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.
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