Search
Search results
touchAble Mini
Music and Productivity
App
touchAble is THE controller app for Ableton Live. Countless artists around the globe - from bedroom...
FLUX:FX play - the professional audio multi-effects engine by Adrian Belew
Music and Entertainment
App
***FLUX:FX play is the little brother of FLUX:FX - If you like this app please check out the master...
The Weather Station by The Weather Station
Album Watch
On her fourth (and tellingly self-titled) album as The Weather Station, Tamara Lindeman reinvents,...
alternative folk rock
Ryan Hill (152 KP) rated Aquaman (2018) in Movies
Jun 8, 2019
"war is coming to the surface"
Aquaman is absolutely a disciple of the superhero formula we've seen used, reused and recycled over the past couple decades...but its formula done right. There's an inherent lunacy to a hero like Aquaman; his myth is built upon a lost Atlantean culture that's simultaneously advanced technologically and heavily influenced by ancient Greek mythology, and his powers included near-Superman levels of strength and invulnerability existing alongside an ability to communicate with marine life. This makes approaching his story from a gritty, realistic perspective damn near impossible.
Instead Wan and the writers behind Aquaman intelligently focus on world-building and following the tried-and-true "heroic journey"; complete with initial rejection of a prophesied role, slow but steady immersion into said role's culture, recognition of the need for growth and change, and eventual assumption of role. It's been seen before and it'll be seen again. But what propels Aquaman ahead of other films like it is the energy that Wan imbues it with. It's goofy without undermining the sincerity of Arthur's journey. It's fast-paced and simple-minded without sacrificing the weight and universality of this particular hero's myth. It's loud and colorful and *full* of CGI everything without reducing itself to an over-commercialized, artless heap of nothingness.
It's a big-ass blockbuster with personality. Momoa has charisma to spare; he owns the physicality and irreverence of this new imagining of the king of the ocean perfectly. Amber Heard is sexy and badass as Mera; something of a victim of a forced romance but also a compelling and strong protagonist in her own right. Patrick Wilson as Oceanmaster (call me....Oceanmaster) is given enough screen-time to develop that he's more than a punching bag for Aquaman; but actually a character with ambitions and a defined, fleshed-out purpose. The origin segment is tightly done and more than enough to set the stage for what is to come. And probably the strongest aspect of this picture, the costuming and world-building, is off the charts. Similar to the enduring fantasy films that precede this (LOTR, Star Wars, Avatar for a few examples) the undersea kingdoms are a place I want to return to. They aren't just my world dressed up with CGI and the occasional costuming flourish; they're entirely foreign and endlessly inventive. Probably a solid third of the film is simply Aquaman, and the audience, being told about this world and shown it by Mera. While that may not be artistically prestigious strategy for engaging audiences, it entertains and fascinates on a "turn off your brain and look at those pretty colors" sort of way. There's a simple glee in seeing sharks ridden like horses or an octopus pounding a war-time set of drums.
I always offer the disclaimer when writing about nerdy films that I love which is this: I am a nerd. While I wasn't particularly attached to Aquaman growing up; his journey, the nature of this sort of film and the cinematic universe he will be growing into are fundamentally important to me, and I like to embrace that bias rather than keep it in check with reduced ratings or "objective" analysis. Whether it be a giant, confusing and chaotic battle between underwater armies or the horrifying descent into "the trench"; you'll always find me looking up at the screen like a little kid. Or moments like Arthur meeting Mera and confronting is past, or taking upon the role of king while wielding the trident; I just love that sort of stuff. I'm a sucker for these beats and this formula; and all signs point to this continuing. So while I may like it more than most; I'd mostly like to say Aquaman still distinguishes itself as a particularly goofy, sprawling, mythic, and metal experience that deserved to be seen on the big-screen, and to be celebrated as the fantasy film it is. It's a great time, and a nice addition to the DC film franchise.
Instead Wan and the writers behind Aquaman intelligently focus on world-building and following the tried-and-true "heroic journey"; complete with initial rejection of a prophesied role, slow but steady immersion into said role's culture, recognition of the need for growth and change, and eventual assumption of role. It's been seen before and it'll be seen again. But what propels Aquaman ahead of other films like it is the energy that Wan imbues it with. It's goofy without undermining the sincerity of Arthur's journey. It's fast-paced and simple-minded without sacrificing the weight and universality of this particular hero's myth. It's loud and colorful and *full* of CGI everything without reducing itself to an over-commercialized, artless heap of nothingness.
