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Awix (3310 KP) rated Victor Frankenstein (2015) in Movies
Feb 25, 2018 (Updated Feb 25, 2018)
I, Igor
If you're one of those people who thinks that the story of Frankenstein pays far too much attention to him actually making the monster, and not enough to the details and ups-and-downs of his relationship with Igor the hunchback, then this is the film for you (although if that's your attitude, you really don't deserve Frankenstein movies at all). Deformed circus clown becomes brilliant self-taught surgeon and anatomist, is rescued by unconventional medical student, gets put to work stitching.
James McAvoy could have been a great Frankenstein, but not with a script like this one - narration keeps banging on about how familiar we all are with this story, before going off into new and wildly eccentric territory - Igor has a romance with a trapeze artist, there are problems with steampunk zombie chimps, etc. Actual creation of famous monster only happens in last ten minutes. Film has zero feeling for historical setting (a version of Victorian London where nobody bats an eyelid if your name is Igor or Frankenstein).
All the major themes of Shelley's story are basically sidelined in favour of overwrought emotional drama. Best thing in it is possibly Andrew Scott as a detective looking to bust Dr F for interfering with zoo animals; his scenes with McAvoy are actually pretty interesting. The kind of film that seems to be afraid the audience will get bored and wander away if there isn't an outbreak of slow-mo or CGI or whatever every five minutes. How does Max Landis manage to keep selling scripts like this one? Moderately good-looking but a massive waste of potential.
James McAvoy could have been a great Frankenstein, but not with a script like this one - narration keeps banging on about how familiar we all are with this story, before going off into new and wildly eccentric territory - Igor has a romance with a trapeze artist, there are problems with steampunk zombie chimps, etc. Actual creation of famous monster only happens in last ten minutes. Film has zero feeling for historical setting (a version of Victorian London where nobody bats an eyelid if your name is Igor or Frankenstein).
All the major themes of Shelley's story are basically sidelined in favour of overwrought emotional drama. Best thing in it is possibly Andrew Scott as a detective looking to bust Dr F for interfering with zoo animals; his scenes with McAvoy are actually pretty interesting. The kind of film that seems to be afraid the audience will get bored and wander away if there isn't an outbreak of slow-mo or CGI or whatever every five minutes. How does Max Landis manage to keep selling scripts like this one? Moderately good-looking but a massive waste of potential.
How Evolution Shapes Our Lives: Essays on Biology and Society
Jonathan B. Losos and Richard E. Lenski
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It is easy to think of evolution as something that happened long ago, or that occurs only in...
Bob Mann (459 KP) rated Denial (2016) in Movies
Sep 29, 2021
Jewry Trial.
It’s the mid-90’s and Deborah Lipstadt (Rachael Weisz, “The Lobster“), an American professor of Holocaust studies at a US university has written a book naming and shaming David Irving (Timothy Spall, “Mr Turner”) as a Nazi-apologist who denies that the Holocaust ever happened. Filing a law suit against Penguin Books and Lipstadt in the UK, Lipstadt chooses to fight rather than settle and takes the case to the High Courts in a much publicised trial.
Help is required and Lipstadt is assigned a hot-shot solicitor (if that’s not an oxymoron) in the form of Anthony Julius (Andrew Scott, “Sherlock”) and top barrister Richard Rampton (Tom Wilkinson, “Selma“). The stage is set for an epic legal battle that will establish not just legal precedent but also historical precedent affecting the entire Jewish people.
This film’s trailer really appealed to me, and I was looking forward to this film. And that view clearly also got through to people of my age bracket (and older) since the cinema was pretty full. But ultimately I was disappointed by the film.
But first the good points.
The cinematography by Haris Zambarloukos (“Thor”, “Mamma Mia”) is memorable, particularly for the Auschwitz tour which is done in an impressively bleak way on an astoundingly bleak winter’s day.
