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Neon's Nerd Nexus (360 KP) rated The Call Of The Wild (2020) in Movies
Feb 22, 2020 (Updated Feb 23, 2020)
A Sheep In Wolf's Clothing
Call Of The Wild is such a lovely heartfelt movie that will leave everyone that goes to see it with that warm tingly feeling inside their chest and a nice big smile on thier face. Ive seen this film is getting a lot of hate because of its over reliance on cgi animals and while I will admit I found it very distracting to start with after 10 minutes I became accustom and think the movie is much better for using it. Why you ask? well the movie to me is obviously aimed at children and the over all feel of it to me was very much like a classic Disney animated cartoon. Let me explain, theres just something so lovely, peaceful and magical about the whole thing and the way its structured, how exaggerated the characters are, the world it builds and the story. See they all just all come together to give you those same feelings you had when you watched a fairytale like beauty and the beast for the first time. Having the dog be cgi lets him have more cartoonish/exaggerated animations and a way more expressive face really helps us to relate to him better, clearly see how hes feeling and to add to this constant sense of warmth/magic thats present throughout. Theres also a fantastic sense of adventure here and the film uses stunning locations to constantly wow us and keep us in this picturesque perfect dream or tranquil fantasy kind of state. Harrison ford is splendid here playing a lonely man whos almost given up hope of being truly happy until Buck comes along. His perfomance is so touching and you can clearly hear in his Blade Runner style narrations the sadness and pain in his heart which immediately helps you to feel sympathy towards him. Bucks story is equally as sad too, he longs to be part of a pack/family of his own and to one day become a leader answering to no one but himself. His motivations are shown in the form of a powerful and strong black wolf that keeps his confidence up and his determination strong and theres so many messages about never giving up, pushing forward and trusting in your destiny too that its hard not to become fully engrossed in his journey. It may be a simple tale but its an absolute joy to watch and its motivational themes are guaranteed to make anyone think positively about thier own life while watching. I also can not go without mentioning Dan Stevens, boy is this guy talented. His acting here is devilishly cartoonish, over the top wicked and had me grinning constantly in pure delight. Call Of The Wild is an all out beautiful, fun, adorable and exciting adventure for all the family to enjoy and I can not wait till it comes out to buy on 4k.
Lee (2222 KP) rated Dumbo (2019) in Movies
Mar 31, 2019
It's set to be a busy year for live action Disney remakes, with Aladdin and The Lion King already lined up for release this year. Kicking things off though, is this reimagining of the 1941 classic Dumbo, with Tim Burton directing.
It's 1919 and Holt Farrier (Colin Farrell) has returned from World War I, arriving by train to join the Medici Brothers Circus, where he worked before the war as a performer. But Holt has a number of issues to contend with on his return, the least of which being the loss one of his arms while in service. He's greeted at the station by his two young children, Milly and Joe, who lost their mother, Holt's wife, to influenza while he was away. On top of that, he learns that while he was away, the cash strapped circus owner, Max Medici (Danny DeVito) decided to sell the horses that were part of Holt's star act. Holt is put in charge of pregnant elephant Jumbo, with Max hoping that the arrival of a cute baby elephant will bring in the much needed crowds. It's a lot for Holt to come to terms with and adjust to.
Soon after, the baby elephant is born. But with clumsy, oversized ears, he's not quite the cute crowd pleaser they had all hoped for. Attempts to hide his ears only end in disaster, and ridicule from the circus crowds. Milly and Joe fall in love with the new arrival, and when they discover that he has the ability to use those big ears for flying, interest in him is quickly renewed.
The flying elephant not only draws in the crowds, but also the attentions of V.A. Vandevere (Michael Keaton), who offers Max a deal for him and his circus troupe to join his huge fancy theme park. It's at this point that the movie should really begin to soar, having introduced the circus family and their new arrival. Unfortunately, the arrival of Vandevere signals a sharp downward spiral in terms of story telling. The circus cast are all but forgotten, with the story focusing instead on the tired, familiar tale of sleazy, greedy businessman who is only interested in money and success, at the expense of the poor, trusting people who believed him.
The computerised Dumbo is simply oozing cuteness and technical wizardry. The eyes and the facial expressions are wonderful and he manages to steal every scene he is in. Every time he takes flight, it is a joy to watch. Unfortunately though, this version of Dumbo is trying to add a lot more to the original story and ends up becoming bit of a drag at times. The human characters are poorly written and mostly forgettable, and the movie really only soars when Dumbo himself does. While trying to steer clear of being a straight up remake, opting instead for the addition of plot and characters, it ultimately loses a lot of the charm. As with the recent remake of Beauty and the Beast, it's another case of style over substance.
It's 1919 and Holt Farrier (Colin Farrell) has returned from World War I, arriving by train to join the Medici Brothers Circus, where he worked before the war as a performer. But Holt has a number of issues to contend with on his return, the least of which being the loss one of his arms while in service. He's greeted at the station by his two young children, Milly and Joe, who lost their mother, Holt's wife, to influenza while he was away. On top of that, he learns that while he was away, the cash strapped circus owner, Max Medici (Danny DeVito) decided to sell the horses that were part of Holt's star act. Holt is put in charge of pregnant elephant Jumbo, with Max hoping that the arrival of a cute baby elephant will bring in the much needed crowds. It's a lot for Holt to come to terms with and adjust to.
Soon after, the baby elephant is born. But with clumsy, oversized ears, he's not quite the cute crowd pleaser they had all hoped for. Attempts to hide his ears only end in disaster, and ridicule from the circus crowds. Milly and Joe fall in love with the new arrival, and when they discover that he has the ability to use those big ears for flying, interest in him is quickly renewed.
