Through an unlikely set of circumstances, I seem to have found myself in possession of a 3 page comedy sketch entitled Risk, with no clue as to who wrote it or how it ended up in a partly torn, partly burnt mess on my front door. With the possibility of this being a leak of a first class comedy writer's highly confidential new project, I had no other journalistic option but to provide an honest and objective review of the mysterious text...
Although peppered with a heavy handed slab of nauseating post-modernism, the actual pacing of Risk isn't too bad, and manages to weave from mediocre joke to mediocre joke with a decent control over escalation: a common sketch convention, which in this case sees us go from Josh walkie-talking with his troops on the board to him spouting lines from Apocalypse Now while being tied to a chair, prisoner-of-war style. From a writer's point of view, it demonstrates at the very least a potential of sustained humour, but from a production perspective, it's hardly a surprise that this script has yet to have been made. Sudden costume changes? Alternating lighting patterns? Precise dice throws? Whatever comedic credit it had built up is squandered by this frankly amateur approach to practicality.
As for the characters, Risk's anonymous writer chose not to stray far from the norm. The 'Sane Guy/Insane Guy' setup is undoubtedly a favourite among troupe legends such as Monty Python and The Kids in the Hall, and is used here in a predictable but no less humorous manner. The problem comes in trying to picture actual actors to bring the schizophrenic dialogue (i.e. sometimes zippy, other times clunky) to life. It's no mean feat, with lines like " I've lost too many damn men to give up now!" and "Dude! You just SPAT on my carpet!" requiring a certain tongue-in-cheek seriousness that only the likes of BriTANick are capable of delivering convincingly. And based on the inexperienced vibe of the writer, it's likely the actual sketch would have relied on hokey performances from disinterested friends.
It's a shame, because when I first read the script I'd thought it to be a quite decent first attempt from a budding writer who was destined for greatness. But upon reflection, it's no wonder I'd found it in the state of tear-stained ruins that it was -- an over eagerness for production and characters had obviously meant that no self-respecting human being in their right mind would want to be immortalised in such a mess, therefore causing the unknown writer to cry themselves into a beautiful metaphor of first-world depression.
A frustratingly frequent piece of advice given to young writers is "Write what you know"; something that newcomer Aneurin Wright has taken to the next level with his debut graphic novel/memoir, as Things To Do tells the moving story of what happened to himself when he was 29 and Unemployed, looking after his father Neil in a Retirement Home Trailer Park.
Neil is sick. Emphysema ails him after a lifetime of cigarettes and stress. Nye (that's Wright himself) is his son, struggling to find work after graduating from art school and finds himself in a predicament -- to care for his imperfect father through his illness as per the rest of his family's wishes. So off he sets to spend the next number of months beside Neil in a trailer. Oh yeah, and Nye's a blue minotaur and Neil a blue rhino...
Whilst the majority of the other characters around them are human, this bizarre animal imagery is never addressed full on; we just sit there and take it. But the reasoning behind it is plentiful, with ideas as obvious as giving the book a more fantastical look in art direction and colouring (the blue, red, white and grey dominate the well drawn pages), to subtler narrative cores that pay off astronomically in the long run. As such a personal journey for this writer/artist, the cartoonish feel is essential so that it's visually more engaging and displays the distance set out between writer and experience. And thanks to the sharpness of the storytelling, it blends into the book with ease and style. With this in mind, the 300 page book comes alive through three distinct acts, each with a good 12 or 13 chapters (varying in length) that bring Wright's comedic, dramatic, emotional or just plain imaginative chops to light. There are scenes so varied that one may consist of nothing else than Neil getting a sponge bath, while another shows Nye's frustration through a dream-like, crime fighting situation. Family, epiphanies, forgiveness, regret, anger and realisation: all major themes. When I say this book has everything, I mean it -- through the humanity of the story (it is true, after all) these things are so present and come from a very real, very first hand "I felt what you're feeling times 10" place, and that carries true in dialogue, imagery, pacing; EVERYTHING.
Now things aren't all about the present, mind, as Wright consistently throws around the framing of time -- glimpses of childhood, patches of the recent past, even flashes of the imagination and the unruly subconscious of a man coming to terms with his Father's impending death. Admittedly jarring at first, but as the jumbled story progresses things shape out and we're given more fleshed out characters and relationships as a result, which is unimaginably important for the conclusion.
As if the book wasn't brilliant enough on all these other merits, Wright completely knocks obliterates it out of the (trailer) park within the last 80 pages with the most moving moments I've ever seen in the comic book/graphic novel medium. At this point, through the snivelling, heaving, sobs and streaming tears (seriously), you realise all this stuff -- the humourous touches, the flashbacks, the animal charactertures, every last minor detail -- has been plotted excruciatingly for the inevitable finale.
Jaw droppingly powerful.
At the heart of Things To Do lies almost what you'd call an everyday story of life, death and family. But through Nye's emotionally driven scope it transcends into something indescribably huge, human and heart wrenching and warming at the same time. It's in this way that Wright has captured the essence of how moving real life can be for everyone and everything in this world once put in the right story structure and imagery.
Now this is one of the best things I've read, medium regardless, in my life. And it's only his debut. I think that warrants a slogan... Nye Wright: Future Talent, No Doubt.
The funny thing about current horror movies - or torture porn, as they're often referred to - is the sheer emptiness of them. You pay, you sit down, you watch 90 minutes of kids getting murdered as gruesomely as possible and then you leave. There's no meaning or investment needed, and when truly thought about is a very nihilistic view of morals. Which is where The Cabin in The Woods comes in, to set the records straight and turn the horror flick on its head; but not in the ways you might think...
Naturally, a bunch of teenagers visit a cabin and realise that all may not be what it seems, but in a sense far detached from your simple supernatural occurrences. Because in this Cabin in The Woods, lies something perhaps even darker than your average slasher tale, as these five are going to find out, at quite a cost.
The affectionate nods and references to
the classics are a welcome sight.
For us, anyway...
Why yes, even with that undertone, what I have just described may still sound generic, but believe me when I say this: IT IS NOT. There's this unique counter-perspective to the proceedings that remarkably puts the entire genre in a new light; a spin that melds sweetly and should certainly be kept secret until you've seen the film. Half the enjoyment of Cabin comes with the surprise of this one-of-a-kind story, which isn't even held over you up to the end: just straight up, first scene twist to get the ball rolling (albeit rolling upwards).
