#184 at the time of writing.
J. J. Abrams set the bar high with his reboot of the Star Trek film franchise, and with this sequel he has delivered against high expectations. Again, he has produced a film that works independently as sci-fi thriller fare yet while remaining rooted in the Star Trek universe.
And it is thrilling indeed. I found myself at the edge of my sat so often that at one point I suspected the story was just a bunch of how-will-they-make-it-out-of-this-one set-pieces strung together. But of course the heroes prevail, without too many plot holes or deus ex machina.
Ultimately, this is thoroughly satisfying, and I'll be first in the queue to see number three in the series. (But oh no! Mr Abrams won't be at the helm! He'll be too busy directing Star Wars VII...)
I'm sure this film has yet to reach its peak on the IMDb ranking. However, I reckon that when the dust settles, this film's ranking will follow its predecessor's and plummet. Whether it clings on to the Top 250 or not remains to be seen.
Saturday, May 18, 2013
Star Trek Into Darkness
Labels:
films,
Into Darkness,
J.J. Abrams,
movies,
reboot,
review,
Star Trek,
Star Wars,
Top 250
Wednesday, March 20, 2013
Million Dollar Baby
#174 at time of writing.
This film, about an ageing boxing coach who reluctantly agrees to train a relentlessly determined and positive woman, does not end up going in the direction you expect, and is all the more powerful as a result.
Clint Eastwood plays almost the same character as in Gran Torino, which is ranked higher on IMDb, but in my opinion this is the superior film. And the Academy clearly agrees with me, having awarded this the Best Picture Oscar (and three others).
You have to admire Mr Eastwood for continuing to direct and act in such compelling and challenging films despite being older than sin - he was 74 when this was released and he's still going strong almost a decade later.
Even more respect to him for sticking with this difficult story, based on short stories by F.X. Toole, despite the typical narrow minded studio reaction to anything that doesn't fit the formula. Several studios refused to fund Million Dollar Baby until Tom Rosenberg stuck his neck out to provide half of the $30million budget. Box office receipts ended up exceeding $200million.
Hilary Swank puts in a stellar performance that would steal the show, except that Clint Eastwood and Morgan Freeman live up to their reputations as masters of gravitas while they compete to see who can be the gruffest old man.
A movie that can be hard to watch, but is full of heart.
This film, about an ageing boxing coach who reluctantly agrees to train a relentlessly determined and positive woman, does not end up going in the direction you expect, and is all the more powerful as a result.
Clint Eastwood plays almost the same character as in Gran Torino, which is ranked higher on IMDb, but in my opinion this is the superior film. And the Academy clearly agrees with me, having awarded this the Best Picture Oscar (and three others).
You have to admire Mr Eastwood for continuing to direct and act in such compelling and challenging films despite being older than sin - he was 74 when this was released and he's still going strong almost a decade later.
Even more respect to him for sticking with this difficult story, based on short stories by F.X. Toole, despite the typical narrow minded studio reaction to anything that doesn't fit the formula. Several studios refused to fund Million Dollar Baby until Tom Rosenberg stuck his neck out to provide half of the $30million budget. Box office receipts ended up exceeding $200million.
Hilary Swank puts in a stellar performance that would steal the show, except that Clint Eastwood and Morgan Freeman live up to their reputations as masters of gravitas while they compete to see who can be the gruffest old man.
A movie that can be hard to watch, but is full of heart.
Labels:
boxing,
budget,
Clint Eastwood,
F.X. Toole,
films,
Gran Torino,
Hilary Swank,
Million Dollar Baby,
Morgan Freeman,
movies,
Oscar,
review,
Tom Rosenberg
Tuesday, March 19, 2013
The Sixth Sense
#143 at time of writing.
To say that this is M. Night Shyamalan's best film would not be telling the whole truth. Far more accurate would be to say that this is his only remotely good film.
Yet it is a very good film. It has all the hallmarks of his worst stinkers - e.g. schmaltzy monsters, a tendency towards over-earnest cheesiness, an excess of focus on plot for the sake of the twist - yet somehow manages to dodge between the cracks and end up being a satisfying and very touching masterpiece.
Perhaps he should stick to being a writer, and let better directors realise his work - or the other way around. (This was a spec script of his, one twelve released films that he's written as of 2013, ten of which he directed. And one of which is any good. Did I say that already?)
The story is about a child who claims, "I see dead people" (the American Film Institute's #44 movie quote of all time), and the skeptical but kind child psychologist who tries to treat him. Despite trying to avoid spoilers, I heard a little about the twist ending, and for years I dismissed it as sounding too similar to The Others. When I finally got around to seeing it, I was pleasantly surprised. I got so into the film that I forgot about the twist, and when it came it had the full effect. Thrilling.
To say that this is M. Night Shyamalan's best film would not be telling the whole truth. Far more accurate would be to say that this is his only remotely good film.
Yet it is a very good film. It has all the hallmarks of his worst stinkers - e.g. schmaltzy monsters, a tendency towards over-earnest cheesiness, an excess of focus on plot for the sake of the twist - yet somehow manages to dodge between the cracks and end up being a satisfying and very touching masterpiece.
Perhaps he should stick to being a writer, and let better directors realise his work - or the other way around. (This was a spec script of his, one twelve released films that he's written as of 2013, ten of which he directed. And one of which is any good. Did I say that already?)
The story is about a child who claims, "I see dead people" (the American Film Institute's #44 movie quote of all time), and the skeptical but kind child psychologist who tries to treat him. Despite trying to avoid spoilers, I heard a little about the twist ending, and for years I dismissed it as sounding too similar to The Others. When I finally got around to seeing it, I was pleasantly surprised. I got so into the film that I forgot about the twist, and when it came it had the full effect. Thrilling.