The flying elephant not only draws in the crowds, but also the attentions of V.A. Vandevere (Michael Keaton), who offers Max a deal for him and his circus troupe to join his huge fancy theme park. It's at this point that the movie should really begin to soar, having introduced the circus family and their new arrival. Unfortunately, the arrival of Vandevere signals a sharp downward spiral in terms of story telling. The circus cast are all but forgotten, with the story focusing instead on the tired, familiar tale of sleazy, greedy businessman who is only interested in money and success, at the expense of the poor, trusting people who believed him.
The computerised Dumbo is simply oozing cuteness and technical wizardry. The eyes and the facial expressions are wonderful and he manages to steal every scene he is in. Every time he takes flight, it is a joy to watch. Unfortunately though, this version of Dumbo is trying to add a lot more to the original story and ends up becoming bit of a drag at times. The human characters are poorly written and mostly forgettable, and the movie really only soars when Dumbo himself does. While trying to steer clear of being a straight up remake, opting instead for the addition of plot and characters, it ultimately loses a lot of the charm. As with the recent remake of Beauty and the Beast, it's another case of style over substance.
Movie Metropolis (309 KP) rated The Legend of Tarzan (2016) in Movies
Jun 11, 2019
CPR Needed
As tends to be the case with Hollywood, studios pay very close attention to their rivals release schedules, eyeing up potential competition to pit their films against, maxing box-office returns in the process.
And when Disney announced they were rebooting The Jungle Book in March this year, Warner Bros quickly responded with another jungle-themed film; The Legend of Tarzan. But does this interpretation on the classic character swing or fall?
It’s been nearly a decade since Tarzan (Alexander Skarsgård), aka John Clayton III, left Africa to live in Victorian England with his wife Jane (Margot Robbie). Danger lurks on the horizon as Leon Rom (Christoph Waltz), a treacherous envoy for King Leopold, devises a scheme that lures the couple and friend George Williams (Samuel L Jackson) to the Congo. Rom plans to capture Tarzan and deliver him to an old enemy in exchange for diamonds. When Jane becomes a pawn in his devious plot, Tarzan must return to the jungle to save the woman he loves.
Directed by David Yates (Harry Potter & the Deathly Hallows), Legend of Tarzan features committed performances from its lead cast, immersive scenery and impressive special effects, but all of the glitz can’t save a film that plods along at a dreadful pace. Not since Peter Jackson’s King Kong has there been a movie that wastes so much of its opening act.
Alexander Skarsgård is likeable and commanding as the titular character, but lacks enough acting prowess to tackle the deeper, more emotional side that writers Adam Cozad and Craig Brewer have brought to the table here. Therefore, the scenes featuring a solo Tarzan suffer somewhat and Samuel L Jackson feels wasted in a poorly written and half-hearted role.
It is in Margot Robbie and Christoph Waltz that we find the film’s saving graces. Their characters leap off the screen with Waltz in particular being a highlight throughout. It’s unfortunate that one of our greatest living actors is lambasted with poor dialogue however, though the script just about keeps him afloat.
David Yates brings a similar filming style here to that of his foray into Harry Potter. The action is confidently filmed, but he avoids the use of shaky-cam that many directors seem to find appealing nowadays. The CGI is on the whole very good, especially in the finale which is breath-taking to watch.
It’s just a shame the rest of the film is such a drag. The first hour is incredibly poorly paced with very brief, albeit well-filmed, action sequences not doing enough to brighten Legend of Tarzan up. Elsewhere, the use of flashbacks is at first a decent way of giving the audience some exposition, but after the tenth one, they’re a nuisance.
Overall, The Legend of Tarzan does a lot more with its iconic character than other films have done, but that doesn’t excuse its poor pacing. Thankfully, the exciting finale lifts the final act above the standard of the first hour, and commanding performances from all the cast sustain interest just about enough to see it through to the end.
https://moviemetropolis.net/2016/07/07/cpr-needed-the-legend-of-tarzan-review/
And when Disney announced they were rebooting The Jungle Book in March this year, Warner Bros quickly responded with another jungle-themed film; The Legend of Tarzan. But does this interpretation on the classic character swing or fall?
It’s been nearly a decade since Tarzan (Alexander Skarsgård), aka John Clayton III, left Africa to live in Victorian England with his wife Jane (Margot Robbie). Danger lurks on the horizon as Leon Rom (Christoph Waltz), a treacherous envoy for King Leopold, devises a scheme that lures the couple and friend George Williams (Samuel L Jackson) to the Congo. Rom plans to capture Tarzan and deliver him to an old enemy in exchange for diamonds. When Jane becomes a pawn in his devious plot, Tarzan must return to the jungle to save the woman he loves.
Directed by David Yates (Harry Potter & the Deathly Hallows), Legend of Tarzan features committed performances from its lead cast, immersive scenery and impressive special effects, but all of the glitz can’t save a film that plods along at a dreadful pace. Not since Peter Jackson’s King Kong has there been a movie that wastes so much of its opening act.
Alexander Skarsgård is likeable and commanding as the titular character, but lacks enough acting prowess to tackle the deeper, more emotional side that writers Adam Cozad and Craig Brewer have brought to the table here. Therefore, the scenes featuring a solo Tarzan suffer somewhat and Samuel L Jackson feels wasted in a poorly written and half-hearted role.
It is in Margot Robbie and Christoph Waltz that we find the film’s saving graces. Their characters leap off the screen with Waltz in particular being a highlight throughout. It’s unfortunate that one of our greatest living actors is lambasted with poor dialogue however, though the script just about keeps him afloat.
