which allows Evans to convey his acting abilities and prove that muscle mass and tight rubber pants are not the only thing he feels comfortable doing. Directed by Marc Webb, a director renowned for the indie sensation which was (500) Days of Summer but probably best known in the geek world for the very good The Amazing Spider-Man and the not so good 2014 sequel, Gifted is a charmingly grounded family drama, one which includes a zippy and snappy narrative rife with effective comedic dialogue and tropes, and too a film which although could be classed as a good example of emotive manipulation, offers good enough reasons to bypass the saccharin sweetness at times and just enjoy the ride whilst it lasts. As the great Roger Ebert stated, “Some people like to be emotionally manipulated. I do, when it’s done well”.
Focusing on the one-two uncle and niece duo of Frank (Chris Evans) and Mary Adler (Mckenna Grace), Gifted begins primarily by setting the scene of the drama which is set to unfold, with seven year old Mary attending school for the first time and becoming increasingly noted for her outstanding mathematical abilities and street-wise nature which extends way past each and all of her similarly aged peers. At the heart of the narrative too is both the kind-hearted and softly spoken first-grade teacher Bonnie (Jenny Slate) and the Cruella de Vil-esque character of the piece, Evelyn Adler (Lindsay Duncan) who interrupts the peace and tranquillity of Frank’s quest for a normal life in order to fulfil her own petulant and wholly selfish commemorative wishes, using Mary as a pawn in a proceeding tale of family breakups and legal scaremongering, all in a quest for Evelyn’s view of the greater good. Whilst both Mckenna and Evans give both incredibly charming performances, using the great chemistry between them effectively within an array of heartwarming comedic scenes which focus on the innocence of youth and the hardship of fatherhood, Gifted does suffer from a rather overly ripe shiny-happy-people ending and the inclusion of Duncan’s steely-eyed antagonist does come across as slightly too boo-hiss at times to feel a natural fit for the overall feel of the movie. Webb knows how to do the mis-fit, slightly kooky comedy drama well, and whilst Gifted isn’t as flashy as (500) Days of Summer, it sure worked for the most part in which I was emotionally invested with its’ loving, leading characters.
Overall Score: 7/10
“Whatever It Cost My Cousin In Pain And Suffering Before He Died I Will Return With Full Measure…”
Although unaware of her particular line of writing beforehand, the release of My Cousin Rachel has not only expanded my understanding of English author Daphne du Maurier but more interestingly has highlighted the importance of her writing, particularly in regards to its’ impact on cinema, with the likes of full-on classics such as Don’t Look Now, Rebecca and The Birds all being based upon du Maurier’s talented scripture. Following in the footsteps of Nicolas Roeg and Alfred Hitchcock, arguably one of the most daunting double acts to take the mantle from, director Roger Michell brings to life du Maurier’s writings once more with My Cousin Rachel, a direct adaptation of the 1951 novel and a remake of the 1952 original movie which starred Olivia de Havilland and Richard Burton in the two leading roles, leading roles that this time are handed to Oscar winner Rachel Weisz and Their Finest star, Sam Claflin. With the infamy and reputation of previous successes of du Maurier’s works in the background, My Cousin Rachel understandably is nowhere near the calibre of anything from Hitchcock or Roeg, but with a stand out performance from Weisz and some gorgeous costume and set design, Michell’s movie is a solid enough attempt to transpose the ambiguous and paranoid writing of du Maurier onto the big screen.
Whilst the film’s narrative effectively reeks of uncanny uncertainty, the movie is undoubtedly bolstered by the magnetic presence of Rachel Weisz in the titular leading role, giving a superbly maligned performance which edges on the side of both troubled innocent and femme fetale depending on where exactly you believe the underlying plot is being directed by the careful hand of Roger Michell. Whilst Weisz is the undeniable guiding light of the movie, the same unfortunately cannot be said for the likes of Sam Claflin as Phillip, the incredibly annoying and wholly idiotic man-child who immaturely decides to deconstruct his entire life slowly but surely over the course of the film’s two hour runtime all-the-while the audience responds not with an inch of sorrow or remorse but instead wondering how on earth such a devious tit managed to achieve such wealth to begin with. Whether it be petulantly screaming and barking orders at his much more humane serving staff or wondering whether he is at the epicentre of a epic murderous scandal, Claflin has successfully gone and created arguably the most annoying leading character of the year so far, and when put up against the strong centrality of Weisz’s character, Claflin’s Phillip ultimately is a complete fail. Whilst the film’s key mystery is arguably too anti-climactic and the plot sometimes downgrading into lulls of utter dreariness, My Cousin Rachel passed the time nicely in a way which will see it on the BBC Two afternoon schedule sometime in your near future.
