tag:blogger.com,1999:blog-9553821284289169072024-03-05T08:08:45.253+00:00The Littlest Picture ShowThe Littlest Picture Showhttp://www.blogger.com/profile/17304385008670139710noreply@blogger.comBlogger137125tag:blogger.com,1999:blog-955382128428916907.post-23950805053330939242013-12-16T13:03:00.000+00:002014-01-21T23:36:43.222+00:00Review: Anchorman 2: The Legend Continues <div class="separator" style="clear: both; text-align: center;">
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So there’s been quite a gap between Anchorman and its long-awaited sequel. A decade, in fact, separate the two, yet The Legend Continues brings back pretty much all the key players and supporting cast that made the first such a widespread hit.</div>
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We’re now in the 80s. Having moved on from the Channel 4 News Team’s success of the 70s, lead anchor Ron Burgundy (Will Ferrell) and his one-time associates Brian Fantana (Paul Rudd), Champ Kind (David Koechner) and Brick Tamland (Steve Carell) have parted ways. However, when Ron is offered the chance to reassemble his crew for a graveyard news shift, then begins the journey and subsequent random adventure to bring the guys back together and to rule the news scene once more.<br />
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And so continues the utterly random, disjointed and odd comedy that proved hugely popular with the teen demographic circa 2005 — more so once it hit DVD. But for me, there’s only so many times one can hear the once quotable lines and references before it all becomes tiresome. The shelf life, especially where comedy is concerned, can, in some instances, vary in length. Take a Carry On film, for example: while they were regarded as funny 30 or 40 years ago, if one were remade it wouldn't translate well. In short, watching a Carry On today doesn't evoke the same rousing response it did. Some things don’t age well and feel stale in comparison to modern, cutting edge comedy. In contrast, The Big Lebowski turns 16 next year, yet it’s still as brilliant as ever. Anchorman’s style of humour feels more akin to the unflattering longevity of a Carry On as opposed to a Coen masterpiece. In truth, a regurgitation of Anchorman’s frivolous charm with the <em style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">exact</em> same formula doesn't work anymore.</div>
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For those who wish for a light comedy to pass the time with a fond affection for the original, then there’s nothing wrong with The Legend Continues, per se. Fans will no doubt lap up the reunion of the team and have fun re-connecting after such a lengthy hiatus, but for cinema goers desiring a comedy that incorporates fresh or witty humour, I’d advise them to seek solace in something better conceived such as last year’s brilliant 21 Jump Street.</div>
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Had this come out in 2006, during the pinnacle of Anchorman’s reign, then it’d have been a warmly welcomed, funny and relevant film. As it stands, the sequel simply attempts to rehash the first’s appeal with minor tweaking or simply presenting us with the familiarity of jokes we’re believed to adore still.<br />
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The Littlest Picture Showhttp://www.blogger.com/profile/17304385008670139710noreply@blogger.comtag:blogger.com,1999:blog-955382128428916907.post-17722800049057223712013-05-04T13:15:00.000+01:002013-05-04T14:11:22.122+01:00Review: Iron Man Three<div style="text-align: justify;">
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<span style="background-color: white; color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px;">Duration: 130 mins</span></div>
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So 'phase two' begins of Marvel's global domination in the superhero market after their monstrously successful <i>The Avengers</i> that scooped a whopping $1.5bn at the box office. Robert Downy Jr. picks up where that left off as he tries to shake off the dire attempt of <i>Iron Man 2</i>, with the aptly titled <i>Iron Man Three</i>.</div>
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<i>Lethal Weapon</i> scribe Shane Black gets the gig of director and is able to integrate the classic 'buddy movie' elements here; a motion he practically invented by the way. The clarity of having someone with a nous for directing and writing pays dividends because without a shadow of a doubt, <i>Iron Man Three </i>is the best of the trilogy, and possibly the strongest Marvel film to grace the big screen to date.</div>
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Downey Jr. does a fine job of carrying the character of Tony Stark and indeed the entire film. He's got charisma by the bucket load and uses this as its main selling point, not to mention the script is tailored for some terrific back-and-forth exchanges between himself and various characters: notably a young boy named Harley he befriends along the way.</div>
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Action sequences are aplenty and incorporate CGI to a heavy degree, yet is an essential servant to the epic scale of some of the scenes: exploding buildings; cliff-side disasters and suburban street carnage wouldn't look half as impressive without the effects that feel appropriately suited to the Marvel world. Each one is impressive, don't get me wrong, but there's also a sense that each is merely trying to outdo the former, which ends up feeling like it becomes a show-off contest competing against itself as the even bigger climax gets underway.</div>
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As with all Marvel ventures, there's a helping of cheese and daft frivolity, yet to a much lesser extent than its 'phase one' siblings. Furthermore, when a film such as this attempts to go all <i>The Dark Knight</i> in terms of tone and subtext, the sillier, clunkier moments inevitably end up sticking out like a sore thumb. For the majority of its duration the balance between serious, flawed superhero and witty, comic relief is maintained well: it moves along at a good pace and offers amusing, entertaining as well as a few 'wow' moments to bolster the overall spectacle of the piece.</div>
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Supporting roles for Gwyneth Paltrow, Rebecca Hall and Don Cheadle are fine, if unspectacular. Paltrow gets her teeth into her meatiest part yet as the romantically-linked sophisto Pepper Potts, but is completely overshadowed by the efforts of Sir Ben Kingsley as uber intimidating terrorist, The Mandarin. Guy Pearce also gets a substantial role as Aldrich Killian and there's the like-clockwork cameo from Stan Lee; such appearances never fail to amuse/impress me in equal measure.</div>
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Tipping the two-hour mark is enough time to squeeze in the story Black wishes to tell. For the most part it's an enjoyable and thrilling ride about a billionaire playboy-cum-exposed superhero with anxiety issues. Ultimately, however, it's still as throwaway as the other films in the series, but does possess a little more substance and, dare I say it, depth for what is easily the most interesting and watchable character from The Avengers universe.</div>
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The Littlest Picture Showhttp://www.blogger.com/profile/17304385008670139710noreply@blogger.comtag:blogger.com,1999:blog-955382128428916907.post-44595597987264782442013-04-21T20:31:00.001+01:002013-04-21T20:32:36.646+01:00Review: Oblivion<span style="text-align: justify;">Rating: 12a</span><br />
<span style="text-align: justify;">Duration: 126 mins</span><br />
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As per <i>Robot & Frank</i>, <i>Oblivion </i>has graced us early in a year that's packed to the rafters with films of the sci-fi
variety. It’s without doubt a very hit-and-miss genre, as concepts, stories and
visuals tend to borrow from its peers, the notion of originality within its boundaries becomes something of a rarity. </div>
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It’s also important to note that the script is based on Joseph Kosinski's unpublished graphic novel from 2005. (He also produces, directs and writes the film.) It's only now that the movie has come to fruition, which is perhaps to its detriment because to the trained eye appears to simply pinch chunks from existing movies (both modern and classic). However, this merging of ideas does form a perfectly acceptable, coherent adventure, but is also one that lacks any genuine identity of its own.</div>
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Yet to an extent I’d disagree with my own prognosis. I shan't reel off the numerous (and alleged) film influences, but upon a viewing some are fairly obvious. However, what is worth noting is the ones that're deemed similar were conceived <i>after </i>this, so use that information as you will. What <i>Oblivion does</i> do effectively is to create a
suspenseful and intriguing post-apocalyptic world that not only looks gorgeous,
but feels epically desolate, too. Conceptually, some vehicle and architectural designs are stunning: often rendered beautifully, yet have a ‘been there, done
that’ aesthetic stamped over them. Tom Cruise’s Jack is, at times, reminiscent of his <i>War of the
Worlds</i> character and indeed a hybrid of several of his past personas. Or maybe he’s
just being Tom Cruise – either way it works, albeit with a helping of cheesy
Americanisation at times.</div>
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What works are the intricacies and development of
the plot. Many will criticise its unoriginality, yet it bears a couple of
twists that’ll have you questioning (in a good way) the entire premise of the film's futuristic ethos. It’s in this respect that <i>Oblivion </i>thrives and invites the
audience to decipher the real truths behind its plot as we experience these brand new moments firsthand along with Jack.</div>
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At times it lacks an intelligible depth and finesse in some of its action sequences, but
never fails to convince in spectacle and execution. A great turn
from Andrea Riseborough as Victoria – Jack’s partner in every sense, as the
pair as stationed on a barely inhabitable Earth in order to protect and
maintain its restoration after a victorious but devastating alien invasion –
warrants mention as well. Olga Kurylenko and Morgan Freeman have smaller, yet
significant roles, but it’s Cruise’s protagonist that (naturally) takes centre stage,
and his presence is undeniable.</div>
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<i>Oblivion’s </i>climax feels like a non-event. It underwhelms in
comparison to the impending reveals and momentum its writers build up. However,
the journey up to this point is a thoroughly gripping and intense one that should please fans of the genre and fans of the Cruise, too.</div>
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The Littlest Picture Showhttp://www.blogger.com/profile/17304385008670139710noreply@blogger.comtag:blogger.com,1999:blog-955382128428916907.post-58525682913785915842013-03-29T15:37:00.000+00:002013-03-30T13:56:55.954+00:00Review: Trance<div style="text-align: justify;">
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<span style="background-color: white; color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px;">Duration: 101 mins</span></div>
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Having turned down the chance of a Knighthood, Danny Boyle maintains his status as the quintessential people's filmmaker. As humble as the man is, there's no denying his features possess a brutal rawness that by and large translates well and whilst his recent feature, <i>Slumdog Millionaire</i>, nabbed an incredible 8 Oscars in 2008, the bar it seems is ever rising.</div>
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<i>Trance </i>opens with a slick, concise monologue from James McAvoy's Simon that instantly draws you into his world. It's arguably as well conceived as the opening to 1996 smash <i>Trainspotting</i>, as we're hurriedly thrown into the life of an art auctioneer who, for reasons unknown, double crosses local thief, Franck (the wonderful Vincent Cassel), after agreeing to stage a £25m art heist. During the fray, Simon's hit over the head which renders parts of his memory useless -- specifically the part that knows the location of the hidden painting, and thus the story begins.</div>
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Aside from plot intricacies and skillfulness in direction, the acting is the driving force here; Rosario Dawson, assuming the role of hypnotherapist Elizabeth, is perhaps the most impressive on display. With a central female role that plays both Simon and Franck off against one other with her effortless and manipulative sexuality, a web of intrigue, twists and turns present themselves at regular intervals as the story delves further into a dark underbelly of morality and subconsciousness.</div>
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The majority of the story is monumentally gripping and intense as the narrative gradually becomes unhinged and threatens to derail. It's complemented, as always, by a majestic soundtrack that's both eclectic and appropriately surreal, which adds to the ferociousness of how the narrative spirals. Such is the intended nature of the seedy depths Boyle explores, and as boundaries of reality and imagination merge for Simon, the ambiguous disposition of what is <i>actually </i>taking place becomes lost.</div>
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The ride is a glorious and invigorating one that challenges audiences to decipher what's happening with minimal, subtle hints along the way. Its intelligible, non-spoon fed nature is somewhat undone when, during one dialogue-heavy scene, the haziness of events are explained. It is this latter moment where some confusion is finally alleviated, yet we're still none the wiser when attempting to identify the separation of reality from fantasy. This is perhaps both to the beauty and detriment of <i>Trance's </i>conclusion. It's at this point that the script becomes rather convoluted and teeters on losing focus altogether, but doesn't hinder the quality of what's preceded it.<br />
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Skittish and exhilarating, Danny Boyle has created a solid British thriller that excels with moments of excellently crafted double bluffs and deception, but will ultimately leave your brain scrambled as you question everything and trust absolutely no one.</div>
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The Littlest Picture Showhttp://www.blogger.com/profile/17304385008670139710noreply@blogger.comtag:blogger.com,1999:blog-955382128428916907.post-91814018603512580012013-03-20T16:38:00.001+00:002013-03-20T16:38:54.952+00:00Review: Stoker<div style="text-align: justify;">
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<i>Stoker </i>opens with the film’s ending: an oddly juxtaposed
shot of Mia Wasikowska’s India strutting across a highway in a pair of heels and
into an overgrown layby. We’re not sure what’s going on, but are fed
subliminally as director Chan-wook Park intends for us to savour and
recall this information and contextualise later on. And that is what audiences
are presented with in what is his debut English language film after a string
of acclaimed Korean works that include <i>Old Boy</i> and <i>Thirst</i>.
