Sci-fi

Snowpiercer

tom Asian, drama, thriller , , , , , , ,

A south Korean movie, directed by Bong Joon-ho (The Host 2006) based on the screen play by Kelly Masterson (Before The Devil Knows You’re Dead, 2007) and Bong Joon-ho. The world has been destroyed by attempts to stop global warming which have gone totally wrong. Faced with the growing threat of global warming, an experimental new approach was developed, which entailed seeding the upper atmosphere with a chemical (CW7) to overcome the effects of global warming.

One of the first things you notice about this film is the cast. I have to admit, it is probably not the cast I would have picked, but that said, I would have been wrong. The casting works well and I wouldn’t change any of them. Behind the scenes, there is some discussion about The Weinstein Company taking out about 20 minutes of the film to suit western viewers. The movie is based on a French graphic novel “Le Transperceneige”.

The film opens in the train, but with a narration giving us the history of the efforts to stop global warming which ultimately resulted in the destruction of civilisation by virtue of the CW7 working too well and forcing the world in to an ice age. We quickly learn that those on the train have been on it for 17 years, entirely self-contained. Life is dystopian for many and carefully managed and controlled overall. The train itself is a huge affair purposefully built by an eccentric transport mogul who had no confidence in the CW7 solution so he built a special train which linked in to the world’s rail transport system and provided a place of refuge for the select few, constantly travelling around the world, never stopping.

Never stopping has a price. In order to keep the train moving the passengers are carefully ordered. First class, standard and economy. We learn about the workings of the train and its society from the huddled masses in economy. As bad as conditions are, we are told they are “the lucky ones” as they got on the train and are still alive. For seventeen years these people have been in the windowless back carriages at the tail of the train. Things are not good. People are huddled in to any corner they can find. The background is explained to us through the eyes of those trapped in the back. There have been up-risings in the past, all of which have failed. One of the key aspects of the uprisings is getting out to the armoured carriages in to the next carriages on the train. The people are fed a stable diet of protein pars to keep them alive. The protein bars are provided by the “Train” We also notice that although these third class passengers are in rags there is a fully uniformed security force and also train crew.

Chris Evans (Captain America: The Winter Soldier, 2014) plays the part of Curtis, he is the leader of the would-be rebellion. He must decide when to act and how to. Key to their plan is rescuing Namgoong Minsu (Kang-ho Song, The Host, 2013) who is the security expert who designed the security systems for the train, keeping the carriages separate. The only problem is that he is a drug addled prisoner in the train’s prison carriage. Curtis together with his Lieutenants; Edgar, his second in command (Jamie Bell, Man on a Ledge, 2012)) sporting a strangely passable Irish accent who is the no-patience action man; and Gilliam, the older sage, respected by all and carrying the wounds of previous encounters. Discipline is savage, beatings are regular and extreme, often involving loss of limbs. Other rebellions have failed, they have looked at why and hopefully have a plan to overcome these issues.   In to the mix of this we see the “overlords” using these third-class passengers as nothing more than a resource to be taken from.

At one scene we see one person taken to the front of the train to provide musical entertainment for the upper classes. We later see him and others who have been taken, their minds’ washed to be compliant and subservient. Meanwhile children are being taken to the front and nobody knows why.

Authority on the train is in the person of Minister Monroe (Thilda Swinton, Adaptation, 2002) who is the voice of authority, endlessly engaging in a passive aggressive dominance over those in third class.   Eventually when they notice that the guards on the carriage actually have no ammunition in their weapons, the passengers rise-up. Using weapons and tools they made, they make their attack, first to the jail carriage where they rescue the security expert and his girlfriend. Using their skills they move forward first past the prison carriage, then they take the food and water carriages, revealing some of the nasty truths involved in life on the train. After a series of often bloody battles, against firstly the guards, then axe yielding black clad figures to then more armed guard and some very nasty people along the way. Eventually they make their way forward, glimpsing along the way how the rest of the upper-class passengers live. Ultimately they arrive at the Front, and meet Mr Wilford (Ed Harris, the Way Back 2010). Here talking with Wilford they rebels get an idea of just how perverted life has become on the train.

We are told as the film progresses that the key to survival is balance. There is plenty of food (for the privileged) the key is balancing the demands with supply at the right times and seasons. This even stretches to the punishment of the third class passengers, it is calculated that 74% must die. We have become used to video games producing tie-in movies, however this is a movie which almost feels like a video game despite not having one at its origin. Each Carriage is essentially a new level with new associated challenges for the rebels to overcome.

This movie could have been too busy, with so much cramped in to so tight a space, both physically and emotionally, but the characterisation works, Evans’ Curtis is very underplayed, what we know of him comes from revealing moments as the movie progresses, to ultimately a character we have confidence in as a leader. Swinton’s Monroe is a nasty piece of work showing nothing but disdain for the passengers through her passive aggressive control. We see just how lose control is later on as she is used to lead the rebels through the train. Those upper class people they pass are largely disgusted by what they see, interrupting their on-going lives. The food shortages present further back are not seen here.

The only obvious weakness that presents itself, is a slight continuity issue; where having established that the guards are out of ammunition we later see a full use of ammunition as the rebellion gathers pace, perhaps it is rationed to certain areas. The other slight weakness is the issue of blockages on the line, is it only now that these are causing problems, are they normal with the rebellion deflecting away from essential management of them?

When we eventually meet Wilford, having already gotten a background on him we see a person who is immediately comparable to “Christof” the show’s producer and “God-like” character. We see the same calm omnipotence here. There Characters are perhaps a little too similar, given the respective plots. Very smartly we are shown not just his power but also how fragile it all is, perhaps his character is more comparable to The Wizard from The Wizard of Oz (Frank Morgan). His power is based on what people think of him. Minister Monroe’s character shows us how the train’s front has almost taken on a mystical, even religious aspect, with Wilford being almost worshiped.

That said, this is an excellent movie with an excellent cast, Evans, gives one of his best roles, Swinton is almost unrecognisable, Bell and Hurt support magnificently. It should be pointed out that even additional supporting cast duties are taken up by well-known character-actors more than capable of supplying what is needed.

In the last scenes we see a polar bear; does this signify freedom, danger or the sub-text that the bear looks fed and, if it is fed, there is life of some sort, where there is life; there is hope. As viewers, Bong, quite deliberately allowed us to get to know those people surviving at the back of the train and what they have to endure, are we allowed to hope for their future.

This is very much a hybrid movie, merging the characterization of western film with the manic nature of some of Korea’s most successful outputs in recent years (The Good, The Bad and The Weird, Kin Jee-woon, 2008). There is violence, but it is a tool of the plot, especially in how the lower class passengers are treated and in one or two scenes it is quite graphic, but just on the right side of what is needed.

An excellent movie which could have been mind-numbingly bad in other hands.