Overall Score: 6/10
“That’s Not Just Any Tomb. This Is The Tomb Of The Ice Queen…”
Ah, the Ice Warriors. Those awfully designed, avocado shaped, freezer magnets. Whilst many contemporary Who fans would have been made aware of their existence in the slightly better than average, Matt Smith-led “Cold War” back in Series Seven, their history through the Whoniverse begins all the way back within Patrick Troughton’s stint in the late 1960’s, with their second appearance within “The Seeds of Death” arguably being the biggest fan-favourite episode in which they are the primary antagonist of the piece. Returning this week and facing battle with Peter Capaldi’s Twelfth Doctor in “The Empress of Mars”, the Ice Warriors are moulded into submission by constant Moffat companion Mark Gatiss who returns as a guest scriptwriter, following on from Series 9’s fan dividing episode “Sleep No More” and whilst many are aware of Gatiss’s love for all things Doctor Who, the multi-talented sci-fi geek is behind a script which although is pleasing in many aspects, also suffers from a slight feel of anti-climax, particularly in regards to the trio of episodes most recently, and whilst Gatiss’s work on Doctor Who has never really been consistently excellent, “The Empress of Mars” is arguably the weakest episode of the series so far, if remaining to the motif of a more “classic Who” feel which has been more than rife throughout this year’s series.
Whilst Matt Lucas’s Nardole is once again cast out as side-companion, appearing only at the beginning and end of the story, Pearl Mackie is once again a real treat to be seen at Capaldi’s side, offering quick, infectious quips when necessary and holding a sense of ingrained humanity when comparing her outrageous situation to the likes of famous science fiction movies. At the heart of the narrative, the titular female leader of the Ice Warriors can only be regarded as somewhat of a major letdown, one whose one-dimensional characterisation lacks a complete sense of threat even when shooting funky lazer beams at endless cannon fodder who are transformed into anatomy defying squares of death. Whilst the endgame of the story is simple enough for even the youngest of minds, Gatiss does make up for a mediocre script with a concluding scene which links in the previous appearances of the Ice Warriors in the best fan-pleasing way possible when as soon as the high-pitched voice of Alpha Centauri was heard, my heart was won completely over and my mind was thrown back to the Pertwee years, a winning formula whenever when considering Pertwee remains my favourite Doctor to this very day. This week’s episode was good enough but still remains the weakest of the series so far. Maybe next time Gatiss.
Overall Score: 6/10
“Welcome To A New World Of Gods And Monsters…”
Adding a new layer to the ongoing genre of Universal Horror, a cinematic legacy which began all the way back in the 1920’s. the newest blockbuster franchise comes in the form of the so-called “Dark Universe”, a directed step into another legion of remakes and re-imaginings which begins this week with The Mummy and is set to continue into the future with fresh interpretations of classic monster movies which are reported to include the likes of Van Helsing, Frankenstein’s Monster and of course, Dracula. Taking the time away from beating the heck out of people in Jack Reacher and flying super speedy jet planes in the upcoming Top Gun sequel, Tom Cruise leads the way as the flagship star of the franchise’s beginnings in the latest incarnation of The Mummy, a well-known and well-versed adventure tale, with arguably the most popular representation being the Stephen Sommers led take in 1999 which featured a clean shaven Brendan Fraser and a pre-Daniel Craig infused Rachel Weisz. With Alex Kurtzman on directorial duty, a filmmaker with a background in the likes of movies such as Star Trek, Star Trek Into Darkness and Mission: Impossible III, the latest incarnation of The Mummy is unfortunately a generic, overblown snooze-fest, ultimately resulting in a movie which begins the Dark Universe franchise in a rather mediocre manner to say the least.
With a narrative which is more than familiar in terms of the overall set-up of the titular bandaged antagonist, The Mummy suffers too from a wild scope in tonal bipolar, changing from B-Movie horror to cringe-inducing comedy in between an array of soulless set pieces which either consist of endless CGI hollowness or people wildly screaming whilst being shot at with both never actually managing to induce a sense of threat into the proceedings. At the heart of the action, the duo star power of both Tom Cruise and Russel Crowe never really have anything juicy to work with either, and although Crowe’s character reveal was quite charming in a in-joke, canon kind of way, Cruise’s overly cocky and quite annoying leading character is at its’ best a poor depiction of Brendan Fraser. Similarly, although Boutella has all the hallmarks of a beautifully seductive Egyptian princess, her campy leading villain is ultimately a dead rubber alongside a long list of supporting characters who are either there for cannon fodder or for cranking the creaky narrative into place. The Mummy isn’t exactly terrible, it just reeks of laziness, and for a movie which is meant to propel a new franchise into some sort of success, Kurtzman’s movie doesn’t do the job effectively enough to wonder where it ultimately goes next.
