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Movie Metropolis (309 KP) rated Life Of Pi (2012) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
Ang Lee has directed some very artistic and emotionally charged films in his career and his new movie, Life of Pi is certainly no exception. But can his take on Yann Martel’s 2001 novel of the same name live up to his usual high standards?
In short, the answer is a resounding yes. From the stunning special effects and beautiful acting to the heart-warming story, it captivates from beginning to end like no other film released this year.
The film begins with a pet hate of mine, the credits. I always think a movie that starts with its credits is usually a huge let-down but something was different here, as soon as the brilliantly filmed names flash across the screen, I knew this film was going to be spectacular, just how spectacular however, I was not prepared for.
The story is, essentially what the title says it is, the life of a boy called Pi and his extraordinary journey from childhood, through adolescence and finally into adulthood. It seems quite simple and perhaps nothing too innovative or different, but the way Lee has captured the magic of the novel really does shine through on screen.
In the present day, Rafe Spall plays a budding writer searching for inspiration for his next big book. He comes across Irrfan Khan who plays the adult Pi and has an unbelievable story to tell. So, as he begins to narrate this incredible journey, the viewer is transported to when Pi was a boy.
It’s true that the film takes a while to get going and the scenes in Pi’s native India are perhaps the most testing of the entire film. The momentum is built up slowly as the boy travels through school life whilst his family run a small zoo in their hometown. Alas, the perfection of his childhood is ruined when his entire family decide to relocate to Canada due to an economic crisis. They are packed onto a tanker with the zoo animals on-board and begin the journey to their new life.
Whilst on the last leg of their journey, their ship is ravaged by a severe storm and Pi’s family is lost, along with most of the zoo animals and, in a scene that even betters the emotionally charged sinking in Titanic and the CGI packed sinking in Poseidon, their tanker is lost to the ocean.
Thankfully he survives, along with an injured zebra, a naughty hyena and a motherly orangutan in a small life-boat. It’s safe to say that the zebra and ape don’t last too long on-board a ship with a hyena and they are picked off as lunch. However, also sailing with them is Richard Parker, a Bengal tiger and he forms the basis of the film, along with Pi. At first, after Richard Parker makes light work of the hyena, the relationship between Pi and his new shipmate is somewhat strained, a constant battle between who is going to eat who and the only sensible option is for Pi to live on separate raft tied to the life-boat.
However, a few days pass and finally they can share a boat, albeit after a couple of amusing scenes involving urine and some flying fish.
Richard Parker is a beautiful animal to say the least, a mixture of live action tigers, CGI animation and animatronics really brings him to life, which is good considering he is the only other character in the film. This is where Ang Lee’s brilliance as a director shines, bringing warmth and heart to a character that is not only not real, but an animal, without the ability to talk and share feelings. Credit must also be given to newcomer Suraj Sharma who plays Pi Patel absolutely brilliantly. I simply could not believe this was his first big acting role; his performance is nothing short of stunning.
Then there are the special effects and 3D. Everything is a wonder to behold and the 3D is a help in enjoying the film, rather than a hindrance which it continues to be in other movies. There are two scenes in particular which really stand out, including a lot of jellyfish and a few thousand meerkats. I won’t say anything else, as they need to be seen to be believed.
Moreover, in the depths of this film lies a huge emotional core, the story of a boy and his ‘pet’ and the perils they face, the togetherness they bring to one another is touching to say the least and let’s just say there were more than a few sniffles coming from the rows behind me in the cinema. However, it is more than just a story of companionship; there is a deep religious message about believing in god even if he seems to not be there 100% of the time. Whether or not you choose to read into this is your decision, but it’s there throughout.
Life of Pi is something really special, a magical journey that needs to be seen to be believed. Very rarely, a film comes along that touches your heart, your soul and your head and this is one of those films. Everything from the performances of all the actors, the beautiful recreation of Richard Parker and stunning special effects make this film as revolutionary as Avatar was in 2009. It is not only the best film of 2012; it is one of the best films ever made. Please, I urge all of you who read this, go see it, and witness history in the making.
https://moviemetropolis.net/2012/12/22/life-of-pi-review-2012/
In short, the answer is a resounding yes. From the stunning special effects and beautiful acting to the heart-warming story, it captivates from beginning to end like no other film released this year.
The film begins with a pet hate of mine, the credits. I always think a movie that starts with its credits is usually a huge let-down but something was different here, as soon as the brilliantly filmed names flash across the screen, I knew this film was going to be spectacular, just how spectacular however, I was not prepared for.
