“The Answer To What Is Happening To You Is Here. You Five Are The Power Rangers…”
Of all the many facets of my well-nurtured youth between the mid 1990’s and the early years of the 20th century, Power Rangers was the pretty much the last thing I personally had in mind to be reincarnated and re-imagined for the purpose of reaching out to a modern-day audience, yet here we are this week reviewing a movie which not only conjures up a youth-infused opinion regarding the sheer awesomeness of 1995’s Mighty Morphin Power Rangers, a film which featured the iconic presence of Paul Freeman as Ivan Ooze and in an adult-fuelled retrospect, isn’t as awesome as originally thought, but also begs the question where Hollywood will eventually stop when it comes to flogging and remaking as many footnotes of entertainment that they possibly can. Featuring a primarily youth-infused cast such as Me, Earl and the Dying Girl’s RJ Cyler and The Martian’s Naomi Scott, each battling for screen time against not only their similarly aged peers but the famous figures of both Bryan Cranston and Elizabeth Banks, Power Rangers is a tiresome and wholly predictable CGI-fuelled mess which can’t decide whether it wants to adhere to a Nolan-esque level of maturity or come across as just an overly corny cheese-fest, resulting in a movie which bears similarities to the latest adaptation of Fantastic Four in all the worst possible ways.
Straight off the bat, Power Rangers suffers from a fundamental flaw of having five leading characters who aren’t only ridiculously underdeveloped but are just outright annoying, with introductions ranging from a criminalised youth who finds spare time to wreak havoc on the local town to a bitter bully who thinks it’s fun to sex shame her friend and assault her boyfriend whilst wondering why each of these relationships goes downhill rather fast. Although I understand there is a level of flexibility within a narrative which centres around superheroes and aliens but it takes even the most optimistic of audiences to accept that the five youths portrayed on-screen are indeed the best humanity has to offer. Aside from monotonous central characters, Power Rangers suffers too from the same illness which has raged Michael Bay and Zak Snyder movies for years by including a final act which can only be described as an amalgamation of Man of Steel and Transformers in the worst way possible, utilising awful CGI in creating foes which not only come across as spitting images of the watchers from Darren Aronofsky’s Noah, but are as threatening as a battery powered furby.
Whilst the contractual duties of both Cranston and Banks are both adhered to in some form, both appear and act in ways which can only be seen as dollar-ringed, with the former literally doing absolutely nothing in the twenty seconds he is on screen both in physical and digital form, whilst the latter taking the form of the villainous Rita Repulsa, a simply terrible villain whose penchant for gold infused items can only be regarded as a metaphor for Banks’ appetite for a Power Rangers signed cheque, thanks to a performance which bears similarities to Eddie Redmayne’s camp-fuelled monstrosity in Jupiter Ascending, just without a sense of memorability. Power Rangers ultimately is two hours of film-making recklessness which you won’t get back and being aware of the film-maker’s promise of at least a SIX movie story arc, perhaps we can live in the hope of their first offering being indeed the worst of the bunch. In conclusion, 2017’s Power Rangers is the type of movie in which you leave longing for the ripeness of a 1990’s Ivan Ooze in order to push it into a realm of enjoyment which is severely lacking through almost two elongated hours of dullness. Not for me.
Overall Score: 3/10
“I’m So Happy The Gods Put Our Packages Together…”
Judging from the trailers alone, everyone knew what to expect with Sausage Party, the latest comedy venture from the Seth Rogen rubble, directed by Conrad Vermon and Greg Tiernan, with crude and vulgar humour set to being seeped throughout an animation which attempts to poke holes in the family-friendly works of Disney and Pixar by following in the footsteps of a supermarket-based sausage named Frank (Seth Rogen) who like every other food item in the store, believes being “chosen” by the “gods” results in a swift and joyous journey into heaven. Of course the reality of the situation is a closely-hidden secret, a secret in which Frank and his merry band of faithful food friends including Frank’s girlfriend, Brenda (Kristen Wiig) attempt to bring to light.
Although strangely hypnotic for the first ten minutes or so, Sausage Party does swiftly descend into plights of sheer boredom, with the one-note shine of relying on vulgarity and ridiculous levels of swearing not exactly managing to survive the full 90 minutes in which subplots aplenty attempt to hold up the animation into earning its’ reason to be on the big screen. Although the final act is one in which all involved must have been patting themselves firmly on the back after creating, its’ ludicrousness as a whole confirms that if made as a 30 minute sketch, perhaps the idea of Sausage Party may have been a successful one. Instead, the film is just another excuse for Seth Rogen to make penis jokes, and although occasional laughter can be created by such, Sausage Party isn’t the comedy I was hoping for. The animation is good though so you know, not all bad. Peace.