Labels:
AFI,
films,
M Night Shyamalan,
movies,
review,
The Others,
The Sixth Sense,
top movie quotes
Tuesday, February 26, 2013
Terminator 2: Judgment Day
#36 at time of writing.
Terminator 2 left an indelible impression on my young teenage mind when I first saw it, and some 20 years later it's still very impressive. James Cameron really knows how to make a movie.
Arnold Schwarzenegger is at his best as the indomitable T-101, ultra cool right from the start. And, geniusly, even though he was such a terrifying bad guy in the first movie, by the end of this one you're rooting for him all the way.
But the film's antagonist, the T-1000, is one of the all-time greatest bad guys. Invincible, cunning, relentless - my heart races when I think of him clawing his way onto the back of the police car. And he makes thrilling use of his powers in the final battle. The special effects were mind-blowing at the time, and hold up well.
And despite these two epic rivals trying to steal the show, Linda Hamilton's Sarah Connor more than holds her own. She is a beautifully complex character, strong yet flawed, who's story is intrinsic to the film's excellent plot.
There is no fate but what we make.
(On a side note, according to IMDb trivia Arnold Schwarzenegger was given a slightly used Gulfstream III airplane, worth about $14 million, by producer Mario Kassar for accepting the role. I wonder what the Governator got for T3?!)
Terminator 2 left an indelible impression on my young teenage mind when I first saw it, and some 20 years later it's still very impressive. James Cameron really knows how to make a movie.
Arnold Schwarzenegger is at his best as the indomitable T-101, ultra cool right from the start. And, geniusly, even though he was such a terrifying bad guy in the first movie, by the end of this one you're rooting for him all the way.
But the film's antagonist, the T-1000, is one of the all-time greatest bad guys. Invincible, cunning, relentless - my heart races when I think of him clawing his way onto the back of the police car. And he makes thrilling use of his powers in the final battle. The special effects were mind-blowing at the time, and hold up well.
And despite these two epic rivals trying to steal the show, Linda Hamilton's Sarah Connor more than holds her own. She is a beautifully complex character, strong yet flawed, who's story is intrinsic to the film's excellent plot.
There is no fate but what we make.
(On a side note, according to IMDb trivia Arnold Schwarzenegger was given a slightly used Gulfstream III airplane, worth about $14 million, by producer Mario Kassar for accepting the role. I wonder what the Governator got for T3?!)
Labels:
Arnold Schwarzenegger,
films,
Governator,
James Cameron,
Linda Hamilton,
movies,
review,
Terminator 2
Monday, February 25, 2013
Snapshot III - IMDb's Top 250 Films Feb 2013
It's been well over two years since I last did a snapshot of IMDb Top 250...
Since I blogged about them, 25 films have gone up in the ranking:
2 films have stayed the same:
And the rest have gone down. The biggest losers, including the 23 which have dropped out of the ranking altogether, are:
My mission is 29% complete!
Since I blogged about them, 25 films have gone up in the ranking:
- Alien (up 3 places)
- Gone with the Wind (+4)
- Princess Mononoke (+5)
- Batman Begins (+6)
- How to Train Your Dragon (+6)
- Life of Brian (+6)
- Oldboy (+8)
- Rocky (+9)
- Forrest Gump (+10)
- The Secret in Their Eyes (+10)
- Full Metal Jacket (+13)
- V for Vendetta (+17)
- Fight Club (+22)
- The Artist (+24)
- Pirates of the Caribbean: The Curse of the Black Pearl (+25)
- Back to the Future (+26)
- The Big Lebowski (+28)
- The Thing (+29)
- Howl's Moving Castle (+30)
- Star Wars: Episode VI - Return of the Jedi (+32)
- Life of Pi (+39)
- Inception (+69)
- Dial M for Murder (+75, maybe thanks to the release of Hitchcock?)
- The Prestige (+119!)
- The Dark Knight Rises (previously unranked)
2 films have stayed the same:
- The Great Escape
- The Lion King
And the rest have gone down. The biggest losers, including the 23 which have dropped out of the ranking altogether, are:
- Black Swan (down 130 places)
- Star Trek (-143)
- Slumdog Millionaire (-161)
- District 9 (-169)
- The Wrestler (-181)
- Frost/Nixon (was #243)
- Star Wars: Episode III (was #243)
- X-Men: First Class (was #234)
- The Day the Earth Stood Still (was #228)
- True Grit (was #223)
- The Fighter (was #222)
- 127 Hours (was #221)
- Little Miss Sunshine (was #221) - at last!
- Almost Famous (was #212)
- Walk the Line (was #200)
- In Bruges (was #193)
- Let the Right One In (was #192)
- Letters from Iwo Jima (was #187)
- Zombieland (was #185)
- Brief Encounter (was #158) - I wonder why this dropped off?
- Duck Soup (was #147)
- Hero (was #143)
- the African Queen (was #136)
- The Social Network (was #133) - deserves a place in the ranking, I think.
- The Hangover (was #130)
- Kill Bill 2 (was #116)
- Drive (was #90)
- The Incredibles (was #80) - such a huge and undeserved plummet!
My mission is 29% complete!
Sunday, January 27, 2013
Django Unchained
#37 at time of writing.
...In which Quentin Tarantino tries to assuage the collective guilt of White America by dreaming up a black vigilante who cuts a swathe through scores of Confederate slave owners in a blood-soaked revenge fable. I'm not sure a single white character that spends more than about five minutes with Django makes it to the end of the film alive.