David Yates brings a similar filming style here to that of his foray into Harry Potter. The action is confidently filmed, but he avoids the use of shaky-cam that many directors seem to find appealing nowadays. The CGI is on the whole very good, especially in the finale which is breath-taking to watch.
It’s just a shame the rest of the film is such a drag. The first hour is incredibly poorly paced with very brief, albeit well-filmed, action sequences not doing enough to brighten Legend of Tarzan up. Elsewhere, the use of flashbacks is at first a decent way of giving the audience some exposition, but after the tenth one, they’re a nuisance.
Overall, The Legend of Tarzan does a lot more with its iconic character than other films have done, but that doesn’t excuse its poor pacing. Thankfully, the exciting finale lifts the final act above the standard of the first hour, and commanding performances from all the cast sustain interest just about enough to see it through to the end.
https://moviemetropolis.net/2016/07/07/cpr-needed-the-legend-of-tarzan-review/
Emma @ The Movies (1786 KP) rated The Call Of The Wild (2020) in Movies
Mar 1, 2020
When they announced Call of the Wild with Harrison Ford I was onboard, then they said they were CGIing the dog and I became expressionless. I understood how some bits would need to be CGId... but the whole dog? I WANT FLOOFS!
An excitable family pet gets taken to the wilds of the Yukon and sold as a sled dog. Along the way he makes new friends and learns about the call of the wild... I know, you'd never have guessed from the title of the film!
Let's deal with the giant dog in the room first. It's difficult to express my exact feelings about the CGI in the film, yes it isn't great, but by the end of the film [well, quite early on] I didn't care. Buck has so many personality traits and goofball moments that you know he must be CGI but it really doesn't matter. A lot of the things on screen I'm sure you would see in a real dog, but you can't put them through the same actions as their computer-generated counterparts. The opening sequence with Buck running through the house was cartoonish and daft, and while I rolled my eyes it was one of the many funny moments that happened throughout the film. You just acclimatise to the whole thing and forget that Buck isn't real.
While the humans take a back seat to Buck's adventures most of the time they're still great on screen. Omar Sy and Cara Gee as Perrault and Françoise make a great duo, and Sy with Buck has some very fun pieces. His reaction to the dogs feels very natural and the ice scene you briefly see in the trailer was a strong moment for everyone involved.
Dan Stevens playing Hal is the villain of the piece and his whole performance reminds me of a classic animated Disney villain, a cross between things from Lady and the Tramp, Beauty and the Beast and 101 Dalmations. There's a very specific maniacal villain in my head but I can't remember who or what film and it's driving me nuts! [Do let me know if you know!] By the end of the film though I was bothered more by his cartoonish acting than I was by the CG.
Our main pull was, of course, Harrison Ford. I don't know how John Thornton is portrayed in the book but the one in this film is a very relaxed character that only occasionally has to step it up. It isn't much of a stretched for Ford, I wouldn't be at all surprised if someone told me he wasn't even acting.
This is peak adventure, with excitement, peril and humour. The whole audience was reacting, and it was wonderful. Having gone in prepared to be annoyed the whole way through I was amazed at just how much I laughed and cried, and how exhilarating they managed to make things. Call of the Wild was a delightful watch, dubious CGI and all.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/the-call-of-wild-movie-review.html
An excitable family pet gets taken to the wilds of the Yukon and sold as a sled dog. Along the way he makes new friends and learns about the call of the wild... I know, you'd never have guessed from the title of the film!
Let's deal with the giant dog in the room first. It's difficult to express my exact feelings about the CGI in the film, yes it isn't great, but by the end of the film [well, quite early on] I didn't care. Buck has so many personality traits and goofball moments that you know he must be CGI but it really doesn't matter. A lot of the things on screen I'm sure you would see in a real dog, but you can't put them through the same actions as their computer-generated counterparts. The opening sequence with Buck running through the house was cartoonish and daft, and while I rolled my eyes it was one of the many funny moments that happened throughout the film. You just acclimatise to the whole thing and forget that Buck isn't real.
While the humans take a back seat to Buck's adventures most of the time they're still great on screen. Omar Sy and Cara Gee as Perrault and Françoise make a great duo, and Sy with Buck has some very fun pieces. His reaction to the dogs feels very natural and the ice scene you briefly see in the trailer was a strong moment for everyone involved.
Dan Stevens playing Hal is the villain of the piece and his whole performance reminds me of a classic animated Disney villain, a cross between things from Lady and the Tramp, Beauty and the Beast and 101 Dalmations. There's a very specific maniacal villain in my head but I can't remember who or what film and it's driving me nuts! [Do let me know if you know!] By the end of the film though I was bothered more by his cartoonish acting than I was by the CG.
Our main pull was, of course, Harrison Ford. I don't know how John Thornton is portrayed in the book but the one in this film is a very relaxed character that only occasionally has to step it up. It isn't much of a stretched for Ford, I wouldn't be at all surprised if someone told me he wasn't even acting.
This is peak adventure, with excitement, peril and humour. The whole audience was reacting, and it was wonderful. Having gone in prepared to be annoyed the whole way through I was amazed at just how much I laughed and cried, and how exhilarating they managed to make things. Call of the Wild was a delightful watch, dubious CGI and all.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/the-call-of-wild-movie-review.html
BankofMarquis (1832 KP) rated Prey (2022) in Movies
Aug 12, 2022
Less Is More - And It Works!
In 1987, at the height of the ‘80’s action movie craze with the likes of Stallone, Van Damme, Segal, Norris and Willis, Arnold Schwarzenegger came out with what on the surface looked like a throw away macho, sci-fi action flick, PREDATOR. What it turned out to be was one of the all-time classic action films.