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Subtextually, Stoker teases and tantalises with its vampiric
parallels that include a murderous blood lust, sexual awakening, generational grooming
and incestual behaviour -- the latter being a recurring theme through Park’s
filmography, as it is transferred into this seemingly timeless drama with acute
detail and to deft effect.</div>
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What’s most striking is the visceral direction; structurally,
it focuses on a slow-burning story with its off-centre framing and tranquil
performances that give the film an overall eerie and unsettling quality. This
unease is accentuated by the sublime use of heightened sound that really
awakens the aural senses with the crisp dripping of water, for example,
that Park uses to overt effect.</div>
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Instead of a somewhat forced, clunky transition from ultra
violent, extreme Korean cinema into the Hollywood mainstream, a huge degree of
integrity and, to an extent, auteurism remains. Park maintains an independent stance
in his filmmaking that distances itself from the Hollywood system, yet at the same time includes known names like
Matthew Goode, Mia Wasikowska and, more famously, Nicole Kidman. All three
assume subtle, yet captivating roles, as each carefully orchestrated character
slots perfectly into this seemingly unspecified setting that could be anywhere
from the 1920s to modern day Americana. At one point though, it does define the exact time
through a forthcoming exchange between India (Wasikowska) and Charlie (Goode),
but manages to feel so effortlessly unspecific by its nature.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY33YFdOGOtN59Yn_WH25RjFeoCEXTaSbGtCHzMq8C18an-p6YbQ8CXTOgFXu8q4ObbYvV3ozee2o-csb-PENHwgOTFBdcXN7gIqLNha00wl8G3b0VCF8jFe7WsqzEptIAA_c8cZvd5a4/s1600/stoker08.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY33YFdOGOtN59Yn_WH25RjFeoCEXTaSbGtCHzMq8C18an-p6YbQ8CXTOgFXu8q4ObbYvV3ozee2o-csb-PENHwgOTFBdcXN7gIqLNha00wl8G3b0VCF8jFe7WsqzEptIAA_c8cZvd5a4/s400/stoker08.jpg" width="400" /></a></div>
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The premise is a creepy enough concept on its own: with the
death of her father, India’s repressed, virginal self begins to evolve as her Uncle
Charlie appears out the blue to console her and mother Evelyn (Kidman). She represents a sexually repressed, lonely single parent longing for a man’s touch
and general companionship. Rather than develop as a narrative
powerhouse, the film carefully treads a path of character study and suggestiveness
as a result of their actions and choices. In fact, the focal point is on India’s
sexual awakening, as Uncle Charlie begins a sensual and seductive objective to unlock her deepest, darkest desires, or indeed exploit Evelyn’s
vulnerability as an unloved human merely existing. And it’s these fascinating
traits and ambivalency that form the most frictional of threesomes as far as its
central protagonists go.</div>
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Not a lot goes on plot-wise in <i>Stoker</i>, but what’s significant
is the rich subtext and reading between the lines of the beautiful composition,
minimalist performances and subtlety of dialogue. It’s unfortunate that this
particular approach to storytelling and its hidden depths might turn some viewers off, but
this slice of American Gothic disguised as a period piece is not only haunting and engrossing, but wonderfully conceived, too. Start as you mean to go on,
Mr. Park.</div>
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The Littlest Picture Showhttp://www.blogger.com/profile/17304385008670139710noreply@blogger.comtag:blogger.com,1999:blog-955382128428916907.post-28120708288380116202013-02-25T17:00:00.000+00:002013-02-28T02:06:42.544+00:00Review: Mama<div style="text-align: justify;">
<span style="background-color: white; color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px;">Rating: 15</span></div>
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<span style="background-color: white; color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px;">Duration: 100 mins</span></div>
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Modern horror is living in the shadows (no pun intended) of its predecessors. At the same time the excellent <i>Carrie </i>is released on Blu-ray, we've got samey, generic and hugely uninventive movies of the genre being churned out faster than you can ask someone what their favourite scary movie is (<i>Scream</i> reference intended).</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQoUCfIEMFaaDBPlMYZEBmuxF6UOZ8JbcJojk74T7ZKl7Vumce3uT10FPJ5fYYQOiHCeR55SV2ON2_UuKkkVda28ZHOikO5QHSHQ_tjeer5lJUT6-13zKWDAvU9MYKmg9BdbwDCkiOMIA/s1600/mama-poster.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQoUCfIEMFaaDBPlMYZEBmuxF6UOZ8JbcJojk74T7ZKl7Vumce3uT10FPJ5fYYQOiHCeR55SV2ON2_UuKkkVda28ZHOikO5QHSHQ_tjeer5lJUT6-13zKWDAvU9MYKmg9BdbwDCkiOMIA/s400/mama-poster.jpg" width="276" /></a></div>
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Jessica Chastain, for all her worth, is miscast as a thirtysomething punk guitarist, which has its appeal at first, but soon becomes clear it isn't the role for her (a quirky '<i>leave a message at the beep, fuck off' </i>voicemail doesn't quite sit right), but as with the logic and tone of the film, quickly alters to become a jumper-wearing mother figure and covers up the (fake) tattoos she sports.</div>
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<i>Mama</i>, in fact, refers not to the role that Annabel (Chastain) fulfils after her other half, Lucas (Nikolaj Coster-Waldau), is granted custody of his nieces after a 5-year abandonment in the wilderness, but to a strange entity that supposedly looked after them during this time. </div>
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The premise decides to venture down the supernatural fantasy path, rather than remain grounded as so many of the more effective horrors tend to. Even though titles such as <i>The Blair Witch Project</i> indulge in a fictional evil, the story itself feels hugely believable, which is a rare thing nowadays. </div>
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<i>Mama</i> is no exception to the somewhat lazy standard of today; we're presented with a predictable set up and can quite easily foresee how it will end. The premise is initially rather intriguing, but doesn't convincingly play out how one hopes it should. For two girls to be scavenging like animals for most of their lives, they (well, the eldest in particular) adapts to normality unbelievably quick. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9Bus98sUtXg06TZ0OSnCmDoPdLtdqgOJjwDb-BPvpFs6G9p87T6Ko9-NAfo_SRmjtjA2LJJEtEKgBT-QOr8o8G0FOrGLUGqdwQL6IorxIWLbPbE_5nCla5wEtRhYbGEhM0Cge-hvSywg/s1600/mama.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9Bus98sUtXg06TZ0OSnCmDoPdLtdqgOJjwDb-BPvpFs6G9p87T6Ko9-NAfo_SRmjtjA2LJJEtEKgBT-QOr8o8G0FOrGLUGqdwQL6IorxIWLbPbE_5nCla5wEtRhYbGEhM0Cge-hvSywg/s400/mama.jpg" width="400" /></a></div>
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The progression of the story doesn't go anywhere fast. Instead, it sort of lingers around the girls and their rehabilitation into civility, and tries to focus on the torment and strain Annabel is under. It doesn't manage to convey this so well, even though there are some nice bonding moments between her and the girls, as well as a couple of tense, semi-scary moments to twitch over.</div>
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What lets the film down is the overuse of CGI and the ghostly nasty itself. Good horror films succeed with but a few key factors: subtlety and a less is more ethos. Here we are offered little of the first and absolutely none of the latter. The amount of screentime Mama is given really quashes the fear of the unknown. Seeing a computer generated character that develops into her own persona doesn't work in the realms of this type of film. We need mystery, need a lack of clarity and a certain call for underexposure, but are offered none.</div>
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It concludes just as you figure it will. It's too formulaic and cleanly structured, even though its middle is stodgy. As a film intended to scare, the CGI extinguishes a lot of the terror; instead conforming more to a horror devised to enjoyably pass the time with a group of friends, rather than one to have sleepless nights over.</div>
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The Littlest Picture Showhttp://www.blogger.com/profile/17304385008670139710noreply@blogger.comtag:blogger.com,1999:blog-955382128428916907.post-21761414318120729542013-02-24T13:23:00.000+00:002013-02-25T17:13:48.826+00:00Review: A Good Day to Die Hard<div style="text-align: justify;">
<span style="background-color: white; color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px; text-align: start;">Rating: 12a</span></div>
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<span style="background-color: white; color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px; text-align: start;">Duration: 97 mins</span></div>
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After the woefully daft and utterly frivolous attempts of <i>Live Free or Die Hard </i>(that's <i>Die Hard 4.0 </i>to you and I), director John Moore explicitly promises something of quality. Something to reinvigorate the franchise, with a no-nonsense approach. He wholeheartedly lied.</div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVFws_iYi8RjTE2FHXmgitoAUosD-3nS1Dc1Po6d0noVx7PTVlQaMo_2zZgwo7yufptrYsgaS-CjMmzEzPePgKp9Ph0gamvS9TJn6X-ohqTVhyphenhyphendOLbtSji8p9YQhLXcMGtMfsCvur3ylA/s1600/a-good-day-to-die-hard-willis-smile1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVFws_iYi8RjTE2FHXmgitoAUosD-3nS1Dc1Po6d0noVx7PTVlQaMo_2zZgwo7yufptrYsgaS-CjMmzEzPePgKp9Ph0gamvS9TJn6X-ohqTVhyphenhyphendOLbtSji8p9YQhLXcMGtMfsCvur3ylA/s320/a-good-day-to-die-hard-willis-smile1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-size: x-small;">A Good Day to Sell Out: Bruce smiles all the way to the bank.</span></i></td></tr>
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Whether it's Bruce Willis and his enormous star power -- some have suggested he had final say and a level of control over proceedings -- that hampers this fifth instalment, or simply a lack of basic ability from Moore and indeed his scriptwriter Skip Woods (writer of <i>The A-Team </i>and <i>Hitman</i> no less) is anyone's guess. What <i>isn't </i>left to speculation is that <i>A Good Day to Die Hard </i>is a film with absolutely no dignity, finesse or redeeming features. It's got about as much class as a clown reeling off Jimmy Savile jokes in a children's ward.</div>
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Willis looks drained and fed up, with a hint that he was likely paid up front and subsequently gave up caring once the cheque had cleared. The plot is paper thin and, for the most part, non-existent. I won't bore you with the details, but suffice to say it revolves around John McClane who, whilst on holiday, gets into trouble as naughty men try to shoot him as they dabble in illegal activity. </div>
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Acting and its dialogue is (consistently, might I add) atrocious. Jai Courtney probably hoped such a film would be an effective vehicle for his movie career, and to be fair it does display his skills as a young, muscular, action-y sort of type, but that's where any glimmer of hope ends unfortunately.</div>
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The duration feels like a torturous slog; Courtney and Wills simply exchange unfunny one liners, weird facial expressions, as well as pointless, overblown scenes of truly appalling dialogue. And all this interspersed with them running about like an indestructible father-son combo, whilst avoiding wave after wave of nasty men trying to shoot at them.</div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZL3DTsTxC4c6jaZX0ucPWjNlYpbM_g1SHauo-WTB-d9DA1y44mmnnllhiqP2XQjHS1WhLa-o-oZt9-Hmr1fQMUxbqY2Rul7NzGsNVcJizKbKmX4o7tYvD23zgXc1N1mKgUYsNgHF2Hak/s1600/A+good+day+to+die+hard.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZL3DTsTxC4c6jaZX0ucPWjNlYpbM_g1SHauo-WTB-d9DA1y44mmnnllhiqP2XQjHS1WhLa-o-oZt9-Hmr1fQMUxbqY2Rul7NzGsNVcJizKbKmX4o7tYvD23zgXc1N1mKgUYsNgHF2Hak/s400/A+good+day+to+die+hard.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Does anyone actually care?: Apathy seems to be the order of the day.</i></td></tr>
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The original character of John McClane is all but gone. Now we see not a regular have-a-go hero as per the classic of 1988, but an invincible super-soldier of a man; something more akin to a <i>Terminator </i>or <i>Universal Soldier </i>lead, which is preposterous. The 12a certificate doesn't do it any favours either, stripping the character of any adult depth and is proof that the production team behind it (who actually edited the film down themselves to access a wider audience) have completely sold their souls.</div>