The story is, essentially what the title says it is, the life of a boy called Pi and his extraordinary journey from childhood, through adolescence and finally into adulthood. It seems quite simple and perhaps nothing too innovative or different, but the way Lee has captured the magic of the novel really does shine through on screen.
In the present day, Rafe Spall plays a budding writer searching for inspiration for his next big book. He comes across Irrfan Khan who plays the adult Pi and has an unbelievable story to tell. So, as he begins to narrate this incredible journey, the viewer is transported to when Pi was a boy.
It’s true that the film takes a while to get going and the scenes in Pi’s native India are perhaps the most testing of the entire film. The momentum is built up slowly as the boy travels through school life whilst his family run a small zoo in their hometown. Alas, the perfection of his childhood is ruined when his entire family decide to relocate to Canada due to an economic crisis. They are packed onto a tanker with the zoo animals on-board and begin the journey to their new life.
Whilst on the last leg of their journey, their ship is ravaged by a severe storm and Pi’s family is lost, along with most of the zoo animals and, in a scene that even betters the emotionally charged sinking in Titanic and the CGI packed sinking in Poseidon, their tanker is lost to the ocean.
Thankfully he survives, along with an injured zebra, a naughty hyena and a motherly orangutan in a small life-boat. It’s safe to say that the zebra and ape don’t last too long on-board a ship with a hyena and they are picked off as lunch. However, also sailing with them is Richard Parker, a Bengal tiger and he forms the basis of the film, along with Pi. At first, after Richard Parker makes light work of the hyena, the relationship between Pi and his new shipmate is somewhat strained, a constant battle between who is going to eat who and the only sensible option is for Pi to live on separate raft tied to the life-boat.
However, a few days pass and finally they can share a boat, albeit after a couple of amusing scenes involving urine and some flying fish.
Richard Parker is a beautiful animal to say the least, a mixture of live action tigers, CGI animation and animatronics really brings him to life, which is good considering he is the only other character in the film. This is where Ang Lee’s brilliance as a director shines, bringing warmth and heart to a character that is not only not real, but an animal, without the ability to talk and share feelings. Credit must also be given to newcomer Suraj Sharma who plays Pi Patel absolutely brilliantly. I simply could not believe this was his first big acting role; his performance is nothing short of stunning.
Then there are the special effects and 3D. Everything is a wonder to behold and the 3D is a help in enjoying the film, rather than a hindrance which it continues to be in other movies. There are two scenes in particular which really stand out, including a lot of jellyfish and a few thousand meerkats. I won’t say anything else, as they need to be seen to be believed.
Moreover, in the depths of this film lies a huge emotional core, the story of a boy and his ‘pet’ and the perils they face, the togetherness they bring to one another is touching to say the least and let’s just say there were more than a few sniffles coming from the rows behind me in the cinema. However, it is more than just a story of companionship; there is a deep religious message about believing in god even if he seems to not be there 100% of the time. Whether or not you choose to read into this is your decision, but it’s there throughout.
Life of Pi is something really special, a magical journey that needs to be seen to be believed. Very rarely, a film comes along that touches your heart, your soul and your head and this is one of those films. Everything from the performances of all the actors, the beautiful recreation of Richard Parker and stunning special effects make this film as revolutionary as Avatar was in 2009. It is not only the best film of 2012; it is one of the best films ever made. Please, I urge all of you who read this, go see it, and witness history in the making.
https://moviemetropolis.net/2012/12/22/life-of-pi-review-2012/
Ryan Hill (152 KP) rated Man of Steel (2013) in Movies
May 21, 2019
"It's not an s on my world it means hope"
Superman's origin has been retold in comics more than any other character. But how do you reboot such a beloved icon in film form without making his origin feel unnecessary to go through again. By handing him over to the masters of all reboots. While developing the story for The Dark Knight Rises, Director Christopher Nolan and writer David S. Goyer developed a new way to bring the man of steel to life. The duo previously saved Batman and made him a cinematic legend again and now they plan to save Superman from uneven sequels and a stale image. And who did they invite to lead this revival? None other than director Zack Snyder, a visual wizard with a lackluster reputation in storytelling thanks to his remake of Dawn of the Dead, 300, Watchmen and Sucker Punch. Now despite some filmmaking stumbles along the way, the trio make for a surprisingly great combination and deliver the modern Superman film we have waited 75 years for with Man of Steel. We are given both Superman and a Clark Kent who doesn't know his place in the world and is coming to terms with how the public perceives him.