The deliberateness of this never feels forced, thanks to the handy work of Drew Goddard (Director/Co-Writer) and Joss Whedon (Writer), who instead throw the loop at a steady, well kept pace. Both sides of the narrative are balanced, allowing enough investment into each set of characters and worlds, despite one half of these being the morbidly optimistic villains and the other a group of familiar yet updated archetypes of teenagers.
And by updated, I mean believable. Because seriously, do you really think teenagers are that dumb to always split up? No, see these guys are smart, forward thinking kids who don't lack the common sense that apparently every other cabin-bound teen does (unless that becomes induced on them, of course...). Such maturity is then reflected with their relatively newbie cast, with Chris Hemsworth as probably the most recognisable due to his whole Thor gig. However, the true standout of these is Fran Kranz as the magnetically charming "Fool", Marty. From this side of the ride, Kranz steals the show with his stoner-yet-wisdom strewn persona, nailing all the damn-right delicious one-liners thrown his way (courtesy of Whedon, I've no doubt). This could well be his star-maker...
On the super-secret flip side, you've got an abundance of unexpected laughs. Again, the undeclared shape of The Cabin in The Woods still surprises with its multi-genre bending ingenuity. While the genuine scares remain ever scarce (sorry fear-fans, this isn't quite the scream fest you're looking for), you can expect plenty of humourous gags and set-ups that may as well have been in a straight-up comedy. Which in fact works better throughout to help detail the subtext lurking underneath the 95 minutes of pure entertainment.
The thing is with Cabin, you don't just walk out with a smile on your face; you're imparted with something overwhelming to ponder upon - How is watching people die fun? How did the genre get to the point where its main selling point was to watch human mutilation? So it takes these ideas and throws them back at the audience. Sure there are some gruesome deaths in here, but they've got weight to them: you've warmed to the character, you don't want to see them die, you feel their loss. In this sense, it isn't so much poking fun at those immoral conventions as it is ripping its stale heart out and presenting it for all to see, via a string of self-aware, mind-screwing metaness.
It may not be to everyone's taste, to be thrust upon with the truth that what you might have wanted from this film (torture porn) is ultimately not right. Though that's what makes it so good, the bluntness of this point, yet the subtlety of its delivery. Some may not even notice it, but still thoroughly love the film, whilst those who totally get it will totally get it AND thoroughly love the film.
So when TheCabin in The Woods reaches its converging third act of bizarre havoc and satisfying plot turn-arounds, and you've come to terms with the fact that this was not necessarily the film you paid for, I'd say you'll be pretty damn glad you were mislead into this soon-to-be classic genre-buster.
Change is good. But an entire overhaul of expectation? Now that's amazing.
"Are video games art?" is a question I frequently see posed all around the web. The debate in which whether making something built for interaction is merely entertainment or an actual crafted product of creativity has raged online for a while now, with neither side quite trumping the other. But if Journey, the latest downloadable PSN title from thatgamecompany of Flower fame, is anything to go by, then the battle is substantially over. Journey is quite simply a marvel.
You play as an unnamed robed traveller, Journeying across a desert wasteland to reach the distant mountain top and fulfill your mysterious destiny. That's it. No back-story, no cutscenes, no dialogue. You're just plopped into this dazzlingly bright world, and told to move in that direction. But it works, delightfully so. This is the kind of game where the less you know the better, so you can fully experience what happens around you as you play.
Thankfully, the back-drops in which you do this are of a very high-class level. Sun flares magnificently off the camera and illuminates the lush sands and stones for which to explore. And whilst the desert-based adventuring quickly changes to some surprising, even vaster and often unsettling climates, the visuals evolve along with it and help to truly immerse you in this odd, mysterious world.
In terms of controls, Journey is again kept bare-bones simple. Move, Fly and Shout are your three options as you navigate your traveller through the game. As you go along, you'll encounter strange creatures and tapestries in an asian-like language, that when brushed pass give you the limited ability to fly swiftly into the air to reach higher-places and glide over the terrain.
The Shout button gives you a personal insignia to broadcast and
interact with things within the world
But the greatest thing throughout Journey is the subtlety in which it takes players along the, well... Journey. As you progress, a little more is learnt about the world around you, and why the pilgrimage being undertook is being undertaken. You won't even notice it while playing, until you take a step back and realise you've been immersed within this game for the last couple hours and are absolutely with it. Naturally, the touching and ghostly score that accompanies the entire game does a lot to help accomplish this, coming out of nowhere at times with what you'd expect to hear in a big dramatic epic. The way it guides you without ever speaking a word is something to really respect in the way of both storytelling and game-making, that unfortunately is becoming less and less common in the age of the FPS and Action Orientated gaming.
And while roaming, you may notice another traveller join you on the unspoken quest. Not an NPC, but a real person, somewhere in the world playing Journey at the same time and in the same place as you. Seamlessly you are hooked up together, with no names given and no means of communication other than the Shout button, a single communication beacon to tap for a response. For me, this was what made the game truly magical: the ability to connect to another human being, watch and react to their little movements on screen, without having any preconceptions or information on who they are. Wondering around with someone like this increased the experience of Journey furthermore, because then everything just felt so real.
Companions
We had a connection, a shared motif to play. But that's it. And so we Moved and Flew and Shouted together in a graceful harmony of what Journey really stood for. Hell, when one partner left me at a particularly dark part in the game, I was physically saddened and scared for the prospect of carrying on alone. When playing with another, there was this thrill, a sense of being that I'd never had with a game before. And then I reached the glorious final moments of the game, which were as harrowing as they were tremendous, due to me being alone and burdened with actual emotion within myself. It was madness, yet it was beautiful.
And when thinking about Journey, that seems like what it's all about: The Beauty. To give players a ride of awe and wonder with the game's presentation and experimental flow of story, to immerse them with the toppest of notch scores and brilliant execution, and then force them to feel the experience extend past the controller and screen, with the euphoria of an unseen connection whilst all these mechanics merge together to invade the mind and heart.
So when reaching those final few moments of the game, watching the credits roll and then presented once more with the start menu, I just had to stop. I had to think, to reflect, to be. It was quite a shock to have to do that at the end of a video game - I'd only ever experienced that "stare into space and absorb what just happened" moment when finishing an important book or film, but never a game. So you tell me, "Are video games art?"
