AFTER two cult masterpieces and a money-spinning 'threequel', the latest movie in the Terminator franchise - Terminator Salvation - hits the silver screen this month.
I ventured into the movie expecting technical wizardry, huge explosions and a whole load of gunfire. I wasn't disappointed.
To be perfectly honest, there isn't a lot to be said outside of the above - the 'plot' is really rather ridiculous, most of the acting is passable at best, and the characters are pretty one-dimensional. But then again...this is a Terminator movie!
What can be said is that once again, Christian Bale, who steps into the shoes of infamous protagonist John Connor, finds himself upstaged by an actor in the supporting role.
Digressing from the subject at hand for a moment - has Bale ever managed to steal the show in a movie? Despite taking on so many lead roles, he always seems to come off second best.
Anyway, he is by no means terrible in Salvation, but Sam Worthington, in the role of mysterious death-row inmate Marcus Wright - who donates his body to medical experimentation and gets more than he bargained for - outshines Mr Bale without too much effort.
There are a couple of interesting cameos - with Helena Bonham Carter pitching up at the very beginning, and even 'Arnie' himself making a somewhat unorthodox appearance!
Basically, if you're heading to see Terminator Salvation expecting anything epic, anything deep and meaningful and anything that will stand alongside true cinematic classics, then you're about to watch the wrong movie.
But if you're a sucker for high-octane thrills and stunning CGI then you're in for quite a treat!
Friday, June 26, 2009
Saturday, June 6, 2009
Film Review: The Last House on the Left (2009)
REMAKES of classic movies – especially those in the horror genre – often come under heavy criticism from cinema-going purists across the globe.
None more so than this year's remake of classic 'video nasty' The Last House on the Left, with many fans of the belief that a modernisation of the movie shouldn't even have been suggested to begin with, let alone actually made.
Personally, as a strong supporter of the horror remake, I was firmly in the 'pro' camp and excited to hear the cult classic would be given a new lease of life in 2009.
If I had any doubts at all about the necessity of remakes in the movie universe, those doubts were well and truly allayed after I'd finished watching the Last House on the Left's 21st century shake-up.
Far from desecrating the legacy of Wes Craven's original, this remake almost complements it – and is even co-produced by the legendary director himself – taking the brutality of its 1972 parent movie a giant leap further than viewers could have ever imagined.
The film begins with the Collingwood family – parents Emma and John, and daughter Mari – heading out on vacation to their lake house.
Mari drives into town to spend time with her friend Paige, and the two are subsequently invited to smoke cannabis with teenager Justin, who is passing through town.
The trio are interrupted by the return of Justin's father Krug, his uncle Francis and Krug's girlfriend Sadie, who are on the run from the police.
Deciding it is too risky to allow the girls to leave, the gang kidnap them and attempt to leave town, but a struggle between the antagonists and their victims ensues and the contingent find themselves in the woods.
From here, the brutality is unspeakable – especially on a family-friendly blog such as this – but incredibly compelling nonetheless, as the viewer is confronted with harsh issues including sexual assault, the struggle for power and the quest for revenge.
The cast is relatively low-key, but the performances are first class; while director Dennis Iliadis must be commended for the superb and relentless sense of dread throughout the flick.
The Last House on the Left is by far the best horror remake I've seen to date, and should go some way towards silencing the critics, although I'm sure the most die-hard detractors will find something to hate. There's just no pleasing some people!
None more so than this year's remake of classic 'video nasty' The Last House on the Left, with many fans of the belief that a modernisation of the movie shouldn't even have been suggested to begin with, let alone actually made.
Personally, as a strong supporter of the horror remake, I was firmly in the 'pro' camp and excited to hear the cult classic would be given a new lease of life in 2009.
If I had any doubts at all about the necessity of remakes in the movie universe, those doubts were well and truly allayed after I'd finished watching the Last House on the Left's 21st century shake-up.
Far from desecrating the legacy of Wes Craven's original, this remake almost complements it – and is even co-produced by the legendary director himself – taking the brutality of its 1972 parent movie a giant leap further than viewers could have ever imagined.
The film begins with the Collingwood family – parents Emma and John, and daughter Mari – heading out on vacation to their lake house.
Mari drives into town to spend time with her friend Paige, and the two are subsequently invited to smoke cannabis with teenager Justin, who is passing through town.
The trio are interrupted by the return of Justin's father Krug, his uncle Francis and Krug's girlfriend Sadie, who are on the run from the police.
Deciding it is too risky to allow the girls to leave, the gang kidnap them and attempt to leave town, but a struggle between the antagonists and their victims ensues and the contingent find themselves in the woods.