Overall Score: 5/10
“You’re Version Of Good Is Not Absolute. It’s Very Arrogant, Sentimental…”
Whilst both “Extremis” and “The Pyramid at the End of the World” were indeed both bold and exciting tales of science fiction wonder, their role as pre-cursor for this week’s episode heeds a huge sense of pressure on the concluding part of the story this week, one which needs to sustain its’ predecessors greatness in order to really conclude whether the trilogy has ultimately worked as a whole rather than falling under the weight of the sum of its’ parts. Thankfully, taking paranoid, dystopian cues from the likes of Orwell and highlighting notions of a controlled state which has been rife in cinematic entertainment for years, “The Lie of the Land” continues the courageous recent writings by offering a narrative which concludes the past few weeks’ story in an effective and well played manner, but one which too falls short of greatness due to some middling false steps. As with most of Capaldi’s reign as Doctor, his performance continues to cement my argument that his portrayal is the first real true contemporary incarnation of the “classic” mould of the travelling Time Lord, whilst Pearl Mackie’s Bill really has the opportunity to shine this week, proving to the naysayers that her inclusion this year is indeed one of the real stand-out positives of the series.
Whilst the threat of the Monks ultimately does come across as rather limited and anti-climactic, with the trilogy not entirely providing an effective stance of their ultimate show of power, the scene in which we witness soldiers heading into battle against the background of Bill’s recorded voice, one which acts as a blocker to the brainwashing power of the Monks. is superbly done. The lack of sustained threat however does ultimately resign the Monks to a limited memorability factor, with them not entirely hitting the standards of classic Who villains by any means and this negative attribute is one of the reasons why this particular trilogy doesn’t exactly transcend to any more than something which is brilliantly bold instead of the contemporary masterpiece I believe I think it wants to be. Whilst “Extremis” is still the best of the three episodes, the differing nature of each could arguably allow for future viewings without the need to see the entire trilogy, and whilst this is a good sign for moderate viewers of the show, the overarching success of the trilogy suffers from this, but as an individual episode, “The Lie of the Land” is effective enough to be regarded as a solid win.
Overall Score: 7/10
“You Have Been My Greatest Love. Be Careful, Diana. They Do Not Deserve You…”
Whilst many audiences could be forgiven for experiencing a somewhat turgid time at the cinema within the summer period, suffering from a duo hit of remakes and sequels amidst an air of superhero fatigue, particularly within a year in which the two major forces in the form of DC and Marvel Comics are warring face to face in a contest which rivals the Battle of Helms Deep for sheer epic eventfulness, with more films than ever being released which focus on big-screen adaptations of everyone’s favourite literary heroes. Whilst Marvel waits on hold for the time being, with Spider-Man: Homecoming set for release next month, the ball is currently in DC’s court this week with the release of Wonder Woman, the fourth entry in the so-far much maligned DC Universe, but more importantly, the first real big-screen adaptation of the Amazonian Queen and the first superhero film since Elektra to be solely focused on a leading female character. Adding to the winning formula, Patty Jenkins, director of the Oscar winning serial killer drama Monster, takes the lead of a movie which holds so much in attempting to add a sense of integrity into a franchise which has been slowly dwindling in the shadow of Marvel’s many successes. Thankfully, Wonder Woman is indeed a winning return to form for DC, taking a brilliantly cast leading star and working with a script which adds an element of fun and adventure back into a series which has been sinking into the shallow depths of despair.
Whilst her introduction within the mighty mess of Batman V. Superman was overly rushed and ineffective, Wonder Woman perfectly crafts a backstory for a character who to most audiences may be completely alien, with WW possibly being the first time understanding the nature and background of such an infamous leading comic character. With Gal Gadot in the leading role, the DC Universe has finally hit the first mark in terms of casting, putting to shame recent debacles such as Jesse Eisenberg’s Lex Luther and Jared Leto’s overly wasted Joker, with her physical ability and enviable natural screen presence adding organic depth to a character who is represented more than adequately in Gadot’s shoes. Pairing up with the always reliable Chris Pine, the narrative does reek somewhat of similarity at times however, using the first half of the movie to generate backstory whilst using the latter as a chance to once again conclude with a staggeringly dull CGI boss battle, yet the comedic element which rips throughout the dialogue is effective enough to combat a two hour plus running length, a decision perhaps primarily based upon Marvel’s successes in mixing action, drama and comedy within most of their many releases. If Wonder Woman is the direction in which the DC Universe is heading, sign me up for more, and whilst Jenkins doesn’t really offer anything particularly new to the superhero scene, the brilliance of Gadot in the leading role is the best thing DC has done since Nolan was around. No, it’s not The Dark Knight by a long shot, but Wonder Woman is still a success.