Overall Score: 4/10
“Never Go To The Window, Never Look Behind The Curtain…”
Who doesn’t love Roald Dahl? Not only have countless cinematic works been based upon his literary catalogue over the course of over half a century, but his presence is still continuing to this very day, with Hollywood understanding that re-imaginings and reboots of his works on the big screen will always guarantee to bring in the masses, whilst hardcore Bond fans will know his influence on the script for You Only Live Twice, the first Bond film in which we see the ominous presence of Donald Pleasence’s Blofeld and his evil looking Persian cat. Anyhow, this time around it’s The BFG which gets the reboot treatment, directed this time by Steven Spielberg and continuing the successful collaboration of Bridge of Spies by placing Oscar winner Mark Rylance in the lead role. Whilst the CGI and design of Rylance’s titular BFG is a fantastic achievement in itself, the film as a whole is one that is surprisingly mediocre, one in which suffers from a wide range of pacing issues, a yawn-inducing first half and a lacklustre plot thread based around the intent of our beloved heroine, Sophie.
Although Spielberg is a director whom I appreciate highly, The BFG is a surprisingly empty and rather shallow fantasy, one that focuses entirely on the structure and creation of Rylance’s BFG and seemingly forgets to include any real sense of direction whatsoever. Beginning with a first act in which we are taken to Giant Country, the film descends into a rather slow slew of tedious pacing issues, in which the introduction of Rylance’s character is overshadowed by such and subsequently becomes something you quickly get bored with. After a good drawn out 90 minutes, the film does improve when we are taken into the halls of Buckingham Palace, a final act which seemingly woke up the entirety of the audience in my particular screening, with the laughs and quickfire jokes swiftly erasing the pain of the film so far before it. With Spielberg at the reigns and Rylance in command of his beloved character, The BFG should have been something spectacular. Instead, Spielberg’s latest is surprisingly mediocre, a word rarely associated with talent of such a kind.
Overall Score: 5/10
Life of Riley
When it comes to my final countdown of this years’ best and brightest movies, at least two films within that list will be that of an animated pedigree, with the first being the wonderful Song of the Sea, released only two weeks ago, which proved to be one of the most blissfully entertaining and emotion rattling films that I had seen so far this year with gorgeous visuals, a simply gorgeous design and a soundtrack that rivals any classic musical companion to date. The second on that list however, without a doubt, will be this weeks’ new Disney Pixar release, Inside Out, a film so masterful in reaching all its’ cinematic targets and avenues that it begs the question whether Disney can ever outdo itself ever again in creating a film that not only touches the heart, but touches the mind too with concepts and ideas that are set to bring a overarching sense of joy out in everyone, even if they are too stubborn to admit it.
The story of Inside Out focuses on the life of young Riley Anderson and her five manifestations of emotions that reside within her mind who control the way in which her life is run, whether it be saving memories of joy and happiness, creating islands of Riley’s personality or just finding solutions to day-to-day problems and situations young Riley finds herself in. Of these emotions, Joy (Voiced by Amy Poehler) believes the best way for Riley to live her life is to constantly be happy and only resort to the other emotions of either Disgust, Fear, Anger and Sadness if completely necessary, yet Riley and her emotions are turned upside down when she is forced to relocate from Minnesota to San Francisco, resulting in a range of stark changes that set Joy and co. on a wild quest to adapt to their inhabitants sudden and relentless changes. From the plot synopsis alone, it is obvious that Inside Out is a movie that can be related with by almost everyone and anyone, regardless of age, with the youngest audience being there for the gorgeous visuals and design, the high comedic and slapstick output and relationship to the character of Riley, whilst the older audience being there to enjoy the relationship between Riley and her parents, helped by a deep understanding of the films’ main idea that growing up brings with it a rafter of changes, both physically and mentally.
Of the many positives within the film, the simple, yet brilliant concepts that continued to pop up were astounding to behold, with trains of thought, islands of personality, imaginary friends and subconscious fears all being expertly designed, resulting in a roller-coaster ride of emotions with moments of sheer sadness, uplifting joy, and an overall sense of wonder that the film willingly creates. For example, one young girl in the cinema showing I was in actually broke down in tears during the film and although I was never going to follow suit, I have to admit, there were times my tongue was being well and truly bit, particularly in regards to the final scene of Riley’s imaginary friend, Bing Bong. I’m such an emotional wreck. These collage of magical elements that encompassed Inside Out throughout its’ runtime results in making the film not only one of the best of the year, but a true Disney Classic, one of which will live long in the memory of all that choose to watch it.
Overall Score: 10/10