It slightly makes me worry for the mentality of Hollywood and America in general that so much racism, rape, hatred and gory murder can so easily be extruded into such a jaunty film. Tarantino knows instinctively what he can get away with, and thereby pushes the boundaries further than most would dare.
One of the things he does particularly well in this film is create tension - there's plenty of it, building up, and then getting periodically released with fountains of special sauce. And, this being a Tarantino Western (or Southern as he puts it), there are plenty of nods to other Westerns, not least Django.
The thing I've always admired most about Tarantino is that his status as filmmaking legend is entirely self-created. Not based on the quality of his films, although his early work surely helped, but because he just decided to spread his own rumours that he was a movie god. Only someone like that would make a movie like this. Totally amoral, utterly self-indulgent, and (*sigh*) brilliant.
...In which Quentin Tarantino tries to assuage the collective guilt of White America by dreaming up a black vigilante who cuts a swathe through scores of Confederate slave owners in a blood-soaked revenge fable. I'm not sure a single white character that spends more than about five minutes with Django makes it to the end of the film alive.
It slightly makes me worry for the mentality of Hollywood and America in general that so much racism, rape, hatred and gory murder can so easily be extruded into such a jaunty film. Tarantino knows instinctively what he can get away with, and thereby pushes the boundaries further than most would dare.
One of the things he does particularly well in this film is create tension - there's plenty of it, building up, and then getting periodically released with fountains of special sauce. And, this being a Tarantino Western (or Southern as he puts it), there are plenty of nods to other Westerns, not least Django.
The thing I've always admired most about Tarantino is that his status as filmmaking legend is entirely self-created. Not based on the quality of his films, although his early work surely helped, but because he just decided to spread his own rumours that he was a movie god. Only someone like that would make a movie like this. Totally amoral, utterly self-indulgent, and (*sigh*) brilliant.
Labels:
Django Unchained,
films,
movies,
Quentin Tarantino,
review
Thursday, January 10, 2013
The Great Escape
#113 at time of writing.
This World War II action film manages to be relentlessly upbeat (largely thanks to Elmer Bernstein's classic catchy theme song); even when things go horribly wrong, the jokes roll on.
A gang of mostly British soldiers (plus Steve McQueen, inserted purely as a crowd-pleaser) organise an incredibly ambitious escape from a high-security "Stalag Luft III" prisoner-of-war camp. The true story on which this is based is so amazing that it begged to be told, and although this film deviates widely from the known facts the salient points remain.
There aren't many war films that will make you smile, get your feet tapping, or hold your attention for nearly three hours - but this manages all three with style.
This World War II action film manages to be relentlessly upbeat (largely thanks to Elmer Bernstein's classic catchy theme song); even when things go horribly wrong, the jokes roll on.
A gang of mostly British soldiers (plus Steve McQueen, inserted purely as a crowd-pleaser) organise an incredibly ambitious escape from a high-security "Stalag Luft III" prisoner-of-war camp. The true story on which this is based is so amazing that it begged to be told, and although this film deviates widely from the known facts the salient points remain.
There aren't many war films that will make you smile, get your feet tapping, or hold your attention for nearly three hours - but this manages all three with style.
Labels:
Elmer Bernstein,
films,
movies,
review,
Steve McQueen,
The Great Escape,
World War II
Tuesday, January 01, 2013
The Hobbit: An Unexpected Journey
#119 at time of writing.
After the phenomenal success of the Lord of the Rings trilogy (and some legal wrangling with New Line cinema and the Tolkein estate), Peter Jackson gained enough trust from the studios and the fans to do whatever he liked with The Hobbit. Originally planned as a two-part film with Guillermo del Toro at the helm, Jackson took over and expanded Bilbo Baggins's tale with backstory from the Lord of the Rings books to end up with a behemoth three-parter.
And it shows. Part one, An Unexpected Journey, runs to nearly three hours (will the DVDs still have an extended edition?). It's certainly flabby and self-indulgent. But you know what? I was very happy to indulge it.
I sat enjoying the expansive story world, feeling at home as each scene lingered languidly. Like sitting by a fire with a glass of port on Christmas morning.
Much has been made of the fact that this is the first feature film to be shot and projected at 48 frames per second, twice as fast as the industry standard of 24 frames, the intention being to provide the smoother, more realistic motion, especially in 3D. Did it make much difference? Meh.
Interesting to note that the filmmakers did not have the requisite rights to use material from Silmarillion or Unfinished Tales - evident when Gandalf "forgets" the names of two of the five wizards, Alatar and Pallando, who only appear in the book Unfinished Tales. So, plenty of scope for yet more engorged trilogies in the future.
After the phenomenal success of the Lord of the Rings trilogy (and some legal wrangling with New Line cinema and the Tolkein estate), Peter Jackson gained enough trust from the studios and the fans to do whatever he liked with The Hobbit. Originally planned as a two-part film with Guillermo del Toro at the helm, Jackson took over and expanded Bilbo Baggins's tale with backstory from the Lord of the Rings books to end up with a behemoth three-parter.
And it shows. Part one, An Unexpected Journey, runs to nearly three hours (will the DVDs still have an extended edition?). It's certainly flabby and self-indulgent. But you know what? I was very happy to indulge it.
I sat enjoying the expansive story world, feeling at home as each scene lingered languidly. Like sitting by a fire with a glass of port on Christmas morning.