It has taken 35 years for a sequel (in this case, a prequel) to be mentioned in the same stratosphere as the first.
While the other 5 sequels (if you count the Alien vs. Predator cross-over films) delve deeper and harder into the science fiction and macho-action of the first film, the straight-to-streaming prequel PREY (on Hulu and now on Disney+) decided to go in the other direction, it simplified the Predator/Prey dynamic, eschewing deep sci-fi mythology and settled on the “less is more” dictum of storytelling to great affect.
Set in the Midwestern Plains in the 1710’s, PREY follows a group of Comanches as they live their unassuming lifestyle - living off and giving back to the land. A lifestyle that is slowly being encroached upon by foreign entities. At first these “aliens” are terrestrial in nature (the approach of the White Man, in this case, they are in the guise of French Voyageurs), but later, in it takes the form of the extraterrestrial Predator. It’s an interesting juxtaposition of the duo forces outside of what this tribe of Native Americans know - and how they deal with it.
Leading us into the conflict are the main protagonists - the brother/sister combo of Naru (Amber Midthunder, HELL OR HIGHWATER) and her older brother, Taabe (Dakota Beavers, in what is his feature film debut). These 2 - along with their Comanche brethren track and then begin to understand what they are encountering and since they know they are out-gunned, they need to outsmart the Predator.
This could have devolved, quickly, into a gorey, CGI-fest of carnage, but in the careful hands of Director Dan Trachtenberg (10 CLOVERFIELD LANE) and with an interesting screenplay by Trachtenberg and Patrick Aison, this film becomes a thoughtful, intelligence game of wits that is satisfying on both sides.
Midthunder and Beavers are very strong in their roles of the brother and sister Comanches and they are 2 characters that you quickly start rooting for in their battle. These characters are drawn in an interesting, 3-dimensional, way and are a pair that you want to spend these 2 hours of struggle with.
Trachtenberg helps these 2 - and the story - by setting a deliberate pace, as if you the audience are thinking and encountering things along with these 2. There are long bits of thought and talk highlighted by spikes of action that are well choreographed and interesting, but really add to the depths of the characters.
I am as surprised as you are that I encountered an interesting character study in disguise in an action-packed Predator film - but that is just what this is…and very well done to boot.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
It has taken 35 years for a sequel (in this case, a prequel) to be mentioned in the same stratosphere as the first.
While the other 5 sequels (if you count the Alien vs. Predator cross-over films) delve deeper and harder into the science fiction and macho-action of the first film, the straight-to-streaming prequel PREY (on Hulu and now on Disney+) decided to go in the other direction, it simplified the Predator/Prey dynamic, eschewing deep sci-fi mythology and settled on the “less is more” dictum of storytelling to great affect.
Set in the Midwestern Plains in the 1710’s, PREY follows a group of Comanches as they live their unassuming lifestyle - living off and giving back to the land. A lifestyle that is slowly being encroached upon by foreign entities. At first these “aliens” are terrestrial in nature (the approach of the White Man, in this case, they are in the guise of French Voyageurs), but later, in it takes the form of the extraterrestrial Predator. It’s an interesting juxtaposition of the duo forces outside of what this tribe of Native Americans know - and how they deal with it.
Leading us into the conflict are the main protagonists - the brother/sister combo of Naru (Amber Midthunder, HELL OR HIGHWATER) and her older brother, Taabe (Dakota Beavers, in what is his feature film debut). These 2 - along with their Comanche brethren track and then begin to understand what they are encountering and since they know they are out-gunned, they need to outsmart the Predator.
This could have devolved, quickly, into a gorey, CGI-fest of carnage, but in the careful hands of Director Dan Trachtenberg (10 CLOVERFIELD LANE) and with an interesting screenplay by Trachtenberg and Patrick Aison, this film becomes a thoughtful, intelligence game of wits that is satisfying on both sides.
Midthunder and Beavers are very strong in their roles of the brother and sister Comanches and they are 2 characters that you quickly start rooting for in their battle. These characters are drawn in an interesting, 3-dimensional, way and are a pair that you want to spend these 2 hours of struggle with.
Trachtenberg helps these 2 - and the story - by setting a deliberate pace, as if you the audience are thinking and encountering things along with these 2. There are long bits of thought and talk highlighted by spikes of action that are well choreographed and interesting, but really add to the depths of the characters.
I am as surprised as you are that I encountered an interesting character study in disguise in an action-packed Predator film - but that is just what this is…and very well done to boot.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Kirk Bage (1775 KP) rated Soul (2020) in Movies
Jan 22, 2021
When Disney Pixar launches a big new title it comes with a lot of expectation – there are just so many titles in the back catalogue now that will forever be considered classics. Movies that raised and re-raised the bar of what animation and family film storytelling can be at the very, very best.
So, when it was announced that Soul would be shown worldwide on the excellent Disney plus channel on Christmas Day, it was something of a coup that made it The movie event of the year, as many of us would now have the shared memory of watching it post lunch, as we struggled to keep our own cosy souls and eyelids awake enough to properly enjoy it.
I must admit that my opinion of it after one watch is tinted by being very close to a complete food coma shutdown. I will need to watch it again to fully appreciate it, I think. The main thing about doing it at all was how perfect and special it felt to be doing it on Christmas Day – nothing has felt more Christmassy to me film-wise since they first aired Indiana Jones and the Last Crusade on BBC1 in 1992. Such a treat with quality assured is rare indeed. The question was how good would it be in comparison to our favourites?
