Gary Ross's female-led heist spin-off is a movie saved wholly by the likeability of its players. An entertaining if unadventurous adventure, Sandra Bullock's plot to liberate an obscene quantity of karats from the Met Gala isn't let down so much by its overall predictability, but lack of any real third act, cliff-edge danger.
Plenty smooth but with absolutely no weight, this screenplay corners like it's on rails. Not as witty, zippy or smart as a cast the fantastic deserves (the writing and the editing, basically), the gang nonetheless give it their all and just about win the audience's trust in return. And fair play to the physical acting chops of Bullock and Cate Blanchett, each wearing so much foundation that I'm amazed we were able to see their faces move.
Thoroughly undemanding and 12A-safe, check your disbelief in at the foyer and you'll have a much easier ride…
The previous Ocean's movies, I shouldn't wonder.
I haven't actually seen any of them. No agenda behind that, they just haven't crossed my path. And with the best will in the world, that isn't something I feel I now have to rectify.
Well the distributor of this movie has lined up a selection of pre-film adverts and trailers suggesting they believe that every woman in the land will flock to the cinema to see Ocean's 8 instead of watching The Football™. Not a completely unfair assumption, but a pretty patronising one. And given that tonight's sizeable audience was around one-third guys, it's not entirely accurate either.
Stream it, or wait to buy until it comes down in price.
Doubtful, although I'm sure we'll have an interesting conversation about Cate Blanchett and Helena Bonham Carter's accents apparently being stuck in Shop Demonstration Mode™.
DISCLAIMERS:
• ^^^ That's dry, British humour, and most likely sarcasm or facetiousness.
• Yen's blog contains harsh language and even harsher notions of propriety. Reader discretion is advised.
• This is a personal blog. The views and opinions expressed here represent my own thoughts (at the time of writing) and not those of the people, institutions or organisations that I may or may not be related with unless stated explicitly.
Thor: Ragnarok (2D / second-pass / SPOILERS)
Cert: 12A / 130 mins / Dir. Taika Waititi / Trailer
And so, I somehow find myself with surprisingly little to say about Thor: Ragnarok. Especially odd given a) how much I loved the film the first time around, and b) how long it's taken me to schedule this second-pass despite singing the praises of the film to everyone in between*1, to the point where I've missed the 3D screenings*2, so have only seen this most psychedelic of Marvel movies in two dimensions.
And this shorter-than-usual review is certainly not because I enjoyed the movie any less the second time; quite the opposite in fact. The self-defeating mechanics of the villains in Surtur and Hela made more sense when viewed from a distance, as that's basically something that's spread out over the whole screenplay but quickly explained by Thor in the middle of the final battle. It's a neat solution to Marvel's usual problem of either nerfing the bad guys and making them too easily beaten, or having them survive and making the heroes look weak. Because everybody loses here, we all win.
And speaking of losses, I also love how much has changed at the end of Ragnarok. I've mentioned on occasion that despite enjoying The Dark World very much, not a lot has developed by the time the credits roll other than Frigga sailing off the waterfall and Odin being missin-in-action. This time round, Thor's lost Mjölnir, lost his hair, lost an eye, lost his father (for real this time), lost his home and very nearly lost his people. And yet the film is so resolutely hopeful in its final moments.
Mark Mothersbaugh's score stood out a little more this time, too. I still maintain that the orchestral sections are mainly Loud Film-Type Noises™, but I'm loving the more disco-infused synth tracks which evoke the iconic Scarface soundtrack by Giorgio Moroder. Although I also still maintain that the Led Zeppelin moments are greater than either of those.
The under-writing of Hela's character is more evident on re-watching, with the Goddess of Death never really making it past the pantomime-villain marker, even though she's personally responsible for a considerable number of screen-fatalities. Also, some of Cate Blanchett's ADR-work for the character is dreadful; the sync is word-perfect, but the emotion in her 'final' voice doesn't match the face she was acting with on-set. But I got an extra chuckle from watching Matt Damon in the theatre-scene, as it occurred to me that this is the second time he's played Loki, the first being in Kevin Smith's Dogma.
But all in all this is magnificent, Marvel reaching further than before and still effortlessly securing their grasp. Ragnarok is a great end to a great year for the studio (cinematically, at least)…
All of The Marvels.
Hell, yes.
Hell, yes.
This film will be on the front-page of many CVs for some time to come.
A little bit, but not enough for you to worry about.
Another pass; still didn't hear one. Not impressed.
Level 1: As well as what could be described as an absolute shit-ton of visual and audio effects crew, this film features the guy who's the voice of Gar Saxon.
