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It Came From The Desert (2017)
4.0
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A pulpy, action monster movie, inspired by Cinemaware's cult 1980s video game "It Came from the...
It Came From The Desert Video Games Adaptation
Howards End
7.3
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Based on E.M. Forster's classic novel, the miniseries adaptation of "Howards End" is a portrayal of...
The Wild Robot (2024)
10.0
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*The Wild Robot** is a 2024 animated science fiction film directed by Chris Sanders, based on Peter...
Movie Metropolis (309 KP) rated Snow White and the Huntsman (2012) in Movies
Jun 11, 2019
Snow White has certainly been receiving a lot of attention this year and it’s been hard to ignore two films competing with each other to win the accolade of best cinema adaptation.
Julia Roberts has already starred in sickly sweet adaptation Mirror Mirror and here Kristen Stewart of Twilight fame takes on the lead role in the gritty, dramatic adaptation of the fairytale. But is it a good take on a children’s classic?
Snow White & The Huntsman opens as you would expect with a look back at the aforementioned Princess’ traumatic childhood, from the death of her mother, to witnessing the death of her father King Magnus, it seems like any normal child would’ve had a few problems after this but Snow seems a little more reserved.
Snow White’s father is killed at the hands of her wicked stepmother, played wonderfully by Charlize Theron who really gets her teeth into the role she’s been given and plays the character with a nice dose of evil intertwined with brief moments of sincerity. Those of you familiar with the story will no doubt know that Snow White hides with the seven dwarves to escape the clutches of her stepmother, but more on that later.
Chris Hemsworth, who seems to be getting more and more acting jobs these days does a nice job as the widowed, constantly drunk huntsman, though his accent is a little hard to assess, no doubt done to cover his Australian roots.
Hemsworth is sent by the wicked Queen to kill Snow White so that her eternal youth isn’t threatened but things run less than smoothly as he realises that he is being tricked, he and Snow then decide to go on the run, bumping into the seven dwarves along the way.
The Kingdom in which they live is beautifully realised in fabulous CGI, from the dark forest, to the towering stone walls of the castle and then further into the ‘sanctuary’ a place where people can go to relax and unwind. Fairies, badgers, foxes, rabbits, mushrooms with beady little eyes and moss covered tortoises are amongst the creatures here and ruling over them all is the spirit of the forest, a fabulous and very real looking white stag.
This is, however, where Snow White & The Huntsman falls short. Yes, the CGI is impeccable and yes the acting is good, but it all feels a little bit soulless. It’s all about the frills rather than creating a deep and meaningful story. It has the basics right but it’s impossible to care about the characters because there isn’t enough back-story. Each set piece is interspersed with a little bit of emotion, but it’s not really enough and because of this, the entire film feels disjointed.
This is made worse by the fact the film is stretched to over two hours when there isn’t really enough story to create a two hour film.
Unfortunately, these points detract from what is a wonderful and beautifully realised adaptation of a classic children’s fairytale. To compare it to Mirror Mirror would be unfair as they are both so different. Snow White & The Huntsman is like last year’s Alice in Wonderland, it all looks and sounds great, but is ultimately; decidedly average.
https://moviemetropolis.net/2012/06/07/snow-white-the-huntsman-review/
Julia Roberts has already starred in sickly sweet adaptation Mirror Mirror and here Kristen Stewart of Twilight fame takes on the lead role in the gritty, dramatic adaptation of the fairytale. But is it a good take on a children’s classic?
Snow White & The Huntsman opens as you would expect with a look back at the aforementioned Princess’ traumatic childhood, from the death of her mother, to witnessing the death of her father King Magnus, it seems like any normal child would’ve had a few problems after this but Snow seems a little more reserved.
Snow White’s father is killed at the hands of her wicked stepmother, played wonderfully by Charlize Theron who really gets her teeth into the role she’s been given and plays the character with a nice dose of evil intertwined with brief moments of sincerity. Those of you familiar with the story will no doubt know that Snow White hides with the seven dwarves to escape the clutches of her stepmother, but more on that later.
Chris Hemsworth, who seems to be getting more and more acting jobs these days does a nice job as the widowed, constantly drunk huntsman, though his accent is a little hard to assess, no doubt done to cover his Australian roots.
Hemsworth is sent by the wicked Queen to kill Snow White so that her eternal youth isn’t threatened but things run less than smoothly as he realises that he is being tricked, he and Snow then decide to go on the run, bumping into the seven dwarves along the way.
The Kingdom in which they live is beautifully realised in fabulous CGI, from the dark forest, to the towering stone walls of the castle and then further into the ‘sanctuary’ a place where people can go to relax and unwind. Fairies, badgers, foxes, rabbits, mushrooms with beady little eyes and moss covered tortoises are amongst the creatures here and ruling over them all is the spirit of the forest, a fabulous and very real looking white stag.
