It's a good day to die." There are a number of problems with this movie before it has even begun. With an incredibly revealing trailer, most of the plot has already been divulged before we've seen any of the main characters. The opening scene takes us back in time to the devastating moment in Courtney's life when her carelessness leads to her sister's death. This is the morbid basis for a very depressing and convoluted movie trying too hard to address the question of mortality. There are some rare and disparate moments of good-quality filmmaking, but the third act is particularly lost in its own land of pseudo-science. Whilst a lot of the events that happen in the movie can be attributed to hallucinations, a lot of the effects are so extravagant that the element of the unknown disappears.
I'd like to start with the positives. Ellen Page, an actress everyone will remember from Inception, is quietly confident as the aspiring medical student, who's haunting past encourages her extra-curricula investigation. She steals every scene, and her character's demise is psychologically damaging. Credit to the director, this scene quickly transformed the movie from a science-fiction thriller into a horror drama, and Page pulls all the stops out to portray a frighteningly tormented woman who's shocking death is the most gripping moment of the entire two hours. It's just a shame this was followed by another half hour of miscellaneous insanity. The music, whilst not always prominent, was quite effective at building the tension, but by the end, that wasn't often. Whilst the movie looked grand and beautiful in its psychedelic scenery, the point was quickly lost. Never mind the afterlife, the writers may have been indulging too much in the depiction of beauty, rather than the rational possibilities of a brain suffering asphyxiation. The science may have been present in diagnostic and revival scene, but as one character mentioned within the film's context, it was all pseudo-science in the end. Marlo's perspective in the afterlife was the best example of the production going overboard on its use of the unknown. If they'd kept the effects and visionary to a minimum, the final product may have been a little more mysterious, and a lot less chaotic. My main problem with the film is its incapacity to write its characters. A lot of the time, they are very quick to assume things, almost as if the writers are trying to intentionally push an agenda. But, in general, the characters are very unlikable. Candid, rash and uncharacteristically stupid. They don't suffer any consequences, despite all the rule-breaking they've committed, and because we're concentrating so much on them, the rest of the world is forgotten about. This doesn't help the fact that the afterlife story is unbelievable already. Whilst there was so much emphasis on what the characters saw, the explanation was not as thorough, meaning that by the end of the movie, we lack any understanding of what's just occurred. Simply put, a messy plot, filled with inconsistencies and errors of character. I haven't seen the original, but I imagine it has a similar story. The premise of flatlining has its interesting propositions, but inevitably - because this is something unknown in the scientific world, and often ridiculed - there's no standing in whatever is depicted. Despite a strong lead performance from Ellen Page, and a nice cameo for Kiefer Sutherland, the rest of the film is riddled with overcomplicated scenarios with morality and mortality attempting to combine to create non-existent threat. The conclusion is particularly unsatisfying. It's a shame, because the horror genre had a reawakening of a sort in this film, and there are some genuinely creepy moments, even if they're nonsensical in the story's perspective. 6/10
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Your human tongue is not the problem, it's your human heart." Before I begin this review, I'd like to point out, guiltily, that I have never watched Star Trek before - not even the films. I have always been a Star Wars/Doctor Who fanboy and have never once thought of being a Trekkie, or even watching some of the old repeats on TV. So, this review comes from the perspective of someone who is entirely new to this concept and Universe. Interestingly, this is a prequel, so hopefully I won't have much trouble jumping on the story, but if any references or homages pop up, believe me, they will sweep over my head without notice. Apart from "we come in peace" of course.