As with all Superman mythology the story begins on Krypton, the planet that's hundreds of thousands of civilized years ahead of Earth. The whole planet is science fiction nirvana. The zooming spaceships, winged beast and advanced technology crafted from liquid metal. For once we experience the entire planet, not just a couple rooms made out of cheap crystal. There's a system of ways things work that has never been fleshed out on screen before. The government, the science and it's culture. At the head of the planet's scientific research is Jor-El (Russell Crowe) and he has discovered proof that may lead to the planet's destruction. But unfortunately his pleas towards his leaders are ignored due to the ongoing civil war with Jor-El's old friend General Zod (Michael Shannon). There's more history to the Jor-El/ Zod dynamic this time around which just enriches their conflict. There are millions of stories concerning Marlon Brando's $3 million dollar slumming in the '78 film. He intentionally mispronounced Krypton, made outrageous production demands and in the end that put him on the cutting room floor for it's sequel. Crowe see's Brando's paycheck acting and raises it with a performance full of gravitas. When conflicts begin to soften and punishments are served, more and more evidence begin to support Jor-El's claims of Krypton's destruction and with time and options exhausted, his final resort is to save his only son Kal-El. Still an infant, Jor-El concludes the only way his son will ever have any chance of life is to be sent to a more primitive alien planet and have a significant advantage over it's species. So he sends him to Earth, where it's sun will grant his body incredible abilities.
Jump 33 years later as the adult Kal-El, now under the name Clark Kent (Henry Cavil) is wandering the world trying to discover his place in it. There are multiple flashbacks to Clark's childhood with his adoptive parents Jonathan and Martha Kent (Kevin Costner and Diane Lane). Costner gives a heartfelt performance full of warmth as the father concerned with his son's well-being if the world rejects him. If someone with Clark's abilities were to be exposed to the public, it would be one of the biggest moments in human history. His existence alone would make everyone question religion, science and everything they had ever thought about the universe. And Lane strikes quiet, charming notes as the more understanding mother. Throughout his entire life Clark had been using his powers in secret, from saving derrick workers from fires to fighting a massive hurricane in his hometown of Smallville. If there's one word to describe Cavil's performance it's "Modern". He is not the "Aw shucks" farm boy nor is he the angst filled mess many feared he was going to be. There's still a humbleness, a sweetness and a sense of forthrightness to him. And of course he is a perfect physical representation of the character as well. As much as Christopher Reeve's performance still means to audiences today, it has reached a point where it has unfairly overshadowed the character. The idealism of Reeve's Superman isn't relevant today, at least not in the purest sense of the word. Cavil's Superman understands the difficulty of what his powers mean for the world and understands there really isn't anything to smile about.
Of course you can't tell a Superman story without his supporting players at the Daily Planet. Perry White (Laurence Fishburne, in an inspired piece of casting) knows the only way a newspaper could ever have hope at functioning these days is if they had major exclusives to the first alien ever revealed to the masses. Enter Lois Lane (Amy Adams, full of spunk) who has been chasing Clark's story all across the globe for several years. Lois has always been a tricky character to adapt, seeing how it's difficult for audiences to like her if you get it wrong. Can somebody who can't see Superman past a pair of thick glasses really be a Pulitzer Prize winning journalist? Thankfully, this Lois isn't as Shrill as Margot Kidder or as bland as Kate Bosworth in previous versions. Snyder and Adams treat Lois as the talented, dedicated journalist we know she really is by making her active at her profession and not having to prove anything just because she's a woman. The only thing she has to prove are her credentials, which are just as impressive as everything else about her. While some might be disappointed by the lack of romance between the couple, but to be fair, this isn't a Lois and Clark story, it's the story of Clark discovering his place in the world. But the spark between the two of them is certainly present when they first meet. For Clark to go from a lifetime of loneliness to have somebody instantly discover everything about you and admiring all of it is a luxury he has never had before.
Clark couldn't have picked a better time to make his presence known to the world, with General Zod returning to finish what he started. The cinematic Superman villains have created a history of scenery chewing performances dating back to Gene Hackman's Lex Luthor. Terrence Stamp was the first actor to portray Zod on film in Superman ll, but despite some memorable dialogue ("Kneel before Zod!") he was still essentially just a typical mustache twirling maniac. Zod this time around is nothing but bold tactics and is fully fledged to preserving his lost race, no matter what the cost. Michael Shannon is nothing but pure, demented megalomania. The only disadvantage Zod possesses though is that his body isn't used to the yellow son and must try and control all his new powers at once. Clark on the other hand, has had a lifetime to perfect his gifts.