Much has been made of the fact that this is the first feature film to be shot and projected at 48 frames per second, twice as fast as the industry standard of 24 frames, the intention being to provide the smoother, more realistic motion, especially in 3D. Did it make much difference? Meh.
Interesting to note that the filmmakers did not have the requisite rights to use material from Silmarillion or Unfinished Tales - evident when Gandalf "forgets" the names of two of the five wizards, Alatar and Pallando, who only appear in the book Unfinished Tales. So, plenty of scope for yet more engorged trilogies in the future.
Saturday, December 22, 2012
Life of Pi
#227 at time of writing.
A boy (the eponymous Pi) and his family are migrating from Pondicherry to Canada on a large container ship, with all of the animals from their family zoo on board. The ship wrecks and Pi is stranded on a lifeboat in the middle of the Pacific with an injured zebra, a hyena, an orangutan and a fierce Bengal tiger named Richard Parker.
The film is an aesthetic marvel, presented absolutely beautifully, just on the right line between reality and fantasy (reminiscent of Amelie - indeed Jean-Pierre Jeunet was attached as director before Ang Lee took over). The animals, for example, feel completely genuine even though they must be largely CGI.
M Night Shyamalan was originally slated to direct. Good thing he didn't because, well, he's rubbish.
Pi's narrative is interwoven with various musings on faith and religion, but the quirky nature of the story obscures any deeper meaning. However, the tale is always compelling, carried along with beauty and charisma until it reaches a crescendo of fantasy and then comes crashing back to reality.
The lifeboat is named Mignonette after the one in the real-life case of R v Dudley and Stephens - a fascinating and macabre story in its own right.
Yann Martel, the author of the Booker prize-winning book, has said he was inspired by a book review of Brazilian author Moacyr Scliar's 1981 novella Max and the Cats, about a Jewish-German refugee who crossed the Atlantic Ocean while sharing his boat with a jaguar.
A boy (the eponymous Pi) and his family are migrating from Pondicherry to Canada on a large container ship, with all of the animals from their family zoo on board. The ship wrecks and Pi is stranded on a lifeboat in the middle of the Pacific with an injured zebra, a hyena, an orangutan and a fierce Bengal tiger named Richard Parker.
The film is an aesthetic marvel, presented absolutely beautifully, just on the right line between reality and fantasy (reminiscent of Amelie - indeed Jean-Pierre Jeunet was attached as director before Ang Lee took over). The animals, for example, feel completely genuine even though they must be largely CGI.
M Night Shyamalan was originally slated to direct. Good thing he didn't because, well, he's rubbish.
Pi's narrative is interwoven with various musings on faith and religion, but the quirky nature of the story obscures any deeper meaning. However, the tale is always compelling, carried along with beauty and charisma until it reaches a crescendo of fantasy and then comes crashing back to reality.
The lifeboat is named Mignonette after the one in the real-life case of R v Dudley and Stephens - a fascinating and macabre story in its own right.
Yann Martel, the author of the Booker prize-winning book, has said he was inspired by a book review of Brazilian author Moacyr Scliar's 1981 novella Max and the Cats, about a Jewish-German refugee who crossed the Atlantic Ocean while sharing his boat with a jaguar.
Friday, December 21, 2012
The Lion King
#79 at time of writing.
This film announces itself as something special in the first five minutes. A sweeping panorama of the African savannah with swarms of animals gathering to welcome a newborn lion prince, set to Elton John and Tim Rice's beautifully crafted song "The Circle of Life" - and then, boom, the title screen. Awesome.
The visuals are stunning throughout, but what really makes the movie is the dramatic story (inspired by Hamlet) and the thoroughly musical sense of humour.
It's very telling that the recent re-release of the film in 3D has seen it rocket more than 20 places higher in IMDb's ranking - a sign that this (mostly) hand-animated marvel has endured into the age of ubiquitous CGI.
Arguably the peak of the 90s Disney Renaissance, and one of the best (non-Pixar) Disney animated features ever.
This film announces itself as something special in the first five minutes. A sweeping panorama of the African savannah with swarms of animals gathering to welcome a newborn lion prince, set to Elton John and Tim Rice's beautifully crafted song "The Circle of Life" - and then, boom, the title screen. Awesome.
The visuals are stunning throughout, but what really makes the movie is the dramatic story (inspired by Hamlet) and the thoroughly musical sense of humour.
It's very telling that the recent re-release of the film in 3D has seen it rocket more than 20 places higher in IMDb's ranking - a sign that this (mostly) hand-animated marvel has endured into the age of ubiquitous CGI.
Arguably the peak of the 90s Disney Renaissance, and one of the best (non-Pixar) Disney animated features ever.
Labels:
1990s,
3D,
Disney,
Disney Renaissance,
Elton John,
films,
Hamlet,
movies,
review,
The Lion King,
Tim Rice,
Top 250
Saturday, July 21, 2012
The Dark Knight Rises
Unranked at time of writing.
Wow. I have a massively high opinion of the previous two instalments of this trilogy, and this is easily their match. You have to admire the scale of Christopher Nolan's ambition and his uncanny ability to pull it off.
Granted, it's a bit expositiony at times, but the bad guy's ruthless build-up to power reaches such an intensity that you're glued to the screen. The story reaches a point where you cannot imagine the good guys ever recovering - and then it gets even worse... and then the blood-curdling villain Bane really gets going.
Top off that drama with some wonderful twists (so unexpected, yet so fitting), a couple of charismatic female leads, and a bevy of breathtaking and immaculately crafted set pieces, and you have pure blockbuster cinema at its very best. I wonder how this will stand up to a second viewing given that the twists will no longer be a surprise - but if the previous two instalments are anything to go by it will just keep getting better.