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Never has a 97-minute feature felt so unbearably tedious, and makes <i>Taken 2 </i>look like a work of genuine quality. Even the action sequences are executed horrendously, with a dreadfully skittish approach to directing and editing that'll leave you clambering for the exits.</div>
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The Littlest Picture Showhttp://www.blogger.com/profile/17304385008670139710noreply@blogger.comtag:blogger.com,1999:blog-955382128428916907.post-43065385486929939492013-02-09T01:10:00.002+00:002013-02-25T13:54:54.065+00:00Review: Zero Dark Thirty<div style="text-align: justify;">
<span style="background-color: white; color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px; text-align: start;">Rating: 15</span></div>
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<span style="background-color: white; color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px; text-align: start;">Duration: 157 mins</span></div>
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Sometimes controversy whirls around a film either working to its advantage or detriment. Admittedly anything that generates such attention is largely media hyperbole, and Kathryn Bigelow's latest is perhaps the perfect example of this. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0E3BGy5xiP135rwNcA067Mow6_ZsP_8M6gCy_3EHzJV122r9K0CCdVQogsyWoDohROJcG4mz_t-TIbrKZ2owZYHg4ueXvi8X_zk7Weuak1GjGCfZgj50YIYvDQiUfnPAvg4xlI3hr4ig/s1600/zd30.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0E3BGy5xiP135rwNcA067Mow6_ZsP_8M6gCy_3EHzJV122r9K0CCdVQogsyWoDohROJcG4mz_t-TIbrKZ2owZYHg4ueXvi8X_zk7Weuak1GjGCfZgj50YIYvDQiUfnPAvg4xlI3hr4ig/s320/zd30.jpg" width="228" /></a></div>
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<i>Zero Dark Thirty </i>-- a film that documents the CIA's battle to hunt down and kill bin Laden -- is a controversial subject matter in itself, but the alleged advocacy of torture seems to be its main talking point. Firstly, the torture scenes aren't especially indulgent, nor does it glorify the process of terrorist interrogation. Secondly, it's not even like the film uses torture for the basis of the narrative, in fact, it features very little in the almost three hour running time. And thirdly, rather than scrutinising this, at times graphic, minute plot element, it's important not to brush the rest of the film aside, because <i>Zero Dark Thirty </i>is a superbly directed, paced and structured thriller.</div>
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Understandably Oscar buzz surrounds this, with high profile nominations for Best Picture, Actress and Original Screenplay, yet surprisingly an omission for its directing. Despite the lengthy run time, the pacing and overall balance of action, dialogue and plot are structured fluidly, resulting in a non-stifled flow of true life events translated very effectively onto the big screen. In fact, the story is so well constructed that it could pass as fiction with the narrative progression and gripping tension it builds during set pieces.</div>
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What's refreshing is the complete lack of an 'America, fuck yeah!' attitude, even during the moments one might expect (specifically in the enthralling climax), as the story concentrates on its ultimate goal: kill bin Laden. However, patriotism is still visible on the surface of the actions, but the extent and fundamentality of it -- find the bad guys so we can kill them all -- is well disguised in an intelligently written screenplay.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrDdqChED-10-TA3ZTerdPFz-ZetIL0wcxoy44vedLBaIP5k5wQcLwXdI2_NyyXSOGiDGEV_3T9HpCCbz1fqX1zD3_MSKsVJeE5e-UDJF-FjR0zVTyyQlrXjiXEv_GCY7nOqdQF3kfS2E/s1600/zd30+s.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrDdqChED-10-TA3ZTerdPFz-ZetIL0wcxoy44vedLBaIP5k5wQcLwXdI2_NyyXSOGiDGEV_3T9HpCCbz1fqX1zD3_MSKsVJeE5e-UDJF-FjR0zVTyyQlrXjiXEv_GCY7nOqdQF3kfS2E/s400/zd30+s.jpeg" width="400" /></a></div>
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Jessica Chastain is on top form as the overworked, undersexed CIA operative Maya, as her obsession to locate bin Laden defines her characteristics both positively through her determination and perseverance, and negatively via the encumbering nature her obsession has on her health and psychological state. Her role is certainly worthy of an Oscar nod, and may very well emerge the victor come February the 24th.</div>
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Another point previously touched upon is Bigelow's spot on direction, further adding to the bafflement of an Oscar snub. She conveys the enormity of the story effectively, treating her audience with the intelligence they deserve and refuses to spoon feed every piece of information to them. Instead, we are encouraged to fill in gaps and piece together details as Maya accumulates them, whilst still offering a concise and accessible story to follow.</div>
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From the very beginning <i>Zero Dark Thirty </i>engages in the form of non-fictional drama, builds tension gradually, and strides towards a finale that can only be described as majestic and is comparable to any work of fiction available today. The tension arguably supersedes the hugely praised <i>Argo</i>, and maintains that knife-edged intensity for much longer periods, too.</div>
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<img src="http://www.empireonline.com/images/stars/medium_5.gif" /></div>
The Littlest Picture Showhttp://www.blogger.com/profile/17304385008670139710noreply@blogger.comtag:blogger.com,1999:blog-955382128428916907.post-36184935988728592952013-02-03T18:56:00.001+00:002013-02-03T21:03:42.965+00:00Review: The Last Stand<div style="text-align: justify;">
<span style="background-color: white; color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px;">Rating: 15</span></div>
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<span style="background-color: white; color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px;">Duration: 107 mins</span></div>
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For anyone who's read his recent autobiography entitled Total Recall, you'll notice instead of highlighting aspects of adultery or failure, the insightful musings inform readers what a shrewd and intelligent business man Arnold Schwarzenegger was and still is today.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvwK_dQhFfoF2gJzyf9j9VOteuvjf3yrzJp-_bjWUhnYwldO12BngrdEdxiMH2-NqlZ4Sm4nnhNJ-pSktY6dTPTQfJgmoAFWxYxjKJ-lMTyvPXUTQ50_OJoP6-FUB3aZq3sTDItjJ0IJ8/s1600/FIN02_Last_Stand_NYCC_1Sht_ab01-610x903.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvwK_dQhFfoF2gJzyf9j9VOteuvjf3yrzJp-_bjWUhnYwldO12BngrdEdxiMH2-NqlZ4Sm4nnhNJ-pSktY6dTPTQfJgmoAFWxYxjKJ-lMTyvPXUTQ50_OJoP6-FUB3aZq3sTDItjJ0IJ8/s320/FIN02_Last_Stand_NYCC_1Sht_ab01-610x903.jpg" width="216" /></a></div>
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<i>Terminator 3: Rise of the Machines </i>was the big man's last starring role almost a decade ago, and, on the face of it, Jee-woon Kim's whimsy modern western is in many ways the perfect vehicle for the former Governor's resurgence. </div>
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<i>The Last Stand </i>is a blend of gratuitous violence reminiscent of the 80s and 90s action hero Arnie once was, but also -- subversively or not -- expresses a topical approach to gun control that won't sit comfortably with everyone. For fans, this is a welcomed return for Schwarzenegger because it offers up everything synonymous with the Austrian: one liners, brute force, physical presence, violence, guns, a no frills plot; clear cut heroes and villains; and general badassery. And in this respect, <i>The Last Stand </i>works well; Arnie plays the Sheriff of an Americana town, as he aims to take down the hilariously accented, brilliantly generic villain, Gabriel Cortez (Eduardo Noriega), whose escape route to the boarder runs through Sheriff Ray Owens' (Schwarzenegger) stomping ground.</div>
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There's a lot of awkwardly delivered, cheesy dialogue, but within the context of the film and considering its star, it's completely aware if its traits, thus justifies its construction. The cleverness here is that <i>The Last Stand </i>is packaged to accommodate Arnold who, let's face it, will never compete for a role against Daniel Day-Lewis, but <i>can </i>offer a nostalgic, muscle-bound presence much like Stallone and Willis do, and this is <i>exactly </i>the right comeback<i> </i>role for him, especially for an actor in his mid 60s.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj26qZLEhTG89ZmroGwPNlJgvr5VuezbRo0dGiAMALl83lOWuWLkqEfNspPANokCygx_b0E7MSBwWodnJCvqCOnyhYIK86ihyxc6AvkCZ3Ccq0zNdkoTapR7-n9ksReVtVoXeD_8vdSCiE/s1600/The+Last+Stand+Movie.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: justify;"><img border="0" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj26qZLEhTG89ZmroGwPNlJgvr5VuezbRo0dGiAMALl83lOWuWLkqEfNspPANokCygx_b0E7MSBwWodnJCvqCOnyhYIK86ihyxc6AvkCZ3Ccq0zNdkoTapR7-n9ksReVtVoXeD_8vdSCiE/s320/The+Last+Stand+Movie.png" width="320" /></a></div>
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The joy of this is its simplicity. Its old school formula, frivolous nature and resistance from veering into <i>Die Hard 4.0 </i>territory prevents this actioner from encumbering itself in total ridicule, proving an effective platform for Schwarzenegger's big screen return -- a sensible choice considering his acting ability (or lack of). By no means deep or particularly memorable, it is, however, an entertaining, carefree romp at the cinema.</div>
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The Littlest Picture Showhttp://www.blogger.com/profile/17304385008670139710noreply@blogger.comtag:blogger.com,1999:blog-955382128428916907.post-35201228319121551952013-01-13T22:01:00.003+00:002013-01-17T19:49:26.057+00:00Review: Gangster Squad<div style="text-align: justify;">
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<span style="background-color: white; color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px;">Duration: 113 mins</span></div>
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The aftermath of mass media panic halted Ruben Fleischer's third feature from a September 2012 release, after succumbing to moral obligation to remove a cinema shooting, and reschedule for an early 2013 one. In truth, the omission of this infamous scene isn't missed or seemingly required in the context of the film in its newer cut, but all this would be more significant if the film in question was actually worth the wait.</div>
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The American director's previous film, <i>30 Minutes or Less</i>, is nothing to write home about, instead relying on his debut, <i>Zombieland</i>, in which to showcase his talents. Attaining a solid cast including Sean Penn, Ryan Gosling and Josh Brolin, as well as the framework from the existing Paul Lieberman novel, are solid foundations, but instead of creating something to rival the likes of <i>L.A. Confidential</i>, it ends up falling short of the decidedly average <i>Mulholland Falls</i>. </div>
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With little positives to speak of other than a mild sense of entertainment value in a handful of moments, they're largely nullified by the noticeable errors of its ways. Its biggest detriment is credibility, and the 1949 world <i>Gangster Squad </i>bases itself in looks anything but. Whereas <i>L.A. Confidential </i>oozed an authentic 50s crime noir aesthetic, this couldn't be more contrasting; saturated colours; clean, neatly costumed characters; a clich<span style="line-height: 115%;"><span style="font-family: inherit;">é</span></span>-riddled script; and painfully staged settings are more akin to <i>Bugsy Malone</i> as opposed to anything intended to be taken seriously. </div>
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This comparison to a preteen crime flick is accentuated by its performances, too. Whether it be Sean Penn's ham-fisted depiction of tyrant Mickey Cohen or Ryan Gosling's Truman Capote impersonation, the entire ensemble appear to have been reading different scripts because there's a complete lack of understanding and enthusiasm across the board, especially from squad leader Brolin. Importantly, the requirement of chemistry -- specifically during the romance subplot concerning Ryan Gosling and Emma Stone -- is essential, but proves non-existent. Any hint of eroticism or sexual tension is swiftly extinguished, much like the validity of the film itself.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOtomaJQkL4i4hCvRM5rUd66EN7SvUHdXhozsrhbRiOtfkBYswUKCtzVU75vxfPT9EqVDuEIjifK-uykUIPUQgPZXgW5roIJ1JghBcX0uMDW8EtjvU3lqMs-JZIrpRDj9AuLBhS0e85Dk/s1600/Gangster-squad.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOtomaJQkL4i4hCvRM5rUd66EN7SvUHdXhozsrhbRiOtfkBYswUKCtzVU75vxfPT9EqVDuEIjifK-uykUIPUQgPZXgW5roIJ1JghBcX0uMDW8EtjvU3lqMs-JZIrpRDj9AuLBhS0e85Dk/s320/Gangster-squad.jpeg" width="320" /></a></div>