From here, the brutality is unspeakable – especially on a family-friendly blog such as this – but incredibly compelling nonetheless, as the viewer is confronted with harsh issues including sexual assault, the struggle for power and the quest for revenge.
The cast is relatively low-key, but the performances are first class; while director Dennis Iliadis must be commended for the superb and relentless sense of dread throughout the flick.
The Last House on the Left is by far the best horror remake I've seen to date, and should go some way towards silencing the critics, although I'm sure the most die-hard detractors will find something to hate. There's just no pleasing some people!
Film Review: X-Men Origins: Wolverine
COMIC book movies have never been more in-demand than they are right now, and one which has been quenching the thirst of animation-adaptation fans this year is X-Men Origins: Wolverine.
By far the most popular of all the X-Men characters, James 'Logan' Howlett (aka Wolverine), has one of the most interesting and complex back stories in the Marvel Comics universe, and it seems only fitting that this story is finally being told on the silver screen.
The story begins with a portrayal of a young James Howlett – mutated bone claws and all – alongside his brother Victor Creed (aka Sabretooth), using their regenerative powers to fight side by side in several historic battles, from the American Civil War to Vietnam.
Eventually, they become part of an elite team of mutants known as Team X, but fractures in their relationship begin to occur, resulting in Wolverine's self-imposed exit from the group.
There are a few flaws and plot holes in the early stages – and indeed throughout – but provided you're willing to suspend your disbelief, these minor inaccuracies don't get in the way too much.
As the story unfolds, we learn more about Wolverine's tortured past, as well as witnessing the introduction of several much-loved Marvel characters including Gambit, Emma Frost, Silver Fox and master swordsman Deadpool.
Some of these silver screen debuts truly hit the mark, with Taylor Kitsch's turn as the card-throwing and highly skilled kinetic energy manipulator Gambit being the absolute pick of the bunch.
Deadpool may not be the character many fans of the comics remember, but his cinematic transformation is far from sacrilegious, and gives him a much more sinister edge.
Of course, highest praise must be given to the colossal Hugh Jackman, whose casting as Wolverine remains a true masterstroke to this day.
The fight sequences are superbly crafted – although one is played for laughs and fails miserably – and the special effects are breathtaking.
Overall it's a fun but flawed outing which could have been better, although it will surely serve as a platform for future spin-offs and prequels in the X-Men franchise.
By far the most popular of all the X-Men characters, James 'Logan' Howlett (aka Wolverine), has one of the most interesting and complex back stories in the Marvel Comics universe, and it seems only fitting that this story is finally being told on the silver screen.
The story begins with a portrayal of a young James Howlett – mutated bone claws and all – alongside his brother Victor Creed (aka Sabretooth), using their regenerative powers to fight side by side in several historic battles, from the American Civil War to Vietnam.
Eventually, they become part of an elite team of mutants known as Team X, but fractures in their relationship begin to occur, resulting in Wolverine's self-imposed exit from the group.
There are a few flaws and plot holes in the early stages – and indeed throughout – but provided you're willing to suspend your disbelief, these minor inaccuracies don't get in the way too much.
As the story unfolds, we learn more about Wolverine's tortured past, as well as witnessing the introduction of several much-loved Marvel characters including Gambit, Emma Frost, Silver Fox and master swordsman Deadpool.
Some of these silver screen debuts truly hit the mark, with Taylor Kitsch's turn as the card-throwing and highly skilled kinetic energy manipulator Gambit being the absolute pick of the bunch.
Deadpool may not be the character many fans of the comics remember, but his cinematic transformation is far from sacrilegious, and gives him a much more sinister edge.
Of course, highest praise must be given to the colossal Hugh Jackman, whose casting as Wolverine remains a true masterstroke to this day.
The fight sequences are superbly crafted – although one is played for laughs and fails miserably – and the special effects are breathtaking.
Overall it's a fun but flawed outing which could have been better, although it will surely serve as a platform for future spin-offs and prequels in the X-Men franchise.
Friday, April 24, 2009
Film Review: Twilight
HAVING finally got round to reading the first book of Stephanie Meyer's hugely successful Twilight saga over recent weeks, I was brimming with anticipation for the film adaptation's DVD release.
What I found was a jumbled, often rushed and downright confusing mess that, quite bizarrely, still managed to provide an excellent two hours' entertainment.
As a standalone film, Twilight is a brilliantly shot, excellently casted and well told story of new school struggles, teenage romance and, of course, vampires.
When viewed as an adaptation, however, all of the tingly and magical moments found in the film's literary counterpart seem to have been wrongfully edited away.
For instance, and without giving too much away, the forest scene which provides a hugely pivotal sequence of events in the novel doesn't receive the focus it perhaps deserves, and seems far too short in the film.