*1 Come on, I'm a busy blogger. I can't very well go swanning off to watch repeat-viewings of movies when things like A Bad Moms Christmas are awaiting the scalpel of criticism. [ BACK ]
*2 The 3D/RealD showings traditionally play for the first two weeks of a 'big' release, with that second being significantly pared down in the screen-share. But when Ragnarok opened at my local, it didn't go into 3D until its second full week. So all those of us queuing up on the first day to see the movie were all paying less to the cinema, the distributor and to Marvel as a result. I've got no great feeling on 3D either way, but I like to try and see Marvel movies in the format at least once, where it's available. [ BACK ]
DISCLAIMERS:
• ^^^ That's dry, British humour, and most likely sarcasm or facetiousness.
• Yen's blog contains harsh language and even harsher notions of propriety. Reader discretion is advised.
• This is a personal blog. The views and opinions expressed here represent my own thoughts (at the time of writing) and not those of the people, institutions or organisations that I may or may not be related with unless stated explicitly.
Thor: Ragnarok (2D / first-pass / SPOILER-FREE)
Cert: 12A / 130 mins / Dir. Taika Waititi / Trailer
“You must finish what you’ve started. […] Your ancestors called it magic and you call it science. Well, I come from a place where they’re one and the same thing…”
While nothing is ever truly certain in this world, it would be fairly safe to say that 17 movies into a series that’s less than a decade old, Marvel Studios have turned the magic into a consistent, repeatable science. Even the weakest entries are still pretty good, and the Phase Three behemoth continues its strong form with Thor: Ragnarok, the third standalone entry for the god of thunder.
It’s slightly ironic that 2013’s Thor: The Dark World initially cued up the planet-hopping ethos which James Gunn's Guardians Of The Galaxy perfected, while falling slightly short of the finishing post itself. Because Ragnarok evokes the best of Gunn's work, while owing a debt to 2016’s Doctor Strange for successfully introducing actual sorcery into a cause-and-effect universe. The Thor of the third-coming rides the wave of its siblings, all with a heavy dose of dry humour. There are spaceships, there are spells; there are battleaxes and there are guffaws at every turn.
With Taika Waititi at the helm and a screenplay from Eric Pearson, Craig Kyle and Christopher Yost (all three of whom have previously worked on Marvel properties), the film is in safe and loving hands from the outset. But that’s not to say that the characters are wrapped in narrative cotton wool. The events in Ragnarok have lasting consequences for the future of the Marvel Cinematic Universe...
Chris Hemsworth is well in his stride as the eponymous hero of course, as is Tom Hiddleston as his antagonistic brother Loki. Anthony Hopkins’ Odin is back with minimal scenery-chewing, while Idris Elba’s Heimdall plays a key role this time, even if he feels shortchanged in terms of screen-time. Mark Ruffalo’s Hulk makes a long-overdue return, playing the role in the way he’s made it his own; furious, petulant and thoroughly endearing. The Warriors Three have a fleeting reappearance, while the post-credits scene from Doctor Strange is given some fleshing out in its own full sequence. New to the cast and thrust centre-stage is Tessa Thompson as Valkyrie, a hands-on role for a great performer (even if her character setup becomes lost in the overall noise of the movie).
The most anticipated name on the roster, though, is that of Cate Blanchett as Hela, the goddess of death. An actress who rarely disappoints, she plays true to form here, but never quite manages the true malice her role requires. ‘Revenge’ is a staple motivation for comic-book villains, but it’s really the only card in Hela’s deck, and Cate can’t seem to get past the theatrical posturing of her character and down to business. While it’s certainly an improvement on Christopher Ecclestone’s Malekith from The Dark World, it seems that Marvel haven’t quite solved their villain-problem yet.
But one thing which is in plentiful supply is charismatic supporting players. At one point where Thor awakens strapped into a chair being conveyed to meet ‘The Grandmaster’, a silhouette intro-montage plays on the walls behind him. Suddenly, a lone figure strikes a pose which is held in unmistakable freeze-frame; Jeff Goldblum has entered the screenplay. Every line, every gesture, every mid-sentence pause of Goldblum’s deftly steals the scene it’s in. Luckily for the film he’s used with restraint, but The Grandmaster is an absolute joy to behold.
Coming a very close second place in the attention-grabbing stakes is the mo-cap and voice turn from the director as Korg, arguably the Drax of Ragnarok, with Waititi’s native Kiwi-twang offsetting his fearsome rock-like appearance in deadpan observational comedy.
