the best of literature, film and music, shown through my rather short-sighted eyes
It is clear at the moment that Hollywood has an obsession with bringing back and refreshing franchises; The Dark Knight Rises, the final chapter of Nolan’s Batman reboot, Prometheus brought back the xenomorphs once more, The Bourne Legacy is now trying to somehow maintain a Bourne franchise without Bourne and other remakes and reboots are set to be released in the near future, such as Total Recall, Dredd and Man of Steel. Hollywood could be starting to lose its imagination somewhat and merely resorting to reverting back to the franchises which are assured to bring in the audiences purely to keep money in the industry during this financial hardship. Has Hollywood lost its originality? Considering The Amazing Spiderman, I think it is a confident no. Mark Webb knew from the very moment he announced the new movie that there would be pressure-a-plenty on his shoulders as not only was Sam Raimi’s Spiderman series, well the first two anyway, very successful, but this film comes only 5 years after Peter Parker’s last, and rather disappointing, adventure in the red spandex suit.
Webb has clearly taken the previous Spiderman films on board, however there is clearly no evidence that this is rip-off of Raimi because Webb has intentionally steered away from what made the previous films so recognisable and enjoyable. This doesn’t however mean that this is unlikeable but Webb reaches this from a different angle to his predecessor. Maguire was a really likeable character, a slightly goofy protagonist who you wanted to be victorious as much through pity as anything else; Andrew Garfield is a much cooler, self assured version of Peter Parker whose character is most evident and likeable as half of the relationship between him and the sharp Gwen Stacy (Emma Stone). Stacy brings another dimension to the film, which had never been brought by a rather inept and passive Mary-Jane, heightened by her Father’s involvement in being the Police Captain on the hunt for Spiderman. Captain Stacy (Denis Leary) has one of the most difficult jobs ever put on the big screen, as not only does he desire to catch our hero, as he swings Tarzan-like through the urban jungle but also has the unenviable task of stopping The Lizard from turning everyone in a 5 mile radius into similar reptilia. Garfield starts this film with a somewhat different origin story to what we have previously seen, this time the focal point being his curiosity about his missing parents, causing the actual arachnid radiation to be a minor part; Personally I feel that the film benefits from this as everyone knows what is going to happen anyway, so it gets deeper into the actual narrative earlier. After finding out a connection between his Father and a certain Dr. Curt Connors (Rhys Ifans), the Doc in question malfunctions after he splices his own genetics with that of a lizard causing him to rather predictably become The Lizard. Unlike some previous villains, such as Norman Osborn, the Lizard is possibly a step too ridiculous and unrealistic, looking cartoonish, but Rhys Ifans is very good in the role, and the emotional battle between him and Spiderman holds the middle section of the film together.
The Lizard however really comes into his own as a villain in the fight scenes in the latter third of the film, really stressing the value gained from 3D and great special effects. The film is more than just a bit ludicrous in some areas though and a picky man could easily scrutinise how unrealistic most of the film is, such as the incredibly ‘subtle’ plot device of the crane guy and his son, you’ll know what I mean when you watch it, but that really isn’t the point. It’s a superhero film! If it was realistic then the story wouldn’t be entertaining enough to withstand such epic finales as is evident here. The acting is, for the most part, pretty decent, but what is probably best achieved in The Amazing Spiderman is the plausible and intriguing inter-character relationships. One of these is the relationship between Peter and Uncle Ben which I prefer greatly to that of the Raimi version, with Webb cleverly avoiding the “with great power comes great responsibility” speech. However, the most plausible relationship, rather unsurprisingly is between Parker and Stacy, portrayed brilliantly through now real-life couple Garfield and Stone, which glues the entire narrative together.
Ok, there is definitely a special effects frenzy, with camera angle which are purely because they can be done now, rather than because they are better than the previous alternative, and the script is good rather than brilliant, but this is a great summer blockbuster. It is entertaining until the very end and I personally prefer it to Raimi’s version. I have given it a 7 because although it was very enjoyable it wasn’t groundbreaking or likely to be iconic or also technically perfect, but merely enjoyable, but isn’t that the point with a big-budget superhero movie. A good film, but try not to think too hard about it. Regards 🙂 7/10
Going into this movie, I was rather uncertain of what to expect from Ridley Scott’s new, big-budget, sci-fi film. The reviews I have seen have been completely mixed, some of whom where astounded by its brilliance and some seemed almost devastated with disappointment. The mass marketing and clever virals, particularly one of Michael Fassbender’s David, only heightened my expectations of the movie, which I have anticipated more than any other in 2012.