If you own a PS3, if you can access the Store, and happen to have £10 free, then I believe you owe it to yourself to get Journey. As memorable as it is enjoyable (which is a seriously large amount), Journey is a modern masterpiece in gaming, and proves that you don't need guns and action to have a good time with your console. More than just a game; it's an experience, one that I doubt you'll find anywhere else for the short time it takes to finish. But of course, it's not about the destination...
The ukulele/guitar sporting comedy duo are back, with their third studio album, featuring all the wacky, crude and awesome things we've come to expect from the girls' music. This time releasing a full 13 tracks - some old, some new, some really new - Garfunkel and Oates aren't just talking about sex and relationships this time, bringing a whole slew of lyric bases and genre mick-takes.
1. Wow - In this exciting, fast paced ditty (lasting only 35 seconds), the two present a song that is oddly ambiguous in meaning. At first, it seems like a straightforward introduction to the new album and their upbeat, quirky style, sounding not far from a 90s cartoon theme tune. But listen properly to the lyrics and you'll notice it has a nice feel-good factor, telling you "You're really cool" in a sweet pick-you-up notion. In some ways, it seems just like a Thank-You from them for shelling out £7.99 for this digital-only download. All in all, a fresh, fun start.
2. Go Kart Racing - While this one may be based on true events, don't expect some deep, soulful Adele style song. No, because this is Garfunkel and Oates, so naturally the line after "Go kart racing" is "accidently masturbating", and the rest of the 2:04 song is spent describing this awkwardly pleasurable situation... Not one for the Grandma, but plenty of knee-slapping one-liners and an insanely catchy hook will have you repeating this at all the wrong moments. The key-change at the end is something to look forward to, and just the mere fact that this is classic chord strumming simplicity keeps it from getting too outrageous.
3. I Don't Know Who You Are - Riki and Kate's ability to nail real world, day to day awkward situations in their lyrics really shines through in this one, because I'm sure we've all had someone come say "Hello" and not have an effing clue who they are. Again, simple chords rule the rhythm (with the addition of some chimes at times), and the pair's vocals sound really gentle, tidy and right on throughout. Ironic, considering the C-bomb gets dropped early on...
4. Handjob, Blandjob, I Don't Understand Job - The rudest, funniest and richest song on the album, as G'n'O tackle that tedious problem of how to jerk a guy off. It really is as explicit as it sounds, making no apologies for likening a penis end to a "Darth Vader Pez Despenser" and the 'nads for The Muppets' Statler and Waldorf. There's a ton of celebrity references, some of which are a little vague, while others are absolute genius ("More singled out than CHRIS HARDWICK!"). The synth-dance beats busting out in the back lend it another flavour too. A gem, but just be careful of repeating it out in public...
5. Save The Rich - Like "Sex With Ducks" from their previous album, "Save The Rich" takes a satirical poke at political issues, this time with the whole Economic Inequality deal that swept over America this last year. Based on keyboard, and with a patriotic vibe going on, the song really takes off with the blatant tongue-in-cheek lines like "Children to exploit" and "Without their 7th home, how will they make it through?". The proper recording is also a vast improvement on the ropey YouTube version they'd uploaded a while back, allowing full appreciation of the song's entirety.
6. Hey Girl in The Moonlight - A good ol' classic that first appeared on their debut album, Music Songs, this one is undeniably Garfunkel and Oates, with their awkward-moment lyrics, sweet chordal structure and in a delightfully quick fix of 1:21. Quite a defining song for the duo, which works really great if you're craving a lil' comedic motivation.
7. The Ex-Boyfriend Song - Sensational. Truly, this is just a complete comic masterpiece. 6 seconds long, but just so god damn funny. You have to hear it to believe it. Moments like this is what reminds us that Garfunkel and Oates are still entirely original.
8. Silver Lining - Another one from Music Songs, but one that definitely needs more exposure due to its brilliance. It's obvious the gals can do comedy, but with Silver Lining things sound a bit more serious and surprisingly it works rather wonderfully. Sure there are some humourous beats in there, but ultimately this is about picking yourself back up after a break-up or similar incident and feeling good about yourself. Actually quite touching, this song stands out as a cute, self-esteem boosting tune that plays beautifully on the ears.
9. I Would Never (Have Sex With You) - What I love about this track is its familiarity. Taking on a bouncy, joyful and classically 40s sound, I Would Never gives some of the cleanest (but nonetheless fun) lyrics and has an honestly jolly warmth to it. If you were looking for an upbeat, bob-along song, then this is it.
10. Google - Kicking in to ballad mode now, with the contrast between daftly apt lyrics of Googling a potential date, and the strong flow of the very power-ballad chorus. Of course, there's a few iddy-widdy bridges that serve as nice breaks (and sound oddly like nursery rhymes) and the last line's a killer.
11. I Would Never (Dissect a Ewe) - In a meta-esque throwback to No. 9, the girls prove their comedic ability, literally riffing off their own material in side-cracking, gut busting self-mockery. Yep, taking all the same parts from the previous tune we're now rewarded a piece about science class and dissection of animals (hell, you may even learn a thing or two). I presume this started out as a joke and then blossomed into a fully realised, awesomely laugh-tacular song, which is something no other artist could probably get away with. Enjoy, but just watch out for that "Sheep Ghost"...
12. My Apartment's Very Clean Without You - We go melodic with this piano/vocal track, which gives out the pretence of being some sort of meaningful sad song, and then makes it all ironic with the whole "I'm glad I dumped you, because you messed my place up" theme. More variation like this is always welcome, and does a decent job of rounding out the album before the final track, in a calm, sophisticated and truthfully funny way.
13. Go - Coming full circle with an identical set up to No. 1's Wow, Go does pretty much the same thing, except in an even more grander fashion. That Feel-Good factor is now amplified and set to a more Motivational pace, urging - daring - you to "Go Live Your Dreams" and is amazingly inspirational if you really listen to it. A very sugary high note to end the album, making anything that you didn't like (somehow) become forgettable in place of this diamond. Le fin.
A great album for any comedy loving fan, with a musical heart that you'll be hard pressed to find elsewhere. The only downside: could've done with a couple more songs, maybe a special "Featuring Guest Star..." one. But the comedy within its own self, even outside of the music, is a sure selling point that makes it clear that Garfunkel and Oates have a vivid staying power, and a bright, jolly future ahead.
