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Non-Review Review: Hotel Transylvania 2

Hotel Transylvania 2 certainly has some moves.

The film might be computer animated, but director Genndy Tartakovsky draws from more a classic style of cartooning. There are several points in Hotel Transylvania 2 where it seems like the film has reverted to a two-dimensional style, with figures standing in silhouette against the background. Even the human characters of Hotel Transylvania 2 take on an elasticity, stretching and distorting in the style of classic Looney Tunes. Hotel Transylvania 2 gets considerable mileage out of this slapstick element.

Drac pack's back...

Drac pack’s back…

It helps that the film is packed with gags. Not all the jokes land as well as they might, with the film leaning a little too heavily on some particularly cheap shots, but there is a sense that Hotel Transylvania 2 is more concerned with getting those jokes into the film than it is with actually constructing a narrative around them. The film packs an impressive quantity of humour into its ninety-minute runtime, with nothing in the film being allowed to overstay its welcome.

That said, the movie hits some speedbumps when it comes to plot and characterisation. Some of these issues are simply structural, with Hotel Transylvania 2 eschewing all but the most basic of set-up and pay-off in favour of energetic cut-away jokes and quick sight gags. Some of the issues are tonal, with the film wrapping up some very uncomfortable plot developments and decisions with a simple “all’s well that ends well” conclusion that ultimately avoids delving too deeply into any of the implications of certain characters’ actions.

Vamping it up...

Vamping it up…

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Non-Review Review: Ghosthunters on Icy Trails

Ghosthunters on Icy Trails is derivative as anything.

The movie walks a very thin line between knowing self-aware homage and cynical appropriation. The movie’s script draws attention to many of its influences and inspirations, but there is frequently a feeling that many of these ideas and images worked much better the first time around. There some nice gags in there, and two solid central performances from Milo Parker and Anke Engelke, but Ghosthunters on Icy Trails frequently feels like a featherweight imitation of much more entertaining family films.

Pass the popcorn...

Pass the popcorn…

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Non-Review Review: The Martian

The beauty of The Martian lies in its relative simplicity. Although it runs a solid two-hours-and-twenty-minutes, the film seems a lot faster than many of its contemporaries because it keeps its eyes on a very simply central dynamic. Within the opening five minutes, the movie’s status quo is established with breathless efficiency; astronaut Mark Whatney is left for dead on the surface of Mars, and must struggle to survive as the entire planet figures out how to get him back alive.

The premise is very straightforward, and seldom gets more complicated than that. Mark tries to figure out how to stay alive as the greatest minds back home work on daring plans to establish communication and possible retrieve the lost astronaut. Along the way, both Mark and NASA suffer setbacks and reversals; complications abound and dilemmas present themselves. However, The Martian is always anchored in that very basic struggle against overwhelming odds and an indifferent universe.

Is there life on Mars?

Is there life on Mars?

The Martian is something of a genre cocktail. The movie’s tone and plot is perhaps best evoked by reference to Byron Haskin’s 1964 cult classic “Robinson Crusoe on Mars.” Mark’s plight is not too dissimilar to that of the Robert Lewis Stevenson protagonist, nor to that of Chuck Noland in Cast Away or the anonymous protagonist of All is Lost. However, the movie’s stellar setting serves as a gateway to a broader commentary on human codependency and association. Nobody gets there on their own; nobody gets back alone.

The Martian is a surprisingly heartwarming and life-affirming adventure, anchored in a charming central performance from Matt Damon and a very deep ensemble. Despite the massive sense of scale involved, Ridley Scott’s direction and Drew Goddard’s script work hard to keep it all personal. The Martian is a triumph.

Matt Damon was very excited about the film's release...

Matt Damon was very excited about the film’s release…

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Non-Review Review: Miss You Already

It is very difficult to produce a film about cancer that does not seem cloying or cynical. As a narrative device, cancer can often feel like a conscious attempt to manipulate the audience’s sentiment. It is an illness which means a lot to a lot of people, and which prompts a whole host of strong feelings among those who have lived with it and those who have known those close to them who lived with it. It is very difficult to properly calibrate a film about cancer so that it doesn’t feel like a short cut to audience empathy and sympathy.

Miss You Already walks a very fine line. It trips across that line on more than a few occasions, tripping over into the stock clichés of the “life-affirming cancer film.” There are emotional montages that capture and contrast the reality of life with and without cancer; there are familiar pop songs laid over sequences of characters coping with tremendous personal stress; there is the concious self-aware manipulation of footage in such a way as to visually underscore the passage of precious time or the pace of life.

missyoualready5a

There are some storytelling decisions that do feel a little too clever and a little too shrewd, a very obvious attempt to provide optimistic symmetry to the mortality that nestles at the heart of the film. Miss You Already feels almost too conscious of itself at certain points, too aware of the audience to which it plays. The film works best when it ignores the familiar structuring, when it avoids trying to offset the morbid material with something a little lighter. Although occasionally smothered by familiar story beats, there are moments of humanity here.