Visual aesthetics have leaped skyscrapers since the Donner era. Snyder takes that technological advantage and gives fans what they have dreamed of for years. To put it bluntly, to see Supes punch somebody- really fucking hard! Snyder understands all of Superman's abilities and test them on the grandest scale imaginable. And he does so without resorting to his trademark slow-mo sequences and putting macho fantasies on display. In terms of action alone this is the first time the character has been given justice. Even as bombastic or repetitive it occasionally becomes, it can easily be forgiven because the character has been so overdue for it. It is unfortunate that cinematographer Amir Morki captures it all in a rather unpolished handheld style. But at least Snyder's chaotic direction finally seems to have a sense of aim and isn't relying on green screen to tell his stories. It may have to do with the influence of Nolan producing, but the end result is gloriously flashy, gritty and contains a well needed sense of gravity. And while Man of Steel never reaches the same dizzying heights as Nolan's Dark Knight trilogy, it still preserves and reintroduces it's legendary character in the same respect.
Snyder, Nolan and Goyer certainly have stayed true to the modern lore of Superman by adapting elements of his classic comic stories Birthright, Man for All Seasons, New Krypton and Earth One, and do so without damaging or over-explaining any of it. But if anything it's a science fiction story first then a comic book adaptation, in the vein of such first contact films as the original Day the Earth Stood Still and War of the Worlds. Man of Steel reminds us that Superman is not human, but still represents the best that humanity has to offer. It's the story of fathers, understanding your roots and taking hold of your destiny. It's always been that way for Superman, ever since he was created by young Jewish immigrants Jerry Siegel and Joe Shuster.
While the original theme music by John Williams is still the granddaddy of all superhero cinematic anthems, Hans Zimmer still creates a thunderous pulse of a score. Atmospheric, gentle and adrenaline charged, Zimmer accompanies Clark's drifting, the concerns of his parents and Superman's clashes with one perfect note after another.
Christopher Reeve for many people is still going to be the definitive Superman, but that's too be expected. For so long that's all we've had to go on as far as a great man of steel. There are multiple generations separating Reeve and Cavil and multiple generations separating their audiences. Will everyone accept Cavil as this modern Superman that understands today's humanity? As with Batman Begins, the conclusion doesn't technically set itself up for a sequel but it establishes an iconic part of it's universe in a nice wink that makes you want to see more of it. It isn't quite perfect, but this universe certainly deserved to grow. Because unlike what occurred in 2006, this time Superman really has returned.
As with all Superman mythology the story begins on Krypton, the planet that's hundreds of thousands of civilized years ahead of Earth. The whole planet is science fiction nirvana. The zooming spaceships, winged beast and advanced technology crafted from liquid metal. For once we experience the entire planet, not just a couple rooms made out of cheap crystal. There's a system of ways things work that has never been fleshed out on screen before. The government, the science and it's culture. At the head of the planet's scientific research is Jor-El (Russell Crowe) and he has discovered proof that may lead to the planet's destruction. But unfortunately his pleas towards his leaders are ignored due to the ongoing civil war with Jor-El's old friend General Zod (Michael Shannon). There's more history to the Jor-El/ Zod dynamic this time around which just enriches their conflict. There are millions of stories concerning Marlon Brando's $3 million dollar slumming in the '78 film. He intentionally mispronounced Krypton, made outrageous production demands and in the end that put him on the cutting room floor for it's sequel. Crowe see's Brando's paycheck acting and raises it with a performance full of gravitas. When conflicts begin to soften and punishments are served, more and more evidence begin to support Jor-El's claims of Krypton's destruction and with time and options exhausted, his final resort is to save his only son Kal-El. Still an infant, Jor-El concludes the only way his son will ever have any chance of life is to be sent to a more primitive alien planet and have a significant advantage over it's species. So he sends him to Earth, where it's sun will grant his body incredible abilities.
Jump 33 years later as the adult Kal-El, now under the name Clark Kent (Henry Cavil) is wandering the world trying to discover his place in it. There are multiple flashbacks to Clark's childhood with his adoptive parents Jonathan and Martha Kent (Kevin Costner and Diane Lane). Costner gives a heartfelt performance full of warmth as the father concerned with his son's well-being if the world rejects him. If someone with Clark's abilities were to be exposed to the public, it would be one of the biggest moments in human history. His existence alone would make everyone question religion, science and everything they had ever thought about the universe. And Lane strikes quiet, charming notes as the more understanding mother. Throughout his entire life Clark had been using his powers in secret, from saving derrick workers from fires to fighting a massive hurricane in his hometown of Smallville. If there's one word to describe Cavil's performance it's "Modern". He is not the "Aw shucks" farm boy nor is he the angst filled mess many feared he was going to be. There's still a humbleness, a sweetness and a sense of forthrightness to him. And of course he is a perfect physical representation of the character as well. As much as Christopher Reeve's performance still means to audiences today, it has reached a point where it has unfairly overshadowed the character. The idealism of Reeve's Superman isn't relevant today, at least not in the purest sense of the word. Cavil's Superman understands the difficulty of what his powers mean for the world and understands there really isn't anything to smile about.