This is, however, where Snow White & The Huntsman falls short. Yes, the CGI is impeccable and yes the acting is good, but it all feels a little bit soulless. It’s all about the frills rather than creating a deep and meaningful story. It has the basics right but it’s impossible to care about the characters because there isn’t enough back-story. Each set piece is interspersed with a little bit of emotion, but it’s not really enough and because of this, the entire film feels disjointed.
This is made worse by the fact the film is stretched to over two hours when there isn’t really enough story to create a two hour film.
Unfortunately, these points detract from what is a wonderful and beautifully realised adaptation of a classic children’s fairytale. To compare it to Mirror Mirror would be unfair as they are both so different. Snow White & The Huntsman is like last year’s Alice in Wonderland, it all looks and sounds great, but is ultimately; decidedly average.
https://moviemetropolis.net/2012/06/07/snow-white-the-huntsman-review/
Movie Metropolis (309 KP) rated Into the Woods (2014) in Movies
Jun 11, 2019
A charming adaptation
Wolves, witches and giants all appear in the film adaptation of Stephen Sondheim’s popular musical which takes all the best bits of our favourite fairytales and mashes them together in one engaging, song-filled rollercoaster.
However, musical movie adaptations are notoriously difficult to get right, from casting restraints to the inclusion of all the songs, transferring them to the silver screen is not something to be entered into lightly. So does director Rob Marhsall’s effort elevate itself above its peers?
Into the Woods has numerous plot threads that all end up coming together in one way or another, but the main storyline follows a baker (James Corden) and his wife, played gloriously by Emily Blunt, as they come to realise they cannot have a child.
Alas, a witch – who just so happens to live next door – has a way to provide them with what they want as long as they get a few items for her in the meantime.
An all-star cast including the likes of Chris Pine, Anna Kendrick, Christine Baranski, Lucy Punch, Johnny Depp and of course Meryl Streep all give their all in a film that is brimming with tantalising cinematography and stunning songs.
meryl-streep-into-the-woodsGenerally speaking, the female cast fares better in the singing portions of the film, although Chris Pine and Billy Magnussen had the audience in intentional fits of laughter in one particular sequence as two handsome Princes.
Unfortunately, Into the Wood’s greatest asset, its cast, is also its biggest undoing. Having so many story threads means that there isn’t any emotional attachment to the characters – despite the film’s numerous attempts to tug at the heartstrings.
Despite a deeply heartfelt performance of ‘Stay with Me’ from Meryl Streep, the film just steadily rolls itself from admittedly thrilling set piece to set piece without getting bogged down in nitty gritty character development.
Thankfully, the glorious cinematography that featured in the trailer continues throughout. An enclosed feeling makes you feel like you’re actually watching a stage show rather than a film, albeit one with a much higher budget, and this is one of its most captivating features.
Director Rob Marshall has managed to keep the pantomime feel despite the fact the audience is watching in a cinema – the locations are never overdone and everything feels nicely claustrophobic, adding to the eerie atmosphere.
However, the final act is unnecessarily long and its foray into deeper territory means the magic and sparkle is well and truly lost. This is a real shame as there are numerous moments where the film could end on a high, rather than delving into a murky and at times, incomprehensible final third.
Overall, Into the Woods is a charming adaptation of the popular musical and despite its slightly overlong running time and a disappointing final act, it manages to stay on course for a perfectly adequate, if underwhelming finale.
The entire cast have a ball with their characters with Meryl Streep and Emily Blunt being particular highlights throughout.
Parents beware however, its PG certification may be slightly too lenient for smaller children, who will no doubt be intrigued by the premise of combining our most-loved fairytales.
https://moviemetropolis.net/2015/01/17/a-charming-adaptation-into-the-woods-review/
However, musical movie adaptations are notoriously difficult to get right, from casting restraints to the inclusion of all the songs, transferring them to the silver screen is not something to be entered into lightly. So does director Rob Marhsall’s effort elevate itself above its peers?
Into the Woods has numerous plot threads that all end up coming together in one way or another, but the main storyline follows a baker (James Corden) and his wife, played gloriously by Emily Blunt, as they come to realise they cannot have a child.
Alas, a witch – who just so happens to live next door – has a way to provide them with what they want as long as they get a few items for her in the meantime.
An all-star cast including the likes of Chris Pine, Anna Kendrick, Christine Baranski, Lucy Punch, Johnny Depp and of course Meryl Streep all give their all in a film that is brimming with tantalising cinematography and stunning songs.
meryl-streep-into-the-woodsGenerally speaking, the female cast fares better in the singing portions of the film, although Chris Pine and Billy Magnussen had the audience in intentional fits of laughter in one particular sequence as two handsome Princes.