Chris Nolan has said that there will not be a fourth film. I'm sure there will. The question is simply whether the franchise will degenerate into second-rate spin-off sequels (or be annoyingly re-re-booted like Spider-Man and Superman), or he takes the helm himself.
As soon as the Dark Knight trilogy is released on DVD, I'm buying.
Wow. I have a massively high opinion of the previous two instalments of this trilogy, and this is easily their match. You have to admire the scale of Christopher Nolan's ambition and his uncanny ability to pull it off.
Granted, it's a bit expositiony at times, but the bad guy's ruthless build-up to power reaches such an intensity that you're glued to the screen. The story reaches a point where you cannot imagine the good guys ever recovering - and then it gets even worse... and then the blood-curdling villain Bane really gets going.
Top off that drama with some wonderful twists (so unexpected, yet so fitting), a couple of charismatic female leads, and a bevy of breathtaking and immaculately crafted set pieces, and you have pure blockbuster cinema at its very best. I wonder how this will stand up to a second viewing given that the twists will no longer be a surprise - but if the previous two instalments are anything to go by it will just keep getting better.
Chris Nolan has said that there will not be a fourth film. I'm sure there will. The question is simply whether the franchise will degenerate into second-rate spin-off sequels (or be annoyingly re-re-booted like Spider-Man and Superman), or he takes the helm himself.
As soon as the Dark Knight trilogy is released on DVD, I'm buying.
Labels:
Batman,
Christopher Nolan,
films,
graphic novel,
movies,
review,
Spider-Man,
superheroes,
Superman,
The Dark Knight Rises
Sunday, June 10, 2012
Alien
#42 at time of writing.
I watched Prometheus a couple of days ago, billed as a prequel to Ridley Scott's Alien, so I had to re-watch the film that started it all.
In Alien, the crew of a mining vessel are woken from stasis to find that rather than having returned home to Earth, they've been roused to investigate a mysterious distress signal emanating from a dead planet. They land and discover an alien spaceship with a long-dead captain, and a roomful of hibernating eggs. Unwittingly, they bring one of the eggs back with them. Bad move.
Much has been said about how nail-bitingly tense and sinister this film is. The twists are shocking, and H. R. Giger's notorious alien delivers the ultimate horror kick.
Prometheus was entertaining, but one wonders why (beyond cynical profiteering) filmmakers feel the need to detract from the artful implication of backstory by actually showing the backstory as a separate movie (I'm looking at you and your crummy prequels, George Lucas). Alien was breathtakingly original - 33 years later, Prometheus delivers nothing new.
I watched Prometheus a couple of days ago, billed as a prequel to Ridley Scott's Alien, so I had to re-watch the film that started it all.
In Alien, the crew of a mining vessel are woken from stasis to find that rather than having returned home to Earth, they've been roused to investigate a mysterious distress signal emanating from a dead planet. They land and discover an alien spaceship with a long-dead captain, and a roomful of hibernating eggs. Unwittingly, they bring one of the eggs back with them. Bad move.
Much has been said about how nail-bitingly tense and sinister this film is. The twists are shocking, and H. R. Giger's notorious alien delivers the ultimate horror kick.
Prometheus was entertaining, but one wonders why (beyond cynical profiteering) filmmakers feel the need to detract from the artful implication of backstory by actually showing the backstory as a separate movie (I'm looking at you and your crummy prequels, George Lucas). Alien was breathtakingly original - 33 years later, Prometheus delivers nothing new.
Labels:
Alien,
films,
George Lucas,
H. R. Giger,
movies,
Prometheus,
review,
Ridley Scott
Saturday, June 09, 2012
Princess Mononoke
#99 at time of writing.
After enjoying Howl's Moving Castle, My Neighbour Totoro, and especially Spirited Away, I was excited to watch the highly IMDb-rated Princess Mononoke.
A demonically possessed hog attacks the town of a forest tribe and infects a young prince. The prince, doomed to suffer a drawn-out and painful death, travels to a faraway land to seek the help of a forest spirit. But the matriarch of the local mining town is in conflict with the forest spirit and its animal denizens, including the eponymous wolf-princess Mononoke, and our hero's fate becomes entwined.
This is a much darker and bloodier affair than the other Studio Ghibli films I've seen, and in my opinion not quite as satisfying. The characters were fun, but I found it hard to empathise with them. I enjoyed the story, but certainly less compelling than it could have been. I watched the English dub (as written by Neil Gaiman) - I wonder if anything was lost in the translation.
The animation is lush and beautiful - the last major animated motion picture to be filmed on plastic animation cels - and the film was phenomenally successful in Japan, the highest-grossing film since E.T. until Titanic came along.
One of the things that most charms me about Studio Ghibli films is the visualisation of Japanese animism. The cute clockwork forest sprites were a highlight.
After enjoying Howl's Moving Castle, My Neighbour Totoro, and especially Spirited Away, I was excited to watch the highly IMDb-rated Princess Mononoke.
A demonically possessed hog attacks the town of a forest tribe and infects a young prince. The prince, doomed to suffer a drawn-out and painful death, travels to a faraway land to seek the help of a forest spirit. But the matriarch of the local mining town is in conflict with the forest spirit and its animal denizens, including the eponymous wolf-princess Mononoke, and our hero's fate becomes entwined.
This is a much darker and bloodier affair than the other Studio Ghibli films I've seen, and in my opinion not quite as satisfying. The characters were fun, but I found it hard to empathise with them. I enjoyed the story, but certainly less compelling than it could have been. I watched the English dub (as written by Neil Gaiman) - I wonder if anything was lost in the translation.