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Rather than explore interesting or complex sub plotting, <i>Gangster Squad </i>is the naive, overzealous and all too often embarrassing younger sibling to <i>The Untouchables</i>; one tries not to compare the two, but is forced by mere association. Not once does it threaten with intelligence or offer thought provoking insight, instead opting for tepid entertainment (and by that, this simply involves copious amounts of gun fire and loud noises). It's pretty one-dimensional in terms of telling a bare bones story pursuing Cohen, and at least, in this respect, it sticks to a leveled playing field of providing action sequences and entertainment in a most basic form. However, this simply won't be enough for anyone who wishes to enter with their brain engaged: there isn't anything resembling sophistication other than a group of rogue officers spraying as many bullets as possible at any given target.</div>
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<i>Gangster Squad </i>fails to meet even a satisfying degree of fulfilment; it's devoid of depth with its no-frills plot, favouring clumsy recreation rather than the effective crafting of an authentic period movie. The acting, again, bases its mannerisms, dialogue and delivery on mid-20th Century movie stereotypes, which feels clunky and wholly unflattering for those involved. </div>
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The Littlest Picture Showhttp://www.blogger.com/profile/17304385008670139710noreply@blogger.comtag:blogger.com,1999:blog-955382128428916907.post-42751965007023328692013-01-12T22:59:00.000+00:002013-01-13T23:06:15.260+00:00Review: The Impossible<div style="text-align: justify;">
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<span style="background-color: white; color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px; text-align: start;">Duration: 114 mins</span></div>
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Regardless of the praise or controversy surrounding the latest real-life tragedy depicted on the big screen, <i>The Impossible </i>is undoubtedly token Oscar fodder, but less crass in comparison to last year's inclusion of <i>Extremely Loud and Incredibly Close, </i>that's for sure.</div>
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Even though Spanish director Juan Antonio Bayona bases the true story on the account of a Spanish family, it is adapted for English-speaking audiences with the recognisible faces of Naomi Watts and Ewan McGregor. What's clear is the hugely contrived setup for the impending tsunami disaster that struck on Boxing Day 2004, and even though it is a necessity to construct an idyllic family holiday before the inevitable horror, it does so in heavy-handed fashion. Whist some have focused critically on the Anglicisation, it shouldn't have dominant relevance when exploring the issues and context of these characters presented within this particular story. </div>
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Obligatory exposition out the way, the initial impact of the tsunami is nothing other than devastating. It is scenes such as these that are tackled in a way that balances the sheer horror and deft poignancy to commendable effect. The CGI feels large-scale enough for impact, yet subtle enough for believability, which is one of the film's strongest claims.</div>
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However, aside from the emotion generated and horror visualised, particular plot points (in the latter scenes especially) feel terribly staged for an audience pay off. Coincidence dominates the conclusion offering an outcome of hope and resolve rather than a more realistic acceptance and inevitability of reality in the wake of such a catastrophe. It's obviously to be expected for a) a Hollywood disaster movie, and b) as something that strives to appeal to the Academy.</div>
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Performances peak with Watts, who demands more screen time than her male counterpart and perhaps warrants her Oscar nod. McGregor, however -- aside from one particularly devastating scene -- offers a consistent if not outstanding turn. The couple's children, specifically Lucas (Tom Holland), perform well considering a lack of experience. Unfortunately, it is the inconsequential characters that make up the swampy mainland that deliver wooden, awkward lines of dialogue that threatens to remove audiences from the very real, engrossing dangers of the environment they've invested in.</div>
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<i>The Impossible </i>possesses a clear intention to appeal to human nature, relying on a handful of tremendously poignant moments to affect, overwhelm and completely engage its audience. However, in a film that, for one reason or another, decides to alter factual certainties for entertainment, audiences will still willingly succumb to the emotional blackmail on offer in the form of this effective but contrived melodrama.</div>
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The Littlest Picture Showhttp://www.blogger.com/profile/17304385008670139710noreply@blogger.comtag:blogger.com,1999:blog-955382128428916907.post-1140726697969297962012-12-29T15:27:00.000+00:002013-01-19T21:19:39.572+00:00Top 12 of 2012<div style="text-align: center;">
I'm not messing about with this one. No plugs; no chit-chat; no waffle (besides this).</div>
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<b>Honourable mentions</b></div>
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<i>Alps</i></div>
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<i>Sightseers</i></div>
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<i>The Imposter</i></div>
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<i>Moonrise Kingdom</i></div>
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<i>The Hunger Games</i></div>
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<i>Silver Linings Playbook</i></div>
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<b>12 of the best (all films as per released in UK cinemas in 2012)</b></div>
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<i><b>#12 Skyfall</b></i></div>
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<b><i>#11 </i><i>Hara-Kiri: Death of a Samurai</i></b></div>
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<b>#10 <i>21 Jump Street</i></b></div>
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<b>#9 <i>Rust and Bone</i></b></div>
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<b>#8 <i>Excision</i></b></div>
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<b>#7 <i>Life of Pi</i></b></div>
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<b>#6 <i>The Descendants</i></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPHkd-SdQmurhTQLaMCWNquMUPfz33LINCC5uhKQv-4ae68wUPDFW4ZIubSW_sclzGdXvW1t4uYM-V-qSqXh5QnFfWwlLWb_UGn-P4GIyHl1KWfnyyq4_e3e3N8FwnIRb-vESDTnC_ElE/s1600/TheDescendants.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPHkd-SdQmurhTQLaMCWNquMUPfz33LINCC5uhKQv-4ae68wUPDFW4ZIubSW_sclzGdXvW1t4uYM-V-qSqXh5QnFfWwlLWb_UGn-P4GIyHl1KWfnyyq4_e3e3N8FwnIRb-vESDTnC_ElE/s400/TheDescendants.jpg" width="400" /></a></div>
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<b>#5 <i>Wild Bill</i></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2l8paBOrPs3TVAJqahLJtRGPxCAmMQ_iXq38u2hv8ly7nxw36aurvQ_6i2m1ysaGOik9q3FoTQA3dJR0XTiD6L7OQ3NVrDifey4ZcYhnH0bqqcoblTp-t8NVnS6j_Q4jLzl9zdAoqAlw/s1600/wild+bill.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2l8paBOrPs3TVAJqahLJtRGPxCAmMQ_iXq38u2hv8ly7nxw36aurvQ_6i2m1ysaGOik9q3FoTQA3dJR0XTiD6L7OQ3NVrDifey4ZcYhnH0bqqcoblTp-t8NVnS6j_Q4jLzl9zdAoqAlw/s400/wild+bill.jpg" width="400" /></a></div>
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<b>#4 <i>The Dark Knight Rises</i></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIqwnntPk1Yl1SQRwxitliPRDfn4MrzXBbFMU543e0ImOUPXhRgOXeIjUveVjScoZod8PlQg35vg2MM9jxecOWuOo77WLNgRPNDzhM-wFFWRaKNe3O5hBw2tLiQfEJX2wXahGm6PDUQN4/s1600/Bane-from-The-Dark-Knight-Rises-660x404.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIqwnntPk1Yl1SQRwxitliPRDfn4MrzXBbFMU543e0ImOUPXhRgOXeIjUveVjScoZod8PlQg35vg2MM9jxecOWuOo77WLNgRPNDzhM-wFFWRaKNe3O5hBw2tLiQfEJX2wXahGm6PDUQN4/s400/Bane-from-The-Dark-Knight-Rises-660x404.jpg" width="400" /></a></div>
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<b>#3 <i>The Master</i></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijpIbHNmwfRgCzJb_oyzSs7Si2oRYP1BJttZMgin2Azno0XSkhpPCtc4nrQpU1YjFyT3jIAvP7JlWbsBBvrmb2x0SYE5RM4b4kxcq4sgueN5ujZwHkOMmVZakiRmJqZh4jqkuPBBGpn08/s1600/the+master.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijpIbHNmwfRgCzJb_oyzSs7Si2oRYP1BJttZMgin2Azno0XSkhpPCtc4nrQpU1YjFyT3jIAvP7JlWbsBBvrmb2x0SYE5RM4b4kxcq4sgueN5ujZwHkOMmVZakiRmJqZh4jqkuPBBGpn08/s400/the+master.jpg" width="400" /></a></div>
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<b>#2 <i>Amour</i></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYg3dlJ9TKG-1qZxZ8JV0WYEMUbVtvthkRknK1DzHDVl6f7-OZ2TbqvPRQ4W_ZOVczM-rIwuxsNl7Qbg2HoLJZ8vEIxP8nlmsPmG1ZAkEMbmQ5fJfWDtImMo3UApq7WetRLQubSrRxTIk/s1600/Amour.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYg3dlJ9TKG-1qZxZ8JV0WYEMUbVtvthkRknK1DzHDVl6f7-OZ2TbqvPRQ4W_ZOVczM-rIwuxsNl7Qbg2HoLJZ8vEIxP8nlmsPmG1ZAkEMbmQ5fJfWDtImMo3UApq7WetRLQubSrRxTIk/s400/Amour.jpeg" width="400" /></a></div>
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<b>#1 <i>Shame</i></b></div>
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Roll on 2013...</div>
The Littlest Picture Showhttp://www.blogger.com/profile/17304385008670139710noreply@blogger.comtag:blogger.com,1999:blog-955382128428916907.post-8389996539492453752012-12-14T00:05:00.000+00:002012-12-14T17:29:48.448+00:00Review: The Hobbit: An Unexpected Journey<span style="background-color: white; color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px; text-align: justify;">Rating: 12a</span><br />
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<span style="background-color: white; color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px;">Duration: 169 mins</span></div>
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<i>NOTE: this review is based on 2D, 24fps.</i><br />
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Echoes of a collective groan emanated from the deepest,
darkest bowels of the Internet when it was announced that Peter Jackson’s
latest tackling of Tolkien literature would be split into three (yes, three)
separate films. Rightly or wrongly jeered, there are always a number of Jackson certainties a film of such magnitude box ticks: grandiose spectacle, jaw-dropping CGI and masses of indulgence. <i>The
Hobbit</i> – all 169 minutes of it – bodes well in terms of the first two, but in
typical Jackson fashion, is slightly bogged with sentimentality in the cutting
room. But that’s not to say this first instalment isn’t a good one, though.<o:p></o:p></div>
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As young Bilbo is introduced (Martin Freeman) in the quaint vibrancy of The Shire, aesthetically it feels as viable and convincing as the multi-Oscar winning excellence of <i>The Lord of the Rings</i>. New characters are introduced as fluently as old ones are reacquainted, notably the divine Sir Ian McKellen as Gandalf, as both
premise and context are established, the following set up is more akin to <i>The
Fellowship of the Ring</i>, as it practically retraces its steps. This comparison can be
detected throughout, and whilst it may seem a mild hindrance, it
doesn’t necessarily stifle the film.<o:p></o:p></div>
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Visually the entire film is a marvel. Wonderfully
conceived and executed, it’s sure to be a strong contender for Oscars in
technical achievements, not simply due to the breathtaking CGI for Andy
Serkis’ Gollum, which is noticeably superior to Weta’s efforts a decade
previous, but also for its conscientious strive to dazzle and amaze, much like <i>LotR</i> did. The journey that Bilbo, Gandalf and band of dwarves embark on is
fundamentally a series of escapades that differ from whimsy adventure to
life-threatening peril, yet are linked by stunning set pieces and special effects
that make these moments all the more exceptional. <o:p></o:p></div>
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Once the film’s overarching expedition does kick in, audiences
are whisked into Middle-Earth to bear witness to misadventures that literally encumber
their progress. However, it’s the beginning of the film that opens laboriously,
taking its sweet time to get things going. The pace is noticeably gradual and
will no doubt frustrate some, but can be forgiven because the entirety doesn’t
drag as one might imagine. Occasional scenes see it plod, but Martin
Freeman forges a fresh take on Bilbo Baggins that’s quintessentially British that proves hugely charming in both quips and subtlety of facial expression.