It's a big-ass blockbuster with personality. Momoa has charisma to spare; he owns the physicality and irreverence of this new imagining of the king of the ocean perfectly. Amber Heard is sexy and badass as Mera; something of a victim of a forced romance but also a compelling and strong protagonist in her own right. Patrick Wilson as Oceanmaster (call me....Oceanmaster) is given enough screen-time to develop that he's more than a punching bag for Aquaman; but actually a character with ambitions and a defined, fleshed-out purpose. The origin segment is tightly done and more than enough to set the stage for what is to come. And probably the strongest aspect of this picture, the costuming and world-building, is off the charts. Similar to the enduring fantasy films that precede this (LOTR, Star Wars, Avatar for a few examples) the undersea kingdoms are a place I want to return to. They aren't just my world dressed up with CGI and the occasional costuming flourish; they're entirely foreign and endlessly inventive. Probably a solid third of the film is simply Aquaman, and the audience, being told about this world and shown it by Mera. While that may not be artistically prestigious strategy for engaging audiences, it entertains and fascinates on a "turn off your brain and look at those pretty colors" sort of way. There's a simple glee in seeing sharks ridden like horses or an octopus pounding a war-time set of drums.
I always offer the disclaimer when writing about nerdy films that I love which is this: I am a nerd. While I wasn't particularly attached to Aquaman growing up; his journey, the nature of this sort of film and the cinematic universe he will be growing into are fundamentally important to me, and I like to embrace that bias rather than keep it in check with reduced ratings or "objective" analysis. Whether it be a giant, confusing and chaotic battle between underwater armies or the horrifying descent into "the trench"; you'll always find me looking up at the screen like a little kid. Or moments like Arthur meeting Mera and confronting is past, or taking upon the role of king while wielding the trident; I just love that sort of stuff. I'm a sucker for these beats and this formula; and all signs point to this continuing. So while I may like it more than most; I'd mostly like to say Aquaman still distinguishes itself as a particularly goofy, sprawling, mythic, and metal experience that deserved to be seen on the big-screen, and to be celebrated as the fantasy film it is. It's a great time, and a nice addition to the DC film franchise.
Mick Hucknall recommended Kind of Blue by Miles Davis in Music (curated)
Piano with Songs
Music and Games
5.0
Rate It
App
Piano Free has the largest song catalog of any piano on the app store. With over 1,500 songs to...
AmpliTube MESA/Boogie
Music and Entertainment
App
ROCK OUT AND RECORD WITH THE LEGENDARY REAL-DEAL HIGH-GAIN MESA/BOOGIE® TONE ON YOUR iPHONE OR...
Thirty Year Itch by The Wildhearts
Album
'Ginger gave me two instructions: 'Loud guitars and loud crowd' .I didn't have a choice in either as...
Cost A Cake Pro
Food & Drink and Productivity
App
** NUMBER 1 Food and Drink App in 15 countries including UK and Ireland, Top 10 in 32 countries...
Andy Meakin (5 KP) rated War for the Planet of the Apes (2017) in Movies
Jan 8, 2018
Apes...together...strong!
The recent revival of the Apes franchise has managed to defy all expectations by not only being a worthy entry into the franchise, but also being strong films on their own merit. Working as a kind-of-prequel-reboot of the old franchise, and ignoring the Tim Burton film completely, it is strange to realise this is only the third film since the reboot. Lesser franchises would have churned out one every year or two, and be up to part five by now, but not the Apes films. It genuinely feels like they are taking time to ensure each film is worthy. Which is where another expectation is defied – the films don’t seem to diminish in quality, nor feel repetitive. Each entry so far has had its own feel and worked to move the story along. War for the Planet of the Apes is no exception, and is one of the finest blockbuster films of this year.
It has been 15 years since the events of the first film, and the release of the Simian Flu virus that wiped out a large percentage of humanity. The events of the second film saw the start of conflict between the apes and humans, instigated by Koba who defied Caesar’s leadership. Now, humanity are hunting down the apes, with one Colonel (Woody Harrelson) in particular striving to wipe them out entirely. When that Colonel attacks Caesar’s tribe, killing those close to him, it sets the ape leader off on a personal revenge journey, with only a few of his most loyal followers supporting him on the way. However, along the way they encounter two new recruits, an ape hermit who has also developed speech, and a young human girl who is showing signs of a new strain of the Simian virus.
It is a testament to the motion captured performances and the quality of the CGI on offer that at no point during the film do you not believe that the apes on screen are real. There’s a line in the film where Harrelson’s Colonel comments on how human looking Caesar’s eyes are, and whilst you could see that in the context of the film series’ arc (apes are becoming the new rulers, usurping humanity, and so are becoming more human), you can also see it as a nod to how the ‘uncanny valley’ dead-eye stare that plagues CGI in film is entirely absent here. Indeed, given that every scene in this relatively moderate $150million budget film is an effect shot, as apes are present throughout, it is jaw dropping that it looks a far more polished film than, for example, the $265million budgeted Rogue One – a film which tried desperately with two key CGI characters and failed so hard in the brief screen time they had. Over all the Apes series has impressed with the effects work, but here it is pretty much flawless.