Andrew Scott, so woefully miscast as “C” in “Spectre“, here is a nice shoo-in for the cocksure but aloof expert. And Tom Wilkinson, who can seldom put a movie foot wrong, is also perfectly cast as the claret-swigging defence-lead: passionless and analytical even when facing the horrors of a trip to Auschwitz.
Timothy Spall’s Irving is well portrayed as the intelligent and articulate – albeit deluded – eccentric he no doubt is.
There are also some nice cameo performances, including John Sessions (“Florence Foster Jenkins“) as an Oxbridge history boffin and Mark Gatiss (“Sherlock”) as an Auschwitz expert.
However, these positives don’t outweigh the big negative that the broader ensemble cast never really gels together well. The first time this is evident is in an office meeting of the defence team where the interactions have a sheen of falseness about them that is barely hidden behind some weak script and forced nervous laughter. Tea can’t help.
In particular, attractive Kiwi actress Caren Pistorius (“The Light Between Oceans“) seems to have been given a poor hand to play with as the junior member of the team. A late night interaction with her boyfriend, who whinges at her for having to work late, seems to be taken from a more sexist age: “the 70’s called and they want their script back”.
None of this is helped by Rachel Weisz, who I’m normally a fan of, but here she is hindered by some rather dodgy lines by David Hare (“The Reader”) and an unconvincing (well, to me at least) New York accent. For me I’m afraid she just doesn’t seem to adequately convey her passion for the cause.
While the execution of the court scenes are well done, the film is hampered by its opening five words: “Based on a True Story”. This is something of a disease at the moment in the movies, and whilst in many films (the recent “Lion” for example) the story is in the journey rather than the result, with “Denial” the story is designed to build to a tense result that unfortunately lacks any sort of tension – since the result is pre-ordained.
This is all a great shame, since director Mick Jackson (“LA Story”, in his first feature for nearly 15 years) has the potential here for a great movie. Perhaps a more fictionalised version (“vaguely based on a true story”) might have provided more of a foundation for a better film?
Help is required and Lipstadt is assigned a hot-shot solicitor (if that’s not an oxymoron) in the form of Anthony Julius (Andrew Scott, “Sherlock”) and top barrister Richard Rampton (Tom Wilkinson, “Selma“). The stage is set for an epic legal battle that will establish not just legal precedent but also historical precedent affecting the entire Jewish people.
This film’s trailer really appealed to me, and I was looking forward to this film. And that view clearly also got through to people of my age bracket (and older) since the cinema was pretty full. But ultimately I was disappointed by the film.
But first the good points.
The cinematography by Haris Zambarloukos (“Thor”, “Mamma Mia”) is memorable, particularly for the Auschwitz tour which is done in an impressively bleak way on an astoundingly bleak winter’s day.
Andrew Scott, so woefully miscast as “C” in “Spectre“, here is a nice shoo-in for the cocksure but aloof expert. And Tom Wilkinson, who can seldom put a movie foot wrong, is also perfectly cast as the claret-swigging defence-lead: passionless and analytical even when facing the horrors of a trip to Auschwitz.
Timothy Spall’s Irving is well portrayed as the intelligent and articulate – albeit deluded – eccentric he no doubt is.
There are also some nice cameo performances, including John Sessions (“Florence Foster Jenkins“) as an Oxbridge history boffin and Mark Gatiss (“Sherlock”) as an Auschwitz expert.
However, these positives don’t outweigh the big negative that the broader ensemble cast never really gels together well. The first time this is evident is in an office meeting of the defence team where the interactions have a sheen of falseness about them that is barely hidden behind some weak script and forced nervous laughter. Tea can’t help.
In particular, attractive Kiwi actress Caren Pistorius (“The Light Between Oceans“) seems to have been given a poor hand to play with as the junior member of the team. A late night interaction with her boyfriend, who whinges at her for having to work late, seems to be taken from a more sexist age: “the 70’s called and they want their script back”.