Project Almanac

tom Sci-fi, time travel, US , ,

Director Dean Israelite’s first feature length movie works well for him. Opening with High-school kid, David Raskin (Jonny Weston, Insurgent 2015) making a video presentation to MIT for acceptance on one of their college programmes with the help of his two friends Quinn (Sam Lerner, Nobody Walks, 2014) and Adam (Allen Evangelista, Belas, 2013). The film is largely shot in POV (Point of view) format, that is always through a camcorder or such like always used by one of the kids. David’s sister Christina (Virginia Gardner, The Goldbergs. 2013) is the primary recorder. The POV format largely works, even if there are one or two sequences where it is not as successful.

Routing through some old belongings in the attic he comes across a video-camera once owned by his father who was killed in a car accident about 10 years ago. While looking at footage, David notices something, just a frame or two, but he notices it. Reviewing the home-movie in question it is clear David in in the movie as his 17year old self, with his 10yo self also there. Noticing that the David in the film was heading for the basement, they decide to check down there.

Now here is a significant weakness in the film, centred around a young technically gifted student, whose father was an engineer, he (David) only now goes down to the basement and “discovers” his father’s workshop and very quickly its secrets.

Pretty quickly they find the time machine, or at least the workings of it and all of the necessary blue-prints, and as any kids do, they decide to finish building it. With much chaos and experimenting they manage to move something back through time. Of course all of this has the added benefit of entangling one of David’s school mates; Jessie Pierce (Sofia Black D’elia, Born of War 2013), David has a crush on her and as with most young lads of his age, he is totally unable to act on it. A good section of the movie deals with the youngsters building and improving the time machine, often with mixed results.

First the five youngsters experiment with sending inanimate objects back and forth through time, but David is eager to move things on and after much tinkering and adaption, they have a time travel device which they can bring with them, which can transport them to when they want to go (within a limited window of a couple of weeks, but growing as they tinker)

As the movie progresses it starts to take on a slightly darker more sinister hue. After firstly starting off with small things, they decide to “surgically” (my words) interfere with the past, but very quickly learn that one event might have a knock-on effect on another even though the two may not seem linked. After making changes to the time line. On their first trip back they see how the lawas of nature actually kick-in to prevent them from meeting themselves in the past, if they do, bith are removed from nature, no longer existing.

These trips back in time start of light enough, with Quinn using the trips back to ace a pop-quiz in chemistry and then get more intense as they try to undo changes to the timelines brought about by their travel. These changes which seem like nothing much have implications which spread far and wide, the ripple effect being nicely expounded here.

This film is a lot more watchable than I thought it would be and indeed deals with some of the more fundamental aspects of time travel, concentrating on the effects (as thought) rather than on the pure science of the physics. Indeed this is where the film lets itself down slightly, but only slightly.

Without going into the physics of time travel the movie looks to the impacts and how the people involved try to deal with and correct what they have done. One could argue that there is not a whole lot original in the first half of the movie, when even the movie itself draws parallels with some of those time-travelling presentations which came before (even down to video shots of Bill and Ted’s Excellent Adventure (Stephen Herek, 1989).

The second half is where the movie really kicks in and ups the tempo. This is an interesting look at the whole area of time travel and its consequences and might be compared to About Time (Richard Curtis, 2013). Much of the tension surround the undoing of the consequences of even the supposedly smallest actions when they went back in time. One of the issues with Time travel movies is the potential for the heroes to go anywhere, any when in time. Almanac carefully circumvents these issues by building in practical limitations to their device and so keeping the movie on a relatively (sorry for the pun) tight perspective and prevents it from tackling too many physics questions.

Over all it works, with perhaps just a little bit too much time spent on the concert in the baseball stadium, but then again there are implications for the event. It also manages to convey some of the science of time-travel without breaking into applied physics. The movie does have some convenient plot holes but nothing that takes away from the picture overall.

Chappie

tom AI, Blomkamp, Dev Patel, Robot, Sci-fi, South Africa , , , , ,

Directed and co-written by Neill BlomKamp (District 9, 2009) Chappie is set in The Republic of South Africa in the near future, more specifically in Johannesburg. Faced with ever growing rates of lawlessness and violence the South African police purchase a series of android robots from a local company headed by Michelle Bradley (Sigourney Weaver, aliens 1986), these robots are fully mobile AI’s with human interfaces to help control them. Initial trials and usage are going well. Crime rates in the city fall and criminals are genuinely fearful of them.

The opening sequences tell you straight away that you are in a BlomKamp movie with the by-now familiar camera styles. With his opening shots we see how law and order is being restored. In the middle of this we meet drone 22 (who will become known as Chappie), who is severely damaged in deployment and sent to the scrap heap. As this is going on Deon Wilson (Dev Patel, Slumdog Millionaire, 2008) the engineer behind the androids has been working on a full AI program for the androids and has finally cracked it. He is prevented from trying his latest work on any of the robots. As this happens he is facing competition from inside the company in the guise of Vincent Moore (Hugh Jackman) who has developed a remote controlled ground drone which is basically a walking tank, full to the gunnels with high grade armoury, however his program is cancelled because of the success of the drones.

If life was not hard enough, some of the local criminals, suffering from the effects of the drones decide to Kidnap Deon to force him to shut down the drones. As luck would have it they kidnap Deon when he has a van load of spare parts in the back of his van, while he is getting out of the Lab so he can build his own full AI unit with his new software installed. Once captured, it becomes clear he cannot help them, but it is discovered that he has the making of an android in his van. He agrees to help them build it so he can fit his own AI software in to the brain.

They agree reluctantly, the leader of the gang, Ninja (also called Ninja today) wants the android for a big hoist. His friend Yolandi ( Yo Landi Visser, Focus 2015) develops a soft spot for Chappie as he grows. After some struggles Chappie (played by Sharlto Copley, District 9, 2009) has his AI brain and begins to learn how to behave in the human world. Ninja feels no emotion for him and treats him like a weapon basically, trying to train him to be an effective killing machine, Yolandi on the other hand develops a maternal bond with the ‘droid.

All this happens against the gang trying to plan their biggest Hoist, Deon not trying to get caught, and Vincent Moore discovering what is really happening and then planning to kidnap/destroy Chappie. As the movie develops is grows into three strands; the relationship with Chappie as he develops essentially following the characteristics of a truculent teenager; the training of Chappie by the gang despite attempts by Yolandi and Deon to “humanise” him and keep him away from violence. The third strand is the rivalry within the company and the attempts by Moore to discredit the androids and have his system used.

This of course culminates is a disaster for the city of epic proportions which ends up with Moore and his robot battling Chappie and his gang. While this is going on Deon’s work on AI have sparked Chappie’s interest and he himself manages to progress it. Ultimately they develop the ability to transfer a human conscience in to an artificial brain, this might be able to help them in their fight to survive.

I am trying hard not to ruin the plot line. I watched this shortly after watching Ex Machina (see below) it is interesting to see the take on artificial intelligence and how we as a society are prepared to live with it. Whereas Ex Machina had science and suspense, Chappie has action and a reflection, despite all that is going on we begin to see Chappie in an almost “human” light.

