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Gareth von Kallenbach (980 KP) rated Hannibal Rising (2007) in Movies
Aug 14, 2019
After three books and films featuring the enigmatic and deadly Hannibal Lecter, author Thomas Harris has decided to lift the lid on the murky past of perhaps the most known killer in fiction.
In Hannibal Rising, Harris has crafted a screenplay that stays close to his 2006 book of the same name, and presents Hannibal as a sympathetic character driven to his fate due to circumstances beyond what any reasonable person should have to endure.
The film opens with young Hannibal in 1944 as the Lecter family flees their family castle from the advancing Nazi forces. When a series of bizarre circumstances leave Hannibal and his younger sister alone, they are easy victims to a band of scavengers who come upon them.
After a series of horrific situations, the film flashes forward 8 years where Hannibal (Gaspard Ulliel), is now a ward of the Soviet State, and as a further insult, his former family castle is now the orphanage in which he lives.
Hannibal draws the wrath of the local bully as he refuses to sing the required nationalist songs, and generally only makes noise when he is screaming in his sleep due to his nightmares about his sister.
Despite his withdrawn nature, Hannibal is not against striking back at his tormentor and does so before fleeing the orphanage to France where he makes his way to the home of his Uncle.
Upon arrival, Hannibal learns that his Uncle has passed away, but is taken in and cared for by his Aunt (Gong Li). As time passes, the two form a bond, and Hannibal learns about martial arts from his Aunt as well as more about her Japanese heritage.
Despite the positive changes in his life, Hannibal is still haunted by his sister and is obsessed about finding the men who held them captive and exacting revenge.
Towards this end, Hannibal snaps and exacts a violent revenge upon a local merchant who disparages his aunt, which makes Hannibal known to the local police, especially Inspector Popil (Dominic West), who investigate suspected war criminals.
When a chance lead surfaces, Hannibal returns to his homeland and confronts one of his childhood captors. As he exacts his revenge, he also learns information about the locales of the others he seeks, and soon sets out of a series of revenge killings, all the while attempting to stay ahead of Inspector Popil and the authorities.
The film for the most part works, as it is engaging and does move at a solid pace during its nearly two-hour run time. Ulliel does a good job of capturing the manic and sophisticated duality of Lecter but does not have the eerie presence of Sir Anthony Hopkins who made Lecter into a household name and took home and Oscar for his portrayal.
To expect Ulliel to equal the performance of Hopkins would be unfair in my opinion, so suffice it to say, he carries the film well, and does as much justice to the part as could be expected.
The last part of the film does become a bit to pat for my taste as it seems as if the filmmakers did not have enough confidence with the pacing of the film to allow it to unfold the way the previous 90 minutes had. Instead we get some by the number action sequences and a final confrontation that seems lifted from dozens of other films.
While the finale may lack the tension that the film had been building towards, there are enough moments in the film to make it worth seeing if you are a fan of the series.
In Hannibal Rising, Harris has crafted a screenplay that stays close to his 2006 book of the same name, and presents Hannibal as a sympathetic character driven to his fate due to circumstances beyond what any reasonable person should have to endure.
The film opens with young Hannibal in 1944 as the Lecter family flees their family castle from the advancing Nazi forces. When a series of bizarre circumstances leave Hannibal and his younger sister alone, they are easy victims to a band of scavengers who come upon them.
After a series of horrific situations, the film flashes forward 8 years where Hannibal (Gaspard Ulliel), is now a ward of the Soviet State, and as a further insult, his former family castle is now the orphanage in which he lives.
Hannibal draws the wrath of the local bully as he refuses to sing the required nationalist songs, and generally only makes noise when he is screaming in his sleep due to his nightmares about his sister.
Despite his withdrawn nature, Hannibal is not against striking back at his tormentor and does so before fleeing the orphanage to France where he makes his way to the home of his Uncle.
Upon arrival, Hannibal learns that his Uncle has passed away, but is taken in and cared for by his Aunt (Gong Li). As time passes, the two form a bond, and Hannibal learns about martial arts from his Aunt as well as more about her Japanese heritage.
Despite the positive changes in his life, Hannibal is still haunted by his sister and is obsessed about finding the men who held them captive and exacting revenge.
Towards this end, Hannibal snaps and exacts a violent revenge upon a local merchant who disparages his aunt, which makes Hannibal known to the local police, especially Inspector Popil (Dominic West), who investigate suspected war criminals.
When a chance lead surfaces, Hannibal returns to his homeland and confronts one of his childhood captors. As he exacts his revenge, he also learns information about the locales of the others he seeks, and soon sets out of a series of revenge killings, all the while attempting to stay ahead of Inspector Popil and the authorities.
The film for the most part works, as it is engaging and does move at a solid pace during its nearly two-hour run time. Ulliel does a good job of capturing the manic and sophisticated duality of Lecter but does not have the eerie presence of Sir Anthony Hopkins who made Lecter into a household name and took home and Oscar for his portrayal.
To expect Ulliel to equal the performance of Hopkins would be unfair in my opinion, so suffice it to say, he carries the film well, and does as much justice to the part as could be expected.
The last part of the film does become a bit to pat for my taste as it seems as if the filmmakers did not have enough confidence with the pacing of the film to allow it to unfold the way the previous 90 minutes had. Instead we get some by the number action sequences and a final confrontation that seems lifted from dozens of other films.
While the finale may lack the tension that the film had been building towards, there are enough moments in the film to make it worth seeing if you are a fan of the series.
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Bob Mann (459 KP) rated Me Before You (2016) in Movies
Sep 29, 2021
“You are scored on my heart Clark”
“Me Before You” is a bit of a queer fish of a movie. It never quite decides whether it wants to be a romantic weepy, a drama, or a rom-com and as such ends up rather falling between all three stools.
