“Okay, Now’s The Point When You Say It’s All A Joke…”
Remake. Reimagining. Reboot. Whatever. Of all the many psychological horror one-off’s in the world, Joel Schumacher’s 1990 cult flick, Flatliners, is indeed a movie devoid of all reasoning for such a continuation, and whilst the original had interesting ideas and a youthful, enthusiastic cast including the likes of Kiefer Sutherland, Julia Roberts and Kevin Bacon, the jury still remains out on why exactly a sequel is needed at all. With The Girl with the Dragon Tattoo director Niels Arden Oplev helming the similarly titled sequel this week, which from trailers alone, comes across as the bare-bones, cheap money cash-in many would expect it to be, at least there is some reason to be slightly excited, particularly with Oplev helming the likes of Mr. Robot and the somewhat mediocre, if stylish Colin Farrell starring, Dead Man Down since his success with the first of the Swedish-based Millennium series. Whilst it’s almost lazy to tarnish Oplev’s latest with all the obvious cliched quips, it is startling how much Flatliners is completely dead on arrival, with the latest Hollywood sequel lacking both pulse and heart as it only manages to succeed in making the original look like a forgotten cinematic classic.
Using the narrative of the first film to almost pinpoint exactness albeit for minor, lacklustre tweaks, Flatlines suffers fundamentally from the age old issue with sequels with it being a film which doesn’t attempt to build on the successes of its’ predecessor but simply decides to rehash the exact same ideas, and whilst there is an idea at the heart of Schumacher’s original movie which could be made into a thrilling exercise of science fiction, screenwriter Ben Ripley resorts to creating a sequel which attempts to be more Final Destination-esque in tone than the Black Mirror style of story the underlying narrative brings to mind. Whilst Ellen Page tries her best in the leading role, her untimely conclusion creates a vacuum of dullness in the film’s second half, one which utilises tiresome jump scares aplenty and hopeless horror to carry the story to its’ overstayed conclusion, and without a sense of threat and the element of mystery to hold the audience’s attention until the very end, Oplev’s movie is unfortunately a remake than simply cannot be revived no matter how much adrenaline charged substances can be shoved into its’ veins.
Overall Score: 3/10
“We Have Hope. Rebellions Are Built On Hope…”
In a year in which summer blockbusters have been somewhat below par, and that’s putting it nicely, we close 2016 with another venture into the galaxy far, far away, with Rogue One attempting to bridge the gap between Revenge of the Sith and A New Hope with a merry mix of old and new characters and a storyline which delves into the theft of the infamous death star plans, the red herring-esque of a plot device which paved way for the entire Star Wars universe. With Gareth Edwards on directorial duty, the man behind Monsters and the rather awesome recent reinterpretation of Godzilla, Rogue One is a much darker and melancholic tale than perhaps we have seen previously in the Star Wars canon but one which also contains the adventurous thrill ride we have come to expect, culminating in a final act which ranks up there with the best visual experiences not only in the Star Wars universe but in the variety of blockbusters within the modern era of cinema.
Although narratively Rogue One begins in a striking sense of anti-climax in comparison to other Star Wars movies, we are swiftly introduced to Jyn Erso, a disconnected wanderer who is captured by the rebellion in order to help seek out her father Galen (Mads Mikkelsen) who is at the heart of a mysterious weapon development for the pre-A New Hope Galactic Empire, ruled over by the key figures of Ben Mendelsohn’s Director Krennic, a digital reincarnation of Peter Cushing’s Tarkin and of course, the menacing Sith Lord, Darth Vader, whose appearances are brief but terrifyingly effective. When Rogue One eventually kicks into gear around the half hour mark, the sense of joy many fans get from re-watching the classic original adventures fuels the journey into a truly classic tale of outlandish planets, wildly inventive alien beings and enough canon nods to leave fans beaming with joy. With Felicity Jones embracing the lead role of Jyn as a mix of Lara Croft and Princess Leia herself, she inevitably has the meatiest role of the movie alongside undeveloped performances from the likes of Mikkelsen, Whitaker and Diego Luna but the real magic of the movie is in its’ fan appreciation, answering questions the canon has had for decades and proving the Star Wars universe is an endless pit of cinematic possibilities, particularly when they are as successful as Rogue One.