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Non-Review Review: Kick-Ass 2

Kick-Ass was a rare treat, a movie that managed to perfectly balance wry cynicism with an almost surreal optimism. It was the story of a kid with a crazy and reckless idea that somehow managed to do some genuine good. It was also arguably a movie that benefited from the fact that it wasn’t a franchise or a brand – it was cheekier and freer than most superhero films. While still an enjoyable ride, Kick-Ass 2 loses a lot of that edge.

"Right, so everybody has watched the Avengers, right?"

“Right, so everybody has watched the Avengers, right?”

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Non-Review Review: Star Trek IV – The Voyage Home

This August, to celebrate the upcoming release of Star Trek: Into Darkness on DVD and blu ray, we’re taking a look at the Star Trek movies featuring the original cast. Movie reviews are every Tuesday and Thursday.

Up until the release of JJ Abrams’ Star Trek in 2009, Star Trek IV: The Voyage Home was the most successful of the Star Trek films. Indeed, it ranks alongside Star Trek II: The Wrath of Khan as the film which has most deeply dug itself into the popular consciousness. “I’m from Iowa; I only work in outer space” might not be as iconic a quote as “KHAAAAAAN!!!”, but a lot of people casually remember “the one with the whales.”

The fourth film in the series closes off an inter-connected trilogy of Star Trek films, wrapping up character development for the leads and tying up loose ends, but it’s also – somewhat paradoxically – the most accessible of the movies. If you’re looking for an introduction to Star Trek, it’s hard to think of a more welcoming entry than The Voyage Home. However, what’s really strangely charming about The Voyage Home is that it’s also probably the film truest to the franchise’s humanist values.

Ship off the starboard bow!

Ship off the starboard bow!

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Non-Review Review: We’re the Millers

We’re the Millers is a fairly humorous premise extended well past breaking point. The basic set-up (a bunch of strangers pretend to be a family to smuggle drugs into the United States) is a solid enough starting point for a comedy, but We’re the Millers often feels like it’s running on fumes trying to stretch the gag out. There are long lulls of the film where nothing seems to happen, and entire subplots that seem grafted in simply to eat up precious minutes. Does the film really need a teenage romance subplot?

We’re the Millers has a few hilarious moments, and Jason Sudeikis and Jennifer Aniston have enough charm that it’s never too painful to watch, but the film’s extended runtime means that its cynical premise can only maintain its wry thrust for so long before it’s brought down to Earth by the oppressive weight of sentimentality. For a film that starts out cheeky and subversive, the movie meanders into sappy and cheesy territory with considerable speed.

Family fun...

Family fun…

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Non-Review Review: Star Trek III – The Search for Spock

This August, to celebrate the upcoming release of Star Trek: Into Darkness on DVD and blu ray, we’re taking a look at the Star Trek movies featuring the original cast. Movie reviews are every Tuesday and Thursday.

I have a soft spot for Star Trek III: The Search for Spock. It’s a weird thing to admit, but it was really my first encounter with the crew of the original Star Trek television show. I was only eight or nine at the time, and I’d grown up watching and loving Star Trek: The Next Generation. Of course, this was in an era before DVD and blu ray made it feasible (and affordable) to collect the whole thing. So I branched out by trying the movies.

Being a young child in the era before the internet, I didn’t know that the second through fourth films formed a loose thematic trilogy. I just picked the film with the title that jumped out at me. Since “Spock” was an iconic part of Star Trek, and I knew him from his guest appearance on The Next Generation, The Search for Spock seemed the logical choice.

And it retains a special place in my heart.

"I have been, and always shall be, your friend..."

“I have been, and always shall be, your friend…”

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Non-Review Review: Star Trek II – The Wrath of Khan

This August, to celebrate the upcoming release of Star Trek: Into Darkness on DVD and blu ray, we’re taking a look at the Star Trek movies featuring the original cast. Movie reviews are every Tuesday and Thursday.

In many respects, Star Trek II: The Wrath of Khan represents the franchise’s first true “reboot.”

There have been various points in the history of the franchise when the show has undergone a reinvention of some description, a radical shift from what it was into what it would be. The third season of Star Trek: The Next Generation represented such a dramatic update, a shift turn-around from the show’s first troubled two seasons. The third and fifth seasons of Star Trek: Deep Space Nine did something similar. Star Trek: Enterprise tried to affect some radical shift, but only managed to accomplish it in the third season. JJ Abrams’ recent summer blockbuster represented its own dramatic alteration to what Star Trek was or could be.

However, The Wrath of Khan represents the show’s first massive shift, the first point at which the franchise effectively evolved into something markedly different from what it had been before.

You Khan do it!

You Khan do it!