On the negative side, there are one or two small issues with the film, despite being in South Africa, the majority of the cast is white, Dev Patel (English of Indian extraction), something which considering the film is shot in South Africa was noticeable. One other aspect is what I would consider a hole in the story “Security” aspect. The facility where the robots are made seems to be totally incapable of any type of security (which facilitates the storyline) but this causes a certain weakness in the film. I should also point out the film does nothing to advance Johannesburg’s reputation internationally, rather cementing it as the violent city it is often known for.

That said, the movie manages to capture the discussion on what constitutes “humanity” and the nature of being, having a soul and the next life. Are we humane just because we are human, is the soul the preserve of humans?

6/10 An entertaining movie with some excellent special effects, but still somehow managed to give the feel of a small budget production. Overall quite watchable with some rough edges round the corners, perhaps deliberately.

They Came Back (Les Revenants, The Returned) 2004

tom Action, drama, European, France, Horror , , , ,

Directed and co-written by Robin Campillo (The Class, 2008) and Brigitte Tijou (Riviera, 2005), this quite original piece deals with the returning dead in a way not often seen. The film concentrates on event s through the eyes of the local s of a small town in central France. The opening scenes are of events surrounding the returning as they are being outlined by the Mayor (Victor Garrivier, French Kiss, 1995) of the town as he briefs officials.

It turns out that the returned all came back in roughly a 2 hour window one day. Looking to the dead in detail society quickly sets about learning how to deal with the returned. It seems that those who returned were all dead less than 10 years and present no outwardly physical signs of having been dead. It quickly becomes apparent that the returned are lacking a certain “fire”. One of the officials states that they will never be able to use initiative and should not be given positions of authority, regardless of their previous functions in life.

What we see as the movie progresses is how society copes with these Returned. There are both the larger macro issues of how to house and rehabilitate them. the movie smartly deals with many of the issues we often glance over in such productions, what happens to the dead in the world of the living, can they get their property or old jobs back? How are they fitting in socially and are they being welcomed back by everybody? The central or unifying part of the movie is the city council and how they are dealing with the situation. This is a clever device as it allows us to be told the story exactly as Camillo wants us to hear it, it also allows us an introduction to key characters and how they interact between themselves and the returned.

With this device we see the Mayor coming to terms with the return of his elderly wife. Where the return is generally trouble free there is the issue of here wondering at night. This brings us on to “Mathieu” an architect working in a firm who previously had some significant responsibilities. It is now seen that his abilities are seriously restricted. This is discovered when the psychologist assigned to the returned has a discussion with one of the guards. The returned do not sleep. It seems that they also have no ability to make memories and essentially their communications skills are based on what they had when alive and situational memories which allows them to appear as if they are having on-going conversations.

Things may not be as they seem. The doctors and scientists observing the returned notice certain physical characteristics which allow the returned to be tracked. This tracking leads to some interesting discoveries. What do they do at night? What are the returned planning? Do they feel welcome? Where does all of this lead?

This is not a zombie movie in the traditional sense and there are probably some who would say that the returned are not zombies, whatever! They are re-animated corpses, they are zombies. Not having the movie focused on the usual plot-line of zombies trying to kill the human population is a refreshing change as it allows the many other aspects which are normally over-looked.

This movie is not perfect. It moves at a steady “European” pace which some might feel is slow (which I think, works)  rather than the fast disaster movie action which we are used to with zombie films. This movie concentrates more on the rational and even emotional implications of the return rather than the traditional emergency response approach. The subsequent TV series which was released about 10 years after the movie is significantly different to the film while staying loyal to the original concept of the returned. I liked this movie, possibly because I had read about it and seen the TV series previously so I had an idea of what to expect. I quite liked it. It is a very interesting variation on an well-tried concept.   It is interesting that in the 10 years since its release subsequent zombie movies have not overly tried to repeat this format, rather sticking with the traditional blood-fest approach.

If you claim to be a Sci-fi or Horror fan you need to watch this, if however you are a fan of mindless violence and body party being ripped off/digested then you need to go back to Master Romero’s works.

I Origins

tom drama, I Origins , , ,

This film looks to the old idea of the eyes being the windows to the soul, something which pre-scores evolution. Dr. Ian Gray (Michael Pitt, Seven Psychopaths, 2012) is a post-doctorate researcher fascinated with the human eye. He is enthralled by eyes both from the perspective of the aesthetic ( he has a collection of hundreds of photographs he has taken of people’s faces and particularly their eyes) and their evolutionary importance; something which he is convinced science has over-looked. In to this mix comes a young woman who he meets at a party (Astrid Bergès-Frisbey, Juliette, Juliette, 2013) who he becomes smitten with. Not knowing who she is, he tries to find her, only to “discover her” from a series of numbers as he bought a lottery ticket at 11.11 on the 11th on a road where the number 11 bus passes etc. He follows the clues and eventually meets her.

In parallel to this he also acquires a new first year lab research student, who he initially dismisses as another air-head whose work he will pass if she just stays away from the lab, however it soon becomes apparent that she does actually know something about the work he is doing. From here on Ian’s life seems to move in Parallel, just as him home life is progressing so too are his professional efforts. The team are looking a genetic marker that will change the way we look at evolution, however it is a long-shot and likely to take years. Just as his career is looking to the long view, his relationship is proceeding quickly.

Then one fateful day, news comes through that they have found a candidate animal which has the gene but no eyes – exactly what is needed. Now they should be able to genetically build an eye in to this animal, a genetically perfect one. His joy here is quickly removed as Sophie is killed in an accident. Here is perhaps the weakest moment for in the midst of his grief he turns to his assistant and they begin a relationship which immediately jumps 7 years to where there are married and about to have their first child. There was perhaps just a little too much speed there.

Married and now with a young son, all is good until one day they get a call asking them to attend a clinic with their son as he might be showing indicators of autism. They bring the child to be tested only to realise that the test is not for autism but some kind of memory test. Memory of a past life. The researcher believes the child may have the memories of somebody who died previously. The trouble is, this is not a million miles from Ian’s own research. This gets him asking questions.

Although always seeing himself as a rational scientist, his objective belief system starts to take a beating. Using his knowledge of the human eyes together with his database access, they quickly see a pattern emerging. Something that should not have happened. Different people around the world, such as his dead former girl-friend, Sofi share certain characteristics, but none of these people are ever alive at the same time.

In many ways this film is like “Upstream Color” (Shane Carruth, 2013) both movies are for us to work at. We are brought along but not given too much help. In ?Upstream Color we are given almost no help, here there is enough to keep us from having to struggle too much, while at the same time have us wanting more.

This is a smartly directly movie, which does not strain itself beyond its capabilities, it is very watchable and a lot less taxing than Upstream Color.

The Congress

tom Sci-fi , , ,

This movie starts off on a fairly standard note, there is little in the first part of the movie to suggest how Ari Folman’s (Waltz with Bashir, 2008) direction would go. The movie is based on the novel by Stanislaw Lem using Folman’s screenplay.

The movie starts in the family home of a gracefully aging movie star being lectured to by her agent, Al, (Harvey Keitel, The Grand Budapest Hotel, 2014). She has been essentially side-lined by the industry because of how hard she is to work with, however the studio have an offer for her. Against this background we learn she has two children, both mid to late teens and one of them, her son Aaron is suffering from an ailment which will eventually cause him to be both deaf and blind but in the meantime he is fascinated by flying and his kites.