There were rumours from early reviews that it was more mature and adult themed than usual, and this seemed entirely true from the get go. Jazz music, a mellow vibe not racing headlong after easy laughs and the themes of existential angst and, well, death… it is quite grown up, to an extent. Not that young ones won’t enjoy it at all. It is as colourful and busy and joyous as any of them. Even if they can’t take in the concepts of the story in a deeper way, there is plenty to enjoy.
What it seems like Pixar were going for here is a film families of many generations can enjoy together; the older parents and grandparents explaining and reassuring in the deeper moments, and the young ones reminding the older ones to laugh at the silly bits! It was ever thus, but now the ambition to make it really about something significant seems achievable.
The theme of separation, loss and yes, even death is all over Pixar if you look for it. Especially with the recent Coco, which I thought was their best effort for several years. What they did with the theme of death in that one and here also is view it without fear, but as a celebration of the life that came before it, and the people that were touched by that life. It is the perennial Pixar message, that something which at first seems scary and sad is actually beautiful and wonderful if you look closer and choose to see it that way. And to their work in educating kids with that message I can only applaud in awe.
The animation itself is surprising. The “real” world being almost photo real to a jaw dropping degree, whilst the characters remain stylised. But it is the choices of simpler, somehow old fashioned styles in the before and after life sections that are striking. The semi luminous colours are also breath-taking: all calm aquamarine and soft pink, for every bright red and orange of Coco, but just as vibrant.
Pete Doctor who was responsible on this scale for Monster’s Inc, Up and Inside Out, holds the dual reigns of directing and writing expertly yet again, making things that are very hard to achieve look like cracking eggs! The voice talents of Jamie Foxx and Tina Fey do exactly what is needed in the roles without ever standing out as spectacular, as do minor roles for the likes of Graham Norton and Richard Ayoade. Spectacular is not what Soul is about, it is much more about solid qualities with deeper resonance. Personally, I never arrived at the tears in the eyes revelation moment. But that might be more about how warm and full and content I was than any criticism of something missing. There is every chance it is me that missed it.
Look, I don’t think anyone is going to be putting this amongst their top 5 Pixars any time soon, but I also can’t see anyone saying they didn’t enjoy it. The consensus seems to be “hmm, interesting, I need to think about that a while and see it again a few times”. So, for now, that is exactly what I am saying too. It may well be a classic that grows in appreciation over the years, or it may be one where you go, “nah, let’s watch Monster’s Inc. again instead”. Not sure. I’ll add a postscript right here when I have seen it a second time…
So, when it was announced that Soul would be shown worldwide on the excellent Disney plus channel on Christmas Day, it was something of a coup that made it The movie event of the year, as many of us would now have the shared memory of watching it post lunch, as we struggled to keep our own cosy souls and eyelids awake enough to properly enjoy it.
I must admit that my opinion of it after one watch is tinted by being very close to a complete food coma shutdown. I will need to watch it again to fully appreciate it, I think. The main thing about doing it at all was how perfect and special it felt to be doing it on Christmas Day – nothing has felt more Christmassy to me film-wise since they first aired Indiana Jones and the Last Crusade on BBC1 in 1992. Such a treat with quality assured is rare indeed. The question was how good would it be in comparison to our favourites?
There were rumours from early reviews that it was more mature and adult themed than usual, and this seemed entirely true from the get go. Jazz music, a mellow vibe not racing headlong after easy laughs and the themes of existential angst and, well, death… it is quite grown up, to an extent. Not that young ones won’t enjoy it at all. It is as colourful and busy and joyous as any of them. Even if they can’t take in the concepts of the story in a deeper way, there is plenty to enjoy.
What it seems like Pixar were going for here is a film families of many generations can enjoy together; the older parents and grandparents explaining and reassuring in the deeper moments, and the young ones reminding the older ones to laugh at the silly bits! It was ever thus, but now the ambition to make it really about something significant seems achievable.
The theme of separation, loss and yes, even death is all over Pixar if you look for it. Especially with the recent Coco, which I thought was their best effort for several years. What they did with the theme of death in that one and here also is view it without fear, but as a celebration of the life that came before it, and the people that were touched by that life. It is the perennial Pixar message, that something which at first seems scary and sad is actually beautiful and wonderful if you look closer and choose to see it that way. And to their work in educating kids with that message I can only applaud in awe.
The animation itself is surprising. The “real” world being almost photo real to a jaw dropping degree, whilst the characters remain stylised. But it is the choices of simpler, somehow old fashioned styles in the before and after life sections that are striking. The semi luminous colours are also breath-taking: all calm aquamarine and soft pink, for every bright red and orange of Coco, but just as vibrant.
Pete Doctor who was responsible on this scale for Monster’s Inc, Up and Inside Out, holds the dual reigns of directing and writing expertly yet again, making things that are very hard to achieve look like cracking eggs! The voice talents of Jamie Foxx and Tina Fey do exactly what is needed in the roles without ever standing out as spectacular, as do minor roles for the likes of Graham Norton and Richard Ayoade. Spectacular is not what Soul is about, it is much more about solid qualities with deeper resonance. Personally, I never arrived at the tears in the eyes revelation moment. But that might be more about how warm and full and content I was than any criticism of something missing. There is every chance it is me that missed it.
Look, I don’t think anyone is going to be putting this amongst their top 5 Pixars any time soon, but I also can’t see anyone saying they didn’t enjoy it. The consensus seems to be “hmm, interesting, I need to think about that a while and see it again a few times”. So, for now, that is exactly what I am saying too. It may well be a classic that grows in appreciation over the years, or it may be one where you go, “nah, let’s watch Monster’s Inc. again instead”. Not sure. I’ll add a postscript right here when I have seen it a second time…
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Movie Metropolis (309 KP) rated Dumbo (2019) in Movies
Jun 10, 2019
Tim Burton and the flying elephant
If you had told me 15 years ago that Tim Burton would be directing a live-action adaptation of Disney’s classic, Dumbo I would’ve been overwhelmed with excitement. The director, famed for his unique sense of gothic style and visual flair has directed some of the best films ever made.