The animation is lush and beautiful - the last major animated motion picture to be filmed on plastic animation cels - and the film was phenomenally successful in Japan, the highest-grossing film since E.T. until Titanic came along.
One of the things that most charms me about Studio Ghibli films is the visualisation of Japanese animism. The cute clockwork forest sprites were a highlight.
Thursday, May 24, 2012
Highest rated films on Amazon
Today I asked myself, "I wonder what are the highest rated films on Amazon?"
Amazon sells more films than any other organisation ever, and collects more reviews. Hundreds, if not thousands, of people rate each film 1 to 5 stars. So which are the most consistently highly rated films of all time?
The answer is surprising.
In the UK, most of the top spots are taken by TV series box sets, with Firefly and Band of Brothers being the highest rated. I've discounted TV series and picked out the top ten films.
On Amazon.co.uk... (current IMDb rating in brackets)
1. The Lord of the Rings Trilogy (Extended Edition Box Set) (8.8, 8.7, 8.9)
2. Tangled (7.8) (!)
3. Spirited Away (8.6)
4. Downfall (8.3)
5. Threads (8.0)
6. Monsters, Inc. (8.0)
7. The Gruffalo (7.3)
8. Labyrinth (7.3)
9. My Neighbour Totoro (8.2)
10. Goodnight, Mister Tom (7.9)
In the USA, they love their HBO dramatisations!
On Amazon.com... (current IMDb rating in brackets)
1. Temple Grandin (TV film) (8.3)
2. Mean Girls (6.9)
3. Ben-Hur (8.2)
4. Something the Lord Made (TV film) (8.1)
5. The Road to Independence (straight to video) (9.0)
6. The Shawshank Redemption (9.2)
7. Taking Chance (TV film) (7.3)
8. Fat, Sick & Nearly Dead (documentary film) (7.7)
9. A Christmas Carol (1984) (TV film) (7.7)
10. The Ghost and Mrs. Muir (7.8)
Bizarre. Clearly the Amazon-rating audience are very different from the IMDb-rating audience.
Amazon sells more films than any other organisation ever, and collects more reviews. Hundreds, if not thousands, of people rate each film 1 to 5 stars. So which are the most consistently highly rated films of all time?
The answer is surprising.
In the UK, most of the top spots are taken by TV series box sets, with Firefly and Band of Brothers being the highest rated. I've discounted TV series and picked out the top ten films.
On Amazon.co.uk... (current IMDb rating in brackets)
1. The Lord of the Rings Trilogy (Extended Edition Box Set) (8.8, 8.7, 8.9)
2. Tangled (7.8) (!)
3. Spirited Away (8.6)
4. Downfall (8.3)
5. Threads (8.0)
6. Monsters, Inc. (8.0)
7. The Gruffalo (7.3)
8. Labyrinth (7.3)
9. My Neighbour Totoro (8.2)
10. Goodnight, Mister Tom (7.9)
In the USA, they love their HBO dramatisations!
On Amazon.com... (current IMDb rating in brackets)
1. Temple Grandin (TV film) (8.3)
2. Mean Girls (6.9)
3. Ben-Hur (8.2)
4. Something the Lord Made (TV film) (8.1)
5. The Road to Independence (straight to video) (9.0)
6. The Shawshank Redemption (9.2)
7. Taking Chance (TV film) (7.3)
8. Fat, Sick & Nearly Dead (documentary film) (7.7)
9. A Christmas Carol (1984) (TV film) (7.7)
10. The Ghost and Mrs. Muir (7.8)
Bizarre. Clearly the Amazon-rating audience are very different from the IMDb-rating audience.
Labels:
Amazon,
Ben-Hur,
films,
IMDb,
Lord of the Rings,
Mean Girls,
movies,
Spirited Away,
Tangled,
Temple Grandin
Friday, April 27, 2012
Avengers Assemble
#124 at time of writing.
Back in 2005, an enterprising Marvel Studios executive (Avi Arad) decided to produce a slate of films about individual super-characters, to establish their identities and familiarize audiences with them, before merging the characters together in an epic Avengers movie.
They got off to an excellent start with Iron Man, which was followed in quick succession by The Incredible Hulk, Iron Man 2, Thor and Captain America. And now, finally, the motley crew are brought together.
I must admit that I expected this film to be poor. For one thing, the concept is a huge example of what Blake Snyder calls double mumbo jumbo. A god-alien in the same movie as an artificially enhanced soldier from the 1940s and a giant green id monster? Sounds dubious.
But whilst it is indeed silly, this film is never cringeworthy. Rather, it is thoroughly pacey and entertaining, gloriously irreverent, and often laugh-out-loud funny. This quote from director Joss Whedon sums up the spirit of the film: "The whole movie is about finding yourself from community. And finding that you not only belong together but you need each other, very much. Obviously this will be expressed through punching."
Legal rights issues prevented a number of "Avengers" characters from being included in this film, such as Quicksilver and The Scarlet Witch, villains Magneto, Doctor Doom and Norman Osbourne/Green Goblin. Though all characters are owned by Marvel/Disney, the X-Men and Fantastic Four characters were licensed to Fox Studios, and those of Spider-Man to Sony, before work began on an Avengers film. Marvel has said that in the future they hope to regain the rights to all licensed properties, that the aforementioned characters might have a role in subsequent Avengers films.
Back in 2005, an enterprising Marvel Studios executive (Avi Arad) decided to produce a slate of films about individual super-characters, to establish their identities and familiarize audiences with them, before merging the characters together in an epic Avengers movie.
