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JT (287 KP) rated Metro Manila (2013) in Movies
Mar 10, 2020
British directors getting behind the camera and undertaking foreign film seems to be paying off in multitude. Just take a look at what Gareth Evans did with The Raid and its sequel. He took his central character and put him through hell while at the same time painting a graphic picture of the film’s surroundings.
Sean Ellis does very similar with Oscar Ramirez (Jake Macapagal), a farmer looking for a better way of life for himself and his family. Their journey takes them from the quiet and panoramic rice fields of northern Philippines, where Oscar struggles to make ends meet, and moves them to the impoverished surroundings of Manila.
Entering the slums and criminal back streets Oscar learns the hard way that his friendly personality will be taken advantage of. With everyone desperate to survive he has to stand on his own two feet for the sake of himself and his family.
The film paints a desperate picture of a big city bathed in crime and poverty and desperate people will do desperate things, especially when they are pushed into a corner as Oscar explains to his friend Ong after taking a job as a security guard driving an armoured truck.
As Ong and Oscar become close Ong explains the job and then his ulterior motives. With the second half of the film playing out as a tense well organised heist, encompassing a twist that is shocking yet wholly satisfying. It can be hard to watch at times and it is emotionally sapping, particularly when Oscar’s wife Mai has to take matters into her own hands by getting a job working in a hostess bar in order to earn enough to feed her children.
The film screams out that having faith is a clear necessity when you’re down. All around them there are signs that God is with them willing them to succeed. Oscar’s story about how he lost his job in the silk mill is a running subplot that connects with the story on almost every level.
The scenes are well shot and Ellis captures the trauma and euphoria that the family experience at different times. One cross over scene sees Mai being degraded while at the same time Oscar drinks with his new buddies, only to break down in the toilet in tears.
It’s a slow churning thriller that is expertly pieced together, building strong characters and story all the way through to the pulsating climax.
Sean Ellis does very similar with Oscar Ramirez (Jake Macapagal), a farmer looking for a better way of life for himself and his family. Their journey takes them from the quiet and panoramic rice fields of northern Philippines, where Oscar struggles to make ends meet, and moves them to the impoverished surroundings of Manila.
Entering the slums and criminal back streets Oscar learns the hard way that his friendly personality will be taken advantage of. With everyone desperate to survive he has to stand on his own two feet for the sake of himself and his family.
The film paints a desperate picture of a big city bathed in crime and poverty and desperate people will do desperate things, especially when they are pushed into a corner as Oscar explains to his friend Ong after taking a job as a security guard driving an armoured truck.
As Ong and Oscar become close Ong explains the job and then his ulterior motives. With the second half of the film playing out as a tense well organised heist, encompassing a twist that is shocking yet wholly satisfying. It can be hard to watch at times and it is emotionally sapping, particularly when Oscar’s wife Mai has to take matters into her own hands by getting a job working in a hostess bar in order to earn enough to feed her children.
The film screams out that having faith is a clear necessity when you’re down. All around them there are signs that God is with them willing them to succeed. Oscar’s story about how he lost his job in the silk mill is a running subplot that connects with the story on almost every level.
The scenes are well shot and Ellis captures the trauma and euphoria that the family experience at different times. One cross over scene sees Mai being degraded while at the same time Oscar drinks with his new buddies, only to break down in the toilet in tears.
It’s a slow churning thriller that is expertly pieced together, building strong characters and story all the way through to the pulsating climax.
RəX Regent (349 KP) rated The Pirates! An Adventure With Scientists (2012) in Movies
Feb 19, 2019
Ardman Animation returned to the big screen in 2012 with this adaptation of the Children novel series, The Pirates!.
After building model sets in order to plan out a CGI animation similar to their 2011 Arthur Christmas, they quickly decided to return to their roots and this 3-D adventure was filmed as a stop-motion movie and is much the better for it.
The story itself, whilst following real life characters such as Queen Victoria and Charles Darwin, is pure, adulterated fiction, not quite from the school of Ridley Scott in which he claims to be making historical epics whilst taking liberties, I grant you, but still, I’m still having to explain to my 5 year old daughter that Queen Victoria was a super villain as portrayed here! We follow a crew of Pirates, lead by The Pirate Captain (Hugh Grant) as he attempts to win the converted pirate of the year but to no avail.