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Non-Review Review: Percy Jackson and the Sea of Monsters

Percy Jackson and the Sea of Monsters demonstrates just how lucky the Harry Potter films were when it came to casting teenage performers. As a movie series centred around the off-spring of Greek deities, the movie relies on the charisma of its leads to sell the premise. Unfortunately, they aren’t quite up to the task. While none of the performers are terrible or wooden, the film drags to a hault when the teenage actors are asked to carry a scene. As a result, a quiet boat ride in the middle of the film seems interminable, and a heart-to-heart before the climax feels overlong.

None of the cast are assisted by a script from Marc Guggenheim. Guggenheim is capable of a well-placed zinger, and the movie offers its fair share of wit, but everything about the movie feels pandering and simplistic, as if Guggenheim doesn’t trust his audience to pick up on the plot points if they aren’t painstakingly catalogued and repeatedly spelt out with cringe-worthy dialogue. Indeed, Guggenheim’s desire to slow everything down so he can repeatedly explain what’s going on only adds to the pacing issues caused by the weak leads.

It’s a shame, because the adult cast seem to be genuinely enjoying themselves, and there’s something quite charming about the idea of “demi-googling” as a means of retrieving information.

Another stab at a Percy Jackson film...

Another stab at a Percy Jackson film…

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Non-Review Review: Only God Forgives

Only God Forgives is a journey into hell. It’s an unpleasant, uncomfortable, terrifying, surreal, macabre, haunting, eerie and beautiful exploration of brutality and violence. Nicolas Winding Refn’s latest film isn’t anywhere near as accessible as Drive. It isn’t just bereft of sympathetic characters, it doesn’t even feature any characters who lend themselves to empathy or recognisability. Ryan Gosling’s Julian is so introverted and withdrawn that it’s often difficult to determine the difference between reality and his surreal dream sequences.

Then again, given Refn suggests the man is living in his own private hell, perhaps there’s not too much difference any way.

Wanna fight?

Wanna fight?

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Non-Review Review: Elysium

Elysium is good old-fashioned high-concept science-fiction. With production design alternately evoking the seventies (the upper class satellite that gives the movie its name) and eighties (the apocalyptic wasteland of future Los Angeles), Elysium feels like a conscious attempt to evoke classic genre films. Blomkamp builds in a healthy amount of social commentary, and there’s something quite satisfying in seeing a large-scale science-fiction film that isn’t afraid of big bold ideas.

However, the execution feels just a little bit muddled. The plotting is a little convoluted, and the third act becomes incredibly messy. The characters inhabiting the world never seem organic, with their motivations and behaviour prone to change rapidly to meet the rapidly-changing demands of a very messy script.

In a bit of a fix...

In a bit of a fix…

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Non-Review Review: Star Trek – The Motion Picture

This August, to celebrate the upcoming release of Star Trek: Into Darkness on DVD and blu ray, we’re taking a look at the Star Trek movies featuring the original cast. Movie reviews are every Tuesday and Thursday.

Star Trek: The Motion Picture has a lot to recommend it. It’s big, thoughtful science-fiction, ripe with ideas and high-concepts tying directly into the root of the franchise. It gives both Kirk and Spock clear character arcs. It looks and sounds amazing, demonstrating just how far special effects had evolved in the decade since the show went off the air. However, it suffers from a pace that might best be described as “glacial”, and a sense that – for all the grand ideas – we aren’t really boldly going anywhere that new. Elements of the film can’t help but recall both the 1968 science-fiction classic 2001: A Space Odyssey and even the show’s own episode The Changeling.

While it’s easy to admire The Motion Picture, it’s a lot harder to enjoy it.

Strange new worlds...

Strange new worlds…

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Non-Review Review: The Conjuring

The Conjuring feels like a culmination of the nostalgia trip that we’ve seen with recent horrors like Insidious or Sinister, a conscious attempt to move away from the gore-laiden or found-footage-heavy approach to contemporary horror. Indeed, The Conjuring owes a fairly sizeable debt to director James Wan’s previous horror effort, Sinister. Not only does the film inherit leading man Patrick Wilson, it also follows roughly the same structure, right down to “paranormal investigators explore the house in a briefly humourous interlude.”

However, The Conjuring flows a lot easier than Insidious and is spared the third-act problems that plagued Sinister. The film is stronger for the honesty of its nostalgia. Even the title card is rendered in a font that looks like it could have been used for a forgotten seventies possession horror. The Conjuring doesn’t really push the boat out, and there’s nothing that will startle hardcore horror veterans, but there’s a very clear skill in its construction, an honesty to its affection and a sincerity to its charm that helps the film rise above so many contemporary horrors.

They ain't afraid of no ghosts...

They ain’t afraid of no ghosts…

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