Emelia Clarke (“Game of Thrones”, “Terminator: Genesys”) plays Lou Clark, an ‘invisible’ girl “with potential” who is trapped – due to unemployment-led poverty – living with her parents in a provincial castle town (a picturesque Pembroke, though notably hardly a Welsh accent in earshot). Her boyfriend Patrick (“Harry Potter”’s Matthew Lewis) is a running nut that doesn’t play to her romantic needs in any way. Circumstance leads her into the job of a carer for a quadriplegic, Will Traynor (Sam Claflin, from “The Hunger Games” sequels) who also happens to be the son of the local millionaire couple (played by Charles Dance and Janet McTeer). They own the castle, a large mansion and most of the surrounding countryside too.
Will – previously a sports jock – is paralyzed from the neck down after an accident and is a frustrated and suicidal mind in a useless body. Can the quirky and vivacious Lou bring him out of his morbid shell and find him a life worth living again?
From this outline, you might think the story almost writes itself, and for most of the film it does. But the writers have a number of twists and turns in store which – depending on your sentiments – might entertain or appall.
As her first leading actress role in a non-action feature it’s a bit difficult to sum up Emilia Clarke’s performance. At face value it could be described as an advanced case of over-acting, with an extensive array of kooky looks and gurning facial expressions. (Those eyebrows! At some point we’re going to have to see her acting opposite Cara DeLevingne in a “Batman v Superman” eye-brow-off). On the other hand, she plays the part with such vivacity and charm – and notably in a manner so in keeping with the character she portrays – that it is hard not to be enchanted by her: I certainly was.
Claflin plays the brooding and resentful Traynor well and Matthew Lewis shows he is growing into a really professional jobbing actor as he enters his mid-20’s.
Also radiant (she always is… sorry to break it to the wife like this… but I am basically in love with her!!) is the ever-gorgeous Jenna Coleman (“Dr Who”, “Victoria”) in what is to date a rare outing for her onto the big screen (she previously has only had a small role in the first “Captain America” film: she really needs a breakout movie like Carey Mulligan’s “An Education”). Coleman and Clarke make a very credible pair of sisters, with the “bed” discussion scene being very touching.
Elsewhere a number of other well-known faces crop up including Brendan Coyle (“Downton Abbey”) as Lou’s father and Joanna Lumley as a wedding guest with a handy line in references.
The soundtrack by Craig (“Love Actually”) Armstrong is top notch with pleasing songs from Ed Sheeran, Imagine Dragons, Cloves and We The Kings.
The production quality is as professional as you would expect from a British-made movie, although the Mallorca and Paris locations are not particularly well exploited, since for a large chunk of these scenes I was convinced they hadn’t left Pinewood!
So, a bit of a mixed bag, but enjoyable nonetheless. A guilty pleasure. If you like a romantic piece of escapism this is one for a wet Sunday afternoon, provided you have a box of tissues handy.
Emelia Clarke (“Game of Thrones”, “Terminator: Genesys”) plays Lou Clark, an ‘invisible’ girl “with potential” who is trapped – due to unemployment-led poverty – living with her parents in a provincial castle town (a picturesque Pembroke, though notably hardly a Welsh accent in earshot). Her boyfriend Patrick (“Harry Potter”’s Matthew Lewis) is a running nut that doesn’t play to her romantic needs in any way. Circumstance leads her into the job of a carer for a quadriplegic, Will Traynor (Sam Claflin, from “The Hunger Games” sequels) who also happens to be the son of the local millionaire couple (played by Charles Dance and Janet McTeer). They own the castle, a large mansion and most of the surrounding countryside too.
Will – previously a sports jock – is paralyzed from the neck down after an accident and is a frustrated and suicidal mind in a useless body. Can the quirky and vivacious Lou bring him out of his morbid shell and find him a life worth living again?
From this outline, you might think the story almost writes itself, and for most of the film it does. But the writers have a number of twists and turns in store which – depending on your sentiments – might entertain or appall.
As her first leading actress role in a non-action feature it’s a bit difficult to sum up Emilia Clarke’s performance. At face value it could be described as an advanced case of over-acting, with an extensive array of kooky looks and gurning facial expressions. (Those eyebrows! At some point we’re going to have to see her acting opposite Cara DeLevingne in a “Batman v Superman” eye-brow-off). On the other hand, she plays the part with such vivacity and charm – and notably in a manner so in keeping with the character she portrays – that it is hard not to be enchanted by her: I certainly was.
Claflin plays the brooding and resentful Traynor well and Matthew Lewis shows he is growing into a really professional jobbing actor as he enters his mid-20’s.
Also radiant (she always is… sorry to break it to the wife like this… but I am basically in love with her!!) is the ever-gorgeous Jenna Coleman (“Dr Who”, “Victoria”) in what is to date a rare outing for her onto the big screen (she previously has only had a small role in the first “Captain America” film: she really needs a breakout movie like Carey Mulligan’s “An Education”). Coleman and Clarke make a very credible pair of sisters, with the “bed” discussion scene being very touching.
Elsewhere a number of other well-known faces crop up including Brendan Coyle (“Downton Abbey”) as Lou’s father and Joanna Lumley as a wedding guest with a handy line in references.
The soundtrack by Craig (“Love Actually”) Armstrong is top notch with pleasing songs from Ed Sheeran, Imagine Dragons, Cloves and We The Kings.
The production quality is as professional as you would expect from a British-made movie, although the Mallorca and Paris locations are not particularly well exploited, since for a large chunk of these scenes I was convinced they hadn’t left Pinewood!
So, a bit of a mixed bag, but enjoyable nonetheless. A guilty pleasure. If you like a romantic piece of escapism this is one for a wet Sunday afternoon, provided you have a box of tissues handy.
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