After an encounter with Charles Darwin (David Tennent), he learns that the ships “parrot”, Polly, is in fact a thought to be extinct Dodo and the pair along with his crew, return to England in order to win Scientist Of The Year as well. But Queen Victoria wants the bird, in order to eat it with other world leaders who gather to taste rarest cuisine.
My main issue with this film is that Victoria is presented a villain and this is now how my 5 year old daughter, who loves this film by the way, now looks upon as a baddie! But other than that this is a witty film built on wit. Every frame contains a joke of some kind, whether it be in the background, audible or part of the action.
Ardman’s style is unmistakable and quintessentially British and I suspect that whilst some international audiences will find this quaint, it will probably be lost on many.
But this is an underrated adventure, with lovable characters, villains and all told at a good pace.
Not something to be used for your history homework but still and enjoyable romp none the less.
After building model sets in order to plan out a CGI animation similar to their 2011 Arthur Christmas, they quickly decided to return to their roots and this 3-D adventure was filmed as a stop-motion movie and is much the better for it.
The story itself, whilst following real life characters such as Queen Victoria and Charles Darwin, is pure, adulterated fiction, not quite from the school of Ridley Scott in which he claims to be making historical epics whilst taking liberties, I grant you, but still, I’m still having to explain to my 5 year old daughter that Queen Victoria was a super villain as portrayed here! We follow a crew of Pirates, lead by The Pirate Captain (Hugh Grant) as he attempts to win the converted pirate of the year but to no avail.
After an encounter with Charles Darwin (David Tennent), he learns that the ships “parrot”, Polly, is in fact a thought to be extinct Dodo and the pair along with his crew, return to England in order to win Scientist Of The Year as well. But Queen Victoria wants the bird, in order to eat it with other world leaders who gather to taste rarest cuisine.
My main issue with this film is that Victoria is presented a villain and this is now how my 5 year old daughter, who loves this film by the way, now looks upon as a baddie! But other than that this is a witty film built on wit. Every frame contains a joke of some kind, whether it be in the background, audible or part of the action.
Ardman’s style is unmistakable and quintessentially British and I suspect that whilst some international audiences will find this quaint, it will probably be lost on many.
But this is an underrated adventure, with lovable characters, villains and all told at a good pace.
Not something to be used for your history homework but still and enjoyable romp none the less.
RS
Ridley Scott: Interviews
Laurence F. Knapp and Andrea F. Kulas
Book
Artisan, entrepreneur, and impresario, British filmmaker Ridley Scott accepts the profit motive as...
Mayhawke (97 KP) rated The Strange Disappearance of a Bollywood Star in Books
Feb 13, 2018
Kahn is establishing himself as a solid and reliable voice in cosy crime
Vaseem Khan is still a relatively new voice in cozy crime fiction, but I have been with him since the start, and on current showing I shall be with him long into the future.
One of the great pleasures for crime fiction readers of the last decade has been the influx of new voices as - in the search for something new and different - the British market has been opened up to translations from abroad (Camilleri, Akunin, Vargas) and English-language fiction set in different cultural environments (No.1 Ladies Detective Agency, Aurelio Zen, Dr. Siri Paboun). Khan has proven himself a skillful and delightful contributor to the latter category, lifting the vibrant sounds, colours, smells and characters of India (good and bad) from the page as he weaves remarkably clever and entertaining stories of brutal thefts, murder and abduction for the protagonist, Inspector Chopra (Retd) & and his mystical and cheeky four-legged sidekick, Ganesha, to unravel.
His latest book sees a young and arrogant Bollywood star abducted on the eve of his most important film shoot to date. As the biggest and most expensive film in Bollywood history grinds to a halt money, reputations and lives are on the line and Chopra is employed to quietly find and return the prodigal starlet to his duties. It quickly becomes apparent, though, that the boy has not just had a Bieberesque tantrum, and that the funding for, and personalities behind the movie may be a lot murkier and more complex than they seem.
Already on his third book in two years he promises to be as prolific as he is enjoyable.