Similarly, Sir Ian McKellen is on top form as Gandalf, too, as such established
characters stand out against the largely indistinct band of dwarves (including
James Nesbitt) that form the backbone of the travelling party.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6fLl11t5ECzG8cXPQFirBDeY4fQWjlkLb7kWp22hmuaVS_oiXDfCMKQtpbhwU_jxt218oNdJCYyWWIG58EoK1c9pg90mEo6fj7Uw7KlrKGFhQizcjjeoxlXEvgBa4LPcWE0xfd0tz2Jg/s1600/the-hobbit-pic02.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6fLl11t5ECzG8cXPQFirBDeY4fQWjlkLb7kWp22hmuaVS_oiXDfCMKQtpbhwU_jxt218oNdJCYyWWIG58EoK1c9pg90mEo6fj7Uw7KlrKGFhQizcjjeoxlXEvgBa4LPcWE0xfd0tz2Jg/s400/the-hobbit-pic02.jpg" width="400" /></a></div>
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<i>The Hobbit</i> is more whimsy, accessible and light-hearted than
some of the darker and frankly more terrifying aspects of <i>The Lord of the Rings
</i>trilogy, but still crams so much in and exudes an epic severity the impending excursion is about to offer, and does so in
gorgeous style with unrivaled special effects. In honesty, with two further films to come, it
does feel a tad stretched for a single 320-pager, but possesses more
than enough good to quash the bad; Freeman begins his quest to Lonely Mountain on a positively delightful note.<o:p></o:p></div>
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The Littlest Picture Showhttp://www.blogger.com/profile/17304385008670139710noreply@blogger.comtag:blogger.com,1999:blog-955382128428916907.post-83981615117789419662012-11-14T22:01:00.001+00:002012-11-15T12:05:57.527+00:00Review: Amour<div style="text-align: justify;">
<span style="background-color: white; color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px; text-align: start;">Rating: 12a</span><br />
<span style="background-color: white; color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px; text-align: start;">Duration: 127 mins</span><br />
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Every so often you come across a film so profoundly powerful that it has lasting effect way beyond the final credits. In rare instances a motion picture can be so emotionally overwhelming that you'll remain devastated for days after. Michael Haneke's latest, <i>Amour, </i>is no exception.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtDyxzSo13kOQj0QpS5F2ly-FNu-ka2R_E1LvJHsK0e_SzjPJbyV8_S5sOFwuAvsAYS6qsHQJ2X90QSPtOZSj1DZnLAnmzSnR8_701790mMvz5XCbT0A2kt3kAx7rylRI5KQoh7JKMUrk/s1600/Amour+POSTER.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtDyxzSo13kOQj0QpS5F2ly-FNu-ka2R_E1LvJHsK0e_SzjPJbyV8_S5sOFwuAvsAYS6qsHQJ2X90QSPtOZSj1DZnLAnmzSnR8_701790mMvz5XCbT0A2kt3kAx7rylRI5KQoh7JKMUrk/s400/Amour+POSTER.jpg" width="285" /></a></div>
The Austrian director's Palme d'Or winner is portrayed with a simplistic elegance and grace that deems it an utterly mesmerising experience, but one you'll never wish to impose upon yourself again. The subject matter: old age, unequivocal love and devotion in the context of mental health deterioration.</div>
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About an elderly couple -- Georges (Jean-Louis Trintignant) and Anne (Emmanuelle Riva) -- Haneke devises a sumptuously poignant story that primarily centres on the two, requiring very little external interference, other than a few supporting roles that interject throughout. As we settle into the pace and routine of their lives, an incident takes place one nonchalant morning that forms the premise for the two hour filmic journey of Anne's onset of dementia.</div>
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So uniquely divergent from Hollywood is Haneke's overt style, it's easy to pick up on both the use of long, static, richly composed shots, with slow, methodical pans and tracks, as well as the strong character-focused narrative that uses an apartment as its solely filmed location. </div>
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The most deftly balanced and striking aspect of all is the phenomenal quality of acting on display. The sheer scope of emotions that transcend over the duration are breathtaking. There's so much to take in: from heartfelt adoration; to unfathomable dedication; to gut-wrenching endurance. Audiences will unquestionably be left despondent, exhausted and grief-stricken by the events of a harrowing subject matter that's bound to affect those with similar life experiences even more than those detached from it.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCvr8t8DbRFJaJSVCQcE7aajVHjGHpI6Ls8wLaC1RPbiOaLh4L1zwfSUBFflibAxtCc9_lptxZKOGGC7nAQ5QOy4DiqsH2ASD3LzFbGnb1zN-cifNB0u84iReC0Mce5ByFQcOf8AlJLUk/s1600/Amour+SCREENSHOT.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCvr8t8DbRFJaJSVCQcE7aajVHjGHpI6Ls8wLaC1RPbiOaLh4L1zwfSUBFflibAxtCc9_lptxZKOGGC7nAQ5QOy4DiqsH2ASD3LzFbGnb1zN-cifNB0u84iReC0Mce5ByFQcOf8AlJLUk/s400/Amour+SCREENSHOT.jpg" width="400" /></a></div>
The depiction of both physical and mental ageing is fascinating, and effortlessly immerses you from the very start. It is this early engagement with the characters that serves to shatter your defences; it'll transform a majority into quivering wrecks regarding events impending. Admittedly, as the story progresses, there are several scenes that threaten to break audience resilience. It genuinely hones in on audience vulnerability, and in truth doesn't ease up for quite some time.</div>
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Whilst this may seem like one to avoid for anyone with a fragile disposition, <i>Amour</i> is something that demands your attention. A terribly uncomfortable and unforgiving duration it may be, but the manner in how it's handled must be commended -- especially its evocative prowess and production sublimity.</div>
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The notion that reminiscing days later still bares an unrelenting weight of distress speaks volumes. <i>Amour </i>is one of 2012's finest. It may be unbearable at times, but is nonetheless an utterly engrossing, intrinsically rewarding, accomplished piece of modern cinema.<br />
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The Littlest Picture Showhttp://www.blogger.com/profile/17304385008670139710noreply@blogger.comtag:blogger.com,1999:blog-955382128428916907.post-9556080102496560292012-11-13T00:29:00.001+00:002012-11-13T22:10:20.117+00:00Review: Excision<span style="background-color: white; color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px;">Rating: 18</span><br />
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<span style="background-color: white; color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px; text-align: start;">Duration: 81 mins</span></div>
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<span style="font-family: inherit;">Besides a mere trailer for what can only be described as batshit horror/</span><span style="font-family: inherit; line-height: 14.25pt;">drama with a splash of erotica,
there’s been little else in terms of marketing or promotion for </span><em style="font-family: inherit; line-height: 14.25pt;">Excision</em><span data-mce-style="font-family: inherit;" style="font-family: inherit; line-height: 14.25pt;">,
other than the semi-recognisible face from E4’s 90210. AnnaLynne McCord fronts this
modern Carrie-like pseudo-high school drama/horror, with a quite magnificent
performance as oddball teen Pauline.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE7bDU6dlgKxZ6beh8Y89dXxk8dHi-p1YcFovSKmRChZsEvQBzkvfpQiRuBhaYnFZhGhjezwTOT-mhe27g_-euw3x4nQPTQQX5BT8IAQTO2KGx_tmraeHxGJCfobOiRbDo-Un30k1AfTQ/s1600/excision-poster.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: justify;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE7bDU6dlgKxZ6beh8Y89dXxk8dHi-p1YcFovSKmRChZsEvQBzkvfpQiRuBhaYnFZhGhjezwTOT-mhe27g_-euw3x4nQPTQQX5BT8IAQTO2KGx_tmraeHxGJCfobOiRbDo-Un30k1AfTQ/s400/excision-poster.jpg" width="266" /></a></div>
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<span data-mce-style="font-family: inherit;"><span style="font-family: inherit;">The story is the
vague subconsciousness and reality of a girl with a particularly disturbing
psychological imbalance, but devoid of any paranormal powers per se. She is,
however, keen on the study of medicine and all things surgical, with a somewhat
hazy ambition to one day enter said profession (as a surgeon). However, her clear disdain for all things academic deems
such goals unrealistic.<o:p></o:p></span></span></div>
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<span data-mce-style="font-family: inherit;"><span style="font-family: inherit;">But this is not to
say Pauline isn’t without passion. Her keen interest in dissecting dead birds
in her bedroom and tasting their blood reflects the film's themes, especially a
recurring visualisation of blood, gore, mutilation and sexualisation – key
factors that dominate her pimpled adolescent existence as she embarks on a
sexual awakening that includes a curious fascination as she begins to
menstruate.<o:p></o:p></span></span></div>
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<span data-mce-style="font-family: inherit;"><span style="font-family: inherit;">There are two sides
to Pauline’s character, and indeed, the narrative within the film. One is her
on-the-verge-of-maturity, transitional state of girl to woman (reality),
and the other being her subconscious: a much darker side that haunts her dreams
with imagery of body horror gratuity and intrigued eroticism; a side that
threatens to spill into real life. Aside from a <em>Carrie </em>comparison, her
family life mirrors that of another angstful deviant: Donnie Darko. A
domineering mother (Traci Lords) and placid father (Roger Bart) only
antagonises a youngster plagued with more psychological issues than her
ignorant household can imagine. Chastisement is a daily occurrence, until the
realisati</span></span><span style="font-family: inherit; line-height: 14.25pt;">on of the film's climax clicks, and the true horrors of Pauline’s mind finally unveils and spills over.</span></div>
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<span style="font-family: inherit;">For
a film that’ll puzzle many by the mere mention of its title, it's extremely
well executed. The acting, especially McCord's superlative turn, is of a
consistently high standard, and the script constantly intrigues, darkly amuses and feels fetishly fresh in its approach. Pauline’s character is complex and layered, and perhaps
offers one of the best female performances of 2012; not that the Academy will
recognise it, but they seriously should.<o:p></o:p></span></div>
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<span data-mce-style="font-family: inherit;" style="font-family: inherit; line-height: 14.25pt;">As unforgiving
and perverse as <i>Excision </i>may appear, once you delve into the troubled mind dealing
with numerous mid-teen issues such as angst, rejection, puberty and resentment,
you begin to see the exquisite excellence of this extraordinary, if not hugely </span><span style="font-family: inherit; line-height: 14.25pt;">grotesque</span><span data-mce-style="font-family: inherit;" style="font-family: inherit; line-height: 14.25pt;">, beast.</span></div>
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The Littlest Picture Showhttp://www.blogger.com/profile/17304385008670139710noreply@blogger.comtag:blogger.com,1999:blog-955382128428916907.post-68760893559373247482012-11-08T18:01:00.004+00:002012-11-15T00:32:04.334+00:00Review: Argo<span style="background-color: white; color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px;">Rating: 15</span><br />
<span style="background-color: white; color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px;">Duration: 120 mins</span><br />
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<span style="text-align: justify;">They often say things come in threes. Whether it be buses, accidents, or peas in a pod, it seems to be the way. But does the same rule apply when it comes to movies? Can someone with a hit-and-miss career in front of the camera produce a trio of successes behind it?</span><br />
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Ben Affleck has emerged as one of the industry's most promising talents, as long as we banish memory of what can only be deemed an ugly acting career, because the past half decade has seen him blossom behind the camera. <i>Argo </i>is Affleck's third directing effort, with <i>Gone Baby Gone </i>and <i>The Town </i>lavished with critical praise, it seems the 40-year old has finally found his niche.</div>