After years of minor TV movies and cameo appearances, The Muppets finally return to the big screen, and they're bringing all their charm, magic and beauty with them. Yes, despite all the worry, The Muppets come-back is a spectacular one that doesn't take itself too seriously, in true Muppets style, and delivers on almost every level.
The story sees mega-Muppet fan brothers Walter (a little Muppety man in his own right) and Gary (Jason Segel, who also co-wrote and got this whole thing together), as they make their way to LA to see the legendary Muppets' Studios, along with Gary's long-time girlfriend, Mary (Amy Adams). But little do they know that their journey is going to involve reuniting their heroes, The Muppets to save their theatre from evil oil baron, Tex Richman (Chris Cooper).
This set-up to reintroduce the Muppets to a world from which they were staling with a humbling self-referential cheek, is what gives the story a very warm heart that hearkens back to the Henson days of Muppetery. In other hands, this could have seemed like a cheap and easy way to make another Muppets film, but in Segel (a self-proclaimed Muppet-nut himself) and director James Bobin's hands, it just works. Segel's love for the Muppets is ever present in the charming script, with some definite connections between his own fandom and the characters of Walter and Gary.
An old favourite and a new favourite.
With Walter, the team have truly struck gold, presenting one of the most likeable, relatable characters I've ever encountered. If you don't immediately fall in love with him, I think it's safe to say you have no heart. Not only that, but he's given a wealth of development despite the lime-light being shared between Kermit, Miss Piggy and everyone else. Watching Walter fulfil his destiny in becoming a Muppet is a heart-touching experience, worthy of any good Human centred story; perhaps even exceeding it in terms of emotional beauty.
Once Walter, Gary and Mary are all set up into proceedings, the film kicks into nostalgic high gear with the entrance of Kermit and his buds. Taking on a classic "We're getting the band back to together" vibe, we get to see the "Where are they now?" for the old gang, including Fozzie as a failed motel entertainer, Gonzo as a plumbing entrepreneur and Piggy as the editor of Vogue magazine. Again, the universal wit of The Muppets shines through this, giving out laughs for the kids, the adults and even a few subtle ones for the adult adults. One Liners, Set Piece Gags, Running Puns, Meta Mocking and "What's Going on In The Background There?" are all at the very forefront of the jokes, with the hits far more frequent than the 1 or 2 misses.
The characters still feel like the ones we'd left behind, saying what you'd expect and acting as they would, resonating the Henson/Oz spirit that made them the cult-phenomenon that they are today. When they get on that stage for the "Save The Muppets Telethon Spectacular Show", everything comes flooding back and you just live in that Muppet world for those moments. The transition into a new era has gone as smooth as it could; the magic always intact - never the thought of "there's actually a bunch of dudes with their hands up some puppets behind it all". The truth is that when you see Kermit sitting on that log with his little banjo, singing "Rainbow Connection" with the same innocent earnest as he did 33 years ago, it is just pure, undeniable movie magic. Heart-String-Tugging indeed.
Which brings me to the music, because of course, it wouldn't be the Muppets if there wasn't any giggle-a-long (and often strikingly meaningful and touching) songs. Flight of The Conchord's Bret McKenzie provides some of the greatest Musical numbers - even by Broadway standards - that you'll hear in a long time. Alongside the classic Muppet tunes and some renowned pop hits that have been "Muppetefied", McKenzie, like Segal, has embodied the old school Henson style, with the shiny, upbeat "Life's A Happy Song", the brilliant, Oscar Nominated ballad, "Man Or Muppet" and the villainous "Let's Talk About Me" rap from Chris Cooper (which comes off hilariously dastardly - hilarstardly). Tongue in cheek and gloriously Muppety, these new songs are sure to be well remembered, repeated and rejoiced. Oh, and the Conchord's style is so awesomely echoed throughout.
Ah, and the cameos, the glorious, glorious cameos. Whilst some may be missed by those less familiar with American TV and culture, those that get them will be overwhelmingly pleased. Their presence is frequent, with some well loved show-biz faces popping up in some delightfully funny places. Believe me, one in particular was so exciting and genius that I was giddy beyond belief. And naturally, they all reappear in the during-credits "Mah Na Mah Na" theme, to much (in my head) applause.
Sure it's got its flaws; some things don't get enough time as they deserve to truly flourish, predominantly in the relationship between Mary and Gary which feels a tad rushed and unfocused. A few Muppets, while featured, seem neglected (more Gonzo, Rizzo and Sam The Eagle please!), but it's justified with the obvious time constraints. Baddie Richman could have done with some extra motif via exposition too, but that does get cleared up in a cut section of his rap.
But this is The Muppets: those things don't matter. We're not looking at an ultra serious movie here, after all. It's got all the elements it needs, and is fuelled by them to no end, resulting in an almost perfect rendition of The Muppets to date. And it's like Henson always said: "If it's too good, then it's not the Muppets". What Segel, Bobin and McKenzie have done is extraordinary; a true movie feat - to take something that's relevance was fading, and replenish it to audiences which will remember and love and crave, want, whistle and cry for more. One thing's for sure: THE MUPPETS ARE BACK.
The Beloved just got Reloved:
4.5/5 Stars
*Kermit Flail*
ATR
And stay posted for my upcoming review on The Muppets Original Soundtrack!
First a children's novel in 1982, then a hit stage adaptation in 2007, and now a massive motion picture helmed by the generation's most iconic director, War Horse's rising commercial success is almost an exact parallel of the story it tells within its self. After being thrust into unfamiliar territory, far from its humbling roots, both the evolution of this tale's adaptations and its very own hero, Joey (a born and bred British horse) rise to their respective occasions and thrive throughout their new-found paths: both on a road lined with shining gold, if this year's award nominations are to go by. Because War Horse, in true Spielbergian style, is as classically retold as the day it was written - albeit with an even larger focus on tradition, emotion and all around heart.
Young farm lad, Albert (newcomer, Jeremy Irvine, who proves to be quite the up-and-comer) is in a state of crisis when his home and family come into some serious financial problems, worsened further when his father buys a particularly strapping young horse, Joey. But the Albert and Joey phenomenally, and when Joey is sold on to serve the country in the Great War, Albert swiftly signs up to find him, leading them both into the terrifying scenarios of the First World War.