One of the great pleasures for crime fiction readers of the last decade has been the influx of new voices as - in the search for something new and different - the British market has been opened up to translations from abroad (Camilleri, Akunin, Vargas) and English-language fiction set in different cultural environments (No.1 Ladies Detective Agency, Aurelio Zen, Dr. Siri Paboun). Khan has proven himself a skillful and delightful contributor to the latter category, lifting the vibrant sounds, colours, smells and characters of India (good and bad) from the page as he weaves remarkably clever and entertaining stories of brutal thefts, murder and abduction for the protagonist, Inspector Chopra (Retd) & and his mystical and cheeky four-legged sidekick, Ganesha, to unravel.
His latest book sees a young and arrogant Bollywood star abducted on the eve of his most important film shoot to date. As the biggest and most expensive film in Bollywood history grinds to a halt money, reputations and lives are on the line and Chopra is employed to quietly find and return the prodigal starlet to his duties. It quickly becomes apparent, though, that the boy has not just had a Bieberesque tantrum, and that the funding for, and personalities behind the movie may be a lot murkier and more complex than they seem.
Already on his third book in two years he promises to be as prolific as he is enjoyable.
Gareth von Kallenbach (980 KP) rated Ninja Assassin (2009) in Movies
Aug 8, 2019
The Ozunu Clan has long been secretly kidnapping and training children to become ninjas. But when a set of Europol agents get a little too close to discovering the secret, it is up to a former student of the Clan, Raizo (Rain), to defend the agents against the brutal ninjas’ attacks.
The film is loosely plotted at best, but it does manage to keep the viewer interested. Maybe it is the consistent comedy mixed with undeniable bloodshed. And there is bloodshed. “Ninja Assassin” is absolutely splattered with gore, weapons, and the unexpected attack that only ninjas can bring.
Joel Silver, of “Lethal Weapon”, “Die Hard”, and “Predator” fame, and the renowned Wachowski brothers, creators of “the Matrix”, are the producers behind “Ninja Assassin”. Therefore it should come as no surprise that the fight scenes are also engrossing in this ninja-tacular flick.
The international cast includes Korean superstar Rain as Raizo and martial arts regular Sho Kosugi, as the ninja master. The appearance of Ben Miles (from the hit British TV show “Coupling”) as Ryan Maslow, superior to the Europol officer and lead Mika Coretti (Naomie Harris), also enhances the casting of this one of kind film.
And it is one of a kind. What is most appealing about “Ninja Assassin” is that it truly displays ninjas in the way every child thinks about them; cunning, violent, and awesome. Somehow in a world full of films that feel like a new version of the same old thing, “Ninja Assassin” has… dare I write… a freshness.
Keeping you on the edge of your seat, focused on the nonstop 360 degree fight sequences and funny one-liners, “Ninja Assassin” brings more than expected to the big screen.
The film is loosely plotted at best, but it does manage to keep the viewer interested. Maybe it is the consistent comedy mixed with undeniable bloodshed. And there is bloodshed. “Ninja Assassin” is absolutely splattered with gore, weapons, and the unexpected attack that only ninjas can bring.
Joel Silver, of “Lethal Weapon”, “Die Hard”, and “Predator” fame, and the renowned Wachowski brothers, creators of “the Matrix”, are the producers behind “Ninja Assassin”. Therefore it should come as no surprise that the fight scenes are also engrossing in this ninja-tacular flick.
The international cast includes Korean superstar Rain as Raizo and martial arts regular Sho Kosugi, as the ninja master. The appearance of Ben Miles (from the hit British TV show “Coupling”) as Ryan Maslow, superior to the Europol officer and lead Mika Coretti (Naomie Harris), also enhances the casting of this one of kind film.
And it is one of a kind. What is most appealing about “Ninja Assassin” is that it truly displays ninjas in the way every child thinks about them; cunning, violent, and awesome. Somehow in a world full of films that feel like a new version of the same old thing, “Ninja Assassin” has… dare I write… a freshness.
Keeping you on the edge of your seat, focused on the nonstop 360 degree fight sequences and funny one-liners, “Ninja Assassin” brings more than expected to the big screen.
Hexen 2.0: Suzanne Treister
Suzanne Treister and Lars Bang Larsen
Book
HEXEN2.0 is the sequel to HEXEN 2039 which imagined new technologies for psychological warfare...
Matthew Krueger (10051 KP) rated Horror Express (1972) in Movies
Nov 23, 2020
Christopher Lee (1 more)
Peter Cushing
The Terror Express
Horror Express- is a great movie. The horror, the terror, the gory, the acting, all great.