I wasn’t disappointed. It’s a great film, but more than anything, was a totally encapsulating viewing experience, particularly when watching in 3D Imax, which I would thoroughly recommend. The film is set 3 decades prior to the adventures of Ellen Ripley, in 2093, and despite all the original questions of this film’s relation to Alien it is clear from the very beginning, and far clearer at the very end, that this is a prequel. The range of characters is somewhat similar to those who have previously battled the xenomorphs, particularly the use of another android, David, and Noomi Rapace’s turn as another strong-willed heroine, Scott reflecting some aspects of Weaver’s iconic Ripley. As this team of adventurers embark on a mission to find the origins of the human race they soon find themselves unprepared for what is waiting for them. The opening scene, before our space invaders even appear, is one that immediately shows that Scott is once again willing to take huge risks and obliterate boundaries. It is a visual masterclass, great open shots of harsh, visceral landscapes which are somehow undermined by Scott’s centrepiece, filling the viewer’s mind with question upon question, an alien creature for definite, but not exactly what we had been expecting. After the film finished, I found myself questioning the purpose of this scene, because this alien’s actions were continuously ambiguous, however the impact of this scene is nonetheless magnificent. The 17 man crew’s mission is to find the meaning behind numerous connected etchings from all periods of civilization, headed by Elizabeth Shaw (Noomi Rapace) and Charlie (Logan Marshall-Green), but leads them to a situation compulsory within the Alien franchise, ambling nervously through the labyrinthine surroundings of this far-off planet. As the group becomes periodically smaller and smaller, the plot constantly intensifies, twisting and turning effortlessly until the very end.
The sensationalist nature of the movie is not merely in its breathtaking cinematography, but also through the bold performances. Charlize Theron and Noomi Rapace are perfectly cast, contrasting greatly between Rapace’s steely and determined Shaw and Theron’s sharp, glacial Meredith Vickers. The standout performance, however, is Fassbender’s understated presence as the android David, proving that it isn’t a coincidence that many of the best films of the last couple of years seem to contain his intense performances.
This a utterly spectacular film, yet with a prequel it is impossible to look at it without comparing it to Scott’s previous editions. It is from this perspective that it becomes clear that this movie is still slightly flawed. Rapace, although very good, does not quite reach the legendary status of Sigourney Weaver in the role of Ripley, who is clearly the core of the original films. Alien is more tense and chilling, whereas Aliens provides a rough-and-tumble approach, and although trying to recreate both chilling spectacles and gritty action, Scott has reached a halfway-house, making something more coherent to the expectations of a good, 21st century blockbuster. The use of 3D highlights the visual splendour of the film and the huge grandiose of the special effects, yet this in many ways overshadows parts of the film. This is too active, particularly when compared the stillness which made Alien so frightening. My final verdict is that this a film that can be enjoyed for its spectacular and bold visuals, its perfected performances and clever narrative, however it falls for the same trick as most prequels, in fulfilling the formula as its predecessors, rather than capturing what it was that made Alien original. A great film, but it is best judged as a separate modern film, rather than the prequel it obviously is.
I am going to approach this review in a completely unbiased and unprejudiced way; The Shawshank Redemption is my favourite film and I will not hear a word said against it. Yet, what the hell is great about it? It does not equal the cult levels of Star Wars, nor the disturbing intensity of Apocalypse Now. For serious, fact-based drama, Schindler’s List comes out on top, while for sheer zest and playfulness Pulp Fiction reigns supreme. So what is so great about this film, a film that garnered a (relatively) puny $28 million at the US box office and failed to win in any of its seven Oscar nominated categories? Simply put, Frank Darabont’s film goes back to the basics of cinema in breath-taking fashion. If you give great actors a great script and great direction, then you get a great film. Simple.