By way of contrast, the infamous baseball game is a wonderfully crafted set piece, which is a real credit to director Catherine Hardwicke.
The performances are all top notch too, especially that of Robert Pattinson in the role of vampiric heartthrob Edward Cullen.
Kristen Stewart's portrayal of Isabella Swan is accurate to the minutest detail, as she struggles with self-deprecation, her undying love for Edward and the very real danger of her neck being the next item on his menu!
Further praise must be given to the beautiful cinematography, a large amount of which was filmed using hand-held cameras, making the movie a real visual treat if nothing else.
Ultimately, it is certainly a film worth watching – for those who have read the novel, it should prove an interesting, if slightly lacking, experience; and for those who haven't, it is a fun-filled and contemporary take on the ancient folklore of the vampire – but there is still a genuine feeling that it could have been much, much better.
Hopefully the upcoming sequel, New Moon, which is due for release in November, will contain a lot more bite than its predecessor!
What I found was a jumbled, often rushed and downright confusing mess that, quite bizarrely, still managed to provide an excellent two hours' entertainment.
As a standalone film, Twilight is a brilliantly shot, excellently casted and well told story of new school struggles, teenage romance and, of course, vampires.
When viewed as an adaptation, however, all of the tingly and magical moments found in the film's literary counterpart seem to have been wrongfully edited away.
For instance, and without giving too much away, the forest scene which provides a hugely pivotal sequence of events in the novel doesn't receive the focus it perhaps deserves, and seems far too short in the film.
By way of contrast, the infamous baseball game is a wonderfully crafted set piece, which is a real credit to director Catherine Hardwicke.
The performances are all top notch too, especially that of Robert Pattinson in the role of vampiric heartthrob Edward Cullen.
Kristen Stewart's portrayal of Isabella Swan is accurate to the minutest detail, as she struggles with self-deprecation, her undying love for Edward and the very real danger of her neck being the next item on his menu!
Further praise must be given to the beautiful cinematography, a large amount of which was filmed using hand-held cameras, making the movie a real visual treat if nothing else.
Ultimately, it is certainly a film worth watching – for those who have read the novel, it should prove an interesting, if slightly lacking, experience; and for those who haven't, it is a fun-filled and contemporary take on the ancient folklore of the vampire – but there is still a genuine feeling that it could have been much, much better.
Hopefully the upcoming sequel, New Moon, which is due for release in November, will contain a lot more bite than its predecessor!
Monday, February 23, 2009
Album Review: Abi Moore - Things We Should've Said
WHENEVER a singer-songwriter begins to make any kind of waves in the music industry, it is common practice for critics to liken them to as many other artists as they can think of.
With Abi Moore, that is a very difficult thing to do. To put it bluntly, she sounds like Abi Moore, and if you haven't heard of her yet, then you're about to!
Abi's second album, Things We Should've Said, is a confident outing, often sassy at times, and with a really strong underlying message of optimism and hope.
If the lyrical content of this album must be likened to anyone else's, then Get Cape. Wear Cape. Fly. would probably be the first name springing to mind.
The album features strikingly-titled songs such as 'Has the Whole World Come Undone?' and 'World Leaders and Power Seekers' which are laced with legitimate questions as to whether ordinary people can change the state of the world; and while her dreams of seeing a change for the better may never be realised, at least she's bold enough to try.
The latter of the aforementioned tracks features a multitude of deliciously cynical couplets, with the superb "We'd rather vote for the cabaret star of the year, than vote for a leader to free our country of fear" being the absolute pick of the bunch.
It’s not all pop and politics, however, and there are some deeply emotional numbers here too, namely the six-minute album closer Tell Everyone.
Her voice boasts an immense beauty which should touch your inner soul and have the hairs on the back of your neck standing to attention from the album's very beginning.
All in all, Things We Should've Said is as near to the perfect album as you're ever likely to hear, and that is no exaggeration.
There is only so long talents like Abi can stay undiscovered by the masses, and while she must never lose her independent roots, if she isn't performing at the Glastonbury Festival within the next few years, I fear Abi's very own idea that the world has come undone may be more accurate than not!
The album is released on Saturday, March 7.
With Abi Moore, that is a very difficult thing to do. To put it bluntly, she sounds like Abi Moore, and if you haven't heard of her yet, then you're about to!
Abi's second album, Things We Should've Said, is a confident outing, often sassy at times, and with a really strong underlying message of optimism and hope.
If the lyrical content of this album must be likened to anyone else's, then Get Cape. Wear Cape. Fly. would probably be the first name springing to mind.