The plot: Alexander Saxton (Christopher Lee), a brilliant British anthropologist researching in the Russian Far East, boards the Trans-Siberian Express with his latest discovery, a frozen specimen he hopes to prove is the missing link. But en route to Europe, passengers begin to turn up dead, and terror engulfs the train as Saxton and his partner, Dr. Wells (Peter Cushing), struggle to contain a mysterious -- and increasingly murderous -- force with the power to control minds.
According to Martin, the film was made because a producer obtained a train set from Nicholas and Alexandra (1971). "He came up with the idea of writing a script just so he would be able to use this prop," said Martin. "Now at that time, Phil was in the habit of buying up loads of short stories to adapt into screenplays, and the story for Horror Express was originally based on a tale written by a little-known American scriptwriter and playwright."
Securing Lee and Cushing was a coup for Gordon, since it lent an atmosphere reminiscent of Hammer Films, many of which starred both of the actors. When Cushing arrived in Madrid to begin work on the picture, however, he was still distraught over the recent death of his wife, and announced to Gordon that he could not do the film. With Gordon desperate over the idea of losing one of his important stars, Lee stepped in and put Cushing at ease simply by talking to his old friend about some of their previous work together. Cushing changed his mind and stayed on.
Its a great movie.
The plot: Alexander Saxton (Christopher Lee), a brilliant British anthropologist researching in the Russian Far East, boards the Trans-Siberian Express with his latest discovery, a frozen specimen he hopes to prove is the missing link. But en route to Europe, passengers begin to turn up dead, and terror engulfs the train as Saxton and his partner, Dr. Wells (Peter Cushing), struggle to contain a mysterious -- and increasingly murderous -- force with the power to control minds.
According to Martin, the film was made because a producer obtained a train set from Nicholas and Alexandra (1971). "He came up with the idea of writing a script just so he would be able to use this prop," said Martin. "Now at that time, Phil was in the habit of buying up loads of short stories to adapt into screenplays, and the story for Horror Express was originally based on a tale written by a little-known American scriptwriter and playwright."
Securing Lee and Cushing was a coup for Gordon, since it lent an atmosphere reminiscent of Hammer Films, many of which starred both of the actors. When Cushing arrived in Madrid to begin work on the picture, however, he was still distraught over the recent death of his wife, and announced to Gordon that he could not do the film. With Gordon desperate over the idea of losing one of his important stars, Lee stepped in and put Cushing at ease simply by talking to his old friend about some of their previous work together. Cushing changed his mind and stayed on.
Its a great movie.
Phillip McSween (751 KP) rated Monty Python's Life of Brian (1979) in Movies
Mar 1, 2019
Cracks Me Up
Growing up, I never really understood British humor. There is a bit of a bite to it, dry wit that I didn’t really get as a kid. The older I get, the more I appreciate and love it. Monty Python’s Life of Brian is a the perfect example of British humor at its finest. Set in 33 A.D., it follows the story of Brian Cohen who is mistaken for the Messiah and worshipped at every turn.
Acting: 10
One of the things I love about the Python movies is the fact that no character is restricted to one mere role. John Cleese, for example, is listed as a Wise Man, Centurion, and Official. Not only does he play three parts, but he is hilarious in every single role he owns. He has a way of trying to be serious but making you laugh anyway. Same thing with the likes of Terry Gilliam who plays Man Even Further Forward, Revolutionary, and Jailer to name just a handful of his roles. For all of the many hats the characters wear, they maintain a natural chemistry that makes their roles and timing perfect.
Beginning: 10
Hands-down, one of the best beginnings I’ve ever seen in a movie period. It’s a comedic spin on the birth of Jesus featuring the Three Wisemen showing up at the wrong manger. The scene sets up the entire film perfectly in all of its hilarity. By the time you’ve laughed through this, you’re ready to laugh more.
Characters: 10
Cinematography/Visuals: 5
Conflict: 7
While Life of Brian is definitely a light-hearted affair, there is enough consistent conflict to keep the story moving. The story runs parallel to that of Jesus, right up to the crucifixion. Just like Jesus, Brian finds himself constantly in different bad situations, most of which he hasn’t prepared for. The film, of course, takes these situations, and makes each of them hilarious.