After much persuasion from Al she eventually agrees to meet with the studio boss, Jeff Green (Danny Huston, Masters of sex, 2014) who informs her that there is a fundamental way in which the studios are working and that essentially actors and actresses are no longer needed. He makes her an offer she cannot refuse, but true to form she does and needs to be convinced of it. She eventually agrees but puts in some conditions, not least of all, that the “life” time-span of the contract would be 20 years, if they wanted it again it would need to be renewed. The studio will take a digital image of her and use that for making movies, she just needs to retire and not act – anywhere in the world.

We then see Robin in her early 60’s arriving at the gates of Miramount Studio’s animated City. We are not told what this is until we get there. At this stage the film turns to animation of a style reminiscent of Waltz with Bashir and more than subtle homage to the Japanese. It seems everybody is now taking a drug which allows them to essentially be who they imagine themselves to be. She arrives at a convention as a guest of the studio, only to discover she is the 6th Robin Wright to book-in. The hotel is a frenzied mix of studio executive types and other strung out and visibly the worse for wear. Nobody is who they seem, the drug takes care of that. The entire hotel and convention scene is one of bacchanalian and hedonistic partying, perhaps reminiscent of the scenes from an imagined world’s ending. It turns out it might be.

The new contract is needed because it turns out that the technology of 20years ago is no old hat and the new contracted is needed, now Robin Wright will be a sensation – a sensual sensation rather than just an image. She agree and goes to the launch where she rails against the studio machine and is promptly removed, but as this happens there is a revolution of sorts at the hotel. In the middle of this revolution the studio police come after her and the execution scene is straight from Paths to Glory, (Stanley Kubrick, 1957). After this we see how she is in fact suffering from a type of drug induced poisoning which dooms her to life in this alternative reality. She is put in to a sleep with the hope of waking her up once a cure is found. She is woken and advised to stay in this world but goes back to the old world where she quickly sees reality. It is not a good place. The world she left behind has changed, freedoms are removed, society has fallen victim to the drug, there are now two types of people – the “management” who are not on the drug and everybody else whose lives are controlled by it.

Part live action part animation this movie looks at a number of issues and how they affect not just Hollywood. Do we recognise when we have it good, how much of what is around us is illusion and what is reality. How do we know the difference and how do we make it happen?

This is a slightly challenging film to watch, mainly because it does actually challenge you to listen, watch and experience the movie.

6.5/10 this a better than average film, not perfect, but given the experimental nature of this work it stands up well and provides a very entertaining piece of work that does leave you asking questions.

Snowpiercer

tom art-house, Asian, drama, thriller , , , ,

A south Korean movie, directed by Bong Joon-ho (The Host 2006) based on the screen play by Kelly Masterson (Before The Devil Knows You’re Dead, 2007) and Bong Joon-ho. The world has been destroyed by attempts to stop global warming which have gone totally wrong. Faced with the growing threat of global warming, an experimental new approach was developed, which entailed seeding the upper atmosphere with a chemical (CW7) to overcome the effects of global warming.

One of the first things you notice about this film is the cast. I have to admit, it is probably not the cast I would have picked, but that said, I would have been wrong. The casting works well and I wouldn’t change any of them. Behind the scenes, there is some discussion about The Weinstein Company taking out about 20 minutes of the film to suit western viewers. The movie is based on a French graphic novel “Le Transperceneige”.

The film opens in the train, but with a narration giving us the history of the efforts to stop global warming which ultimately resulted in the destruction of civilisation by virtue of the CW7 working too well and forcing the world in to an ice age. We quickly learn that those on the train have been on it for 17 years, entirely self-contained. Life is dystopian for many and carefully managed and controlled overall. The train itself is a huge affair purposefully built by an eccentric transport mogul who had no confidence in the CW7 solution so he built a special train which linked in to the world’s rail transport system and provided a place of refuge for the select few, constantly travelling around the world, never stopping.

Never stopping has a price. In order to keep the train moving the passengers are carefully ordered. First class, standard and economy. We learn about the workings of the train and its society from the huddled masses in economy. As bad as conditions are, we are told they are “the lucky ones” as they got on the train and are still alive. For seventeen years these people have been in the windowless back carriages at the tail of the train. Things are not good. People are huddled in to any corner they can find. The background is explained to us through the eyes of those trapped in the back. There have been up-risings in the past, all of which have failed. One of the key aspects of the uprisings is getting out to the armoured carriages in to the next carriages on the train. The people are fed a stable diet of protein pars to keep them alive. The protein bars are provided by the “Train” We also notice that although these third class passengers are in rags there is a fully uniformed security force and also train crew.

Chris Evans (Captain America: The Winter Soldier, 2014) plays the part of Curtis, he is the leader of the would-be rebellion. He must decide when to act and how to. Key to their plan is rescuing Namgoong Minsu (Kang-ho Song, The Host, 2013) who is the security expert who designed the security systems for the train, keeping the carriages separate. The only problem is that he is a drug addled prisoner in the train’s prison carriage. Curtis together with his Lieutenants; Edgar, his second in command (Jamie Bell, Man on a Ledge, 2012)) sporting a strangely passible Irish accent who is the no-patience action man; and Gilliam, the older sage, respected by all and carrying the wounds of previous encounters. Discipline is savage, beatings are regular and extreme, often involving loss of limbs. Other rebellions have failed, they have looked at why and hopefully have a plan to overcome these issues.   In to the mix of this we see the “overlords” using these third-class passengers as nothing more than a resource to be taken from.

At one scene we see one person taken t the front of the train to provide musical entertainment for the upper classes. We later see him and others who have been taken, their minds’ washed to be compliant and subservient. Meanwhile children are being taken to the front and nobody knows why.

Authority on the train is in the person of Minister Monroe (Thilda Swinton, Adaptation, 2002) who is the voice of authority, endlessly engaging in a passive aggressive dominance over those in third class.   Eventually when they notice that the guards on the carriage actually have no ammunition in their weapons, the passengers rise-up. Using weapons and tools they made, they make their attack, first to the jail carriage where they rescue the security expert and his girlfriend. Using their skills they move forward first past the prison carriage, then they take the food and water carriages, revealing some of the nasty truths involved in life on the train. After a series of often bloody battles, against firstly the guards, then axe yielding black clad figures to then more armed guard and some very nasty people along the way. Eventually they make their way forward, glimpsing along the way how the rest of the upper-class passengers live. Ultimately they arrive at the Front, and meet Mr Wilford (Ed Harris, the Way Back 2010). Here talking with Wilford they rebels get an idea of just how perverted life has become on the train.

We are told as the film progresses that the key to survival is balance. There is plenty of food (for the privileged) the key is balancing the demands with supply at the right times and seasons. This even stretches to the punishment of the third class passengers, it is calculated that 74% must die. We have become used to video games producing tie-in movies, however this is a movie which almost feels like a video game despite not having one at its origin. Each Carriage is essentially a new level with new associated challenges for the rebels to overcome.

