Showing posts with label Star Wars. Show all posts
Showing posts with label Star Wars. Show all posts

Wednesday, 1 January 2020

STAR WARS: THE RISE OF SKYWALKER (full review at Screen Realm)

Star Wars: The Rise Of Skywalker sees JJ Abrams returning to the director’s chair after original director Colin Trevorrow left following ‘creative differences’. With Rian Johnson’s divisive The Last Jedi splitting an increasingly toxic ‘fanbase’ into two camps, the outraged and the overcompensating, the reactions were extreme to a movie that was neither the franchise killer, nor the masterpiece, that each side claimed. So Abrams finds himself with a tricky job ahead of him, returning to a trilogy that started out brightly but has gotten a bit lost along the way.

While staying as far away from spoilers as possible, The Rise Of Skywalker sees our trio of heroes back together once more. Rey (Daisy Ridley), Finn (John Boyega) and Poe Dameron (Oscar Isaac) find themselves tearing around the galaxy once more, with a familiar team comprising Chewbacca and an assortment of droids. Their mission is to locate the mythical home planet of the Sith before an infamous nemesis of old can raise an army with which to subjugate the galaxy. With this basic, but traditional Star Wars plotline, JJ Abrams concludes the trilogy he started in 2015 with The Force Awakens.

Read the full review at Screen Realm:
https://screenrealm.com/star-wars-the-rise-of-skywalker-movie-review/

IMDB: Star Wars: The Rise Of Skywalker

Tuesday, 8 May 2018

TEN MUST-SEE SCI-FI MOVIES ON NETFLIX ANZ (full article at Screen Realm)



The age old ‘What-do-I-watch-on-Netflix?’ question is almost as old as time itself isn’t it? But fear not, we have you covered. Here’s our rundown of ten must-see sci-fi movies, ranging from classics to underrated gems, currently available on Netflix ANZ.


Pacific Rim
There’s not really a lot more you need to know about that time Guillermo Del Toro brought a giant robot to a Kaiju party. Pacific Rim is as self-explanatory as it is deliriously enjoyable. For all its simple maths, Pacific Rim grabs you by the hand and leads you straight down into an intricate universe laden with heroic mech pilots, colossal interdimensional beasts from the depths of the sea and eye popping black markets in monster guts...

Read the full article at The Reel Word:
https://screenrealm.com/ten-best-science-fiction-movies-netflix-australia-new-zealand/

Thursday, 14 December 2017

STAR WARS : THE LAST JEDI (full review at The Reel Word)

After the events of The Force Awakens the Resistance is on the run. Pursued with merciless intent by the First Order, and unable to escape their tracking systems. In a last ditch attempt to save the waning Resistance fleet, Finn (John Boyega), Rose (Kellie Marie Tran) and BB-8 set off in search of a hacker who can disable the First Order’s hyperspace tracking device. All the while, far across the galaxy, Rey (Daisy Ridley) looks to Luke Skywalker for guidance and teaching as her force powers become unleashed, preparing to either recruit Luke in the fight against the First Order, or confront Kylo Ren on her own.

Read the full article at The Reel Word website:
https://www.thereelword.net/star-wars-the-last-jedi-movie-review/

IMDB: Star Wars The Last Jedi

Sunday, 21 May 2017

THE PHANTOM MENACE (audio review)

The Phantom Menace audio review for Triple J

Sunday, 25 December 2016

2016 REVIEW

Top Ten Movies of 2016


1. La Noche Del Virgen (The Night Of The Virgin)
Utterly deranged Spanish horror movie that took me completely by surprise. Imaginative, disgusting and perverse in equal measure. Nothing matches the complete joy of unearthing a truly original horror movie and Night of the Virgin is a total degenerate pleasure.

2. Rogue One: A Star Wars Story
The first Star Wars movie since Jedi that doesn’t have to be qualified with an ‘if’ or a ‘but’. It isn’t really a stand-alone movie in as much as it’s an appendix to the original trilogy. It looks incredible and does its utmost to be as authentic as possible. I also love K2SO.

3. Green Room
Anton Yelchin delivers his best performance just prior to his untimely passing, in Jeremy Saulnier’s uncompromising punk siege movie. A violent, uncomfotable horror film that gives Saulnier a 100% hit rate so far.

4. The Neon Demon
Nicholas Winding Refn’s art-o treatise on beauty and ego. Horrific and beautiful at the same time, much like the characters themselves.

5. The VVitch
Effective old tyme creeper, as a disgraced young family ups sticks and moves next to a maligned forest. Favouring slow build tension over outright shocks, it twists your comfort zone into knots, as their God-fearing existence starts to look a lot less parochial than at the outset.

6. Baskin
Can Evrenol’s occult horror dreamscape really delivers the goods as a bunch of ill prepared cops stumble across a bloodthirsty cult. Bringing to mind Lucio Fulci at his most surreal, Baskin keeps it weird and visually challenging. A beautiful obscenity.