From the first seconds of the show, it's clear that the budget is monumental, giving us a visual richness that I highly doubt has graced Star Trek shows before. The grand landscapes and glittering space is wonderful to look at, and the science and astronomy behind it, being an astrophysicist myself, is pretty prominent in the narrative. The binary system looks and is described correctly, with references to the accretion disk adding to the feeling that the writers have done their research. However, there's always a dramatic license when it comes to space, and I always question when it is not shown as a hostile place. Regardless of scientific accuracy, the story is very intriguing, giving us introductions to the USS Shenzhou and its crew, and a battalion of Klingons who have disguised themselves in the orbit of a binary system. The story predominantly concentrates on the events surrounding the ship's discovery of a Klingon ship, but there are also hints to First Officer Michael Burnham's troubled past, in which her parents were killed by the Klingon. Whilst this is a good way of developing our main character, there's not enough to constitute a full introduction yet as we're heavily involved in a diplomatic situation towards the end of the episode. The interactions between characters, especially Michael and Saru are great banter, but the script is dripping with corny lines. Unfortunately, this can take away the seriousness of the scenarios, especially when it comes to Michael disobeying an order from her captain to destroy the Klingon ship before they can make the first move. The conflict between the officers is interesting, especially as it's hinted that they are close. It's also interesting to see a new take on the morality of violence and how the relationship between Vulcans and Klingon was built on the fact that the Klingon respected their opposition for their strong attacks. Whilst the tone may suffer in places, and lose respectability, the director does his best to create a atmospheric situation. Michael trip through space with a jet pack was wonderfully shot, and actually gave the impression that she was flying through space. I also loved the opening scene between Michael and Philippa as they traversed a desert planet in search of a well - it gave me the notion of a science-fiction such as Star Wars, Stargate or Dune. However, most of the episode was set inside, on the deck of the Starfleet spaceship, which has its limitations. If only the script had a little filing, especially in terms of flat jokes (something that I'm never a big fan of), then the episode might have appeared more exciting and threatening. The Klingon scenes were fine, it's just that as a newcomer I'm liable to be blind to their intentions and motivation as a species. Their language sounds wonderfully guttural, but their culture and general traditions are lost on me for the moment. Why were they hiding in that binary system for one question? 7.5/10 Smart people get a chance to climb on top, take reality for a ride, but it will never stop trying to throw you, and eventually it will." This penultimate episode feels a lot more like a Season One episode, especially as we're delving into the background story of Rick's own daughter, Beth. The tone is far more vulgar and depressing this time around too, giving us another serious look at how Rick's miraculous creations have caused real-life distress and disaster. But, this time, it seems Beth has made the biggest faux pas - Rick may be indifferent to his daughter's mistakes, but we see an element of her father in Beth here, which is more revealing than anything else. Perhaps, his influence on her is more far-reaching than we first assumed. Unfortunately, as the writers decided to feature a more subdued, life-is-unfair narrative, they lost a lot of momentum early on.
The premise is brilliant as always, introducing us to Froopy land, a place designed by Rick for his daughter's perpetual enjoyment as a child - a place that regressed in her mind to imaginary. But, there's also a dark story behind the place, which was catalysed by Beth's abandonment of her childhood friend, Tommy. This resulted in him creating his own society after mating with a local sentient species - spiralling into a cannibalistic civilisation that worships Tommy as its ruler. Vulgar and blatant though it is, the story mirrors that of real life in which his actual father is accused of eating him in explanation for his disappearance. Rick and Morty has touched on dark plot lines before, but this may take the biscuit as the most disturbing conundrum yet. What Beth does to resolve this incredibly complicated and seemingly impossible predicament is beyond words. It's clear that she commits genocide in Froopy land, including killing Tommy, and returns his finger for Rick to create a clone. What ensues is a particularly savvy sequence of events that leads up to Tommy being returned to his family and his father being saved from execution for a crime he didn't commit. in typical Rick and Morty style, it tells a million stories in a short minute clip. This is where the integrity of the show lies, in which the writers merely need a few expressive scenes to describe conclusions. It's the final father and daughter discussion that has the most meaningful content though - with Beth considering cloning herself in order to escape the humdrum of life. Rick's openness to performing the cloning is typical of his indifference to the normality. Perhaps the most meaningful conversation they've had in the entire show, and yet it contains the most disturbing tease yet, in which we will now question whether Beth is the original her or just a clone in disguise. The main plot line was coupled with a return to form Jerry, who is at his old tricks again, making a mess of the Universe with his incompetence, cowardice and severe lack of consideration for his own kids. Shacking up with an alien known as Kiara (something like that), in a semi-revenge against Beth, who is also an obsessive huntress, Summer and Morty finds themselves dragged along in the flawed relationship, in which they perform ritual hunts in order for Jerry to train his telekinesis and perhaps form a decent relationship in the process. The jokes may be a recycled form of Jerry's complete ignorance to boundaries and his capacity for the extreme, but the revelation in which Kiara was actually using Jerry as rebound hit the nail on the head regarding Jerry's entire existence. The show has definitely become more self-aware this season, and I liked the fact that Rick mentioned his tendency to have an adventure with Morty more than anyone else. Also, this episode had one of the best post-credits scenes yet, in the simple form of messages on an answering machine. But, because it has touched on many of these themes thoroughly already, it can seem repetitive of the writers to revisit past narratives for derivation in new ones. The concept beyond Beth's imaginary world was originally conceived, but the reliance on both Rick and Jerry's opposing personalities as the catalyst for the stories was less than inspiring. Nevertheless, the effort that goes into creating this hundred mile-an-hour script is always at the forefront, and it is consistently a joy to watch and hear. 8/10 We're here to do business, not to judge them." Victoria takes an interesting detour to address the international relationship of the monarchy and also to repair the bonds between Victoria and Albert that have been broken since their traumatic experiences. Victoria has gained new momentum in her acquisition of knowledge to better serve her country and to gain the political skill that she has always needed. Prince Albert, on the other hand, is still suffering from the shocking new he received from his Uncle Leopold about his true origins.