None of this is helped by Rachel Weisz, who I’m normally a fan of, but here she is hindered by some rather dodgy lines by David Hare (“The Reader”) and an unconvincing (well, to me at least) New York accent. For me I’m afraid she just doesn’t seem to adequately convey her passion for the cause.
While the execution of the court scenes are well done, the film is hampered by its opening five words: “Based on a True Story”. This is something of a disease at the moment in the movies, and whilst in many films (the recent “Lion” for example) the story is in the journey rather than the result, with “Denial” the story is designed to build to a tense result that unfortunately lacks any sort of tension – since the result is pre-ordained.
This is all a great shame, since director Mick Jackson (“LA Story”, in his first feature for nearly 15 years) has the potential here for a great movie. Perhaps a more fictionalised version (“vaguely based on a true story”) might have provided more of a foundation for a better film?
JT (287 KP) rated 1917 (2020) in Movies
Mar 3, 2020
Brilliant cinematography (2 more)
Great score
Fantastic central characters
A stunning film which hits hard both physically and emotionally
particular emphasis on cinematography. The World War I film is made to look like one continuous shot by director Sam Mendes whose one-shot opening of Spectre gave us a taste of things to come.
The film swept awards season with the film winning Best Drama Motion Picture at the Golden Globes, not to mention cleaning up at the BAFTAs. This was a strong indication that Mendes might have a hand on a couple of Oscars.
1917 tells the story of two Lance Corporals, Blake (Dean-Charles Chapman) and Schofield (George MacKay) who are tasked with hand-delivering a message to another battalion who are inadvertently walking into a trap – Blake’s brother among them. If they fail then 1,600 men will lose their lives.
Blake and Schofield have been through a lot. When we first meet them they are relaxing beneath a tree, taking a break trying to enjoy the peaceful surroundings.
Without so much as a thought the pair salute General Erinmore (Colin Firth) and start the first part of their harrowing journey crossing no man’s land. The film is gripping in every sense of the word and you feel as if you are making the treacherous journey with them.
The scenery is devastatingly realistic, particularly the trip across no man’s land where charred bodies are buried deep in bombed-out craters of mud, their faces starring out in a look of shock.
The cast is limited to a few big-name cameos which aren’t blink and you miss them. Joining Firth is Andrew Scott, Mark Strong and Benedict Cumberbatch who make a significant impression in key scenes. The film flows incredibly well and never takes a back step, quite literally.
This is a journey that rivals Saving Private Ryan for it’s impactfulness, and why the memories of those who fought in the great war should always be forever remembered as true heroes.
The film swept awards season with the film winning Best Drama Motion Picture at the Golden Globes, not to mention cleaning up at the BAFTAs. This was a strong indication that Mendes might have a hand on a couple of Oscars.
1917 tells the story of two Lance Corporals, Blake (Dean-Charles Chapman) and Schofield (George MacKay) who are tasked with hand-delivering a message to another battalion who are inadvertently walking into a trap – Blake’s brother among them. If they fail then 1,600 men will lose their lives.
Blake and Schofield have been through a lot. When we first meet them they are relaxing beneath a tree, taking a break trying to enjoy the peaceful surroundings.
Without so much as a thought the pair salute General Erinmore (Colin Firth) and start the first part of their harrowing journey crossing no man’s land. The film is gripping in every sense of the word and you feel as if you are making the treacherous journey with them.
The scenery is devastatingly realistic, particularly the trip across no man’s land where charred bodies are buried deep in bombed-out craters of mud, their faces starring out in a look of shock.
The cast is limited to a few big-name cameos which aren’t blink and you miss them. Joining Firth is Andrew Scott, Mark Strong and Benedict Cumberbatch who make a significant impression in key scenes. The film flows incredibly well and never takes a back step, quite literally.
This is a journey that rivals Saving Private Ryan for it’s impactfulness, and why the memories of those who fought in the great war should always be forever remembered as true heroes.
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