7. Hunt For the Wilderpeople
Taika Waititi gives you a gigantic cinematic hug with the tale of adolescent tearaway Ricky Baker and his Uncle Hec. Funny, sad and always uplifting.

8. Sausage Party
Despite suffering considerable fatigue with Seth Rogan et al, nothing can diminish the fact that Sausage Party is a flat out riot. Just when you think the laughs have climaxed, they insert you into a place you were sure they’d never go. Very filthy and very funny.

9. Everybody Wants Some!!
Linklater’s movies are by-and-large a masterclass in why character is everything. Even when the plot isn’t moving anywhere, you remain riveted because you want to spend as much time with these people as possible. Dazed and Confused comparisons are apt, but Everybody Wants Some more than holds its own. The Big Boys are on the soundtrack too.

10.
10 Cloverfield Lane
Another of the year’s best surprises. A tense, claustrophobic horror movie that keeps you asking questions right up until the end. John Goodman cranks the nutbag dial all the way to the top, as Mary Elizabeth Winstead grasps for any remaining threads of sanity.

The Other Best Movies of 2016
The irresistible good intentions of Rosalie Blum charmed their way into my heart; The bizarre and sweet magical realism of Swiss Army Man made it one of the best movies of the year; Ben Wheatley’s brutalist yet stylish tackling of High-Rise was an essential watch; and the compelling, salacious true story of American gutter politics made Weiner the best documentary of the year.


The Worst Movies of 2016

The Lobster
The oddball premise was not the cause of the Lobster’s undoing, its excruciating delivery and characterisation were. An über bore.

Suicide Squad
Spectacularly unimaginative in just about every conceivable department. It boggles the mind to think that DC believed they would be giving Marvel a run for its money with this. It’s not that it was bad – it was not anywhere near as grating as Man of Steel, for example - in so much that it set a new bar for the definition of average. Utterly predictable and it reeked of committee filmmaking.

Elle
If Paul Verhoeven is refusing to make sci fi anymore then frankly he should just get retired. Elle opened to limited but generally positive reviews but I utterly hated it. From its lazy depiction of gaming culture, to its generic 90s thriller tropes. Worst of all was its reprehensible attitude toward sexual violence. Verhoeven made some of my favourite movies of all time, but Elle is hot garbage.

Blair Witch
With Adam Wingard and Simon Barrett on board, Blair Witch should have been great. The result was a muddled disaster that relied exclusively on cheap sound effect scares and, most criminally of all, missed the point entirely about what made the original so exceptional.


Movies that came out at the tail end of 2015, or bypassed Australian cinemas altogether so I was unable to include them on last year’s list a.k.a. everything that Kurt Russell has done lately.

The Hateful Eight

Tarantino’s gripping chamber play pitted a motley assortment of travellers against each other, as paranoia and suspicion take over. It had more in common with The Thing, then just the soundtrack.

Bone Tomahawk
Top drawer cannibal western, with Kurt Russell leading a superlative cast off in search of Patrick Wilson’s kidnapped wife. It burns slow at times, but it’s simply prepping you for an unforgettable denouement.


Movies I wanted to see but missed
Don’t Breathe
Arrival
Hell Or High Water
Mechanic: Resurrection
The Nice Guys
Midnight Special

Thursday, 31 December 2015

2015 REVIEW

2015 yielded some great individual movies, but putting together a Top Ten proved to be trickier than I realised. I suppose overall 2015 was a bit inconsistent, but here goes with the Top Ten, honourable mentions and worst of the worst.

1. Mad Max Fury Road
George Miller’s return to Max Rockatansky’s scorched earth was the best film of the year by gasoline chugging miles. In fact, it was the best film of any year. A gloriously supercharged car chase through a post-apocalyptic wasteland, it redefines action cinema as a spectacle. There is nothing about Fury Road that is not wonderful. Tom Hardy’s absurdly taciturn performance as Max, Charlize Theron’s raging Furiosa, Hugh Keays-Byrne’s berserk Immortan Joe and an eye popping cast of assorted grotesques.  Like a fruity jazz number where it’s the notes you don’t play that make it a work, it’s the things you don’t see in Fury Road that elevate it to greatness. While the focus is clearly the chase, it’s the implication and suggestion of the bigger and bolder universe they inhabit that make it great. The depth and attention to minute detail indicating the love and creativity and inspiration that went into this film. Unlike so much modern science fiction, Fury Road eschews ham fisted exposition in favour of depositing you in the wasteland and crediting you with enough booksmarts to figure it out. Production values aside, it feels like it belongs in the 70s. In 2016 I need to see the Black & Chrome cut (fan edited, Miller approved, black and white, dialogue free version). But as it stands Fury Road is a near perfect movie.