In 1947, banker Andy Dufresne (Tim Robbins) is wrongly accused of murdering his wife and sentenced to life imprisonment in Shawshank State Prison. Vulnerable to all of the horrors of prison life, his position initially seems unbearable; beatings, rape and above all hopelessness constitute the daily routine. “They send you here for life” comments Red (Morgan Freeman) “That’s exactly what they take“. But through his friendship with Red and his steady determination, Andy maintains his dignity and courage to rise above the degradation of his surroundings and find, ultimately, redemption. This is a conclusion the film does not easily reach, with cruelty piling on cruelty, and the film’s uplifting conclusion comes as a relief, serving as a testament to the indomitable human spirit, as well as being a real tear jerker. Andy is not superhuman but an ordinary man who found within himself unexpected depths and the spark of hope that could not be dimmed. Darabont executes his story in brilliant fashion. The dialogue is outstanding, raging from the brilliantly profane-“You fat barrel of monkey spunk!” to the simply iconic- “ I guess it boils down to a simple choice, really. Get busy living or get busy dying”. The Gothic setting of the prison augments the bleakness of Andy’s situation and serves as an effective metaphor for people who allow themselves to be trapped in their own minds and do not achieve their full potential. And don’t get me started on the performances. Robbins’ delivers a masterclass in quiet dignity, whilst Freeman’s turn as Red is surely the defining role of his career. And let’s not neglect the outstanding supporting cast. Clancy Brown excels as the brutish Captain Hadley, James Whitmore is heart-breaking as the tragic Brooks (the scene where he carves his name above the stair rail before hanging himself is one of the most poignant I have ever seen watching films), whilst Bob Gunton as the icy, hypocritical Warden Norton is, in my opinion, one of the most underrated villains in movie history. That’s the secret of Shawshank. No parlour tricks. No fancy pop soundtrack. Just a brilliant testimony to the human spirit that many films try to emulate but few can match. The Shawshank Redemption is the best movie ever. F*** off. Will Hunter
Ok, I completely get Will’s point and no sane person could possibly argue against the fact it is an outstanding film, but the best film ever? I say no, not that I would find it easy to pick out another movie as being the best movie ever. Part of my argument against The Shawshank Redemption is just that in labeling one film as being better than all other films, what is the criteria that one has created in order to prove what makes a film the best ever made? Is the best film ever a film where every aspect is done as high a standard as possible, i.e. Shawshank, or is it a film which is far more artistic or, as the purpose of films is this, is far more entertaining and consuming. I personally would argue, that although it is a great film, with a change in director and everything kept the same, or a change in an actor, the film could be just as good, and if not, better. It is hence far easier to argue that maybe it has the best script, but it isn’t quite a perfect film, or has some great performances, but it isn’t alone in containing these factors. If I had to pick an alternative best film ever, my choice would be Pulp Fiction; I feel the narrative itself is just as clever, the script I would argue is better, though clearly of two styles difficult to compare, and, similarly, the acting is second to none. I have to say though, what I feel edges it over Shawshank was the viewing experience. I was impressed and moved by Shawshank but Pulp Fiction was one of the few films where I go, WOAH! How the f*** did someone make that?! Shawshank is perfect execution whereas Pulp Fiction is an unrivaled example of creativity, making it a film that could never be made again, or anything half as good a standard as Tarantino’s masterpiece. The characters have a brilliant realism and humanity in the most unlikely setting, as Tarantino is mocking the genre of Pulp Fiction, a genre in which realism, humanity and good acting, a far harder to achieve, than in a drama of the ilk of Shawshank. However, before I write a Pulp Fiction review, I better get back to the original topic. The Shawshank Redemption is one of the best films ever made, and would easily make my top 10, it’s brilliance lies in the emotional turmoil and emotional sincerity of the characters, particularly Andy Dufresne and Brooks Hatlen, and the superb acting which contributes to this. It is slow and ponderous but this gives a significant realism to the narrative, making the characters, not only believable, but also far easier characters to relate to and sympathise with than the ruffians more conventional in prison dramas. The film has innumerate undertones, many of which are interwoven, both subtle and integral to the tone of the film, such as incredibly clever word choice, for example, where the Warden holds a Bible, stating that “Salvation lies within”. One which many can morally sympathise with, but is utterly integral to Dufresne’s story. A truly brilliant film. Not the greatest, but great nonetheless. Henry Saker-Clark
This is a film that should never get remade. It is British and iconic of subdued 50’s films, incredibly witty but poignantly subtle; for this reason Hollywood should see this as a forbidden zone. Unfortunately my warning comes far too late. Not that I have seen it, but the 2004 remake of The Ladykillers is not what a movie like that should become; people wanted to remake because it was so good, but often, films are good because they are of their right time. The Coen Brothers are undoubtedly good directors and if anyone were to make a decent effort at a remake they’d be pretty good hopes, however their brilliance often comes from their originality and zaniness, but that cannot be achieved from a remake like this. All in all, their remake was deemed a failure.
Hollywood have found impossible what the British film industry has found so easy for generations; simple, honest comedies. Ealing studies produced another gem in this warm-hearted black comedy, about how a gang of five criminals attempted to steal some loot by duping an old grandmother into nonchalantly taking it on their behalf. This mismatched gang of criminals consists of the wise ex-serviceman (Parker), hardened tough guy (Green), cockney rebel (Sellers), mysterious assassin (Lom) and a criminal mastermind who is long past his expiry date, Professor Marcus. Marcus is created brilliantly and effortlessly by Alec Guinness’ superb characterization and dry wit, edging it far past anything Hollywood would be able to produce. The failed attempts to steal the bounty, through pretending to be a string quintet in order to trick the perfectly cast, elderly woman (Katie Johnson), eventually end in the fatal yet hilarious ending, which although being a black comedy isn’t dark but as naff as you’d expect from a British comedy in the mid-50’s. This also deliciously brings back the gloomy, hazy images of an industrial post-war London and the true spirit behind post-war England, showing that gloom doesn’t last forever, and we can still have a good laugh.
It isn’t incredibly clever and as it progresses becomes rather predictable but this isn’t the sort of film to criticise the slight errors in editing, but it is a witty black comedy that has aged well, reflecting a simpler time. Regards 🙂