Edward Scissorhands, Sleepy Hollow and Beetlejuice are just a few classics on a resume populated by cracking movies. However, over the last decade Burton has become a director that has focused on style over substance. Charlie & the Chocolate Factory was a pale imitation of the original and his live-action remake of Alice in Wonderland was successful but hollow.
Therefore, we arrive in 2019 with a slight sense of apprehension. Dumbo is a classic Disney cartoon and there’s a risk of a little too much Burton for the little elephant’s good. But is that fear unfounded?
Struggling circus owner Max Medici (Danny DeVito) enlists a former star (Colin Farrell) and his two children to care for Dumbo, a baby elephant born with oversized ears. When the family discovers that the animal can fly, it soon becomes the main attraction – bringing in huge audiences and revitalising the run-down circus. The elephant’s magical ability also draws the attention of V.A. Vandevere (Michael Keaton), an entrepreneur who wants to showcase Dumbo in his latest, larger-than-life entertainment venture.
Updating Dumbo for the modern age was always going to be a difficult task. At just over an hour long and with some shall we say, less than PC story elements, the original needed some serious padding and editing to turn it into a fully-fledged feature film and while there are moments of brilliance here, Dumbo suffers from a disjointed and overthought script, flat characters and you guessed it, too much Burton.
We’ll start with the good. Dumbo is a beautiful film, filled to the brim with striking imagery that harks back to some of Burton’s previous work. The cinematography is absolutely astounding with stunning sunsets and vivid colours populating the screen at all points during the 112-minute running time. The opening in particular, a hark back to the original in which a train crosses a map of the US is inspired and nicely filmed.
For the most part though, Dumbo pushes the limits of visual effects to the point where everything feels far too artificial. The baby elephant himself is on the whole very good, and as adorable as you would expect, but there are moments dotted throughout the film that suffer from the limitations of CGI. A scene in which Dumbo gets a bath is terrifying. In fact, there are multiple sequences towards the finale in which the CGI is so poor that it looks like something out of a second generation video game.
Dumbo is a beautiful film, filled to the brim with striking imagery that harks back to some of Burton’s previous work
Elsewhere, the cast is by far the film’s weakest element. Colin Farrell is a disappointingly forgettable and miscast lead. Arriving home after losing his arm in the war, Farrell’s Holt is completely flat, not helped by some poor acting from the usually dependable star. Michael Keaton doesn’t get to do much apart from smile menacingly and Danny DeVito hams it up to 11 as struggling circus-owner Max Medici; oh dear.
There are some positives cast-wise however: Nico Parker as Milly Farrier, Holt’s curious science-minded daughter, is very good, even if the script beats you around the head with the fact that she’s an intelligent girl who wants more out of her life, but this is brought right back down to earth by Eva Green’s horrific French accent.
Then there’s Burton himself. While the shots of Dumbo circling the circus tent in the air are breath-taking, and scenes of the pachyderm covered in clown make-up as he’s abused for profit are as heart-breaking as they are in the original, they’re ruined by unusual story-telling choices. As the film steamrolls to its climax set in a theme-park that’s a third Scooby Doo, a third Willy Wonka’s Chocolate Factory and a third Jurassic Park, Burton piles on his usual tropes far too thick – it just doesn’t fit with the tale of the magical flying elephant.
Some of the more touching elements are handled well however. Dumbo’s separation from his mother is devastating and he feels like a real personality throughout the entire film, but for a film titled Dumbo, it needs more Dumbo!
Overall, Dumbo is a perfectly enjoyable adventure ride that’s spoilt by Burton’s once trademark filming style and a roster of flat and forgettable characters. With the boundaries of CGI being pushed to the max here, some of the film feels a little unfinished and as such, this live-action adaptation is a touch disappointing. One can only wonder what this film would have been like with a different director at the helm.
https://moviemetropolis.net/2019/03/30/dumbo-review-tim-burton-and-the-flying-elephant/
Edward Scissorhands, Sleepy Hollow and Beetlejuice are just a few classics on a resume populated by cracking movies. However, over the last decade Burton has become a director that has focused on style over substance. Charlie & the Chocolate Factory was a pale imitation of the original and his live-action remake of Alice in Wonderland was successful but hollow.
Therefore, we arrive in 2019 with a slight sense of apprehension. Dumbo is a classic Disney cartoon and there’s a risk of a little too much Burton for the little elephant’s good. But is that fear unfounded?
Struggling circus owner Max Medici (Danny DeVito) enlists a former star (Colin Farrell) and his two children to care for Dumbo, a baby elephant born with oversized ears. When the family discovers that the animal can fly, it soon becomes the main attraction – bringing in huge audiences and revitalising the run-down circus. The elephant’s magical ability also draws the attention of V.A. Vandevere (Michael Keaton), an entrepreneur who wants to showcase Dumbo in his latest, larger-than-life entertainment venture.
Updating Dumbo for the modern age was always going to be a difficult task. At just over an hour long and with some shall we say, less than PC story elements, the original needed some serious padding and editing to turn it into a fully-fledged feature film and while there are moments of brilliance here, Dumbo suffers from a disjointed and overthought script, flat characters and you guessed it, too much Burton.
We’ll start with the good. Dumbo is a beautiful film, filled to the brim with striking imagery that harks back to some of Burton’s previous work. The cinematography is absolutely astounding with stunning sunsets and vivid colours populating the screen at all points during the 112-minute running time. The opening in particular, a hark back to the original in which a train crosses a map of the US is inspired and nicely filmed.