They got off to an excellent start with Iron Man, which was followed in quick succession by The Incredible Hulk, Iron Man 2, Thor and Captain America. And now, finally, the motley crew are brought together.
I must admit that I expected this film to be poor. For one thing, the concept is a huge example of what Blake Snyder calls double mumbo jumbo. A god-alien in the same movie as an artificially enhanced soldier from the 1940s and a giant green id monster? Sounds dubious.
But whilst it is indeed silly, this film is never cringeworthy. Rather, it is thoroughly pacey and entertaining, gloriously irreverent, and often laugh-out-loud funny. This quote from director Joss Whedon sums up the spirit of the film: "The whole movie is about finding yourself from community. And finding that you not only belong together but you need each other, very much. Obviously this will be expressed through punching."
Legal rights issues prevented a number of "Avengers" characters from being included in this film, such as Quicksilver and The Scarlet Witch, villains Magneto, Doctor Doom and Norman Osbourne/Green Goblin. Though all characters are owned by Marvel/Disney, the X-Men and Fantastic Four characters were licensed to Fox Studios, and those of Spider-Man to Sony, before work began on an Avengers film. Marvel has said that in the future they hope to regain the rights to all licensed properties, that the aforementioned characters might have a role in subsequent Avengers films.
Labels:
Avengers,
Avengers Assemble,
Avi Arad,
Blake Snyder,
Captain America,
Disney,
Fantastic Four,
films,
Fox Studios,
Incredible Hulk,
Iron Man,
Joss Whedon,
Marvel,
movies,
review,
superheroes,
Thor,
X-Men
Monday, February 06, 2012
Saturday, February 04, 2012
Forrest Gump
#28 at time of writing.
A nostalgic history of the latter half of 20th century America through the eyes of Forrest Gump, an endearing simpleton who happens to find himself involved in a surprising variety of key cultural moments, all the while dreaming about his elusive childhood sweetheart Jenny.
Disguised beneath the cheery sentimentality and catchy contemporary music is a cutting indictment of American society, and for all its quirky lightheartedness this film is an immensely moving tragedy. Like every fairytale, it has its dark side - yet Forrest Gump himself retains his innocence throughout.
This sixfold Oscar winner is flawlessly acted (except maybe for the dated CGI that reanimates some long dead historical figures), endlessly quotable and wonderfully directed.
Allegedly, Tom Hanks wasn't paid for the film. Instead he took percentage points which ultimately netted him in the region of $40 million. And despite earning over $350 million at the box office, Paramount claimed that they were still $62 million out of profit due to the costs of promotion, distribution and interest. Sheesh.
A nostalgic history of the latter half of 20th century America through the eyes of Forrest Gump, an endearing simpleton who happens to find himself involved in a surprising variety of key cultural moments, all the while dreaming about his elusive childhood sweetheart Jenny.
Disguised beneath the cheery sentimentality and catchy contemporary music is a cutting indictment of American society, and for all its quirky lightheartedness this film is an immensely moving tragedy. Like every fairytale, it has its dark side - yet Forrest Gump himself retains his innocence throughout.
This sixfold Oscar winner is flawlessly acted (except maybe for the dated CGI that reanimates some long dead historical figures), endlessly quotable and wonderfully directed.
Allegedly, Tom Hanks wasn't paid for the film. Instead he took percentage points which ultimately netted him in the region of $40 million. And despite earning over $350 million at the box office, Paramount claimed that they were still $62 million out of profit due to the costs of promotion, distribution and interest. Sheesh.
Labels:
box office,
films,
Forrest Gump,
movies,
Oscar,
Paramount,
review,
Tom Hanks
Wednesday, February 01, 2012
Gone with the Wind
#161 at time of writing.
The idea of sitting still for a four hour film might seem daunting, but the running time of this masterful epic somehow flies past (helped by the enforced interval and "entr'acte", which allows for a natural break).
The film tells the story of a despicable, manipulative, but very charming woman (Scarlett O'Hara played by Brit Vivien Leigh) who is obsessed with a man she can't have. A host of suitors throw themselves at her - and some stick for a while - in particular, a charismatic self-confessed cad who is cockily confident that she will fall for him eventually (Rhett Butler played by Clark Gable).
Meanwhile, the American Civil War reaches a crescendo and Scarlett's wealthy friends and family find themselves facing the consequences of being on the losing side. This provides a compelling historical backdrop and sparks off plenty of drama, but essentially the story never veers from exploring the ever-worsening consequences of spoilt little rich kid Scarlett's exploitative behaviour.
And therein lies the genius. Somehow, director Victor Fleming's most successful film (the highest grossing film of all time ever if you adjust for inflation) has us sympathising with a pair of truly atrocious characters. Time and history marches on - the film often jumps ahead several months in the blink of an eye - and yet these two repeatedly fail to redeem themselves. Couple this with an unusually sentimental portrayal of life in the Confederate South, and frame it all in gorgeous cinematography. Gloriously unconventional, and brilliantly executed.
There's some fascinating trivia about the film on IMDb, worth a read.
The idea of sitting still for a four hour film might seem daunting, but the running time of this masterful epic somehow flies past (helped by the enforced interval and "entr'acte", which allows for a natural break).
The film tells the story of a despicable, manipulative, but very charming woman (Scarlett O'Hara played by Brit Vivien Leigh) who is obsessed with a man she can't have. A host of suitors throw themselves at her - and some stick for a while - in particular, a charismatic self-confessed cad who is cockily confident that she will fall for him eventually (Rhett Butler played by Clark Gable).