Overall Score: 7/10
“Find Jack Sparrow For Me And Relay A Message From Captain Salazar. Tell Him: Death Will Come Straight For Him…”
Praise be and grab your rum of choice, it is indeed that time once again. After believing that the Pirates of the Caribbean franchise had sailed its’ last sail with On Stranger Tides, a third sequel to Curse of the Black Pearl, Disney’s flagship theme park based series swiftly returns this week with Salazar’s Revenge or perhaps, Dead Men Tell No Tales, depending on where exactly you will be spending your hard earned cash in order to witness the newest CGI orgy of famous actors dressing up like second year university students hitting the town and pretending to act serious when shouting “arghhh” and battling invisible, digitally created cannon fodder, all of whom are eager for disposal by death. Holding my frightfully cynical tone for a moment, the release of Salazar’s Revenge might controversially be the film which reinvents my opinion of the gargantuan series, and even with expectations as low as the depths of the pacific ocean, the addition of Norwegian directorial pair Joachim Rønning and Espen Sandberg alongside the ever reliable presence of Javier Bardem is a cause for cautious optimism, particular with the latter’s ability to carry off a damn fine villain when necessary. Inevitably, Salazar’s Revenge instead is yet just another CGI-fuelled bore-fest, one which trades set pieces for narrative and acting ability for budget costs within a skin peeling two hours which confirms the series has indeed sunk to the depths of mediocrity without any sign of resuscitation aboard.
Whilst the film centrally is based around the retrieval of a mysterious object which breaks every and any curse laced upon the many characters within the Pirates universe, Salazar’s Revenge also has to try and squeeze in the titular character’s quest for violent justice, with Javier Bardem’s CGI-masked villain setting his sights on the figure of Johnny Depp’s Captain Jack Sparrow, a Captain Jack Sparrow who has seemingly worsened in every subsequent movie, resulting in a performance which has increasingly become a caricature of itself in an almost cringe-like fashion. With a script which is laced with cheesy and ear-grating dialogue, Depp has finally managed to confirm that his time in the spotlight as the world’s worst pirate must finally come to some sort of a dignified end, and whilst the inclusion of Orlando Bloom and a completely silent Keira Knightley could leave some fans jumping for joy, the return of their respective characters adds absolutely nothing to the overall enjoyment of the movie. Alongside some terrible sound editing and a complete lack of threat, Salazar’s Revenge is unsurprisingly a meaningless, dull affair, one which continues the woeful track record of blockbusters this year and a film which rivals David Beckham for worst cameo of the year so far. I mean, Paul McCartney, what are you thinking?
Overall Score: 3/10
“Do You Consent?”
Whilst the linchpin of Classic Doctor Who serials was a continual spread of episodes spread around the basis of one particular story, with the likes of “The War Games”, “Trial of a Time Lord” and “The Dalek’s Master Plan” each breaking the ten episode mark in order to completely fulfil their narrative wishes without any cause for constraint aside from a slight echo of inevitable bagginess. For contemporary Who audiences, the idea of one particular story playing over the course of months is a notion of indirect ignorance even if now and then we get an entire series which has a through-line of a narrative which attempts to link certain elements all together within stories which are primarily one-off and unrelated to the bigger picture, beginning with Bad Wolf all the way back in series one and carrying through with plot threads including the inclusion of Torchwood, the appearance of Harold Saxon and the cracks in time which cropped up across Matt Smith’s debut series. With “Extremis” last week, the continuation of that particular tale carries on this week with “The Pyramid at the End of the World” in a supposed trilogy of stories which will seemingly conclude next week, and whilst “Extremis” was an interesting precursor to the story ahead, does this weeks episode continue its’ groundwork success?
In a nutshell? Yes, and whilst the episode does include elements which are utterly preposterous and epic in stature, the bare bones of the story is rather straightforward and grounded, with The Doctor being at the centre of an impossible situation in which the separate parties around him each have differing points of view on survival. With the enemies once again being the creepy, robe wearing monks, their plan for world domination continues by using the one thing that forces any human being into rash decisions; fear, choosing the knowledge of foresight as the pawn in their domineering game of megalomania and control, whilst The Stand-esque subplot involving a mass outbreak of murderous biological material concludes with the Doctor’s sight returning for the time being, but at what cost? Although the twists and turns regarding Bill’s survival during her submission to the monks was rather obvious when it eventually occurred, the Doctor’s predicament when locked in the airlock with a detonating explosive device was effectively played, using the element of his blindness to a nerve-wracking degree which in the end has set up the play for the final endgame which is set to conclude next week. If ever there was evidence for supplying fans with longer stories into the future, these past two weeks are a strong chip to play with,