Genre: 8
A high-quality comedy that holds up even today. It makes you laugh from beginning to end and excels in originality. Definitely bordering along the lines of classic status.
Memorability: 8
Pace: 8
Plot: 10
Resolution: 9
Overall: 85
The misunderstanding of Brian as the savior is the key that makes the whole thing work. Monty Python’s Life of Brian works on a number of different levels and is sure to appeal to most, even Christians. If you have a sense of humor, that is.
Acting: 10
One of the things I love about the Python movies is the fact that no character is restricted to one mere role. John Cleese, for example, is listed as a Wise Man, Centurion, and Official. Not only does he play three parts, but he is hilarious in every single role he owns. He has a way of trying to be serious but making you laugh anyway. Same thing with the likes of Terry Gilliam who plays Man Even Further Forward, Revolutionary, and Jailer to name just a handful of his roles. For all of the many hats the characters wear, they maintain a natural chemistry that makes their roles and timing perfect.
Beginning: 10
Hands-down, one of the best beginnings I’ve ever seen in a movie period. It’s a comedic spin on the birth of Jesus featuring the Three Wisemen showing up at the wrong manger. The scene sets up the entire film perfectly in all of its hilarity. By the time you’ve laughed through this, you’re ready to laugh more.
Characters: 10
Cinematography/Visuals: 5
Conflict: 7
While Life of Brian is definitely a light-hearted affair, there is enough consistent conflict to keep the story moving. The story runs parallel to that of Jesus, right up to the crucifixion. Just like Jesus, Brian finds himself constantly in different bad situations, most of which he hasn’t prepared for. The film, of course, takes these situations, and makes each of them hilarious.
Genre: 8
A high-quality comedy that holds up even today. It makes you laugh from beginning to end and excels in originality. Definitely bordering along the lines of classic status.
Memorability: 8
Pace: 8
Plot: 10
Resolution: 9
Overall: 85
The misunderstanding of Brian as the savior is the key that makes the whole thing work. Monty Python’s Life of Brian works on a number of different levels and is sure to appeal to most, even Christians. If you have a sense of humor, that is.
Movie Metropolis (309 KP) rated Pirates of the Caribbean: Dead Men Tell No Tales (2017) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
Here we go again
I can’t be the only one surprised that the Pirates of the Caribbean franchise has managed to withstand five films. Created on a whim by Disney in 2003, the first film propelled Johnny Depp into the lives of movie fans like never before.
However, come 2017 and Depp’s star is sinking faster than the Black Pearl. After three pretty dreadful sequels, the cast reunites for Salazar’s Revenge. But does a change in directors herald a new and exciting path for the plucky pirates?
Thrust into an all-new adventure, a down-on-his-luck Captain Jack Sparrow (Depp) feels the winds of ill-fortune blowing strongly when ghost sailors led by his nemesis, evil Captain Salazar (Javier Bardem), escape from the Devil’s Triangle. Jack’s only hope lies in seeking out the legendary Trident of Poseidon, but to find it, he must forge an uneasy alliance with a brilliant and beautiful astronomer (Kaya Scodelario and a headstrong young man in the British navy (Brenton Thwaites).
Newcomer directors Joachim Rønning and Espen Sandberg craft a film that is magnificent to look at and stunning to listen to, but features all of the same problems as its predecessors. The time really is up on this franchise.
Of the cast, only Javier Bardem’s snarling Salazar makes any sort of lasting impact. In fact, he’s probably the best antagonist the series has ever had and makes for a menacing presence throughout. Depp looks like he’s on autopilot, almost as bored of Jack Sparrow’s drunken antics as we are, and the normally excellent Kaya Scodelario (Skins, Maze Runner) plays a particularly bland female lead during the films running time.
Speaking of which, at 142 minutes, this is one migraine inducing slog. All four previous films have suffered from being overstuffed, and with the extra abundance of characters this time around, it’s even more painful. There simply is no need to create a film that’s nearly two and a half hours long, especially considering the plot is as paint-by-numbers as you can get.
Nevertheless, to look at, Salazar’s Revenge really is breath-taking. The action is filmed confidently and the sets are fantastically detailed using some exceptional practical effects. There are ghost sharks, glistening islands and the motion capture used on Javier Bardem and his crew is seamless. Only the CGI-heavy finale lets the film down. The music is also sublime. Geoff Zanelli’s thunderous melody features the trademark theme-tune mixed with some really lovely orchestral music.