As Joey goes along his journey, his reigns are frequently swapped among the movie's supporting cast. Beginning with British cavalry men, played by rising British stars Benedict Cumberbatch (Sherlock) and Tom Hiddleston (Loki in Thor/Avengers), onto two German brothers, a sick French girl and her Grandfather, and ending up in No-Man's land, where two rival nation's morals are tested in a touching, humorous encounter worthy of applause.
Throughout Joey's adventure, his faithful owner Albert pursues him, and the two's situations are mirrored in each others. With this narrative device in play, things could have become over done - the parallels between our protagonists made too obvious - but luckily, it maintains its beauty by becoming a subtle addition to the story arc, one that may not even be noticed until after leaving the cinema. This now subconscious link between them lets us in on more of a connection that eventually aids in the eye watering finale, which comes in a such a full-circle way that it's an actual challenge to keep that lump in your throat down.
Spielberg really hones in on the raw emotion of the dramatic scenes, giving each character stage a different flair in terms of tone and heart. When matched with John Williams' thriving score of wartime brass and some astounding woodwind, you've got a living, breathing beast of a film, packed to the brim with compelling moments that tug at the heart strings, even after the credits have rolled.
Coupled with his regular cinematographer, Janusz Kaminski, Spielberg presents trench warfare and the battlefields of WWI with a sincere level of accuracy. While these scenes remain action-focused, they steer clear of intense blood and gore (Private Ryan, this is not) and instead linger on something more profound, with the actual genuine scare factor of these heightened with the urgency of the battle. And when the fighting is off screen, the time period still shows not just in terms of the story, but in the way a classic, 1940s war film would have been shot.
The gold brazened fields of Devon stand bright among the creative angles Kaminski takes with his photography, lending some of his most beautiful work to date with the tasteful scene transitions (ploughing fields into knit wear=genius) and the occasional clever cover up for death (a windmill craftily conceals an execution). It's this innovation in its storytelling that gives War Horse an edge over other companion based tear jerkers, because all the while our heroes are galivanting about in the forefront, these slight insinuations of a wider world where the reality is as grim as it gets, reminds us of how high the stakes are, and how this is very much rooted in history in an almost mythological way.
With such a deep and moving tale, Spielberg shines, bringing the very same - if not higher - emotional notes that made his career what it is. It's epic, bold and emotive, yet doesn't shy away from some typical British humour, furthering the pure potential of enjoyment. Without over stepping the mark in melodrama, we're treated to an uplifting tale of charm, ultimately boiling down to a true study of the human spirit and all its vulnerabilities. Friendship has never been more poignant.
See it for Spielberg, see it for the History, see it for the magnificent visuals, and above all, see it for the beauty. This is an emotionally charged, highly driven piece of cinema, which gives as good as it gets. Spielberg delivers on a stunningly moving movie, with enough warmth to get you through the 146 minute runtime without the slightest regret. Blistering powerful: you will need tissues.
After finally returning to the beeb after its tour of reruns in response to the terrific BAFTA run it had, and the delays of re-scheduling for the show's stars to appear in next year's The Hobbit, Sherlock's second season had a LOT to live up to. But all that apprehension diminishes within moments of the first of another three outings, A Scandal in Belgravia.
With the show's trademark modern spin placed on Doyle's classic A Scandal in Bohemia, which introduced Holmes' one and only love interest, Irene Adler, we see Sherlock from some all new (entirely mesmerising) angles. And I'm not just talking about the stylistic camera angles deployed by director Paul McGuigan, although they were very much a spectacle in their own rights. Varying things up with the dizzying "Coaster" shots and spins, faded with the suave swipes of character to character as Sherlock passes along on each potential case in the comic, yet ultimately vital, re-introduction of our two heroes.
Writer and creator, Steven Moffat (Doctor Who), starts things off slowly and doesn't rush us into the character of Adler, instead opting for a little exposition (despite the anti-climatic teaser). Sherlock is back to his stubborn ways, not even bothering to leave the house for a case and refusing to get dressed; even if it was for the Queen. Mycroft Holmes is given a meatier part to play than in the first season, setting up the meeting of Sherlock and Irene, and eventually giving us the bigger picture towards the end of the episode.
Ooh, Kinky!
And it is with the introduction of Irene Adler, (played by Lara Pulver, who recently starred in Spooks) that Moffat's writing really takes off. When Irene walks in naked, it is clear she is not to be trifled with, as Sherlock finds out in a brilliantly scripted battle of wits between the two, literally running through the entire episode. His bafflement and frustration is something new that we haven't yet seen from Sherlock himself, and it's really intriguing to see what happens when things aren't going his way. But, like all good geniuses, Sherlock becomes almost infatuated with "The Woman" who almost got the better of him.
Here we begin to learn more about Sherlock's character and his reaction to a female's advances. Like a stroppy teenager he becomes secretive about her, his childish tendencies coming forward to disrupt the cool, collected detective usually at hand. The accusations of "Virgin" flung at him by various characters seem to bounce off, ignored and uninterested by the man. Is he embarrassed? Or does he simply not care? It's just one of those ever present questions that looms over his rich, complex character.
It is clear that Sherlock does have strong feelings about women in general, making no hesitation in throwing a man out of a window countless times for disrespecting dear old Mrs Hudson. That a self kept character such as he still has the same morals as any good hero stands to prove the mileage Sherlock still has in him. In fact, I believe we're just scratching the surface of his potential depth, because we even see him going all vigilante in this episode, taking out goons much in the style of our favourite Bat-flavoured superhero.
Which reinforces Moffat's intelligent scripting, as this kind of pure character development shines through, while still leaving time for tons of action, humour and intricate plot weaving that leaves the viewer flabbergasted with such entertainment. Despite this being her first appearance, Irene Adler is still given a wealth of characterisation herself, and we begin to understand her personality and motives, regardless of the 90 minutes we spend with her.
Spot-on editing: not a slip. Classy stuff.
From her racy profession of the independent dominatrix, it doesn't take long to realise Irene Adler is not your ordinary female adversary. Powerful, unpredictable and mysterious, Addler doesn't beat around the bush with matters -- in fact she gets, quite literally, straight to the bush. Yes, our first impression of this highly intellectual woman is that of a naked variety. Wonderfully edited, this scene acts as the staring point to show where this character comes from and what lengths she's prepared to go to (as we find out by the end). While complaints flood into the BBC about "the atrocities of showing such a scandalous scene before the watershed", this still stands as one of the most poignant of Sherlock's scenes to date, strengthening the uniqueness and vitality of the show without ever staling in themes, image or even controversy, despite being reworks of well known and celebrated material. We're talking boundary-pushing stuff here.