This movie could have been too busy, with so much cramped in to so tight a space, both physically and emotionally, but the characterisation works, Evans’ Curtis is very underplayed, what we know of him comes from revealing moments as the movie progresses, to ultimately a character we have confidence in as a leader. Swinton’s Monroe is a nasty piece of work showing nothing but disdain for the passengers through her passive aggressive control. We see just how lose control is later on as she is used to lead the rebels through the train. Those upper class people they pass are largely disgusted by what they see, interrupting their on-going lives. The food shortages present further back are not seen here.

The only obvious weakness that presents itself, is a slight continuity issue; where having established that the guards are out of ammunition we later see a full use of ammunition as the rebellion gathers pace, perhaps it is rationed to certain areas. The other slight weakness is the issue of blockages on the line, is it only now that these are causing problems, are they normal with the rebellion deflecting away from essential management of them?

When we eventually meet Wilford, having already gotten a background on him we see a person who is immediately comparable to “Christof” the show’s producer and “God-like” character. We see the same calm omnipotence here. There Characters are perhaps a little too similar, given the respective plots. Very smartly we are shown not just his power but also how fragile it all is, perhaps his character is more comparable to The Wizard from The Wizard of Oz (Frank Morgan). His power is based on what people think of him. Minister Monroe’s character shows us how the train’s front has almost taken on a mystical, even religious aspect, with Wilford being almost worshipped.

That said, this is an excellent movie with an excellent cast, Evans, gives one of his best roles, Swinton is almost unrecognisable, Bell and Hurt support magnificently. It should be pointed out that even additional supporting cast duties are taken up by well-known character-actors more than capable of supplying what is needed.

In the last scenes we see a polar bear; does this signify freedom, danger or the sub-text that the bear looks fed and, if it is fed, there is life of some sort, where there is life; there is hope. As viewers, Bong, quite deliberately allowed us to get to know those people surviving at the back of the train and what they have to endure, are we allowed to hope for their future.

Upstream Color

tom art-house, Carruth, independent , , , ,

I’ve come to the conclusion that this is more of a visual art-work than an entertainment movie. It was written and directed by Shane Carruth (Primer 2004) who also stars in the co-lead role of Jeff. Treating it as a movie I would classify it as a sci-fi romance, but only barely just. We are given glimpses of information that may or may not add to the plot. The first thing to say, is that you cannot watch this movie like an ordinary cinema offering hoping to do nothing more than entertain. Upstream is a story, visually as well as through words, It might take more than one watching to fully appreciate the movie. Throughout the movie there are a number of visual clues and prompts placed in to the scenes, if noticed/seen they add to the understanding plot and the movie.

This movie is about the unseen powers directing us, including the power of attraction. Does the power of attraction take over a couple and their perception of the world outside? Do their experiences together begin to merge into one shared history? Once of the key characters is a young lady called Kris (Amy Seimetz, The Sacrament, 2013). She is kidnapped and forced to consume mid-altering/controlling bugs (more maggots), these may be associated with a particular plant, though the scenes with the plant may be out of time sequence. She is held in her apartment where her kidnapped sets her to do a number of tedious meaningless tasks over and over, once he is happy she is truly under his control, he manipulates here into going to the bank and essentially giving him everything, done to her house. This and the various other acts, ruin her life, these are actions she has no memory of, but must live with the consequences.

As if life had not already thrown enough curb-balls at her, she now finds herself linked to a man called Jeff (Carruth), their paths cross a number of times and they begin a relationship, there is something wrong, deep down both know this but cannot identify what. There is a link, for some reason they can share the same childhood stories, she is able to correct a detail in a story of his childhood he is telling, after a number of events such as this, they bring the issue to a head. Kris confronts Jeff wanting to know why he is confusing his memories with hers, or is he?

To further complicate things, we come across a man who is playing strange sound clips (taken from everyday life) into the ground. He has what looks like an isolated pig farm, he also grows maggots, the same maggots Kris has inside her. Through the sounds Kris eventually ends up at the farm where he transfers the maggots from Kris to one of his pigs. Again here we begin to see attraction between two of the pigs. We also see a connection to a plant, does it have a toxin, what is the importance of the colour blue?

You will probably have to watch, emphasis on “Watch” this movie a couple of times to get all of the visual clues from it. I would like to tell you the plot, but I would have to know what it was first. This is a close to unique movie, it is not for the lazy viewer. Give it the attention it deserves and you will enjoy it. If you are the type to enjoy a mug of cocoa or some pop-corn with your movies, make sure you have them before you sit down, because this is not the movie you can simply watch in the background. To write any more would just be added guesswork, this movie is visually appealing, tightly scripted and is either:

0/10 – if you get worked up by the complexity, or

9/10 – if you don’t get all worked up by the complexity.

Under The Skin

tom drama, English, European, Horror , , , ,

Jonathan Glazer (Sexy Beast , 2000), is not one of the world’s most prolific directors, but what he does produce is always noteworthy and of merit, even if it requires you to work with him. Under the Skin is such a movie. One of the first things to make itself obvious in the film is the use of light and colours, either the extreme whiteness (and also black) of her environment, an area without seems or borders, we see only light, or in the scenes of what we take as her lair, we see a dark void absent any obvious light source, or surfaces. The opening sequence takes us from the sterile bright white of an alien environment (or consciousness, we don’t know) to the dull, dreary urban motorway scenes of our aliens (we take the bike rider as being another alien) driving around mainly urban Scotland. While the picture painted by her travelling is not one of joy and happiness but rather a cold searching. The atmosphere, the scenery and even some of the people encountered along the way, are not the type that you would put on a “Visit Scotland” poster, they are real and ordinary with nothing much to sell them.

How long she is on the planet we don’t know, but she is able to drive a Transit van and communicate in flawless English (for what little dialogue there is in the movie). Scarlett Johansson (Her, 2013), play what is a challenging role brilliantly, her acting is visual, with little chance to add to scenes through dialogue. She seems “comfortable in her skin” or so to speak, yet she spends her days driving around looking for people who will not be noticed missing too quickly. As we see her driving it becomes obvious she’s is driving for a reason, she is hunting. Like a spider, she lures her victims to her, first chatting to them to get them in to her van and then into her “lair”. Her lair is a dark void, in the same sense of the white scenes were of a white void, with no obvious dimensions which swallows up her victims.

The film is almost silent, with any dialogue sparse and only as needed, at least 70% to 80% of the movie is non-dialogue. After the usual initial small talk we see her with her victims, back in the “eternal void” while we think we are used to the void, we see that there is more to it. Her mail victims never reach or connect with her, indeed as they approach her, they are subsumed into an liquid, best described as akin to embryonic fluid. She walks over it as if it is solid, it is only as her later that the realise that the liquid is a storage area, not visible from above, but from within. We are not told if this is her natural environment or some type of psychological analogue of what is happening. One thing you will notice is the cold emotionless performance by Johansson. We observe her from an emotional distance, we’re along for the ride, but not part of the experience. If you are looking for an action packed shoot-em-up, go look somewhere else, If you are looking for a lost Kubrick, then it will suit you perfectly. We are only allowed to observe this movie, always kept at a safe distance. As the movie progresses we get the feeling she is less familiar with her surroundings, or at least less comfortable, indeed the scene in the woods shows just how alien she is, literally and figuratively.