It is to the credit of the two lead performers that those moments of humanity still shine through. Drew Barrymore is charming and charismatic in the role of narrator and witness, but the film belongs to Toni Collette. Collette anchors the film, proving a weight and emotional centre that is occasionally obscured by its recognisable structure. Miss You Already doesn’t quite work, but Collette’s performance gets it a lot closer than it might otherwise.

missyoualready

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Non-Review Review: Life (2015)

The biggest problem with Life is that the film is largely lifeless.

Life is the story of the iconic photographs of James Dean taken by photographer Dennis Stock in the run-up to the release of East of Eden in March 1955. At that point, Dean was a young actor on the cusp of stardom. As the premiere of East of Eden approached, Dean still aspiring towards his definitive role in Rebel Without a Cause. Dennis Stock saw something in the young actor, believing he might capture a moment of cultural change in the brooding young actor.

"The coat, he borrowed from James Dean..."

“The coat, he borrowed from James Dean…”

Even if they didn’t make the cover of Life magazine, Stock’s photographs have come to define Dean in the popular memory. These photographs capture Dean at his most brooding and his most joyous, capturing the extremes of his experience. Snapping Dean walking through the rain in Times Square or reading comics with his brother, Dennis seemed to trap some of the essence of the actor in his work. Life centres on the complicated relationship that exists between the two men, as they attempt to get a read on one another and navigate the taut waters of celebrity.

However, for a film inspired by (and derived from) an instantly recognisable set of photos, there is something just a little bit too staid about Anton Corbijn‘s two-hour long character study. It feels like a loose selection of pop psychology strung around some faithful recreations, missing the vibrancy and the intimacy that made those shots so distinctive.

#HairRaising

#HairRaising

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Non-Review Review: Legend

Legend is a nostalgic gangster film.

Sure, it embraces its sixties aesthetic with relish. After all, setting a film in sixties London all but assures impressive production design. Legend looks and sounds quite lavish, evoking not so much the sixties but the cultural memory of the sixties. The film likes its loud blues and rich browns, but it also draws quite skilfully from the sounds of the era. Appropriately enough for a film adopting the title Legend, the film feels like it owes more to some hazy collective recollection than the concrete reality.

"Whoa! Let's READ the review first..."

“Whoa! Let’s READ the review first…”

However, Legend‘s nostalgia runs a great deal deeper than that. After all, writer and director Brian Helgeland has some experience with crime-based period pieces. The trailers to Legend loudly trumpet Helgeland as the writer of L.A. Confidential, and it’s an obvious comparison in terms of visual style. However, the narrative and structure of Legend feel a lot older. At its heart, Legend is an old-fashioned gangster biography, offering a broad and sweeping (and occasionally episodic) historical travelogue through the meteoric rise and catastrophic fall of the Krays.

It is an approach that has fallen somewhat out of style in recent years. The technique certainly has its weaknesses, particularly when applied by hands less skilled than those of Martin Scorsese. It is too much to suggest that Legend measures up to Goodfellas or Casino, but Legend makes good use of its format. It starts with enough energy to sustain its two-hour-and-ten minute runtime through the ebbs and flows of a familiar plot structure, allowing Tom Hardy enough room to craft two separate stunning performances.

Twin town...

Twin town…

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Non-Review Review: Irrational Man

If Blue Jasmine could be read as an adaptation of A Streetcar Named Desire, Woody Allen continues his journey through classic cinema (and novels and plays) with Irrational Man. The core of Irrational Man is built around the basic premise of Strangers on a Train, exploring the strange intersection of lives around a seemingly motiveless murder plot. Using the plot of Strangers on a Train as a springboard, Allen staged Irrational Man as a character study (very loosely) framed discussion of ethics and moral philosophy.

Set in a small-town New England college campus, Allen strips Patricia Highsmith’s novel down to its core elements. As with a lot of late-stage Woody Allen films, there is not so much a plot as a set of complications. The story is streamlined so as to allow a depth of focus on its central characters; murder is not swapped so much as volunteered, meaning that Irrational Man only has to focus on a single murder and its impact on a single set of characters. In this case, Allen focuses on Professor Abe Lucas and his student Jill Pollard.

Murder on the mind...

Murder on the mind…

Lucas is depressed and withdrawn; he is a philosopher who has lived a long and varied life, but who seems numbed by the experience. Lucas is not necessarily suicidal, but it doesn’t seem like he’d be too upset by the prospect of his own death. As fellow faculty member Rita Richards and bright young student Jill Pollard try to pull the philosopher out of his depression, a conversation overheard in a diner lights a spark. Listening to a stranger detail the injustices inflicted upon her, Lucas decides to set about righting wrongs on her behalf.

