“This Is The Way The World Ends…”
With Guillermo del Toro joyously arriving home earlier this month with a couple of Academy Awards in his back pocket for The Shape of Water, his latest rousing critical success is brought somewhat back down to earth with the release of Pacific Rim Uprising, a sequel to del Toro’s 2013 ridiculously silly action gargantuan which in all fairness, is more painfully cheesy than entertaining, and a film which brings to mind the middling rough patch the Mexican seemingly went through before this year’s resounding return to form. Swapping the director’s chair for a producing role however, the job of taking hold of the unnecessary sequel falls to Steven S. DeKnight of Daredevil Season One fame, undeniably the strongest Marvel/Netflix release to date, whose big-screen debut features John Boyega (Star Wars: The Last Jedi) as Jake Pentecost, son of the legendary General Stacker Pentecost as portrayed by Idris Elba (Thor: Ragnarok) in the first film, who swaps his life of thieving and black market dealings for a return to the fold in line with the Jaeger program after a fresh threat arises from the destructive, otherworldly Kaiju. With awful dialogue, a woeful lack of emotional investment and endless, mind-numbing overblown action set pieces, Uprising is unsurprisingly utter tosh, and even when some of the characters at times threaten to make the film more interesting than it should be, it’s plain to see that the main function of DeKnight’s cinematic debut is of course, solely monetary.
Whilst the first feature was just straightforward, unadulterated nonsense with an added layer of awfulness due to Charlie Hunnam’s vacuous leading character, the performances of both Idris Elba and Rinko Kikuchi meant that the film was at least likeable to a certain degree, and with the latter one of the more interesting returning characters added to the fold once again, her particular narrative strand within Uprising is systemic to the problems of the film. Far too many times are new and returning characters given so little to do in terms of engaging character development that when the film does eventually heed to the wishes of its’ true and fundamental natures in the form of CGI-engulfed action sequences, not one audience member actually really cares who does what and who makes it out alive. With it becoming patently clear that any movie touched by the woeful “talent” of both Charlie Day (Fist Fight) and Scott Eastwood (Suicide Squad) is destined to be labelled as god-awful, Uprising does at least benefit from a committed, cockney-fuelled performance from the ever-charismatic Boyega and a runtime which improves on the staggeringly long length of its’ predecessor, but with a concluding act which makes Man of Steel look like a Woody Allen movie and a jarring post-credits sequence which makes you roll your eyes in utter condemnation of the movie’s future possibilities, Uprising doesn’t totally suck, it’s just the type of movie you watch with a blank expression and let it leave your consciousness as soon as its’ over. If you stay awake that is.
Overall Score: 4/10
“Terrorism Is Just An Excuse…”
A dramatic tale of one of the most controversial figures in recent history you say? Who shall we bring on as director for that then? Oliver Stone of course, the man renowned for shall we say, colourful political views but more importantly probably the right man for the job when admiring his previous work such as the renowned Vietnam trilogy which included Platoon and Born on the Forth of July, both of which supplied Stone with Oscar wins, as well as his work on astute US political dramas such as JFK and Nixon. Although the Oscar winning documentary Citizenfour provided an in-depth examination of Edward Snowden and his role as the notorious whistle-blower, Stone’s dramatisation of similar events features Joseph Gordon-Levitt in the titular role, alongside a strange rafter of familiar faces such as Timothy Olyphant, Tom Wilkinson and Nicholas Cage who come and go in less-than supporting roles. If the man at the centre of the movie wasn’t so darn interesting, Snowden could have been in danger of being a sour, cold drama, yet with a top performance from Gordon-Levitt, Snowden is a interesting, if rather overlong, political drama.
Where the film is in its’ most interesting is scenes in which we delve into the technological aspect of Snowden’s past, whether it be hidden away in some James Bond-esque spy cave in Hawaii or hiding under a false name in the metropolitan sprawl of Geneva, yet Stone is also interested in the personal side of Snowden, giving us an in-depth examination of his relationship with partner Lindsay Mills (Divergent series’ Shailene Woodley) and the strain put on such by his classified occupation. Unfortunately for Stone, this aspect of the film is undoubtedly the weakest and therefore becomes an issue when at least two-thirds of the drama is focused upon such instead of the more interesting, political issues that Stone is renowned for taking more of an interest in. Throughout the course of the drama, the movie does seep into frank ridiculousness, particularly when Snowden is greeted to the pantomime silliness of the enlarged face of an angry Rhys Ifans, a scene in which it was hard to not laugh at the sheer OTT nature of Stone’s decision to enforce a higher level of dramatisation than the already interesting storyline needed. Snowden is overlong, silly and boring at times but with the one-two of Gordon-Levitt and Woodley attempting to do the most with what they can, the film does work on some level, just not the level the pedigree of Stone should be settling for.