Unfortunately, Into the Wood’s greatest asset, its cast, is also its biggest undoing. Having so many story threads means that there isn’t any emotional attachment to the characters – despite the film’s numerous attempts to tug at the heartstrings.
Despite a deeply heartfelt performance of ‘Stay with Me’ from Meryl Streep, the film just steadily rolls itself from admittedly thrilling set piece to set piece without getting bogged down in nitty gritty character development.
Thankfully, the glorious cinematography that featured in the trailer continues throughout. An enclosed feeling makes you feel like you’re actually watching a stage show rather than a film, albeit one with a much higher budget, and this is one of its most captivating features.
Director Rob Marshall has managed to keep the pantomime feel despite the fact the audience is watching in a cinema – the locations are never overdone and everything feels nicely claustrophobic, adding to the eerie atmosphere.
However, the final act is unnecessarily long and its foray into deeper territory means the magic and sparkle is well and truly lost. This is a real shame as there are numerous moments where the film could end on a high, rather than delving into a murky and at times, incomprehensible final third.
Overall, Into the Woods is a charming adaptation of the popular musical and despite its slightly overlong running time and a disappointing final act, it manages to stay on course for a perfectly adequate, if underwhelming finale.
The entire cast have a ball with their characters with Meryl Streep and Emily Blunt being particular highlights throughout.
Parents beware however, its PG certification may be slightly too lenient for smaller children, who will no doubt be intrigued by the premise of combining our most-loved fairytales.
https://moviemetropolis.net/2015/01/17/a-charming-adaptation-into-the-woods-review/
Sarah (7799 KP) rated Rebecca (2020) in Movies
Nov 1, 2020
A dull adaptation
Rebecca is an adaptation of Daphne Du Maurier’s 1938 novel of the same name, following a young woman’s whirlwind romance and her battle to rid her new marriage and home of the shadow of her husband’s first wife.
Rebecca as a novel is a classic and a book I very much enjoyed, and whilst I’ve never seen the Hitchcock adaptation, it’s often referred to as a fairly legendary classic too. However I’m afraid to say the same cannot be said about this new version. The basic plot and story is present, although rather frustratingly the ending has been extended unnecessarily, but it has not been executed very well.
The trailer made this look quite sinister and spooky, which is quite right when the original novel is a gothic horror with aspects of a ghost story thrown in. However this film turns out to be nothing of the sort. It’s more of a romantic drama with a hint of thriller thrown in – the gothic horror ghost story is nowhere to be seen and neither is any form of intrigue or suspense. In fact I’d be so bold as to say this is just outright dull, and even the campy over the top sinister vibes from Kristin Scott Thomas’s housekeeper Mrs Danvers are laughable at best. The most interesting part of this was the opening scene with it’s sinister score but this just didn’t carry through to the rest of the film.
Sadly the cast don’t fare very well in this either. Lily James is a great actor, but her version of the new wife is too mousy and timid and you wonder what on earth Maxim ever sees in her. The character herself is very frustrating and irksome as she’s far too naïve and sweet. And Armie Hammer is miscast as Maxim De Winter himself. He looks the part, dashing and handsome, but he’s lacking in the intrigue, charm and secrecy that you’d expect this character to have. He’s also missing the age gap that is rather notable in the book.
The cinematography in this is rather concerning. The scenes in Monte Carlo are far too colourful and garish and they just look out of place, even more so for something that is meant to be a gothic horror. I’m unsure of why this has been done, other than to show a striking difference between Monte Carlo and Maxim’s Cornish home of Manderley. In fact what is most concerning about this film is why Ben Wheatley wanted to direct it. By far the biggest shock of this film was finding out Wheatley, of Kill List and Sightseers fame, had directed it. Wheatley is known for psychological dark (and often funny) thrillers and there is nothing of his style to be seen in this film at all. Which is a shame, as I think a little more of his dark style would’ve propelled this film into more than just a sub-par drama.
Overall this a very disappointing and long winded adaptation of a classic novel. Whilst there are a few decent scenes and a good, if not out of character, performance from Lily James, these are nowhere near enough to save this from being a bit of a bore.
Rebecca as a novel is a classic and a book I very much enjoyed, and whilst I’ve never seen the Hitchcock adaptation, it’s often referred to as a fairly legendary classic too. However I’m afraid to say the same cannot be said about this new version. The basic plot and story is present, although rather frustratingly the ending has been extended unnecessarily, but it has not been executed very well.
The trailer made this look quite sinister and spooky, which is quite right when the original novel is a gothic horror with aspects of a ghost story thrown in. However this film turns out to be nothing of the sort. It’s more of a romantic drama with a hint of thriller thrown in – the gothic horror ghost story is nowhere to be seen and neither is any form of intrigue or suspense. In fact I’d be so bold as to say this is just outright dull, and even the campy over the top sinister vibes from Kristin Scott Thomas’s housekeeper Mrs Danvers are laughable at best. The most interesting part of this was the opening scene with it’s sinister score but this just didn’t carry through to the rest of the film.