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Based on the real life events of the 1980 effort to rescue American diplomats pinned down in a hostile, revolutionary Iran, the <i>Pearl Habour </i>star asserts his now established skills at directing in a simple, yet effective manner that does an equally good job at balancing story progression with audience engagement.</div>
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Unlike his previous two, <i>Argo</i> tackles real life, and plays upon the intense nature of a narrative to engage its audience and drive it towards a climax. What's more, the finale of this particular film is its most rewarding part. Utterly engrossing; you'll find yourself on the edge of your seat for a good twenty or thirty minutes simply willing a peaceful resolution.</div>
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Without seeming overly negative, this is a strong and accomplished movie that does exactly what it sets out to achieve, but aside from its many pluses, there's no spark to make <i>Argo </i>anything more than a well made, solid movie.</div>
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However, what the film <i>does </i>do really well is to create and build upon a tense and edgy situation and elevates the level of danger to its peak. It boasts an understated subtlety without the need to veer into elaborately sensationalised territory, especially with Affleck's lead performance. His 'every man', reserved nature never once threatens to steal the show or hog the limelight; instead, that honour is left to a trio of sublime performances from Bryan Cranston, Alan Arkin and John Goodman. These characters, specifically, offer the wittiest moments and biggest laughs the script has to offer, and back up their quips with stand-out turns that prove memorable.</div>
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<i>Argo </i>is well structured, sharp, often funny and unbelievably tense at times -- more so in its final half hour. The story is consistently gripping, if not remarkable in incident, yet affirms itself as a strong Oscars contender for its decidedly capable execution of direction, screenplay and acting.</div>
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The Littlest Picture Showhttp://www.blogger.com/profile/17304385008670139710noreply@blogger.comtag:blogger.com,1999:blog-955382128428916907.post-3013777737694219112012-10-27T17:29:00.000+01:002012-11-28T18:15:41.042+00:00Review: Skyfall<div style="text-align: justify;">
<span style="background-color: white; color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px; text-align: start;">Rating: 12a</span><br />
<span style="background-color: white; color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px; text-align: start;">Duration: 143 min</span><br />
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There are several reasons why you can't <i>not </i>know about the release of the new Bond flick<i>. </i>Firstly, it coincides with the 50th anniversary since Connery wooed us with his suaveness in <i>Dr. No</i>, thus prompting the 'Bond 50' Blu-ray release. Secondly, you must be living in a batcave to have avoided the unbearable amount of tie-in advertising and promo; from watches, to beer, to cars, to computers, to aftershave, to... well, anything imaginable. Oh, I forgot Coke. And thirdly, because Oscar-winning director Sam Mendes (<i>American Beauty; Jarhead</i>) is taking control of the franchise for the first, and supposed, only time.</div>
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You'll have noticed a Batman reference within the first paragraph, and with just cause, because <i>Skyfall</i> boasts a story that attempt to express darker, similarly toned material, including character exposition, as Nolan's superhero epic. In truth, it's difficult to ignore the success of <i>The Dark Knight</i>, but it by no means encumbers or defines the film in question.</div>
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In construction alone, Mendes opts for a stripped down, simplistic plot in keeping with Daniel Craig's other notable depiction of the lothario spy in 2006's <i>Casino Royale</i>. Its goals remain focused and clearly plotted with occasional exposition, yet masses of subtext to feast on. Side characters offer what's required, and don't overexert or outstay their welcome. As per usual, the focus is Craig's mysteriously brooding 007. However, the sublime Dame Judi Dench's M is at the forefront of the story, along with newcomer Ralph Fiennes as MI6 operative Gareth Mallory. </div>
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Javier Bardem assumes the role as rogue terrorist Silva, and offers up a most flamboyant turn that will remind Bondaphiles of villains gone by, yet situates himself in a starkly modern period. Not only is Bardem's reminiscent of characters of yesteryear, but the film, as a whole, teases and amuses with nods to the franchise in various subtle and not so subtle ways. What could easily turn into well matured Stilton is surprisingly the opposite: early Moore-era locales blend wonderfully with nostalgic touches that feel faithfully traditional to the franchise, yet mesh seamlessly with a consistent reminder of its edgy modernity.</div>
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Of course, it isn't all completely perfect. Craig asserts himself in typically awkward fashion that is both fitting to his character's persona, but also exposes a particular woodenness in his ability (noticeably when he runs/walks). It's not enough to dampen proceedings, because everything else sets the bar extremely high; set pieces are tense and utterly gripping, yet never overplayed: think the high-octane nature of <i>Casino Royale's </i>opening chase, and you'll have an idea of <i>Skyfall's </i>quality in both intro and subsequent action sequence.</div>
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To go with the raw nature of rebooted Bond is a brave poignancy Mendes generates thanks to specific plot devices. Using London as the centre of terrorism risks upsetting a lot of people, especially the unforgiving manner it expresses itself in. However, layered with an overwhelming sense of compassion and sentiment, it works both in the context of the film and as a fitting tribute to the atrocities of 7/7.</div>
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And all this is achieved with a sublime beauty courtesy of Roger Deakins, whose framing and sepia-toned lighting transforms each scene into a mouth-watering spectacle. Whether that Oscar will finally be delivered is anyone's guess, but there's surely no better platform to showcase his skills.</div>
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<i>Skyfall </i>is a welcomed return for the franchise. Far superior to <i>Quantum of Solace, </i>yet not quite on par with the superb <i>Casino Royale</i> for its subtlety and gritty nature, Mendes's effort compensates with juicer exposition, greater thematic passion, and a focused simplicity rarely seen in billion-dollar franchise blockbusters.</div>
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The Littlest Picture Showhttp://www.blogger.com/profile/17304385008670139710noreply@blogger.comtag:blogger.com,1999:blog-955382128428916907.post-63911491824686733282012-10-14T12:51:00.000+01:002012-10-22T22:36:41.507+01:00Review: Frankenweenie<span style="background-color: white; color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px;">Rating: PG</span><br />
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<span data-mce-style="font-family: inherit;" style="font-family: inherit;">There are two types of people in the world: those who loyally adore the works of kooky visionary Tim Burton, and those who detest the life out of the wacky-haired maestro.</span><br />
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<span style="font-family: inherit;"><span style="line-height: 18.984848022460938px;">The Marmite director returns after the lukewarm reception of his other 2012 film </span><i style="line-height: 18.984848022460938px;">Dark Shadows</i><span style="line-height: 18.984848022460938px;">, as </span><i style="line-height: 18.984848022460938px;">Frankenweenie </i><span style="line-height: 18.984848022460938px;">looks to be</span><span style="line-height: 18.984848022460938px;"> somewhat of an </span><span style="line-height: 18.983333587646484px;">anomaly</span></span><span style="font-family: inherit; line-height: 18.984848022460938px;"> from his safe zone; boasting the </span><span style="line-height: 18.983333587646484px;"><span style="font-family: inherit;">poss</span><span style="color: #333333;">ibility</span></span><span style="color: #333333; font-family: inherit;"><span style="line-height: 18.984848022460938px;"> of emulating Henry Selick's </span></span><i style="color: #333333; font-family: inherit; line-height: 18.984848022460938px;">The Nightmare Before Christmas</i><span style="font-family: inherit;"><span style="line-height: 18.984848022460938px;"><span style="color: #333333;">. </span>Not only that, but there's also <b>no </b>sign of cohorts Johnny Depp or (shockingly) the missus, even though they've featured relentlessly in recent years.</span></span></div>
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<span style="font-family: inherit;"><i>Frankenweenie </i>follows suit with the kooky, quirky nature synonymous with the <i>Sleepy Hollow</i> director. And it's with good reason, because aesthetically the entire set up is beautifully unique and oozes charm, but it takes far more than striking visuals to make a great film (see <i>Corpse Bride</i>).</span></div>
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<span style="font-family: inherit;">After loosing his beloved dog Sparky, schoolboy Victor decides to take the initiative from his science class teachings and set up an experiment to reanimate his pooch. As the pair begin to re-bond, the secret resurrection becomes know to fellow pupils, which results in some darkly comic moments, as it elevates to levels of mild horror that's perhaps unsuitable for the little'uns.</span></div>
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<span style="font-family: inherit;">Morally, the story attempts to place its ideas on a pedestal, claiming to have a message regarding coping and coming to terms with loss, as well as obvious themes of life and death. However, this entire ethos is dispelled, leaving a warm but unfulfilled aftertaste in its preachings.</span></div>
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<span style="font-family: inherit;">The story works on a stripped down, basic level, and only really steps up a notch as it approaches its climax. Certainly quaint in its stylistic manner, it possesses a black and white nostalgic quality that works surprisingly well.</span></div>
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<span style="font-family: inherit;">3D is incorporated as a prominent feature, and one must admit that it actually strengthens the film as a whole. Devoid of misconceptions of 'jump out the screen' and instead serves its true purpose of creating a rich, vibrant and pleasing depth of field that adds needed weight to what is a flimsy, filler-heavy script.</span></div>
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<span style="font-family: inherit;">But it's not all completely at fault. Carefully woven into the script are numerous nods to classic cinema from (the obvious) <i>Frankenstein </i>to <i>Godzilla</i>, with nuances the more observant viewers will pick up on. Background subtleties feel Aardman-inspired, which likeably generate laughs, but are sadly much too infrequent.</span></div>
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<span style="font-family: inherit;"><i>Frankenweenie </i>turns out to be conformist Burton territory after all; it rarely strays from the by the numbers formula. It has a wonderful attention to detail in its design, but with a complete lack of meat in story, wit and entertainment, it falls short when evaluating as a complete package.</span></div>
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The Littlest Picture Showhttp://www.blogger.com/profile/17304385008670139710noreply@blogger.comtag:blogger.com,1999:blog-955382128428916907.post-35654953982095873452012-09-04T19:26:00.001+01:002012-10-14T12:57:58.067+01:00Review: Lawless<div style="text-align: justify;">