Overall, Pirates of the Caribbean: Salazar’s Revenge kicks off a summer season filled to the brim with sequels and after the previous film’s poor reception, expectation was almost as low as it is for Transformers: the Last Knight.
What we’ve ended up with is a bit of a double-edged sword then. It’s certainly better than the previous three sequels and almost up to the standard of the 2003 original; the problem is, that film wasn’t particularly good in the first place.
https://moviemetropolis.net/2017/05/26/here-we-go-again-pirates-of-the-caribbean-salazars-revenge-review/
However, come 2017 and Depp’s star is sinking faster than the Black Pearl. After three pretty dreadful sequels, the cast reunites for Salazar’s Revenge. But does a change in directors herald a new and exciting path for the plucky pirates?
Thrust into an all-new adventure, a down-on-his-luck Captain Jack Sparrow (Depp) feels the winds of ill-fortune blowing strongly when ghost sailors led by his nemesis, evil Captain Salazar (Javier Bardem), escape from the Devil’s Triangle. Jack’s only hope lies in seeking out the legendary Trident of Poseidon, but to find it, he must forge an uneasy alliance with a brilliant and beautiful astronomer (Kaya Scodelario and a headstrong young man in the British navy (Brenton Thwaites).
Newcomer directors Joachim Rønning and Espen Sandberg craft a film that is magnificent to look at and stunning to listen to, but features all of the same problems as its predecessors. The time really is up on this franchise.
Of the cast, only Javier Bardem’s snarling Salazar makes any sort of lasting impact. In fact, he’s probably the best antagonist the series has ever had and makes for a menacing presence throughout. Depp looks like he’s on autopilot, almost as bored of Jack Sparrow’s drunken antics as we are, and the normally excellent Kaya Scodelario (Skins, Maze Runner) plays a particularly bland female lead during the films running time.
Speaking of which, at 142 minutes, this is one migraine inducing slog. All four previous films have suffered from being overstuffed, and with the extra abundance of characters this time around, it’s even more painful. There simply is no need to create a film that’s nearly two and a half hours long, especially considering the plot is as paint-by-numbers as you can get.
Nevertheless, to look at, Salazar’s Revenge really is breath-taking. The action is filmed confidently and the sets are fantastically detailed using some exceptional practical effects. There are ghost sharks, glistening islands and the motion capture used on Javier Bardem and his crew is seamless. Only the CGI-heavy finale lets the film down. The music is also sublime. Geoff Zanelli’s thunderous melody features the trademark theme-tune mixed with some really lovely orchestral music.
Overall, Pirates of the Caribbean: Salazar’s Revenge kicks off a summer season filled to the brim with sequels and after the previous film’s poor reception, expectation was almost as low as it is for Transformers: the Last Knight.
What we’ve ended up with is a bit of a double-edged sword then. It’s certainly better than the previous three sequels and almost up to the standard of the 2003 original; the problem is, that film wasn’t particularly good in the first place.
https://moviemetropolis.net/2017/05/26/here-we-go-again-pirates-of-the-caribbean-salazars-revenge-review/
Movie Metropolis (309 KP) rated Fantastic Beasts and Where to Find Them (2016) in Movies
Jun 11, 2019
Potter goes International
It’s almost unbearable to think that Harry Potter & the Philosopher’s Stone was released…wait for it… 15 years ago this very week. I know, I can’t believe it too, and what’s even more depressing is that the eight film behemoth concluded over five years ago.
Since then, Potter aficionados have been calling on writer J.K. Rowling to release new material in the hope of creating more silver screen magic. Well, prayers were answered with the announcement of a film adaptation of her short book, Fantastic Beasts & Where to Find Them. The day is finally here, but what is the finished product like?
The year is 1926, and Newt Scamander (Eddie Redmayne) has just completed a global excursion to find and document an extraordinary array of magical creatures. Arriving in New York for a brief stopover, he might have come and gone without incident, were it not for a No-Maj (American for Muggle) named Jacob (Dan Fogler), a misplaced magical case, and the escape of some of Newt’s fantastic beasts, which could spell trouble for both the wizarding and No-Maj worlds.