Sadly the cast don’t fare very well in this either. Lily James is a great actor, but her version of the new wife is too mousy and timid and you wonder what on earth Maxim ever sees in her. The character herself is very frustrating and irksome as she’s far too naïve and sweet. And Armie Hammer is miscast as Maxim De Winter himself. He looks the part, dashing and handsome, but he’s lacking in the intrigue, charm and secrecy that you’d expect this character to have. He’s also missing the age gap that is rather notable in the book.
The cinematography in this is rather concerning. The scenes in Monte Carlo are far too colourful and garish and they just look out of place, even more so for something that is meant to be a gothic horror. I’m unsure of why this has been done, other than to show a striking difference between Monte Carlo and Maxim’s Cornish home of Manderley. In fact what is most concerning about this film is why Ben Wheatley wanted to direct it. By far the biggest shock of this film was finding out Wheatley, of Kill List and Sightseers fame, had directed it. Wheatley is known for psychological dark (and often funny) thrillers and there is nothing of his style to be seen in this film at all. Which is a shame, as I think a little more of his dark style would’ve propelled this film into more than just a sub-par drama.
Overall this a very disappointing and long winded adaptation of a classic novel. Whilst there are a few decent scenes and a good, if not out of character, performance from Lily James, these are nowhere near enough to save this from being a bit of a bore.
An interesting take on the tale
If you take for granted that the makers of this short series have taken some liberties with the classic tale, then you will enjoy this adaptation all the more. My wife, who hasn't read the book and barely remembers the Gary Oldman film, really enjoyed this series. I, who have read and loved the book and a few prequel/sequel attempts, enjoyed it a little less. However, for what it is, it's a very clever and witty interpretation of the story.
The three episodes are largely standalone and in a different setting. The first episode we are in familiar territory with Jonathan Harker in Castle Dracula. Here the makers explored Harker's passive imprisonment and gradual blood-draining far more than in other adaptations, giving the viewer a real confused, frustrated and claustrophobic feeling. The second episode takes place on the Count's journey to the UK. Again previous adaptations have skipped over this, and the crew's gradual diminution, which was a bigger factor of the book. This is when Dracula's psychological twisting and sick sense of humour start to feature more heavily, with some good head-scratching twists.
The third episode covers Dracula's time in the UK, but not as you've ever seen before. I thought this part was brilliant, but won't give any spoilers. The main features of this part of the original story are retained (Dracula's mutual obsession with Lucy Westenra), but Dracula is now revealed like never before, with some of his weaknesses explored and exposed for what they are.
Like I say, if you can accept the liberties taken, this is a great adaptation with a really sassy Dracula.
The three episodes are largely standalone and in a different setting. The first episode we are in familiar territory with Jonathan Harker in Castle Dracula. Here the makers explored Harker's passive imprisonment and gradual blood-draining far more than in other adaptations, giving the viewer a real confused, frustrated and claustrophobic feeling. The second episode takes place on the Count's journey to the UK. Again previous adaptations have skipped over this, and the crew's gradual diminution, which was a bigger factor of the book. This is when Dracula's psychological twisting and sick sense of humour start to feature more heavily, with some good head-scratching twists.
The third episode covers Dracula's time in the UK, but not as you've ever seen before. I thought this part was brilliant, but won't give any spoilers. The main features of this part of the original story are retained (Dracula's mutual obsession with Lucy Westenra), but Dracula is now revealed like never before, with some of his weaknesses explored and exposed for what they are.
Like I say, if you can accept the liberties taken, this is a great adaptation with a really sassy Dracula.
Constructing the Coens: From Blood Simple to Inside Llewyn Davis
Book
The films of Ethan and Joel Coen have been embraced by mainstream audiences, but also have been...
Spacesuit: Fashioning Apollo
Book
When Neil Armstrong and Buzz Aldrin stepped onto the lunar surface in July of 1969, they wore...
Suswatibasu (1703 KP) rated Closed Casket: The New Hercule Poirot Mystery in Books
Jul 28, 2017
A good adaptation of a classic but leave it be
I really quite enjoyed this version of Agatha Christie's classic Belgian detective despite being a huge fan of the original. Having read most of the collection I was a bit irked at having it rehashed under someone else's guise. Sophie Hannah has done a good job of bringing the old elements from the original but it should be said to leave it be. Hannah quite easily could have created a new character without taking literary licence from Christie.
It seems that in order for her book to be noticed in an already over saturated area, Hannah has reincarnated the character. She needs more confidence in her writing - so I hope that she chooses to be a bit more original next time.
It seems that in order for her book to be noticed in an already over saturated area, Hannah has reincarnated the character. She needs more confidence in her writing - so I hope that she chooses to be a bit more original next time.