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<span style="background-color: white; color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px; text-align: start;">Duration: 116 mins</span><br />
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John Hillcoat's last film, <i>The Road</i>, was a faithfully-adapted, bleak take on the apocalypse, and his latest also falls into the category of novel adaptations; this time courtesy of Matt Bondurant (the grandson of the story's protagonists).</div>
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The transfer from novel -- originally titled <i>The Wettest County in the World </i>-- to big screen in the capable hands of Nick Cave (<i>The Assassination of Jesse James; The Proposition</i>) assures a well-paced, intensely authentic depiction of the Bondurant brothers (Tom Hardy, Jason Clarke and Shia LaBeouf, respectively) that proves an interesting if somewhat vague tale of the so-called immortal siblings.</div>
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With LaBeouf recently announcing his desire to pursue a career down the indie route, <i>Lawless</i> is appropriate to showcase his talents in an attempt to distance himself from the annoying twerp in <i>Transformers. </i>And it serves him well, because not only does he take centre stage ahead of the up-and-coming Hardy and the blink-and-you'll-miss-it contribution from Gary Oldman, he succeeds in delivering a performance to match the amount of screentime he's given.</div>
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Set in rural Virginia during the Depression, the three brothers make a living from their illicit dealings in moonshine, as they enforce a local Bondurant law of fear and violence. That is until a new, unhinged deputy (Guy Pearce) enters the fray. It's perhaps his portrayal that is most memorable, with his shaved eyebrows, centre-parted, slicked hair and (debateably) immaculate sense of style that set him apart. Both Hardy and Jessica Chastain offer subtle, more reserved performances, with the former generating humour with grunty nuances from time to time.</div>
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Whilst the acting is consistently strong, the narrative leaves a little more to be desired. As the feud between Bondurants and local law intensifies, there's little incident along the way that significantly builds to its climactic finale. Neither is there a particularly strong presence of sub plotting or subtext, either, rendering the emotion of the characters somewhat impenetrable. What's more, the vagueness of plot points and lack of exposition prevents the characters from feeling particularly rounded or muster depth and engagement with them.<br />
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Even though the story is loose and tends to hone in on the plights of family and responsibility, it has its moments during a lengthy runtime, yet lacks the compelling nature of what it <i>should </i>be due to the overuse of ambiguity. Commendably, Hillcoat's period piece certainly looks the part with an authenticity that makes you wish you were able to experience things firsthand. However, such is the throwaway nature of the beast, <i>Lawless </i>ultimately culminates as a good film rather than a great one.</div>
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The Littlest Picture Showhttp://www.blogger.com/profile/17304385008670139710noreply@blogger.comtag:blogger.com,1999:blog-955382128428916907.post-27363606105361574992012-09-01T18:12:00.000+01:002012-10-14T12:57:15.772+01:00Review: Total Recall<span style="background-color: white; color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px;">Rating: 12a</span><br />
<span style="background-color: white; color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px;">Duration: 118 mins</span><br />
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Inevitable comparisons to Paul Verhoeven’s fantastic original sci-fi epic will be made, and even though it was released twenty two years previously, Len Wiseman has a lot to live up to if he wishes to satisfy existing fans and entice new ones.</div>
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Conceptually, the vision and premise are intriguing: the film begins with slick exposition of how the dystopian, bleak planet functions in the future, and is something audiences can buy into. Visually, it is, at times, noteworthy, but at others is awfully generic: The Colony -- a densely populated section of Earth -- is straight out of <i>Blade Runner</i>; the vehicles and action-orientated vertical chases are similar to <i>Minority Report</i>; whilst the legions of robotic authorities parallel <i>I, Robot</i> or even the clone armies of <i>Star Wars</i>. The result is droplets of imagination, drowned in rivers of creative laziness.</div>
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Len Wiseman -- known for his relentless <i>Underworld </i>series -- is simply unable to justify his decision to remake the Philip K Dick story. Rather than utilise the ideas of sci-fi, he simply moulds the existing story into a straightforward chase film, with a climax that possesses little in common with the genre. </div>
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In fact, the two hour film is seemingly comprised of four overstretched, adrenaline-fuelled sequences. Glaringly apparent is Wiseman's obliviousness to over-indulgence, the narrative structure scraps any balance of action, exposition and storyline; instead opting for lengthy chase after lengthy chase.</div>
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What's more, the little storyline that <i>is </i>included feels like a condescending slap around the chops. Instead of the ambiguity and subtlety the original offered, Wiseman prefers to spoon feed his audience, insulting even the most primitive of minds. For example, a line Hauser (Colin Farrell) has early on -- a seemingly flippant comment about wishing he'd learnt to play the piano -- comes into play when he finds himself in the apartment of the life he has no memory of. We see a piano subtly chopped out of frame (which would have sufficed); followed by a shot of it in full frame; followed by Hauser sitting down and playing, as it reveals its significance in the plot. Surprisingly, we don't hear an echoey, internal monologue along the lines of '<i>I wish I'd learnt to play the piano</i>' -- because it's <i>that </i>kind of film we're being patronised with.</div>
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Whilst the set pieces are action-filled and acceptably entertaining, they do -- as mentioned previously -- tend to drag. Regardless of whether director or editor is at fault, the sentimentalism and debauchery is plain to see, which resonates in lengthy, unnecessary segments that shape the entire film. </div>
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The wonderful Bryan Cranston is woefully underused as villain Cohaagen, with Farrell and the eye candy combo of Kate Beckinsale/Jessica Biel offering acceptable, if unimpressive performances. That's not to say it isn't a trio worthy of attention, because the casting are aesthetically pleasing, if nothing else.</div>
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<i>Total Recall</i> is a film that <i>thinks</i> it is far cleverer than it actually is. A lack of subtlety, intelligence and ambiguity renders it a story that could take place within any genre, dispelling all appeal of a sci-fi adventure. The trouble is that it takes itself far too seriously, yet insists on including numerous clunky references to Verhoeven's tongue-in-cheek masterpiece, as well as cringeworthy dream puns littered throughout the cheesy dialogue. </div>
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All life has been sucked out of the satirically edgy original in favour of a straight-cut attempt at a thriller. However, without reference to its predecessor, it works on the most basic of entertainment levels. In principle it is a needless reimagining of Verhoeven's, and more significantly, Dick's work; serving merely as a modern update for non-savvy audiences in search of a popcorn flick.</div>
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<span style="text-indent: -18pt;">N.B. Unsurprisingly, there's a nod to the three-breasted woman, who's not only heavy-handedly plonked into a random scene, but appears to be the <b>only </b>mutant in existence. Odd.</span></div>
The Littlest Picture Showhttp://www.blogger.com/profile/17304385008670139710noreply@blogger.comtag:blogger.com,1999:blog-955382128428916907.post-32783204695052000682012-08-07T18:24:00.000+01:002012-09-06T15:42:07.823+01:00Review: Brave<div style="text-align: justify;">
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<span style="background-color: white; color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px;">Duration: 100 mins</span></div>
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With Pixar recently announcing sequels to <i>Monsters Inc., Finding Nemo </i>and <i>Toy Story</i>,<i> </i>there were fears that originality was running dry, but<i> </i>their thirteenth and latest feature, <i>Brave</i>, shows that flare hasn't dried up just yet.</div>
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A story involving princesses, kings, castles, witches, spells and bears is anything but the norm for the animation giants, and turns out to be a refreshing change, especially with its woven references to many a fairytale: it shares a sensibility with <i>Shrek</i> for this very reason. Initially, it threatens to drift off into mundane territory a la <i>Cars</i>, but thankfully the strong, entertaining plot, keeps it afloat, allowing it to shine.</div>
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Whilst it may suffer from predictable plotting, the whimsy, funny and entertaining elements develop into an engaging and likeable fantasy set in Scotland. Princess Merida (Kelly MacDonald) defies her father, the King (Billy Connolly), and her destiny to marry one of three suitors as per the kingdom's custom, which forms the basis of the film.</div>
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As with each Pixar entry, the animation and attention to detail is sublime. Subtleties such as Merida's thick, auburn locks as well as various animal textures impress, but the most breathtaking visuals are perhaps the appearance of water -- one scene in particular springs to mind. It's this steady progression over the years -- as well as the consistency of their well-written scripts -- that keep Pixar one step ahead of the competition. Unlike Aardman's <i>Pirates! In an Adventure with Scientists!</i>, which boasted style over substance, <i>Brave</i> achieves satisfaction on both levels and actually gains momentum and strength as it progresses towards its finale.</div>
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The conclusion is both tidy and resolute -- qualities you'd expect for both studio and genre. It remains perfectly paced throughout with its humorous level of wit and intellect that transcends younger and older audiences alike. It boasts a subtle comedic presence, specifically its approach to animals conveying thought without the ability of speech -- think along the lines of the mute genius of <i>WALL-E </i>as a guide.</div>
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Adhering to current trends, the film has been converted into 3D, and, as per a minority of its counterparts, does a credible job in creating depth of field. It's effective as an added extra, but in the context of the filmmaking it remains gimmickry is unnecessary.</div>
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<i>Brave</i> offers up a fairytale style story previously unexplored by Pixar. It works, and even though it doesn't quite capture the magical highs of <i>Up </i>or <i>WALL-E</i>, it still succeeds as a solid and hugely enjoyable film that performs well and looks the part, too.</div>
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The Littlest Picture Showhttp://www.blogger.com/profile/17304385008670139710noreply@blogger.comtag:blogger.com,1999:blog-955382128428916907.post-25999022057383586892012-07-30T13:43:00.001+01:002012-07-30T13:57:25.577+01:00Competition: Win Wild Bill on DVD<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwwjv2C00qa9XyWpgmLmvJYsj9a5SBT5bwhMZEn9DMXt665iLgWLkarGB-XzTKjzL43DtmSobm04RdOHTLFzW_kDaA5gb-cMbWxkCxq0iy5rMVwBq9HQyJMJvSCxpgX5lFEXj_QUVd3Z0/s1600/wild-bill-poster02.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwwjv2C00qa9XyWpgmLmvJYsj9a5SBT5bwhMZEn9DMXt665iLgWLkarGB-XzTKjzL43DtmSobm04RdOHTLFzW_kDaA5gb-cMbWxkCxq0iy5rMVwBq9HQyJMJvSCxpgX5lFEXj_QUVd3Z0/s640/wild-bill-poster02.jpg" width="600" /></a><br />