Mark Mothersbaugh is on scoring duties, and while the soundtrack makes the right noises in the right places, it’s not as thematically strong as previous entries from the likes of Michael Giacchino or Brian Tyler. In fact, other than a blink-and-you’ll-miss-it snippet, none of Tyler’s work from The Dark World makes a return - especially odd given how much time the film spends on Asgard and in the company of characters we’ve met there before. On a first-pass, the most standout musical moments seem to be where Led Zeppelin are inserted into the mix, which is fair enough.
All in all, Thor: Ragnarok is Marvel Studios rounding off 2017 with the A-game they’ve brought throughout. Fun, exciting battles and bickering, in exotic locations and with lasting character development. Fantastic stuff.
The battle at the end of the universe took place in Screen 5 of my local cinema, and Taika Waititi finished what Kenneth Branagh started. Marvel’s marketing department call it magic and and their effects crews call it science. But from where I sat tonight? They’re one and the same thing…
The business-end:
• Is there a Wilhelm Scream? Didn't hear one this time.
• Is there a Stan Lee cameo? Yes.
• Is there a mid-credits scene? Yes.
• Is there a post-credits scene? Yes.
Well, the Marvel Cinematic Universe movies, to be fair…
Oh, yes.
Oh, yes.
Strong previous-game all round, but it's a strong contender.
I very well might.
I didn't hear one this time, but hit me up if you did yeah?
Level 1: The voice of Savage Opress is a voice in this.
DISCLAIMERS:
• ^^^ That's dry, British humour, and most likely sarcasm or facetiousness.
• Yen's blog contains harsh language and even harsher notions of propriety. Reader discretion is advised.
• This is a personal blog. The views and opinions expressed here represent my own thoughts (at the time of writing) and not those of the people, institutions or organisations that I may or may not be related with unless stated explicitly.
Carol Cert: 15 / 119 mins / Dir. Todd Haynes / Trailer
Despite the atrocious social politics, the 1950s seem alright, don't they? The two lead characters in this movie sit down in a restaurant, order and have their food (plus cocktails!) in front of them within four minutes! I can't even get the waiting-staff's attention in that time. That said, I look like neither Cate Blanchett nor Rooney Mara, so…
Adapted from Patricia Highsmith's 1952 novel, The Price Of Salt, Carol stars the aforementioned actresses struggling to reconcile the relationship they both want; not only because of general societal norms, but also because of the expectations of their friends and families. And if that all sounds a bit too over-earnest, don't worry, it's not really. As Drama™ goes, Carol is directed a little too languidly for its own good, and Haynes' pace is too relaxed to seize the angst and emotional drama that's at the core of the story.
The film is saved by its performances, rather than being driven forward by its narrative, and both Blanchett and Mara inhabit the roles completely. I bought into Carol and Therese's characters individually, but not so much their relationship, although I suspect that's because the film itself is hesitant about exploring that too deeply. It's also important to remember, of course, that the story was written around the time it's set, which explains much of its slightly reserved tone. While most serious dramas at this time of year smells a lot like awards-bait, I think Carol shows too much restraint for its own good, and will probably slip through the Oscar-net*1.
A fine looking movie in terms of sets and wardrobe, cinematographer Edward Lachman makes great use of both reflection and unconventional framing. But his colour-balancing, film-grain and camera-wobble are all over the place, the latter of which suggests a lot of zoom/crop shots. A story about a relationship that didn't bloom, rather than one that shone and burned-out, the film isn't always as visually quiet as the tone of the script requires it to be. Although the final dialogue-free scene saw many of my perceived gripes pushed aside*2.
Despite the combination of the story's era and subject-matter, there's little which is daring or challenging about the film, yet it's still an engaging watch throughout. Carol feels more like a repressed melodrama than an intense romance, and I'm not sure that does it any favours in the long-term…
It is, but…
…you wouldn't lose too much by spending that £10+ on the DVD and watching it at home.
Not quite, although both Blanchett and Mara are outstanding in their work and they can't all be the best performance.
For me, no.
Nope.
Nope.
Cate Blancett starred in those Lord Of The Rings and Hobbit movies, alongside Sir Christopher 'Dooku' Lee.
1 Plus, with the best will in the world, I just don't think it's that good. And while I'm on, how the hell does Kyle Chandler get an 'And' credit?? He's hardly the special guest of the week, ringing on the doorbell as he pops round to borrow a cup of sugar, single-handedly raising the profile of the film with his presence alone, now is he?
*2 Not my gripes about the photography, though. That much hand-held camera-shake for the final, measured, interior tracking shot is nothing short of excruciating.
DISCLAIMERS:
• ^^^ That's dry, British humour, and most likely sarcasm or facetiousness.
• Yen's blog contains harsh language and even harsher notions of propriety. Reader discretion is advised.