2. It Follows
So great that I have included it in two end-of-year top tens. I saw it at the 2014 Melbourne Film Festival, but 2015 saw it get a divisive general release. For my money it delivered everything you could possibly want from a modern day horror movie. It Follows juggles its inventive concept and a genuinely creepy vibe, with some STD subtext and Carpenter homage, without ever resorting to cheap scares or becoming derivative.

3. Ex Machina
Alex Garland’s existential A.I. rumination. Young corporate whizz kid gets summoned to his boss’s remote estate to test out an Artificial Intelligence experiment.  Stylish, intelligent, thought provoking science fiction. Arguably the better Oscar Isaac / Domhnall Gleason sci fi picture of 2015.

4. Star Wars: The Force Awakens
When the first trailer materialised for The Force Awakens I tried to manage my expectations, remembering the gigantic slice of ‘meh’ pie that The Phantom Menace served up. But by the time I set foot in the cinema I was like a kid on Christmas day. The first half of the movie is a helluva lot of fun, but it does lose its way as the last act becomes a little too derivative of the original trilogy. But a decent Star Wars movie is unarguably a ‘must see’, and one I’ll definitely be going back to for a second viewing.

5. The Guest
Although technically a 2014 release, this sneaked out direct-to-dvd in Australia in 2015 so it gets included. Adam Wingard and Simon Barrett’s previous collaboration, You’re Next, was an interesting home invasion flick that unfortunately ran out of steam in the last third; but The Guest has the stamina for the long haul. Dan Stevens turns up on a family’s door step claiming to have been friends with their son who died in the military. But all is not as it seems. A cracking action movie / black comedy.

6. Kingsmen: The Secret Service
Matthew Vaughn’s back catalogue generally seems to fall into the watchable/forgettable category, and as such, I went into Kingsmen with very little by way of expectation. I was rewarded with two hours of pure, distilled cinema fun. An exciting, hilarious chav James Bond take on the spy genre; Colin Firth is brilliant; and it is just a 100% good time.

7. Jurassic World
Colin Trevorrow’s unlikely follow up to the wonderful Safety Not Guaranteed could not have been more of its opposite. Much like Star Wars, Jurassic World does not feel the need to tread on any new ground but finds a likeable lead in Chris Pratt and plays to its strengths as genetically engineered dinosaurs predictably run amok. And you do know how I love a good large-creature-runs-amok movie.

8. The Spongebob Movie: Sponge out of Water
Spongebob’s second theatrical feature proved he’s still got it. The regulars go 3D in pursuit of the stolen Crabbie Pattie recipe, Antonio Banderas turns in possibly his greatest ever performance as the villain, and Matt Berry appears as a future dolphin. The best animated movie of the year, and more fun than both Inside Out and Big Hero Six combined. Watched it on a plane and guffawed my head off.

9. Avengers: Age of Ultron
Not even remotely as much fun as the first instalment, Age of Ultron stuttered and stumbled with some less than sparkling dialogue and the first recorded case of 2015’s most common movie disease – being too derivative of a successful predecessor. Nevertheless, even operating on half a tank, the Avengers can serve up delight in the form of an eminently enjoyable principle cast and a ton of Hulk Busting spectacle. An enjoyable couple of hours, just not the (repulsor) blast we had been expecting.

10. Spy
Surprisingly amusing spy caper, with a fun story and a bunch of great performances from a decent cast. It somehow manages to make both Melissa McCarthy and Miranda Hart funny, largely due to the fact McCarthy dials back her unwatchable OTT shtick to a more bearable level. The greatest triumph of all however, is Jason Statham’s hapless spy, sending up his tough guy image to hilarious effect. The Stath is brilliant in this. But as much fun as Spy is, I still have zero interest in director Paul Feig’s Ghostbusters, due in 2016. Please burn it with fire.

Honourable mentions (in no order):
•    Self/Less
•    Deep Web
•    Mistress America
•    Ant Man


Still waiting on the strangely horror-shy Australia to get a release date for two movies I’ve been chomping at the bit to see for the majority of 2015, Eli Roth’s The Green Inferno, and the Kurt Russell cannibal/western mash up, Bone Tomahawk. No doubt they’ll silently fart out direct-to-dvd at some point in 2016 because Australia is weird.


Worst:
Deathgasm
All the worst things about generic horror and generic heavy metal in one shitty movie.

Inherent Vice
Muddled private eye lark from Paul Thomas Anderson. Lacking enough humour to call it a comedy or enough intrigue to call it a mystery, let’s just call it a disaster.

Mortdecai
Irritating Johnny Depp vehicle seemingly designed around seeing who could conjure up the worst accent. It was excruciating. I switched it off.

Queen of Earth
Two childhood friends go on vacay to a cabin and up irritating the hell out of each other, but not as much as they irritated me because it was supremely boring and all the characters were jerks.