The dialogue, where it happens is clipped and pared back to the bare minimum, only used for what is needed. Indeed one of the movies pivotal parts is where here latest victim is descending in to the liquid and sees another older victim, now disfigured by his time in the liquid. Rather than recoil, the new victim makes his way to the other and without words they reach out and touch. The connection to the other, whoever they are is preferable to isolation.

One cannot help but wonder if the dark area and fluid, and even the bright white scene are her natural environment, the place where she is calm and safe, a place of isolation. Whereas out and about on Earth she is surrounded by dimensions, noises, colours, sounds and tastes etc. This environment is alien to her, just as her’s is to us. We also notice the difference in styles of person, the talking youths eager for her company, these are ordinary people, using ordinary lines, but still against her silence.

In some senses it reminds of (Upstream Colour (Carruth, 2013), the visuals are a significant part of the story, even surpassing the dialogue. We are also left to discover the movie as it progresses, working out the clues and interpretations as we move along. Aliens (in Earth based movies) generally fall into one of two categories, the big nasty evils one who want to destroy us, or the cute one, usually lost or homesick, Here we might have a mixture of both, or do we. We have a creature which looks like is will do no harm, but we know the skin she inhabits is not her own and like a spider, the males she beguiles are lured to her lair and trapped.

It is hinted by visuals that she is not alone and that there are other aliens, but this is never confirmed, such is the movie. This is not a movie to fill a wet Saturday evening, no you watch this only if you are willing to work at it and take in all it has to deliver.

This is a work which has been well assembled, superbly acted by Johansson with cinematography which not only compliments the acting but is a necessary part of the story, of the work. Not the easiest movie to watch, but not the worst by any measure, indeed it is one which rewards the effort.

Interstellar

tom drama, Hollywood, Sci-fi , , , , , , , ,

I was struggling on how to open, then I realised: this is classic Christopher Nolan (Inception, 2010). Nolan has written and directed this movie and it shows. If you want an adventure movie like Armageddon (A.J. Frost, 1998), then go see what else is available. On the other hand, if you enjoyed Inception or Memento (2000), then you will enjoy this. The movie is set somewhere in the near-future, though when we are left to guess. We are looking at a society which realised it is on the edge of the abyss and needed to act. There are too many people on the Earth and resources are running out. As the movie runs we begin to learn vital snippets of information, like both the India and US space missions went down at the same time. We quickly notice too that the house is not the usual mobile and tablet picture we have become used to. Our hero , Cooper (Matthew McConaughey, Dallas Buyers Club, 2013) We learn is a farmer, he is working the family farm. Living on the edge of town , he lives with this Father-in-law, (John Lithgow, Dexter 2009) We learn that “Coop’s” wife died of cancer and he is bringing up Tom (Timothée Chalamet, Clown, 2008) who at 15 is looking to his future, and Murph, his 10 year old daughter who is trying to find her way in the world, a bit like her father.

I say this because, they are both technical, very technical. We learn that Coop is a former NASA pilot, from a time when NASA was preparing for flight into the Solar System. Early on we see he is haunted by dreams of a crash and we wonder if he has left NASA due to an accident. This is quickly put aside as we put together the pieces. Many of his neighbours have had to sell-up, their wheat has died, and we are once again seeing a dust-bowl hinterland. They grow corn and are surviving, they have “plenty of corn”. Murph believes she has a ghost in her room because books are falling off the shelf and Coop’s module of the lunar Lander mysteriously fell from the book –case and broke. At a parent teacher conference we learn that Tom has been designated a “Farmer” he is not smart enough for University and the University is limited in the places it can take. Once again we hear talk of limitations, rationing. What really upsets Coop (his reaction gets his daughter suspended for a month) is the news that his old text books are now banned because they have now been rewritten and the Lunar landings and the Apollo missions are being written as great hoaxes to bankrupt the Soviet Union. It seems the human race has turned its back on technological growth and development, only what is essential is being done. All resources are being diverted to food production. Humanity is about surviving.

Against all of this Murph’s hauntings are continuing, after on episode, Coop thinks he has a clue, coordinates. Together with Murph, he head to there. Arriving at the location at night, they are…well they end up deep in a famous mountain. When this happens, they movie was still taking shape, and I have to say Close Encounters of third Kind (Spielberg, 1977) flashed by me at one stage. We quickly learn after some great lines that they are in what is left of NASA. NASA is now a secret government organisation which many people think has been shut down. Resources are needed else where. We learn also that there is no need for armies, they have been done away with (later we learn that it is likely that one of the last functions of the world’s armies was to kill the starving. It is said in passing how starving populations were wiped out. There are too many humans.

Now, this is where the movie is a step above the rest, the one-liners and MCconaughey’s ability to deliver them – as well as others. The script is very sharp. NASA is being led by Professor Brand (Michael Caine, The Dark Night, 2008) who working with his daughter, Dr. Brand, (Anne Hathaway, The Devil Wears Prada, 2006) and a small team of others; is working to seed possible new worlds made available through the appearance of a wormhole near Saturn. It is believed “They” put it there but nobody knows who “They” are. There are about a dozen worlds in systems past the wormhole that may support life. About 10 years ago a group of missions went through the wormhole , each carrying one person , each tasked to send back data and report if life is possible. Most of the signals were negative or have been lost, there are three alternatives; t. Professor Brand, shows Cope around the labs, the Corn is starting to die now also , just like the potato blight in Ireland and then the wheat.

I should point that at this stage my blood-pressure rose slightly, was Nolan/Brand referring to the Famines of 1847 or has there been a new Irish Potato Famine caused by blight, actually there might have been – but okay, all our spuds could die in the morning, we would survive here as A) biodiversity, B) imports. But here’s the rub, this is a Nolan movie, we are expected to think. Already the UN and others is nervous of our overdependence on rice in parts of the world (it is also an environmental nasty) and are trying to replace it with potatoes, which are healthier, and more environmentally friendly. The danger is removing one risk and replacing it with another, we still have not solved blight. I mention this because it seems the blight has been extensive enough globally to have an environmental impact on CO2 levels.

We learn now that the Earth only has a generation or two left before “we all suffocate”. Those that don’t starve will suffocate.

The Coop agrees to go on the missions, along with Dr. Brand and two other. Also along is TARS a cubide robot with various intelligence and human interaction settings. We quickly realise that because of Relativity; Special and General the team may not come back and if they do, because of the wormhole, it will be many years into the future. Murph is heart-broken and does not say good-bye to her dad. Quickly the mission is set and we have take-off. No time is wasted showing us any training. The team are launched and begin their journey to the wormhole, where we learn again resources are scarce, and one of the planets is nearer the wormhole and so time-dilation.