For the most part though, Dumbo pushes the limits of visual effects to the point where everything feels far too artificial. The baby elephant himself is on the whole very good, and as adorable as you would expect, but there are moments dotted throughout the film that suffer from the limitations of CGI. A scene in which Dumbo gets a bath is terrifying. In fact, there are multiple sequences towards the finale in which the CGI is so poor that it looks like something out of a second generation video game.
Dumbo is a beautiful film, filled to the brim with striking imagery that harks back to some of Burton’s previous work
Elsewhere, the cast is by far the film’s weakest element. Colin Farrell is a disappointingly forgettable and miscast lead. Arriving home after losing his arm in the war, Farrell’s Holt is completely flat, not helped by some poor acting from the usually dependable star. Michael Keaton doesn’t get to do much apart from smile menacingly and Danny DeVito hams it up to 11 as struggling circus-owner Max Medici; oh dear.
There are some positives cast-wise however: Nico Parker as Milly Farrier, Holt’s curious science-minded daughter, is very good, even if the script beats you around the head with the fact that she’s an intelligent girl who wants more out of her life, but this is brought right back down to earth by Eva Green’s horrific French accent.
Then there’s Burton himself. While the shots of Dumbo circling the circus tent in the air are breath-taking, and scenes of the pachyderm covered in clown make-up as he’s abused for profit are as heart-breaking as they are in the original, they’re ruined by unusual story-telling choices. As the film steamrolls to its climax set in a theme-park that’s a third Scooby Doo, a third Willy Wonka’s Chocolate Factory and a third Jurassic Park, Burton piles on his usual tropes far too thick – it just doesn’t fit with the tale of the magical flying elephant.
Some of the more touching elements are handled well however. Dumbo’s separation from his mother is devastating and he feels like a real personality throughout the entire film, but for a film titled Dumbo, it needs more Dumbo!
Overall, Dumbo is a perfectly enjoyable adventure ride that’s spoilt by Burton’s once trademark filming style and a roster of flat and forgettable characters. With the boundaries of CGI being pushed to the max here, some of the film feels a little unfinished and as such, this live-action adaptation is a touch disappointing. One can only wonder what this film would have been like with a different director at the helm.
https://moviemetropolis.net/2019/03/30/dumbo-review-tim-burton-and-the-flying-elephant/
Movie Metropolis (309 KP) rated Solo: A Star Wars Story (2018) in Movies
Jun 10, 2019
Star Wars goes western
Star Wars has had somewhat of a chequered history since turning over to the dark side, sorry, I mean Disney. You see, since LucasFilm was acquired by the House of Mouse there has been one Star Wars movie each year. The Force Awakens was good, if a little safe and The Last Jedi was brilliant, but incredibly divisive.
What’s been more exciting to see evolve however, is the Star Wars Story movies. Rogue One became my 2nd favourite film in the series after Empire with Godzilla director, Gareth Edwards proving to be a force to be reckoned with. Then, LEGO Movie directors Phil Lord and Chris Miller were hired to direct a Han Solo origins story and that got people very excited indeed.Fast forward a few months and they were unceremoniously dumped from the project during filming with veteran director Ron Howard brought in as their replacements. Howard’s name is a concerning one. He’s become something of a director-for-hire over the last decade: competent but not exemplary. Phew! Keeping up? Good.
The resulting film has been plagued by ballooning costs, expensive reshoots and rumours of on-set acting classes for some of the stars. It’s finally here, but are we looking at the first new generation Star Wars failure?
Young Han Solo (Alden Ehrenreich) finds adventure when he joins a gang of galactic smugglers, including a 196-year-old Wookie named Chewbacca. Indebted to the gangster Dryden Vos (Paul Bettany), the crew devises a daring plan to travel to the mining planet Kessel to steal a batch of valuable coaxium. In need of a fast ship, Solo meets Lando Calrissian (Donald Glover), the suave owner of the perfect vessel for the dangerous mission — the Millennium Falcon.
Thankfully, and by nothing short of a miracle, Solo: A Star Wars Story is engaging, packed full of nostalgia and features an incredible ensemble cast. It’s not perfect by any means, but we’ll get on to that later.
Billed as a heist meets western kinda movie, Solo hits all the right beats to carefully straddle the line between those two genres. The writing is snappy, genuinely funny and engaging with all the cast members doing their fair share of the heavy lifting. Emilia Clarke is great as Solo’s love interest Qi’Ra and Woody Harrelson is as charming as ever in a role that could’ve been serviced by many 50-something actors who could do fancy stuff with a blaster.
It is in Donald Glover however that the film truly belongs. His Lando Calrissian is absolutely, unequivocally sublime. He channels his counterpart from Empire beautifully and you do feel like you’re watching a young Billy Dee Williams in action.
There is some striking imagery throughout the film with the western-style finale being absolutely superb
In fact, there are only two of the main cast members that fail to register in the way that they had clearly intended to do. One is Paul Bettany’s Dryden Vos; the Star Wars universe’s first real villain failure. Alas, it’s not the fault of Bettany. The part was originally written for a CGI motion capture performance but was changed at the last minute with reshoots being added for Bettany’s scenes.
The other, unfortunately, is Han Solo himself. Alden Ehrenreich definitely makes all the right noises. He’s cocky, arrogant, self-assured, just like Harrison Ford, but, for all of his effort, he just isn’t doing a Harrison Ford in this film. Now, that doesn’t ruin the movie as much as you might think it does, as it’s easy to just go along for the ride, but at no point in Solo’s run time did I think we were watching a young Harrison Ford in action. Ehrenreich is good, he’s just not that good.