Irene works in the background from then onward, and the tension between her and Sherlock inevitably rises, even more so when she's not even present on screen. This brings us up perfectly to the reveal of the true conspiracy at work, including that sweet allusion to the Coventry cover-up of WWII. The subtleties at which it drops in is both a shock and yet completely "Of course"-like in nature. Again, Moffat's writing lends itself ingeniously to that kind of mystery; the kind where the ending is there all along, almost subliminal, yet still viewed as a twist while the pieces still click together in the back of the viewer's mind. The eerie "Flight of the Dead" operation is suitably grim while Adler reveals her true intentions and Sherlock stands the fool, played and failed, whilst the hushed tones of Moriarty's devious dealings can be heard faintly in the background. That is until the ambitious turn around, with Sherlock figuring the code to Irene's little phone of secrets and coming off not so scathed. In other's hands this may seem cheap, but Moffat and Cumberbatch nail the execution, still showing us that Sherlock knows he hasn't entirely won.
This is all complimented hugely by the the rest of the episode, which on the outside seems like mere filler, but all cleverly works itself into the grand scheme of things. The comments about the morgue, the clients at the beginning, Moriarty's phone call in the teaser: it all adds up. Not to mention the wondrous winks, nods and tongue-in-cheek puns that litter the snappy dialogue and contexts. Watson's write ups on the blogs contain a few of the littler known adventures of Holmes and Watson from Doyle's extensive bibliography (The Geek Interpreter = The Greek Interpreter), while the inclusion of the Deerstalker and Pipe had me literally squeaking in delight. And who can forget that Watson line of "Mycroft's bloody stupid power complex" which was immediately cut to the Battersea Power Station. Wit at its finest, ladies and gentlemen.
Still close, still awesome.
While the focus may remain on Sherlock and Irene's relationship more predominantly, the Holmes and Watson mutual love doesn't suffer for it, as the two still share some adorably compassionate moments, fuelled by the actors extraordinary acting abilities. I tell you, it was damn joke that Cumberbatch didn't get the Best Lead Male BAFTA last year, because this is British performance at its peak.
The cute "twist of the twist" at the very, very end raps things up nicely in the humour aspect of the show, whilst also giving us the chance of a possible Adler-Holmes team-up in the not so distant future. Once the rounded package finishes up after the hour and a half run time, it almost seemed cruel to make us wait another week for the next episode. Blatantly a 10/10 show, now release the hounds for next Sunday's, The Hounds of Baskerville!
Doing a fourth instalment of a well known franchise is always a risky move in Hollywood, especially when that 4th film is being directed by someone who's previous works have all been purely animated (Brad Bird). Add to that the fact that the flagship star of it all, Tom Cruise, is now getting on a bit (coming on to 50 this year), and you've got yourself a shaky foundation to start from. But luckily, M:I - Ghost Protocol doesn't just excite with its baffling gadgetry and all-out epic stunts, but also entertains and delivers something a little more than just adrenaline action.
Ethan Hunt (Cruise) and his highly skilled spy team, the IMF, are shut down after being accused of bombing the Kremlin during a simple intel mission. Now underground, the group (mostly fresh faces) find themselves traversing the globe in search of the conspiracy that led to their current rogue status, and discover that the entire world is at stake; with only them to stop it, and everyone on their backs.
Within the first 10 minutes the tone is set and the pace identified, as Simon Pegg's Benji and Paula Patton's Carter hatch a daring escape plan to bust Ethan out of a high security Russian Prison. It doesn't take long for us to establish Bird's style with a humour fuelled action sequence played out delightfully between the banter of Cruise and Pegg, with the two agents squabbling aimlessly while prisoners riot to the sound of Dean Martin's "Ain't That a Kick In The Head". From this early scene alone, it's obvious that Bird has defied the odds.
Holy Shiiiiiii...
From there on, it carries this sense of entertainment into some truly spectacular set pieces; the highly publicised and highly high acrobats of Cruise around Dubai's notorious Burj Khalifa, (which includes some terrifying "edge of the seat" moments), an intense simultaneous dual-con scene involving deadly assassins and silicon masks, and a desert storm chase that's sure to get the popcorn flowing. With all this fast paced action, you'd think the plot would fail, but thanks to some neatly placed and neatly written dialogue the story hangs on just enough for it to be clear, but not patronising.
Of course, Cruise keeps Ethan the same as ever, the all-american hero type, albeit slightly bitter since the whole "Your team is shut down" thing and an apparent "Your wife has left you" issue. Naturally, the guy's going to be a little pissed. Remarkably though, he's still able to keep up with the hugely demanding physical stunts without the aid of "Cutting Corners" CGI and gels well with the rest of the team. Pegg, as always, nails the comic relief of gadget geek Benji, with just the right expressions, tone and timing to fit into the story without becoming a plot device, while Jeremy Renner's secretive Agent Brandt compliments this during the third act, simultaneously pulling off the kick-ass moments too. But no team would be complete without the female companion, and Paula Patton manages to keep up with the boys, despite the predictability and misfired themes of her role.
I can see where this is going...
As the third act take shape, the pace remains the same, but the writing weakens slightly. There's a couple of predictable turns (Of course, the woman has to seduce the enemy... *Groan*), and mismatched situations where the gadgetry steps out of realism and borders on "Spy Kids" territory, which seem cheap compared to the gripping nature of the previous scenes. The ending, while cheesy as it gets, still has a certain roundness to it, although it doesn't try to bend the genre with any unexpected final thrills, but I guess that's not what you're paying for.
For a film that had such low expectations (from me at least), these discrepancies aren't too major when you consider how well the rest of the pay-off was. For a big-budget action movie, Ghost Protocol pulls enough of the right punches to secure it a success among a graveyard of failures within the same genre. While it may not nail everything, at the very least it's got some of the best action and surprisingly good laughs that I've seen in a long time, without sacrificing too much of the narrative.
After 2 whole years of the US hogging hilarious comedy series, Community, the show's first season has finally been released in the UK. The saddest thing about it, however, is how little attention has been paid to the series, which takes place in fictional community college, Greendale. You see, across the pond here, the 25 episodes were only ever aired on VIVA, a channel located in the 'Music' section of most digital providers. Hence: no one has seen it.