Of course you can't tell a Superman story without his supporting players at the Daily Planet. Perry White (Laurence Fishburne, in an inspired piece of casting) knows the only way a newspaper could ever have hope at functioning these days is if they had major exclusives to the first alien ever revealed to the masses. Enter Lois Lane (Amy Adams, full of spunk) who has been chasing Clark's story all across the globe for several years. Lois has always been a tricky character to adapt, seeing how it's difficult for audiences to like her if you get it wrong. Can somebody who can't see Superman past a pair of thick glasses really be a Pulitzer Prize winning journalist? Thankfully, this Lois isn't as Shrill as Margot Kidder or as bland as Kate Bosworth in previous versions. Snyder and Adams treat Lois as the talented, dedicated journalist we know she really is by making her active at her profession and not having to prove anything just because she's a woman. The only thing she has to prove are her credentials, which are just as impressive as everything else about her. While some might be disappointed by the lack of romance between the couple, but to be fair, this isn't a Lois and Clark story, it's the story of Clark discovering his place in the world. But the spark between the two of them is certainly present when they first meet. For Clark to go from a lifetime of loneliness to have somebody instantly discover everything about you and admiring all of it is a luxury he has never had before.
Clark couldn't have picked a better time to make his presence known to the world, with General Zod returning to finish what he started. The cinematic Superman villains have created a history of scenery chewing performances dating back to Gene Hackman's Lex Luthor. Terrence Stamp was the first actor to portray Zod on film in Superman ll, but despite some memorable dialogue ("Kneel before Zod!") he was still essentially just a typical mustache twirling maniac. Zod this time around is nothing but bold tactics and is fully fledged to preserving his lost race, no matter what the cost. Michael Shannon is nothing but pure, demented megalomania. The only disadvantage Zod possesses though is that his body isn't used to the yellow son and must try and control all his new powers at once. Clark on the other hand, has had a lifetime to perfect his gifts.
Visual aesthetics have leaped skyscrapers since the Donner era. Snyder takes that technological advantage and gives fans what they have dreamed of for years. To put it bluntly, to see Supes punch somebody- really fucking hard! Snyder understands all of Superman's abilities and test them on the grandest scale imaginable. And he does so without resorting to his trademark slow-mo sequences and putting macho fantasies on display. In terms of action alone this is the first time the character has been given justice. Even as bombastic or repetitive it occasionally becomes, it can easily be forgiven because the character has been so overdue for it. It is unfortunate that cinematographer Amir Morki captures it all in a rather unpolished handheld style. But at least Snyder's chaotic direction finally seems to have a sense of aim and isn't relying on green screen to tell his stories. It may have to do with the influence of Nolan producing, but the end result is gloriously flashy, gritty and contains a well needed sense of gravity. And while Man of Steel never reaches the same dizzying heights as Nolan's Dark Knight trilogy, it still preserves and reintroduces it's legendary character in the same respect.
Snyder, Nolan and Goyer certainly have stayed true to the modern lore of Superman by adapting elements of his classic comic stories Birthright, Man for All Seasons, New Krypton and Earth One, and do so without damaging or over-explaining any of it. But if anything it's a science fiction story first then a comic book adaptation, in the vein of such first contact films as the original Day the Earth Stood Still and War of the Worlds. Man of Steel reminds us that Superman is not human, but still represents the best that humanity has to offer. It's the story of fathers, understanding your roots and taking hold of your destiny. It's always been that way for Superman, ever since he was created by young Jewish immigrants Jerry Siegel and Joe Shuster.
While the original theme music by John Williams is still the granddaddy of all superhero cinematic anthems, Hans Zimmer still creates a thunderous pulse of a score. Atmospheric, gentle and adrenaline charged, Zimmer accompanies Clark's drifting, the concerns of his parents and Superman's clashes with one perfect note after another.
Christopher Reeve for many people is still going to be the definitive Superman, but that's too be expected. For so long that's all we've had to go on as far as a great man of steel. There are multiple generations separating Reeve and Cavil and multiple generations separating their audiences. Will everyone accept Cavil as this modern Superman that understands today's humanity? As with Batman Begins, the conclusion doesn't technically set itself up for a sequel but it establishes an iconic part of it's universe in a nice wink that makes you want to see more of it. It isn't quite perfect, but this universe certainly deserved to grow. Because unlike what occurred in 2006, this time Superman really has returned.