Sunday, 20 December 2015

STAR WARS: THE FORCE AWAKENS (full review at The Reel Word)

Star Wars is an almighty juggernaut, so enmeshed in popular culture that it transcends all geek culture.  Star Wars is a part of peoples’ lives. It represents much more than mere nostalgia, and what George Lucas failed to understand with his endless tinkering and dodgy prequels, is that because of this connection Star Wars now belongs to all of us.

So with that in mind, the question we have to ask is does The Force Awakens work? And the answer is yes… and no. For the most part it is largely enjoyable, but is not without flaws.

Read the full article at The Reel Word:
http://www.thereelword.net/star-wars-the-force-awakens-review/

IMDB: Star Wars: The Force Awakens

Wednesday, 4 May 2011

THE ART OF DREW STRUZAN

Ok, here’s a bit of change for this review. It’s not a film this time around, but instead it’s a book. A book about the art of the colossally talented Drew Struzan. A man whose work is so indelibly a part of classics such as Star Wars, Indiana Jones, Back To The Future etc, that it would have just been downright wrong if I had not reviewed it. You may think that you don’t know who Drew Struzan is, but let’s rest assured you almost certainly do! You will have seen his work adorning the posters of many of your favourite (and least favourite – Police Academy 4 anyone?!) movies over the years whether you’ve realised it or not.

It would be fair to say that I have been a big fan for many years, and that running the risk of being a gushing fan boy is a bit of a danger with this review. I don’t have enough superlatives to throw at it. I remember vividly, as a kid, STARING at my poster for Indiana Jones And The Last Crusade which hung above my bed and trying to work out if the picture was a photo or a painting. On close examination I noticed the small signature and upon the realisation that this had been PAINTED by a human being my mind was blown!



So here we have in one lovingly presented tome, a collection of Drew Struzan’s masterworks. Running the gamut of a rich and interesting career - in fact, it was only through reading this that I learned he has recently retired. The book is a treat. It is crucially also a great READ! Each piece of work selected for the book has an interesting tale to go along with it. It’s fun indeed to learn that Steve Guttenburg is a big Drew Struzan fan and collector of his work, or that Michael J Fox was thrilled to meet him when they worked on the Back to The Future trilogy. No surprise to learn that Guillermo Del Toro is a fan but nonetheless great to read about how he has the painting for Hellboy hanging in his house.

It kicks off in fine style with an introduction by Struzan’s friend and colleague, the esteemed Frank Darabont. It is fantastic. Darabont pulls no punches when it comes to his assessment of the decline in movie poster quality. It is a cantankerous, profanity laden foreword and benefits hugely from a large dose of the truth and a liberal useage of the word ‘douchebag’. Darabont laments the loss of artists like Struzan. He gives a good piece of his mind as to why movie posters these days are pathetic and, as he puts it, little more than a bunch of floating heads.

The book is presented chronologically and as the years pass, more and more of the passages reflect the fact that Drew’s stunning artwork was used less and less. It’s sad to read, but presents a fascinating, if demoralising insight into the processes of both artist and studio. There is some truly awe inspiring artwork in the latter passages of the book which barely ever saw the light of day. Take for example, the amazing poster for Hellboy. I always ALWAYS wondered why Drew Struzan’s art was never used. Particularly since the Region 1 dvd teases you by using it on the inside booklet. It is magnificent. The greater shame is that the actual poster ‘art’ in the UK (and I hesitate to call it art after reading Frank Darabont’s introduction) was just downright wretched. For my money the poster they used to promote Hellboy ranks as one of the worst movie posters I’ve ever seen. Apparently it was completely a studio marketing decision and not even Guillermo Del Toro, who as a fan of Struzan had commissioned him in the first place, could get the final say on using his painting!


A shame then also, that despite a sweet anecdote about how George Lucas was awed to meet Drew Struzan and was a huge fan, that the covers for all of the most recent Star Wars releases have eschewed Drew’s monumental artwork in favour of yet more photoshopped heads! At least Lucas (or more likely Spielberg) used his artwork for Indiana Jones and the Kingdom of the Crystal Skull. At the end of it all, Struzan’s poster was the only worthwhile thing to come out of that whole enterprise. The actual reading of this book therefore, is bittersweet. It’s full of many many fun stories but also, latterly, the charting of his disillusionment and disappointment with the industry, and what it seems was ultimately the reason behind his retirement.

It remains best to focus on the positives, of which there are many.  For any fan of Drew Struzan, or any fan of the iconic movies to which he has lent his name this book is an absolute must. For any kid that stared at one of his movie posters trying to get his brain to comprehend if he was looking at a painting or a photo. For anyone with even a passing interest in the art of the movie poster or movies in general, the book is joy. Sit back and just marvel at what an extraordinary talent this man is.