The Show
Boasting a large array of unique characters, which dynamic from one another drastically (from race to age), Community brings us Jeff Winger (Joel McHale), an ex-lawyer who now has to redo a degree in order to get his lawyering license back. He's brash, narcissistic and pretty much a douche-bag. Some of that changes, however, when he meets his new study group, who he's going to have to learn to love to get through the hell that is Greendale Community College. Thus, Community is born.
Enter Abed, Britta, Troy, Annie, Shirley and of course, the obnoxious Pierce (Chevy Chase). Together with Jeff, they form 7 very different characters and personalities, which cultivate into the ultimate clash of culture. The outcome: pure win. Every single one of them melds so well with each other, whether it be the dumb Jock, Troy, pop-cult messiah, Abed, religious Mom, Shirley, or even the cutesy "We Must Not Sexualise Her" Annie.
And it's through this group that we experience the eccentricities of Community, providing us with a completely unpredictable episode every time, whereby one time the gang could be holding a protest and the next could just be a parody of multiple movies. Quirky, quick and quippy comes the humour, in all manor of form. Donald Glover (who plays Troy) proves to be a great physical comedian, improvising lines and doing the goofiest of expressions, while the idiosyncratic Abed gives the show this meta-flair, full of self-referential jokes and pop-cult intricacies that stands it aside from other, more self contained shows, planting Community firmly in the post-modern world with these tongue-in-cheek sensibilities.
While we do occasionally fall into soap-like love tangles, they usually resolve themselves, aided by the fact that the script literally acknowledges its own misguidances in the aforementioned meta-humour way. Character development works much the same way, with a general unease about Jeff's likeability vs douchability, and the saga that is his love interest, Britta, and how her character goes through so many motions. But of course, this was just the first season, so the finding of feet is expected, even if it is a bit bumpy.
What's not bumpy though, is the supporting cast outside of the main group. The Hangover's Ken Jeong plays the zany (as you would expect) Spanish teacher for the study group, Senior Chang, and brings his trademark hilarity (through ad lib and physicality) in spades. And then there's the flamboyant Dean Pelton, ravishingly portrayed by Jim Rash, who has this obscene amount of campness which gives the show yet another layer of laugh-out-loud-ness. Heck, Jack Black even drops by for one episode, and makes one of the funniest TV scenes I've ever witnessed.
Racial sensitivity is forgotten and thrown away in favour of this metro-humouristic way of comedy - aka; no one cares about it. Which really stands to another point of Community's genius, by letting go of society's discrepancies and serving itself as a point of moral code. It's not like this to a point of offence, because the voices are of the light-hearted characters (mostly old-man Pierce), not the writers themselves, so the lee-way is given and allows the viewer to just enjoy the diverse cast and comedy on offer.
There are plenty of giggle-till-it-hurts moments, WTF moments (the greatest of which are usually the Troy and Abed shorts at the end of each episode), "Awhhh" moments, "Aha, I get the reference" moments and I guarantee that 90% of the time, you'll have a huge grin on your face while watching. It may take a few episodes to properly get in to it, but once you do, you'll love these characters and won't want to stop watching.
4.5/5 Stars
The Extras
As if the price of the box set wan't worth it for the episodes alone, there's also tons of add ons to compliment the ultimate Community experience. Not least of these is the fact that there is a commentary for each and every episode, providing those with the initiative to listen a charming little insight. While not particularly anything of substantial depth, they're fun enough to at least sit through a couple, with the majority featuring series creator Dan Harmon and at least a couple members of the lead cast.
Then there is the gut-achingly funny out-takes on each disk (of 4) for their respective episodes, which often show the improv that goes on, especially with Donald, Joel, Chevy and Ken. Jammed in between all this is also some mini-episodes (3 ninety second shorts), a highlight reel (best bits), a rather dry "Cast Evaluations" segment, and the strangely humourous "Creative Compromises" featurette. All in all, it just adds longevity to an already great package.
4/5 Stars
So with all this awesome from Community, it really is a wonder why no major UK network has picked it up. The way I see it, it sits in the same slot as Scrubs did (quirky humour), and so surely E4 should have given it a look. Anyway, despite Television's neglect of it, you can still thoroughly enjoy this gem of a box set, and just hope that it gets the much deserved main stream British TV service soon.
Show: 4.5 Stars Extras: 4 Stars
Stand-Out Episodes: "Spanish 101", "Introduction to Statistics", "Comparative Religion", "Investigative Journalism", "Contempary American Poultry" (literally a love letter to Goodfellas and The Godfather) and "Modern Warfare" (one of the best twenty-one minutes of television - EVER).
Ah Firefly, the gleaming gem in a forest of blackened crystals, whose searing brilliance was extinguished long before its time. Often considered the greatest sci-fi television series ever, and often true in that statement, Firefly become a pop-culture phenomenon after its premature cancellation in 2003, and set itself deeply into every geek guy and girl's hearts who were lucky enough to glance upon it.
So when I first picked up the series (of which there are but 14 episodes) on DVD back in April of this year, I had some high hopes. Now, 8 months later, I don't think a day goes by where I don't spare at least one thought to the show. It is that amazing. So when the Blu-Ray was finally released in the UK, I was lucky enough to win myself a copy.
The Show
Created by TV legend Joss Whedon, Firefly is a genre-bending experience, blending that of the classic sci-fi conventions with a scruffy Western feel to bring us something entirely unique. It takes place five hundred years in the future, where a totalitarian regime known as the Alliance rules the systems as a combination of both America and China. The show follows the escapades of the crew of Serenity, a Firefly-class vessel as they drift through space looking for work (legal or not) to keep food on the table and fuel in their engines.
Scattered with layered and deep characters (some of which are the best I've ever seen), choc-full of witty dialogue and intelligent scripting, yet still shiny in the special effects, Firefly presents you with a realistic science fiction world, in which our "Big Damn Heroes" aren't always winning. It's this honesty and relatability that gives the show its edge that has carried it in such high regard after all these years. It kick-started literally everyone in the extremely talented cast into pretty big careers, namely Nathan Fillion, who's now regarded as a God of Geekdom.