Thankfully, what is that good is the cinematography. The action is staged beautifully, though I’m unsure as to whether this is Howard’s influence or the previous directors. There is some striking imagery throughout the film with the western-style finale being absolutely superb. The CGI is nicely integrated with animatronics and props, just like a Star Wars movie should be, and each of the set pieces is brimming with excitement.
One sequence in particular, involving the liberation of some slaves is really nicely filmed with a great colour palate and the much-marketed monorail heist is edge-of-your-seat stuff with cracking CGI.
Pacing is generally good, and at 135 minutes that is no easy win though things do drag a little about half way through. What is pleasing however, is how the bromance between Chewbacca and Han takes a backseat up until about 40 minutes before the end in which a familiar theme plays over the action: it’s spine-tingling in its simplicity. In fact, John Powell’s score is rousing when it needs to be and beautifully put together. A real match for John Williams’ classic orchestral soundtrack.
Overall, Solo: A Star Wars Story is better than it had any right to be. Whenever a film goes through such a turbulent production process, it’s always concerning that the final product will be somehow lesser in quality, but this isn’t the case here. It’s not perfect by any stretch of the imagination, but as a continuation of the new Star Wars mantra under Disney, it’s a fitting entry and a great addition to the series.
https://moviemetropolis.net/2018/05/24/solo-a-star-wars-story-review-stars-wars-goes-western/
What’s been more exciting to see evolve however, is the Star Wars Story movies. Rogue One became my 2nd favourite film in the series after Empire with Godzilla director, Gareth Edwards proving to be a force to be reckoned with. Then, LEGO Movie directors Phil Lord and Chris Miller were hired to direct a Han Solo origins story and that got people very excited indeed.Fast forward a few months and they were unceremoniously dumped from the project during filming with veteran director Ron Howard brought in as their replacements. Howard’s name is a concerning one. He’s become something of a director-for-hire over the last decade: competent but not exemplary. Phew! Keeping up? Good.
The resulting film has been plagued by ballooning costs, expensive reshoots and rumours of on-set acting classes for some of the stars. It’s finally here, but are we looking at the first new generation Star Wars failure?
Young Han Solo (Alden Ehrenreich) finds adventure when he joins a gang of galactic smugglers, including a 196-year-old Wookie named Chewbacca. Indebted to the gangster Dryden Vos (Paul Bettany), the crew devises a daring plan to travel to the mining planet Kessel to steal a batch of valuable coaxium. In need of a fast ship, Solo meets Lando Calrissian (Donald Glover), the suave owner of the perfect vessel for the dangerous mission — the Millennium Falcon.
Thankfully, and by nothing short of a miracle, Solo: A Star Wars Story is engaging, packed full of nostalgia and features an incredible ensemble cast. It’s not perfect by any means, but we’ll get on to that later.
Billed as a heist meets western kinda movie, Solo hits all the right beats to carefully straddle the line between those two genres. The writing is snappy, genuinely funny and engaging with all the cast members doing their fair share of the heavy lifting. Emilia Clarke is great as Solo’s love interest Qi’Ra and Woody Harrelson is as charming as ever in a role that could’ve been serviced by many 50-something actors who could do fancy stuff with a blaster.
It is in Donald Glover however that the film truly belongs. His Lando Calrissian is absolutely, unequivocally sublime. He channels his counterpart from Empire beautifully and you do feel like you’re watching a young Billy Dee Williams in action.
There is some striking imagery throughout the film with the western-style finale being absolutely superb
In fact, there are only two of the main cast members that fail to register in the way that they had clearly intended to do. One is Paul Bettany’s Dryden Vos; the Star Wars universe’s first real villain failure. Alas, it’s not the fault of Bettany. The part was originally written for a CGI motion capture performance but was changed at the last minute with reshoots being added for Bettany’s scenes.
The other, unfortunately, is Han Solo himself. Alden Ehrenreich definitely makes all the right noises. He’s cocky, arrogant, self-assured, just like Harrison Ford, but, for all of his effort, he just isn’t doing a Harrison Ford in this film. Now, that doesn’t ruin the movie as much as you might think it does, as it’s easy to just go along for the ride, but at no point in Solo’s run time did I think we were watching a young Harrison Ford in action. Ehrenreich is good, he’s just not that good.
Thankfully, what is that good is the cinematography. The action is staged beautifully, though I’m unsure as to whether this is Howard’s influence or the previous directors. There is some striking imagery throughout the film with the western-style finale being absolutely superb. The CGI is nicely integrated with animatronics and props, just like a Star Wars movie should be, and each of the set pieces is brimming with excitement.
One sequence in particular, involving the liberation of some slaves is really nicely filmed with a great colour palate and the much-marketed monorail heist is edge-of-your-seat stuff with cracking CGI.
Pacing is generally good, and at 135 minutes that is no easy win though things do drag a little about half way through. What is pleasing however, is how the bromance between Chewbacca and Han takes a backseat up until about 40 minutes before the end in which a familiar theme plays over the action: it’s spine-tingling in its simplicity. In fact, John Powell’s score is rousing when it needs to be and beautifully put together. A real match for John Williams’ classic orchestral soundtrack.
Overall, Solo: A Star Wars Story is better than it had any right to be. Whenever a film goes through such a turbulent production process, it’s always concerning that the final product will be somehow lesser in quality, but this isn’t the case here. It’s not perfect by any stretch of the imagination, but as a continuation of the new Star Wars mantra under Disney, it’s a fitting entry and a great addition to the series.
https://moviemetropolis.net/2018/05/24/solo-a-star-wars-story-review-stars-wars-goes-western/