What now follows is an desperate search for a usable planet, back home decades have past, Murph (Jessica Chastain, Zero Dark Thirty, 2012) is as old as her father was now when he left, she is working on the NASA team trying to crack the effects of time on a gravitational formula that could enable the launch of a ship big enough to host a population sufficient to sustain life on another planet until Earth is back in balance. The breakthrough may not be possible, Murph makes a discovery. Murph’s discovery is all the more important, because of the declining situation on Earth. Through her return home and the dust filled desolation we see that the situation is growing dire. The family is holding on but barely. The adult, married Tom (Casey Afflek, Ain’t Them Bodies Saints, 2013) is struggling. The family is feeling the impact on their health of all the dust. The Slow decline to anarchy is reminiscent of Children of Men (2006)

Looking for the lost missions, they search to see if any of them have survived, one has. It is the original leader of the effort, Dr. Mann (Matt Damon, The Zero Theorem, 2013). Is it possible to launch “Plan A” and provide a home, or “Plan B” – use the frozen embryos to populate a new colony?. At just about no stage do things go as planned. Time is running out, as are all other resources, all options are risks. Eventually they have one last plan. McConaughey, when all was lost, finds TARS again, together they solve a puzzle, the one of Murph’s ghost, there may be a chance after all.

This is a smart movie, a little knowledge of Relativity might be possible – check my earlier blog on the subject from last month – go to Part III if you are in a hurry, and the conclusion is really rushed . This is also a long movie and to be honest it felt it once or twice. Is this an excellent, Top Ten movie, maybe not, is it a very good movie, yes. It reward you along the way. The direction is sharp, the viewer is drawn into the movie, by being drip fed the backstory while at the same time being shown the challenge ahead. This is one of those rare science-fiction movies where the fiction is secondary to the science and to the human impact of what is on-going. The ensemble nature of the cast, ensure they are the focus. Okay, yes, there are parallels to be drawn to 2001: A Space Odyssey, Kubrick, 1968) even down to how TARS (Bill Irwin) reminds us of HAL from 2001. That said, I’d rather travel with TARS.

Great cast, great performances, from all. I’ve tried not to give too many of the plot developments. Enjoy.

4 Stars, possibly slightly more.

Looper

tom Action, Hollywood, Sci-fi , , , , , ,

First off, this is a smarter than average piece of Sci-fi.  As I’ve mentioned before, there are some movies I will see purely for their pedigree, even before I know the plot, Looper was one those movies.  Written and directed by Rian Johnson (Brick, 2005) it also stars Joseph Godon-Levitt who also took the lead  in the same neo-noir classic.  Throw in Bruce Willis for some fun and we’ve a good mix.

In statistics two does not usually make a trend, but in cinema it might just.  This is the second major movie this year where the lead characters are the same person but from different times. We saw this first in Men In Black III (Barry Sonnenfeld, 2012, see below) In tha movie our heroes went back in time to affect the future. The comic nature of the movie allowed Josh Brolin to do an excellent impersonation of Tommy Lee Jones’ character “K”. With Looper we do not have an established character such as “K”, so we could not as readily pick up on the mannerisms and peculiarities of the character, the physical characteristics had to be the key.

Now any of you old enough to remember Moonlighting (1985) will remember know that J G-L is not a dead ringer for the younger Bruce Willis. However some neat special effects and make up gave us two actors playing the same character, check the eyebrow movements and even the shape of the nose.  I have to say the altered JG-L took a little getting used to , especially since Premium Rush (See Below) is so fresh.

All that aside the story revolves around a young man who has become a “Looper”, essentially a mafia hit man with a difference.  In the future time travel is perfected and quickly outlawed.  However other advances in biometrics also mean that the killing and dumping of victims has become almost impossible. As a result the mafia in the future employs the illegal time travel, all one way in to the past and sends one of its top men, Abe, (Jeff Daniels, The Lookout, 2007 – also staring Joseph Gordon Levitt) back to the “present” of the story and has him set up his own crime organisation.  Daniels and Gordon Levitt are two very versatile actors not afraid to stretch their range and always know just how far to stretch. There is a cold danger to the Character of Abe which comes across nicely.  As part of this he hires a team of young men to act as Loopers. They go to a certain place at a certain time and the victim appears, they quickly shoot them, take the payment silver bars attached to the body and then dispose of the body. All very neat and tidy.  Earning all concerned an nice living (with the exception of the now dead victim). Life is good until Loopers start getting paid off by their future bosses. The nature of the pay-off is the issue of concern, They unknowingly kill their future selves; the problem is that when their victims appear they are hooded and in straight-jackets facing away from their executioner.  But things go wrong, one survives and people find out what is happening – they get paid off in gold and know they have about 30 years of life left.

With our main characters this goes spectacularly wrong, future Joe, survives, manages to convince present Joe of the issue and while both are being hunted by the mafia, Noah Sagan (you guessed it…Brick) is a hapless mob lieutenant not in good favour with Abe who takes the hunt for Joe extremely seriously and eventually captures him and takes him to Abe, with deadly results for most concerned. Meanwhile older Joe is hunting down the person,  who in the future will be the crime king-pin who has the loopers killed.  Joe Junior goes to one of the addresses, which turns out to be the one. A lone mother, (Emily Blunt, The Adjustment Bureau, 2011), who as it turns out is protecting a very gifted child in an isolated farm.  Ultimately the battle culminates in this isolated farm…

This movie is based on very philosophical science, and I thought I noticed the soundtrack (at least twice) sounding very Whovian at the point where the  time travel occurred . They successfully managed to convey the plot while carefully avoiding all of the science but keeping within the rules of time travel as understood (I’m sad enough to principles of the science involved). This is good solid entertainment.  It slows a little in the middle but picks up again building to the climax.

Entertainment from a cast largely used to working together and it shows.

Rating = 7/10

Grabbers

tom Comedy, English, European, Horror, Irish, Sci-fi , , , , , ,

Okay, as soon as I saw reference to this movie at the Galway Film Fleadh, I was hooked. This movie has been described as a B-movie comedy. “B-movie” does not mean bad, just that it does not have studio millions behind it. This is a comedy and as you probably know by now, I like my comedy to be properly constructed, following ancient rules, this movie does that, indeed following rules and convention is something director Jon Wright (Tormented, 2009) and newcomer to feature length work, writer Kevin Lehane do throughout the movie.

I’m going to get the obvious connections out of the way; Tremors (Ron Underwood, 1990); this is very much in the same style but probably more funny.  It is probably more in line with Hot Fuzz (Edgar Wright, 2007) with the community feel to the ongoing story. I mentioned rules earlier and Wright seems to follow very closely some Irish rules of thumb when it comes to comedy. 1) an outside in the village, usually a slightly eccentric Englishman or German such as the character of the General (Sam Harris) in John Ford’s The Quiet Man (1952) or Major Yates himself (Peter Bowles) in The Irish RM (1983). The Irish RM brings us to the second necessary character – the town drunk who also happens to be quite smart and more than capable of coming out well from any situation, we see this with the Character of Slipper, played by Niall Tobin is the series. Such a  character might be described (using the Hiberno-English vernacular) as a “cute whore” which is a cunning but good natured person.  Another movie which comes to mind is The Wicker Man (Robin Hardy, 1973) given the sense of isolation.