So without further a-do, I obviously present the show with:
5/5 Stars
The Quality
Of course, this is a Blu-Ray upgrade, and so I must also cast an eye on how the new and improved picture and sound matches up. Putting the show in 1080p was always a bit risky with the fan base, who adored the classic roughness the show had pertained with its grains and flares. Luckily though, this charm still remains, but the whole thing just looks a lot crisper. We don't peer at all into what I like to call "Mexican-Soap-Opera" territory (whereby the HD makes the program look cheap), and instead are rewarded with a sharp, detailed and colour popping viewing experience of Captain Mal and his Crew. And those shots of Serenity - in 1080p - are to die for. The only issue I had with the picture was when there were really dark scenes (namely the battle of Serenity, in the first episode), and it became almost squint worthy to get what was going on.
The sound, now in 5.1 audio is obviously a vast improvement on the DVD's tinned noise. While volume may be a problem with this (i.e. effects too loud over voice), and some SFX still sounding cheesy as hell (*Kapow!* for punch!), the thing that makes up for it most is Greg Edmonson's rich and culturally bizarre score. The stuff is like gold dust to the ears - banjos, violins, big round drum thingys - you name it, it's in there, and it sounds great.
All in all, I'd give the quality:
4/5 Stars
The Extras
A blu re-release always means one thing for sure, and that's new special features. Building upon the DVD's bonuses (which included a few short featurettes, 4 deleted scenes, gag reel, 7 commentaries and a few goodies), is a new commentary track (on Our Mrs Reynolds) featuring Joss and literally half the cast (it's mostly them laughing for 40 minutes, but still fun) and a half hour "Reunion Lunch" with Joss, Nathan, Ron and Alan. Both new features are worth the watch, almost purely because they were recorded over 5 years after the show's original 2003 run, so there's a lot of hindsight and reminisce. They also talk about Monster Cows and how there should have been an episode where someone's hands expand...
More Firefly stuff obviously equals more awesome, but only 2 added things is slightly lacking compared to how some re-releases work. Paired with the original extras, this is easily 5 Star (mostly down to the insightful commentaries alone), but as the bonuses on top alone I'm only going to say...:
3.5/5 Stars
If you own a Blu-Ray and are a Firefly fan (or Browncoat), then it is literally your duty to go out and buy this, even if it's for the picture upgrade alone. Fans without a Blu-Player, I'd say that this isn't your sole reason to get one, because even though the new stuff is cool, it's not quite worth that much, especially if you're not too interested in commentaries or behind-the-scenes stuff. And those who've never seen Firefly, well shame on you! Go out and at least pick up the DVD and experience this most tasty of TV shows.
Show: 5 Star
Quality: 4 Star
Extras: 3.5 Star
Stand-Out Episodes: "Serenity", "Shindig", "Out of Gas", "Ariel", "The Message" and "Objects in Space".
Time is a valuable thing, no matter how you spin it. It could be spent watching movies, much like sci-fi/action flick, In Time, starring Justin Timberlake and Amanda Seyfried. Alternatively it could be spent reading reviews, much like this one. Or even, it could be spent protesting against corporate greed, much like the recent Occupy Wall Street campaign sweeping over the world. Because if In Time doesn't soar in some aspects, it certainly makes up for it in relevancy, giving us a tale that speaks volumes of social and economic inequality in a time that reeks of the stuff.
Taking place in an undisclosed point in the future, In Time has one very central idea; time is money. People are bio-engineered to stop ageing post-25, and instead must rely on how much time there is left on their forearm's ticker until they kick the bucket. But while some of the world live in poverty (whereby absolute poverty = sure death), the upper classes coast by with a potential of immortality. But one man defies that lifestyle, after being framed for murder. And he, along with gal-pal Sylvia, will stop at nothing to tear down the rotten system and give hope to the struggling people.
When everyone is 25, who can tell between mother, wife or daughter?
That man is Will Salas, played by none other than pop-superstar Justin Timberlake. Still fresh from his sudden change of career paths, Timberlake gives a solid performance that (while not quite a match for his smart and smooth delivery in The Social Network) proves further his place in today's Hollywood scene. After a slight weak patch in the introductory slum scenes, Timberlake comes into his own with action, romance and emotion as we see Will's journey to truly "stick it to the man", taking him on risky poker games, car chases and lots and lots of running.
Sexy Back: a predictable couple, but gorgeous none-the-less.
So it's a good job his running mate, Amanda Seyfried, is also on par, giving us the naive rich girl, Sylvia Weis, as she comes to terms with the fact her lifestyle really might be superficial. The contrast of their characters gives the narrative a neat dynamic of opposites attracting and an obvious romantic element that works, despite the predictability, while they work together as a futuristic Bonnie and Clyde/Robin Hood. Then Cillian Murphy pulls off a great show with his head TimeKeeper role, (a cop) managing to really embody a 50 year old man in a 25 year old's body, through tone and movement with his deadpan way.
The setting and ideas involved are really unique, and will keep you interested despite the numerous plot holes and continuity errors that pop up. It's good to see an entirely fresh and independent story hit our screens for once, as opposed to the wave of adaptations, reboots and true-stories recently, so kudos to writer/director Andrew Niccol. Could you just imagine, a world where time is your money? Haunting, deep and somehow eerily believable despite its ridiculousness.
Released at any other time, In Time may not have been as poignant, being seen as merely some science fiction fun with a fast pace and neat scripting. However, as mentioned, in these times of economic imbalance the film stands for a lot more, even going to the extent of a near-social commentary of a film. Whether this was pure coincidence or an intention of Niccol's (who previously wrote The Truman Show) is unknown, but it sure gives it a relatable and intelligible edge that it may have lacked otherwise.
There still remains a plethitude of minor nuances to be found, such as a weak sub-plot, loose ends that never get fully established and an ending quite unfit to the rest of the tone. A couple things get dusted off in cheap ways, which seem like a harsh rushed way of finishing for certain parts and some directions don't quite justify themselves to full extent.
In Time is, above all things, a thought-provoking piece of cinema, blending a unique sci-fi plot with real world issues into a quick and punctual movie. It's got a real sense of independence, never borrowing from an identified source too long to be noticeable (although the nods to Logan's Run, Bonnie and Clyde etc are unavoidable) and when action picks up the pulse starts racing after some subtle subdued moments of tension. Slight niggles bring the overall quality down though and its running time of 109 minutes seems a little too generous.
Nevertheless, In Time is a film certainly worthy of your time, if just for the coolness of its plot and the significance of era-specific themes.
3.5/5 Stars