Irrational Man builds to a decidedly academic murder plot. It is very much “Woody Allen presents How to Get Away With Murder.”

"Voila Davis always gets higher student approval ratings."

“Voila Davis always gets higher student approval ratings.”

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Non-Review Review: We Are Your Friends

Appropriately enough, We Are Your Friends feels like a selection of remixed samples of other movies.

The script for We Are Your Friends dutifully hits all the requisite beats from a coming of age story about a young man trying to find his way in the world; in this case, “the world” refers to “the San Fernando valley”, just over the Hollywood Hills. Appropriately enough, We Are Your Friends positions the valley (“the Valley”) as a sort of purgatory for those who want to get out towards better things; aspiring DJs and actors trapped in dull routine who must learn to stay true to themselves to attain meaningful (and not just material) success.

The beat goes on...

The beat goes on…

It is a very familiar story structure, one that lends itself to the sense of social striving associated with other (more substantial) films about life in Los Angeles. We Are Your Friends doesn’t have a story as much as it has an outline; the requisite steps that young would-be DJ Cole Carter must take on the path to stardom. There is an older mentor with feet of clay, a troubled love interest also looking for meaning in the world; there is the false promise of financial security, a tragic lesson about life lived to access.

However, all of this is drawn so broadly that We Are Your Friends is a tracklist rather than an album. Director Max Joseph brings commendable energy to the film, and Zac Efron is quite affable as a protagonist more cliché than character. Wes Bentley adds just a hint of flavour to an otherwise ambient film. We Are Your Friends is inoffensive, but ultimately more visually interesting than completely satisfying.

Hey, Mister DJ, put a record on...

Hey, Mister DJ, put a record on…

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Non-Review Review: Hitman – Agent 47

Hitman: Agent 47 is not a good film, but it is bad in interesting ways.

The video game adaptation fad of the nineties has given way to a wave of blockbuster comic book movies. Those comic book adaptations have fared much better – both critically and commercially – than fare like Super Mario Brothers or Street Fighter or Mortal Kombat. As such, Hitman: Agent 47 feels like something of an outlier; it is a reboot of a video game property that already failed to take flight in a movie released eight years ago. Even if there is a resurgent interest in video game movies, it seems strange to return to this video game movie.

You know, that looks like a highly impractical way to hold those guns...

You know, that looks like a highly impractical way to hold those guns…

At the same time, there is something quite compelling about the structuring of Hitman: Agent 47. Perhaps inspired by the success of the relative fidelity of twenty-first century comic book adaptations, Hitman: Agent 47 struggles to provide a relatively faithful adaptation of the game-playing experience. Though the structure and tone of the movie might jar with the source material, director Aleksander Bach is careful to preserve as much of the game-play experience as possible. Extended sequences of Hitman: Agent 47 play as a walkthrough of a life-like video game.

Which, of course, only serves to make the film feel somewhat redundant; watching a bunch of actors play through scripted game-play-like scenarios might offer a faint echo of the thrill of playing a video game, but captures none of the investment.

Bloody mess...

Bloody mess…

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Non-Review Review: Trainwreck

Trainwreck is a refreshing romantic comedy, a collaboration that plays to the strengths of both lead and writer Amy Schumer and director Judd Apatow. The comedy follows a young woman who learnt from an early age (through inappropriate doll metaphors) that “monogamy doesn’t work.” Amy is very much a female version of the arrested adolescent character that Apatow helped to popularise in mainstream American comedy, the immature adult who has yet to face any real personal or professional responsibility.

In some respects, Trainwreck is a continuation of a comedy trend that began with Bridesmaids, realising that male characters did not hold a monopoly on emotional disaster zones. Female characters are just as likely to exercise poor judgment and make questionable personal decisions. If Apatow figured out how to keep the romantic comedy fresh by tweaking the mental age and emotional stability of the male lead, then his collaboration with Schumer does something similar by swapping the gender dynamics.

Hold me.

Hold me.

The basic character and emotional arcs have not changed. After all, the romantic comedy can really only have one of two outcomes; they live happily ever after, or they don’t. Trainwreck charts the same course as The 40-Year Old Virgin or Knocked Up, which basically followed the same arcs as When Harry Met Sally or Sleepless in Seattle. For all the novelty of swapping the gender roles in the Apatowian comedy, Trainwreck is not particularly subversive or deconstructive.

Rather, Trainwreck is a stellar execution of a very traditional form. It is not a comedy that defies conventions or upsets expectations; it hits virtually every major beat that story like this can be expected to hit. It benefits from a rather wonderful collaboration of a writer (and actress) with a sharp eye for millennial humour working alongside a director who understands the mechanics of the genre intuitively. Trainwreck is perhaps the best mainstream romantic comedy that Hollywood has produced in quite some time.

Everything is on track...

Everything is on track…

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