Being so formulaic can often destroy a movie as the team concentrate on the formulae and not the heart and soul of the movie, here however they capture the comic essence needed, indeed the casting was perfect as soon as you saw the actors in a number of cases you knew what you were in for.

Headed by Richard Coyle (Going Postal 2010) playing Garda Ciarán O’Shea with Ruth Bradley (Love/Hate, 2011) playing the Garda sent in to support O’Shea while the sergeant is on vacation. The pair seem totally mismatched and polar opposites. As strange things begin to happen such as whales washing up on shore, they meet up with the English marine biologist working on the island, Dr. Adam Smith (Russell Tovey, Being Human, 2008) who brilliantly plays the reserved and very proper scientist trying to do things the right way. SO here is the village outside needed by the “rules”. The team deserve credit for knowing just how far to take a character such as Smith, stopping short of cliché.  Pretty soon people start to go missing and alien  creatures start to appear.

One is captured by the town drunk/small time fisherman and general smart-arse (again using the H-E vernacular) played brilliantly by Lalor Roddy (Game of Thrones, 2011). An experienced stage and screen actor he know exactly what was needed. I could continue with the rest of the support cast , but sufficient to say they were all first class. I should also give a mention to the excellent CGI, evidence of the work that can be done on a budget.

The plot, in short is; alien creatures crash in to the sea just off the island and quickly make their way ashore. Strange things start to happen and people begin disappearing. Eventually one of the octopus like alien creatures is captured and killed (possibly). This bring more trouble in the shape of the alien’s (far, far larger female partner). Ultimately our heroes and the rest of the village have to make a stand in the village pub (probably another rule there) for reasons most enjoyably left to the movie to explain. Here they battle to save the community, the island and of course all mankind. The battle tactics make the movie.

I’ve avoid reference to The Guard (John-Michael McDonagh, 2011) so far, so it is about time I did the inevitable. I enjoyed The Guard, I really enjoyed Grabbers. Wright has placed the McDonagh brothers on notice. In short this movie is Father Ted (Channel 4, 1995-98) meets Alien (Ridley Scott, 1979) and as good as either of them.

A lesser effort would have been wholly predicable, this was not. This is The Birds (Hitchcock, 1963) as a full comedy.

Rating 9/10, I look forward to more work from this team.

Men In Black III

tom Comedy, Hollywood, Sci-fi , , , , , ,

The first thing that hits you is the 15 years or so of this franchise. Unlike many other which were milked to death, these have been given a chance to mature. There is more characterisation than most comedies and indeed one of the main aspects of the story line is Agent J (Will Smith) trying to get the ever so taciturn Agent K (Tommy Lee Jones) to open up more. The obituary for Agent Z just about says it all…or not.

The long story short; a really bad bad guy/alien escapes from a maximum security prison on the moon. He knows how to go back in time and rewrite history, and so he does this.  Agent J realises something is wrong and persuades people of the alternate timeline.  He then has to go back and try prevent the alternate history events from happening.

Along the way we meet the usual assortment of aliens, one that stands out is Griffin (Michael Stuhlbarg (Flight of the Conchords, 2007-2009) who can see multiple future events based on probabilities. He brings both character and story to the offering. The main cast Agent J, (Will Smith, Robert Neville, I am Legend 2007), Agent K, the elder (Tommy Lee Jones, Colonel Chester Philips, Captain America: The First Avenger, 2011) and Josh Brolin (True Grit, Tom Chaney, 2010) all give the performances we have come to expect; we have the charged and excitable Agent J trying to force out some human expressionism from the stone faced K, only to come up against the young K. When J joins up with K he quickly realises that the younger man is more positive, optimistic and open that the older K he knows and asks “what happened you?” to no response, as the movie works to the climactic ending we eventually learn just what was that life changing event that transformed Agent K.

It should be pointed out that this is a movie that does exactly what it sets out to do, it entertains well.  One piece of the movie which stands out it Josh Brolin’s take-off of a young Agent K, it was great and produced some genuine laughs from the audience.  I saw this movie in China – 3D IMAX.

MIB is a rare thing in a franchise set, it works. This might be why the producers felt they could afford to leave so long between offerings. We now have three entertaining movies which will withstand the test of time.  Will there be a fourth? I don’t know. Will go see it if there is? Yes. So let’s wait and see, but in the meantime you might do a lot worse with your time than go see this third offering.

There are some side jokes and statements on 1969 America and these largely work well and serve to place the movie in the times.

Rating 7/10 – it is not the type of movie that would be happy with a 9 or 10 out of 10.

Prometheus

tom English, Hollywood, Sci-fi , , , , , ,

If ever there was a film which was the victim of its own hype Prometheus, was probably it. Many have slated it. I have to say, I think unfairly. Okay so we expect great things from thoroughbreds out of leading stables and let’s face it, the blood-line for Prometheus is as good as it gets and the stable is one of the best in the world so perhaps there was a certain justifiable expectation.  I’m going to forget about all of that and think about what I saw. Some good old fashioned Sci-fi.

The movie’s opening credits are essentially a fly over of what seems like the Icelandic interior (I was almost booking another flight back!) then move to Scotland about 70 years into the future and the discovery of the rock drawings by two of our heroes, the good doctor Shaw (Noomi Rapace, Lispbeth Salander, The Girl with the Dragon Tatoo, 2009) and Logan Marshall Green (24, 2005) as Doctor Charlie Halloway.  From here we go to the Prometheus  a couple of years into the future.  I have to say this was where my first upset kicked in.  The distance from earth given for the craft is physically impossible in the time scale given, it would have needed to have moved many times faster than light. No indication was given that this could be achieved, but this is another story.  As with any long-distance Hollywood space travel our crew are all in stasis until the ships reaches its destination.

We see Michael Fassbender’s (Haywire, 2010) robotic David looking after things, touring the ship,  with a photography style reminiscent of those early shots in Moon (Duncan Jones, 2009) and indeed you eventually begin to get the old Alien (1979 Ridley Scott)  feel to the ship.

The plot line is convenient at best. No sooner is the team at the planet than they find the sites to investigate. It also seems that Scott has some unanswered personal questions regarding God, the universe, creation and intelligent design, the questions are asked, but never fully answered, which works for me as a summer movie is not the place to answer such.

From the perspective of individual acting, it was by and large excellent, Sean Harris  (Stretch in Harry Brown, 2009) though I do have to ask if Charlize Theron was value for money, she does not seem to have been best used.

What does standout is the visuals, the graphics and CGI, this is first class and add to the movie substantially. The rating I’m giving below is in relation to the theatrical version which I watched, when the director’s cut comes out I expect significant change as with other Scott movies which received the same treatment.

At the end of the day, I was wanting to dig-up the DVD of the original Alien.

 

Rating 6/10 entertaining, well knotted together cast, some excellent photography