David Yates returns to the franchise after directing the final four instalments in the Harry Potter saga and manages to craft a film that’ll no doubt please fans and newcomers, but lacks the subtle touches that made its British counterparts so enthralling for 10 years.
The cast is on point however, despite Eddie Redmayne’s slightly over-the-top performance as Mr. Scamander. Ron Perlman, Jon Voight and Ezra Miller all lend themselves to the film in some form with Colin Farrell providing an excellent portrayal, though Dan Fogler’s muggle Jacob steals the show by a country mile.
Elsewhere, the cinematography is very good with 1920’s New York looking incredibly realistic and the sweeping shots of the city are beautifully juxtaposed with more intimate basement settings.
Unfortunately, the special effects occasionally let the film down. For a franchise start-up (we have four more films to look forward to) the consistency just isn’t there and Redmayne’s interactions with his unique beasts feel rough and disappointingly unfinished.
There’s also a bit of an issue with Fantastic Beasts’ pacing, something that the Potter films were also guilty of from time to time. The first hour is unacceptably slow, the plot continuously dragging its heels as it sets up the side story to Redmayne’s creature feature.
Speaking of which, that second scenario really does pull things together nicely and takes the flick into much darker territory than expected. It’s a fascinating third act that really makes up for the rather dull first. The twists and turns that the script takes the audience on making it genuinely exciting.
Overall, what made the Harry Potter movies a success was the chemistry between each and every member of the cast. Fantastic Beasts certainly has a great cast individually, but the characters lack chemistry when on screen together. Couple this with some poor special effects plus a dull first hour and what we’re left with is a reasonable start to a new franchise, but not a magical one.
https://moviemetropolis.net/2016/11/19/potter-goes-international-fantastic-beasts-and-where-to-find-them-review/
Since then, Potter aficionados have been calling on writer J.K. Rowling to release new material in the hope of creating more silver screen magic. Well, prayers were answered with the announcement of a film adaptation of her short book, Fantastic Beasts & Where to Find Them. The day is finally here, but what is the finished product like?
The year is 1926, and Newt Scamander (Eddie Redmayne) has just completed a global excursion to find and document an extraordinary array of magical creatures. Arriving in New York for a brief stopover, he might have come and gone without incident, were it not for a No-Maj (American for Muggle) named Jacob (Dan Fogler), a misplaced magical case, and the escape of some of Newt’s fantastic beasts, which could spell trouble for both the wizarding and No-Maj worlds.
David Yates returns to the franchise after directing the final four instalments in the Harry Potter saga and manages to craft a film that’ll no doubt please fans and newcomers, but lacks the subtle touches that made its British counterparts so enthralling for 10 years.
The cast is on point however, despite Eddie Redmayne’s slightly over-the-top performance as Mr. Scamander. Ron Perlman, Jon Voight and Ezra Miller all lend themselves to the film in some form with Colin Farrell providing an excellent portrayal, though Dan Fogler’s muggle Jacob steals the show by a country mile.
Elsewhere, the cinematography is very good with 1920’s New York looking incredibly realistic and the sweeping shots of the city are beautifully juxtaposed with more intimate basement settings.
Unfortunately, the special effects occasionally let the film down. For a franchise start-up (we have four more films to look forward to) the consistency just isn’t there and Redmayne’s interactions with his unique beasts feel rough and disappointingly unfinished.
There’s also a bit of an issue with Fantastic Beasts’ pacing, something that the Potter films were also guilty of from time to time. The first hour is unacceptably slow, the plot continuously dragging its heels as it sets up the side story to Redmayne’s creature feature.
Speaking of which, that second scenario really does pull things together nicely and takes the flick into much darker territory than expected. It’s a fascinating third act that really makes up for the rather dull first. The twists and turns that the script takes the audience on making it genuinely exciting.
Overall, what made the Harry Potter movies a success was the chemistry between each and every member of the cast. Fantastic Beasts certainly has a great cast individually, but the characters lack chemistry when on screen together. Couple this with some poor special effects plus a dull first hour and what we’re left with is a reasonable start to a new franchise, but not a magical one.
https://moviemetropolis.net/2016/11/19/potter-goes-international-fantastic-beasts-and-where-to-find-them-review/