But it isn’t all about the effects. In fact the action-packed film the trailers seemed to hint at is instead a thoughtful, character-driven revenge journey, with only short bursts of action. This is Caesar’s dark-journey of the soul, the end result of his attempts to live a peaceful co-existence with a humanity that fears him and his kind. Many comparisons can be drawn to films such as Apocalypse Now (something the film is aware of and manages to drop a reference to as a result), where a troubled individual, tired of war, seeks a crazed Colonel who is amassing his own army for an unknown purpose. The two core leads in their respective roles give their all. Serkis acting to a high degree, and giving genuine life to Caesar, and Harrelson gone completely Brando in his part, menacing without being overbearing.
The journey itself is a compelling story, and the support characters, some who we already know (Maurice, Luca and Rocket) acting as the conscience and the advisers to the troubled Caesar. The new additions, Amiah Miller’s war orphan who Maurice adopts on their journey, and Bad Ape (Steve Zahn) offer heart and comic relief respectively. The comic timing is perfectly placed, never feeling forced, and being deftly used to offer a glimmer of hope and joy in what is otherwise a very dark tale.
The film, overall, nicely rounds out the trilogy, whilst still leaving room for future films down the line. Matt Reeves’ direction makes effective use of his cast and settings, whilst the score by Michael Giacchino has grown more ‘ape-inspired’ since he scored the previous film, reflecting in its drums and pipes the more primate nature manner the world is taking as technology and humanity dwindles.
“Apes together strong!” is Caesar’s mantra. Indeed, all three Apes films, when viewed together, can be seen as one impressive, strong story, with a genuine progression throughout. A third film in a franchise usually derails and loses the way. Not here as this is one of the finest examples of intelligent blockbuster that you will find.
It has been 15 years since the events of the first film, and the release of the Simian Flu virus that wiped out a large percentage of humanity. The events of the second film saw the start of conflict between the apes and humans, instigated by Koba who defied Caesar’s leadership. Now, humanity are hunting down the apes, with one Colonel (Woody Harrelson) in particular striving to wipe them out entirely. When that Colonel attacks Caesar’s tribe, killing those close to him, it sets the ape leader off on a personal revenge journey, with only a few of his most loyal followers supporting him on the way. However, along the way they encounter two new recruits, an ape hermit who has also developed speech, and a young human girl who is showing signs of a new strain of the Simian virus.
It is a testament to the motion captured performances and the quality of the CGI on offer that at no point during the film do you not believe that the apes on screen are real. There’s a line in the film where Harrelson’s Colonel comments on how human looking Caesar’s eyes are, and whilst you could see that in the context of the film series’ arc (apes are becoming the new rulers, usurping humanity, and so are becoming more human), you can also see it as a nod to how the ‘uncanny valley’ dead-eye stare that plagues CGI in film is entirely absent here. Indeed, given that every scene in this relatively moderate $150million budget film is an effect shot, as apes are present throughout, it is jaw dropping that it looks a far more polished film than, for example, the $265million budgeted Rogue One – a film which tried desperately with two key CGI characters and failed so hard in the brief screen time they had. Over all the Apes series has impressed with the effects work, but here it is pretty much flawless.
But it isn’t all about the effects. In fact the action-packed film the trailers seemed to hint at is instead a thoughtful, character-driven revenge journey, with only short bursts of action. This is Caesar’s dark-journey of the soul, the end result of his attempts to live a peaceful co-existence with a humanity that fears him and his kind. Many comparisons can be drawn to films such as Apocalypse Now (something the film is aware of and manages to drop a reference to as a result), where a troubled individual, tired of war, seeks a crazed Colonel who is amassing his own army for an unknown purpose. The two core leads in their respective roles give their all. Serkis acting to a high degree, and giving genuine life to Caesar, and Harrelson gone completely Brando in his part, menacing without being overbearing.
The journey itself is a compelling story, and the support characters, some who we already know (Maurice, Luca and Rocket) acting as the conscience and the advisers to the troubled Caesar. The new additions, Amiah Miller’s war orphan who Maurice adopts on their journey, and Bad Ape (Steve Zahn) offer heart and comic relief respectively. The comic timing is perfectly placed, never feeling forced, and being deftly used to offer a glimmer of hope and joy in what is otherwise a very dark tale.
The film, overall, nicely rounds out the trilogy, whilst still leaving room for future films down the line. Matt Reeves’ direction makes effective use of his cast and settings, whilst the score by Michael Giacchino has grown more ‘ape-inspired’ since he scored the previous film, reflecting in its drums and pipes the more primate nature manner the world is taking as technology and humanity dwindles.
“Apes together strong!” is Caesar’s mantra. Indeed, all three Apes films, when viewed together, can be seen as one impressive, strong story, with a genuine progression throughout. A third film in a franchise usually derails and loses the way. Not here as this is one of the finest examples of intelligent blockbuster that you will find.