Meanwhile, the American Civil War reaches a crescendo and Scarlett's wealthy friends and family find themselves facing the consequences of being on the losing side. This provides a compelling historical backdrop and sparks off plenty of drama, but essentially the story never veers from exploring the ever-worsening consequences of spoilt little rich kid Scarlett's exploitative behaviour.
And therein lies the genius. Somehow, director Victor Fleming's most successful film (the highest grossing film of all time ever if you adjust for inflation) has us sympathising with a pair of truly atrocious characters. Time and history marches on - the film often jumps ahead several months in the blink of an eye - and yet these two repeatedly fail to redeem themselves. Couple this with an unusually sentimental portrayal of life in the Confederate South, and frame it all in gorgeous cinematography. Gloriously unconventional, and brilliantly executed.
There's some fascinating trivia about the film on IMDb, worth a read.
Labels:
1939,
box office,
Clark Gable,
films,
Gone with the Wind,
IMDb,
movies,
review,
Victor Fleming,
Vivien Leigh
Sunday, January 15, 2012
The Artist
#224 at time of writing.
This film is proof, if any were needed, that you don't need colour, sound and spectacle to keep an audience entertained. This nod to the golden age of cinema tells its story in black and white, without dialogue, widescreen or CGI.
Set in 1920s and 30s Hollywood, this is the story of a fictional silent film actor; the peak and fall of his career and the people whose lives he touches. It brims with charm and humour, with characters that you will enjoy spending time with.
It is both wonderfully naive (the story) and yet thoroughly knowing (the loving homages). Very refreshing to see a movie so unabashedly dramatic, romantic, funny, visual. Deservedly collecting many awards, and bound to catch an Oscar or two as well.
Thank goodness profiteering Hollywood studio execs aren't the only people who can get films made; well done to Michel Hazanavicius for persisting with his dream of making a silent movie. This is a gem.
This film is proof, if any were needed, that you don't need colour, sound and spectacle to keep an audience entertained. This nod to the golden age of cinema tells its story in black and white, without dialogue, widescreen or CGI.
Set in 1920s and 30s Hollywood, this is the story of a fictional silent film actor; the peak and fall of his career and the people whose lives he touches. It brims with charm and humour, with characters that you will enjoy spending time with.
It is both wonderfully naive (the story) and yet thoroughly knowing (the loving homages). Very refreshing to see a movie so unabashedly dramatic, romantic, funny, visual. Deservedly collecting many awards, and bound to catch an Oscar or two as well.
Thank goodness profiteering Hollywood studio execs aren't the only people who can get films made; well done to Michel Hazanavicius for persisting with his dream of making a silent movie. This is a gem.
Labels:
films,
Michel Hazanavicius,
movies,
Oscar,
review,
silent film,
The Artist
Wednesday, December 28, 2011
Harry Potter and the Deathly Hallows: Part 2
#192 at time of writing.
I very much enjoyed the Harry Potter series of books, and I massively admire Jo Rowling both for her ability to tell a good story and for nobly dealing with the consequences of becoming a millionaire international celebrity whether she wanted it or not. She's a real role model.
The films, however, have been of very variable quality. Rowling's insistence on an all British cast was laudable, but unfortunately we got - how can I put it charitably - not the best child actors I've ever seen. Their occasionally cringeworthy performances are at the core of most of my criticism of the films.
The first two installments, directed by Chris Columbus, were lackluster. After that, they picked up, with an increasingly darker tone appealing to a broader audience than just children. I enjoyed the fourth, fifth and sixth films most.
The decision to split the last book into two films meant that the first suffered from feeling drawn out (and suffered doubly from some of the most awkward and ridiculous "love" scenes ever committed to film); and the last movie was so full of spectacle it almost got crushed underneath its own weight.
I can understand how somebody discovering Harry Potter's story and his world for the first time through watching the films would rave about them, but I find them too deeply flawed. I seriously doubt that Harry Potter and the Deathly Hallows: Part 2 is the 192nd best film ever made, by any decent measure.
J K Rowling stated that her preferred director for the films would have been Terry Gilliam. Now THAT I'd love to have seen. Reboot?
I very much enjoyed the Harry Potter series of books, and I massively admire Jo Rowling both for her ability to tell a good story and for nobly dealing with the consequences of becoming a millionaire international celebrity whether she wanted it or not. She's a real role model.
The films, however, have been of very variable quality. Rowling's insistence on an all British cast was laudable, but unfortunately we got - how can I put it charitably - not the best child actors I've ever seen. Their occasionally cringeworthy performances are at the core of most of my criticism of the films.
The first two installments, directed by Chris Columbus, were lackluster. After that, they picked up, with an increasingly darker tone appealing to a broader audience than just children. I enjoyed the fourth, fifth and sixth films most.
The decision to split the last book into two films meant that the first suffered from feeling drawn out (and suffered doubly from some of the most awkward and ridiculous "love" scenes ever committed to film); and the last movie was so full of spectacle it almost got crushed underneath its own weight.
I can understand how somebody discovering Harry Potter's story and his world for the first time through watching the films would rave about them, but I find them too deeply flawed. I seriously doubt that Harry Potter and the Deathly Hallows: Part 2 is the 192nd best film ever made, by any decent measure.
J K Rowling stated that her preferred director for the films would have been Terry Gilliam. Now THAT I'd love to have seen. Reboot?
Labels:
Chris Columbus,
films,
Harry Potter,
J K Rowling,
movies,
review,
Terry Gilliam
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