• This is a personal blog. The views and opinions expressed here represent my own thoughts (at the time of writing) and not those of the people, institutions or organisations that I may or may not be related with unless stated explicitly.
When the BBFC card vanished from the screen today and the Steamboat Willie ident appeared in its place, I actually got a little tingle. Not the one I get when I hear the Marvel Studios fanfare, obviously, but a buzz nonetheless. Disney's recent efforts (with one notable exception) have entertained me greatly and built up a reputation that's going to be difficult to sustain, surely?
Well, the in-built precursor to Cinderella is an animated spin-off/featurette, Frozen Fever, reuniting the central characters for seven minutes; enough time to set up the premise and wedge in a musical number. It's quite fun, even though it feels rushed somehow (and Princess Elsa seems to have become more powerful than any Jedi in her telekinetic ice-wielding powers). An array of miniature snowmen are introduced, sneezed into existence by the cold-ridden Elsa, and they're incredibly cute (read: marketable), although you've also got to remember that they're essentially frozen snot ;)
And with the b-movie (in the nicest sense) over, the live-action retelling of an old Disney favourite began, and my inner-cynic made himself comfortable with a glint in his eye. As events transpired, the cynic wasn't there for long, because Cinderella is really good. There. I said it. With the studio, cast and director playing to their strengths, it's outstanding at being a good old-fashioned Disney Princess Film™, and that's the important thing here. During the setup first act, the format feels occasionally anachronistic, with recent Disney entries like Frozen and Maleficent pushing the princess-story into new territory. But these film's can't achieve what they do without having the core methodology as their counterpoint, of course, and 2015's Cinderella is Disney reminding the audience that they basically invented the genre anyway (at least cinematically).
While it could certainly be said that the film doesn't push the envelope in any way, shape or form, it's only fair to note that it never feels the need to. With the story already locked and loaded, the performers have a solid sense of direction, and leading, supporting and cameo roles alike are confident and focussed. Lily James is the perfect casting for Ella, supported by Cate Blanchett, Holliday Grainger and Sophie McShera as her manipulative step-family, riding the line between horrible and pitiful with ease.
Although as earnest (and innuendo-free) as the first act is, it can't escape from the fact that between the 1950 animated film and the 2015 live-action iteration, Cinderella has become more of a pantomime-favourite than a fairytale one, and the Brit-centric cast reinforces this wholesale. Although they do, for the most part, play their roles completely straight, making for a stronger film as a result. The two exceptions to this are Rob Brydon, who's been cast in the role of Rob Brydon In A Hat™, and Helena Bonham Carter, whose role as the fairy godmother requires her to wear a set of prosthetic teeth so tremendously fierce that they prevent any part of her face above them from moving, making her look like she's been using botox as a moisturiser, somehow. And Richard Madden's research for his performance as The Prince appears to have been locking himself in a room with a copy of David Essex's showreel DVD. The man's one neckerchief away from going full rogue…
Oh, and [Facetiousness - highlight to read]: I'd thought that Ella's mum's advice in the trailer had lost its meaning in the edit, but that really is what she tells her. "Have courage and be kind" is hardly 'a secret', is it? Solid guidance, yes. Good life-advice, even. But it's not a secret. In fact, if "have courage and be kind" sees you dying of consumption before your 35th birthday while your husband spends a suspicious amount of time abroad, is it really a secret worth heeding? But there's my inner-cynic rising to the surface, again. And trust me, by the second act of Cinderella, my inner-cynic was all but defeated, lying on the shore gasping for air, too weak to take the piss out of the film. [/Facetiousness]
Under Kenneth Branagh's fantastic direction which keeps things from descending into silliness, Cinderella is great at being Cinderella, and while it may not be a creative interpretation in the mould of Maleficent, it at least makes some reparation for the farce that was Into The Woods.
If your miniature humans are pestering you to take them to a movie over the Easter holidays and you can't palm them off with a DVD, this is the one.
If you're in the target demographic or you just like well-made films, yes.
For its audience, it'll be a buyer.
I shouldn't think so, but everyone involved can proudly wield it on their CV, yes.
Undoubtedly.
Not particularly.
Not that I heard.
Wicked stepmother Cate Blanchett starred as Galadriel in the Lord of the Rings and Hobbit movies, alongside Sir Christopher 'Dooku' Lee.
DISCLAIMERS:
• ^^^ That's dry, British humour, and most likely sarcasm or facetiousness.
• Yen's blog contains harsh language and even harsher notions of propriety. Reader discretion is advised.
• This is a personal blog. The views and opinions expressed here represent my own thoughts (at the time of writing) and not those of the people, institutions or organisations that I may or may not be related with unless stated explicitly.