The album features strikingly-titled songs such as 'Has the Whole World Come Undone?' and 'World Leaders and Power Seekers' which are laced with legitimate questions as to whether ordinary people can change the state of the world; and while her dreams of seeing a change for the better may never be realised, at least she's bold enough to try.
The latter of the aforementioned tracks features a multitude of deliciously cynical couplets, with the superb "We'd rather vote for the cabaret star of the year, than vote for a leader to free our country of fear" being the absolute pick of the bunch.
It’s not all pop and politics, however, and there are some deeply emotional numbers here too, namely the six-minute album closer Tell Everyone.
Her voice boasts an immense beauty which should touch your inner soul and have the hairs on the back of your neck standing to attention from the album's very beginning.
All in all, Things We Should've Said is as near to the perfect album as you're ever likely to hear, and that is no exaggeration.
There is only so long talents like Abi can stay undiscovered by the masses, and while she must never lose her independent roots, if she isn't performing at the Glastonbury Festival within the next few years, I fear Abi's very own idea that the world has come undone may be more accurate than not!
The album is released on Saturday, March 7.
Friday, February 20, 2009
Blogger's Viewpoint: Learning Curve
I'll update this entry later today (or over the weekend) with a brief rundown of how I feel my writing is coming along. I may have been offering my views and reviews since I was at school, but I'm still learning the art, and know that I need to improve if I'm to make a living from my 'talents'.
Anyways, more from me later. Ciao for now!
Anyways, more from me later. Ciao for now!
Film Review: This Is England
IN a week where the (supposed) best of British has been celebrated at the star-studded Brit Awards Ceremony, it seems only fitting that Shane Meadows' deeply moving drama This Is England finds itself on our screens this weekend.
The film is a semi-autobiographical tale set in 1980s Britain, focusing on 12-year-old Shaun Field, who befriends a small gang of skinheads and is drawn into a world of racism and violence.
Having been bullied at school about his father's death in the Falklands War, Shaun is on his way home when he finds solace in the company of the skinhead youths, who decide to take him under their wing.
All seems well until the group is divided by the return of their intimidating nationalist leader Combo following his release from prison.
Blaming the country's economic woes and increasing unemployment rates on the rise of ethnic minorities in England, Combo plays on the loss of Shaun's father in order to convert the youngster's mindset.
After attending a National Front meeting, Combo and his new recruit begin to terrorise the local Pakistani community, but before long, Combo's internal battles start to surface, resulting in a shocking explosion of hatred and envy and transforming Shaun's way of thinking for a second time.
The movie is full of stellar performances, but none more so than that of the young Thomas Turgoose, who plays Shaun, as he encapsulates both the innocence of youth and the rawness of the working class perfectly.
Credit must also go to Stephen Graham for his jaw-dropping turn as the intensely terrifying Combo.
Having already brought us unique works such as Once Upon a Time in the Midlands and the truly epic Dead Man's Shoes, Shane Meadows' distinctive directorial stamp is once again evident throughout this picture, with the film set deep in the bleak and impoverished Midlands during Margaret Thatcher's reign.
Ultimately uplifting and with a clear message, This Is England is a genuine 'must-see' movie, and anyone who believes British cinema is dead should be subjected to repeat viewings!
The film is a semi-autobiographical tale set in 1980s Britain, focusing on 12-year-old Shaun Field, who befriends a small gang of skinheads and is drawn into a world of racism and violence.
Having been bullied at school about his father's death in the Falklands War, Shaun is on his way home when he finds solace in the company of the skinhead youths, who decide to take him under their wing.
All seems well until the group is divided by the return of their intimidating nationalist leader Combo following his release from prison.
Blaming the country's economic woes and increasing unemployment rates on the rise of ethnic minorities in England, Combo plays on the loss of Shaun's father in order to convert the youngster's mindset.
After attending a National Front meeting, Combo and his new recruit begin to terrorise the local Pakistani community, but before long, Combo's internal battles start to surface, resulting in a shocking explosion of hatred and envy and transforming Shaun's way of thinking for a second time.
The movie is full of stellar performances, but none more so than that of the young Thomas Turgoose, who plays Shaun, as he encapsulates both the innocence of youth and the rawness of the working class perfectly.
Credit must also go to Stephen Graham for his jaw-dropping turn as the intensely terrifying Combo.
Having already brought us unique works such as Once Upon a Time in the Midlands and the truly epic Dead Man's Shoes, Shane Meadows' distinctive directorial stamp is once again evident throughout this picture, with the film set deep in the bleak and impoverished Midlands during Margaret Thatcher's reign.
Ultimately uplifting and with a clear message, This Is England is a genuine 'must-see' movie, and anyone who believes British cinema is dead should be subjected to repeat viewings!
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