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<span style="font-family: inherit;">A spur of the moment competition here at The
Littlest Picture Show, <a href="http://www.thehut.com/home.dept?&affil=thgppc&keyword=the+hutEXACT&gclid=CLXu6MKkwbECFc8KtAod1hIAcg" target="_blank"><span style="color: blue;">The Hut</span></a> have
kindly given a copy of the new British movie <i>Wild
Bill</i><i> </i>(released just last week) to be won. You can check out my cinema review <a href="http://tiny.cc/jze9hw" target="_blank">here</a>.</span><br />
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<span style="font-family: inherit;"><b>HOW TO ENTER:</b><o:p></o:p></span></div>
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<span style="font-family: inherit;"><b>COMPETITION: Want to win WILD BILL on
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<span style="font-family: inherit;"><b>Simply RT and FOLLOW @littlestpicshow! </b></span></div>
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</span></span>The Littlest Picture Showhttp://www.blogger.com/profile/17304385008670139710noreply@blogger.comtag:blogger.com,1999:blog-955382128428916907.post-64259484985316822322012-07-25T13:34:00.001+01:002012-11-28T18:28:05.601+00:00Review: Ted<div style="text-align: justify;">
<span style="color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px;">Rating: 15</span></div>
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<span style="color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px;">Duration: 106 mins</span></div>
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Seth MacFarlane's first venture into mainstream cinema was always to be an anticipated affair, especially if you're partial to his long-standing shows <i>Family Guy</i> and <i>American Dad!</i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOxe0Lf_QV8hLk_zTCmDhgZX0ftAnkRQACvYzFnxosJVF8qHg0P3RvgR9f80JVblHZQYySFkIVA7o-pT2VyfZ0Q7MAJ0VUG5Uh6BNhiFeHxCg0edaY9J68JjQXeRwPxKYE5BYF6oVW2hg/s1600/ted-movie-poster.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: justify;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOxe0Lf_QV8hLk_zTCmDhgZX0ftAnkRQACvYzFnxosJVF8qHg0P3RvgR9f80JVblHZQYySFkIVA7o-pT2VyfZ0Q7MAJ0VUG5Uh6BNhiFeHxCg0edaY9J68JjQXeRwPxKYE5BYF6oVW2hg/s400/ted-movie-poster.jpg" width="242" /></a></div>
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Creator MacFarlane assumes control over director and writer duties for a movie that is about a talking teddy bear. The premise focuses on John (Mark Wahlberg) who, as a child, wishes for his new stuffed toy -- a bear he aptly names Teddy -- to come to life, which it subsequently does. The fact that Ted is the only walking, talking bear of his kind is irrelevant (kind of), as girlfriend Lori's (Mila Kunis) acceptance of the unique situation and bond appears to wear thin.</div>
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It all begins promisingly with the sultry narration from Patrick Stewart as the first couple of scenes play out nicely. <span style="background-color: white;">Seth MacFarlane's desire to break into Hollywood after small screen success is clear, but his venture may have worked better had he persisted with the shockingly offensive nature of </span><i style="background-color: white;">Family Guy </i><span style="background-color: white;">rather than catering more towards the </span><i style="background-color: white;">Superbad </i><span style="background-color: white;">demographic. Not necessarily a bad move, the style of </span><i style="background-color: white;">Ted</i><span style="background-color: white;"> is overtly mainstream, as many of the jokes within it accommodate for this audience. But what's ill-fitting is how this essentially adult comedy with a potty-mouthed child's toy is set within a fairytale-style narrative. It makes for a bizarre combination, as the </span><span style="background-color: white;">anti-Semitic jokes fail to gel with the more tender moments -- and, believe it or not, there are a few.</span><span style="background-color: white;"> </span></div>
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Whilst the CGI character looks rather convincing at times, the gratuitous profanity quickly becomes stale. Therefore, those who prefer a more intelligible rather than gross-out, sweary form of comedy will find large chunks of the film laborious.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiObppOltUOCldf4EzxQjmhow8hiopOkr-qLL3TO3ynGTX57SObN7MU-d4PJNCG0XGA0ASHjzkTv1sayrQlhSHNhjwQxU4TLQ9f_n18KEVYPhkM7_IYuhYMy8HlRXJB5d1HpGpXjeVAcCo/s1600/Ted+Movie+Photo.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiObppOltUOCldf4EzxQjmhow8hiopOkr-qLL3TO3ynGTX57SObN7MU-d4PJNCG0XGA0ASHjzkTv1sayrQlhSHNhjwQxU4TLQ9f_n18KEVYPhkM7_IYuhYMy8HlRXJB5d1HpGpXjeVAcCo/s400/Ted+Movie+Photo.jpg" width="400" /></a></div>
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That said, there does come a point where it manages to create poignancy, and the story -- albeit as far-fetched as it is -- does deliver on a basic, engaging level.<br />
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There are a couple of cameos; mainly appearances from <i>Family Guy </i>regulars Alex Borstein and Patrick Warburton, as well as a few other well known faces that generate genuine laughs, but the overall quality of comedy is far too inconsistent.</div>
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<i>Ted </i>is obvious mainstream fodder, as MacFarlane sways from more obscure cultural references to ones about Twitter and Taylor Lautner. The gags throughout are very hit-and-miss: when they work -- and they do at their most edgy and controversial -- they're hilarious, but at other times the set-ups and 'safe comedy' simply fails to impress.</div>
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The Littlest Picture Showhttp://www.blogger.com/profile/17304385008670139710noreply@blogger.comtag:blogger.com,1999:blog-955382128428916907.post-53865346096759131612012-07-19T00:39:00.000+01:002012-11-09T12:31:11.158+00:00Review: The Dark Knight Rises<div style="text-align: justify;">
<span style="color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px;">Rating: 12a</span></div>
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<span style="color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px;">Duration: 164 mins</span></div>
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<span style="background-color: white;">Chris Nolan's third instalment of the successful and much loved </span><i style="background-color: white;">Batman </i><span style="background-color: white;">reboot is finally unveiled, with the pressure of surpassing the billion-dollar-earning, Oscar-winning sequel </span><i style="background-color: white;">The Dark Knight</i><span style="background-color: white;">, can </span><i style="background-color: white;">The Dark Knight Rises </i><span style="background-color: white;">live up to its ridiculously high expectations?</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib4WbucFf55SijFmabILp9Todq9e7z8CwWoilCnhNnjEl_GCNDLZXIc0YHZb8EfzWJ6qEmnla8ocIHvRKEvM3DqpdKu4fFJ1laxKOd5vB8onYXkbMB3imMMpkAoVird9JZc4tY7AeXBPA/s1600/THE+DARK+KNIGHT+RISES+POSTER.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib4WbucFf55SijFmabILp9Todq9e7z8CwWoilCnhNnjEl_GCNDLZXIc0YHZb8EfzWJ6qEmnla8ocIHvRKEvM3DqpdKu4fFJ1laxKOd5vB8onYXkbMB3imMMpkAoVird9JZc4tY7AeXBPA/s400/THE+DARK+KNIGHT+RISES+POSTER.jpg" width="270" /></a></div>
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To begin with, it's worth declaring that <i>Rises</i> is a breathtaking spectacle on a sublime scale; more so than <i>Batman Begins,</i> and on par with <i>The Dark Knight.</i> </div>
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We're thrust eight years into the future, and therefore the film takes a little time to re-establish itself, but does so satisfyingly within the opening half hour. The script incorporates snippets of relevant exposition in order to burst into the film's second and third acts with great momentum, allowing the events that take place <span style="background-color: white;">thereafter</span><span style="background-color: white;"> to have the most impact possible due to the existing investment in the characters.</span></div>
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Christian Bale thrives as he does in previous entries, mixing billionaire recluse Bruce Wayne with masked vigilante well. Michael Caine's Alfred has meatier segments of dialogue early on, which certainly allow Caine to showcase his ability more than before. However, it's Anne Hathaway's portrayal of Selina Kyle that really impresses, as she threatens to steal the film all by herself. Tom Hardy's Bane is effective and as accomplished as his brutish character can be, but is unable to offer the dexterity of Heath Ledger's Joker.</div>
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Whilst the narrative and early structure isn't as polished as <i>The Dark Knight</i>, the set pieces and action sequences are just as mind-blowing. What's more, the screentime Batman and Bane share is just as riveting as the ones with Joker in the previous entry.</div>
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Various moments present a poignancy that's largely devoid in the other movies, and achieves the balance of emotion just right, especially where key characters are concerned. Things aren't hampered by the tremendous score courtesy of Hans Zimmer, either, and adds to the grandiose magnitude of events.</div>
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<i>The Dark Knight Rises </i>is a truly epic conclusion to Nolan's breathtaking trilogy. Apart from a slightly slow beginning, the majority is pacey, slick, thrilling and utterly spectacular. Anne Hathaway surprisingly stamps her authority, as Bale et al remain as watchable as ever. If there's one film to see this year, it's this.</div>
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The Littlest Picture Showhttp://www.blogger.com/profile/17304385008670139710noreply@blogger.comtag:blogger.com,1999:blog-955382128428916907.post-54903306836396311702012-07-15T18:44:00.000+01:002012-09-06T15:42:57.166+01:00Review: Being Elmo: A Puppeteer's Journey<div style="text-align: justify;">
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<span style="color: #666666; font-family: Verdana, Arial, sans-serif; font-size: 11px; text-align: -webkit-auto;">Duration: 80 mins</span></div>
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For some, The Muppets will be forever cherished. Timeless is their appealing nature, the latest feature length, self-titled movie merely proves the insurmountable, continuous love the globe over.</div>
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This concise, yet utterly poignant documentary touches upon the story of Kevin Clash -- the man that brings the child-like voice of Elmo to life every day. Seeing him as a youngster will galvanise -- for his first puppet he resorted to taking existing in-use materials from around his home in order to craft a Henson-style muppet -- because his story comes across as a uplifting tale of achieving one's dream, but the real emotional grab of the film is how Clash uses his fame and influence to bring sheer joy to others.</div>
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Touring the famous muppet workshop is truly an eye-opening experience, as we gain a glimpse of the day-to-day goings on of both puppeteers and crafters. Clash spends a large segment of the doc showing us how much comfort Elmo can bring to children, too (ones he specifically meets are often terminally ill), with a consistent subtextual message of togetherness and making the most out of life. Not only that, but Clash remains grounded and utterly genuine as he offers a helping hand to other wannabe puppeteers yearning for the big break he so graciously received himself.</div>
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<i>Being Elmo </i>is a taut and wonderful insight into the world of The Muppets. It's a brief, but very inspiring documentary that is well worth seeing, not only as a suitable alternative to blockbuster fodder, but simply as a pleasingly quaint and moving documentary.</div>
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The Littlest Picture Showhttp://www.blogger.com/profile/17304385008670139710noreply@blogger.com