The political spectrum has been pretty null and void in this series so far, and it's nice to finally at least mention the consequences of marrying and allying with the wrong people. As usual, Victoria is willing to be unconventional in these matters and sends a direct message to Louis Philippe, arranging a personal meeting. Whilst always loyal to his wife, Prince Albert is less than enthusiastic about the trip, considering the reputation of the French as being rather blaze about their fidelity. Their visit is riddled with complications, especially when Victoria feels self-conscious about her appearance compared to the French Court ladies. There were a lot of small details to treasure this episode. Dame Diana Ring as the Duchess was delightful as always, spouting brilliant insults at the country she claims to be godless. Her delight at returning to England to enjoy a familiar meal was wonderfully observed and acted. Albert's self-portrait was a great bit of introspection for his internal conflict about the nature of his heritage. Also, Victoria taking along her bag inscribed with Dash's name was a nice touch and reminds us that despite her ability to accept her losses, Victoria still remembers those who matter to her. Unfortunately, the story becomes distracted by whatever Daisy Goodwin has planned for Lord Alfred and Drummond. There have been a lot of hints about a taboo relationship between them, but that is all. Equally, Prince Ernest's presence is only minimal, and I'm starting to lose the thread of his role in the story, except as a shoulder for his younger brother. The script is also quite sloppy concerning some of its characters, concentrating far too much on formalities rather than proper interactions between dignitaries. I did, however, like Albert's final, convincing story, whether it was a successful convincer or not. Lavish in production, Victoria has never held back on its appearance and decor. The royal palace in Paris looks wonderful and all the costumes are incredibly extravagant. There's no doubting the effort is creating the perfect scenery for its many characters, and the attention to detail in traditional French customs must be commended. I doubt this will change as the series continues, but I do hope we concentrate more on the larger picture plot-wise, instead of rediscovering the characters in troubled situations. The character development is good, but too much and we're left in the dark about the actual history of this time. As an aside, Jenna Coleman has no need for make-up to improve her complexion. 7.5/10 Manners... maketh... man. Want me to translate that for ya?" Kingsman: The Golden Circle is as bombastic as its predecessor. Prodding the line of incredulity at an alarming rate, Matthew Vaughn continues to demonstrate his talent for action flare and relentless comic humour. Whilst maintaining the British image of etiquette and a good dress-sense, the introduction of an American equivalent makes for a series of new jokes, predominantly aimed at the Anglo-American relationship. The tie-in music sums up that partnership beautifully as we traverse between Britain and the US, making fun of both nations with equal sincerity. What makes the Golden Circle even more relentless than its predecessor though is its scope and breathtaking cast. Without the astonishing calibre of cast, I highly doubt this feature would've got off the ground.
What the film does well is setup another world-threatening power by almost completely wiping the slate on Kingsman. Pretty much everyone who was part of the team initially is blown away in the first twenty minutes of the movie, leaving you feeling a little shell-shocked. But, Vaughn has enough class and skill to keep you laughing, even in its darkest moments. Dinner with the Swedish royal family is particularly a high-point in the comedy spectrum as Eggsy attempts to progress his heated relationship with Princess Tilde. But this passionate relationship is threatened when the world is struck by a strange epidemic and Eggsy and Merlin, last remaining members of Kingsman, are forced to adhere to their American cousins, the Statesman, and form a lasting bond to defeat the new rising menace. That menace is in the form of Poppy, a nostalgic psychopath who harkens to the 50s era. Played indescribably by Julianne Moore, there's no doubt you're in for a wild portrayal early on, especially as she's taken Elton John captive as part of her 50s entertainment. Moore's performance balances a creepy love for the old-fashioned landscape with a dark and deluded love of bloody violence as she churns up a former member of the Golden Circle in a meat grinder. Vaughn never shies away from the gritty violence and sometimes needless gore, but it helps to portray Poppy as the maniacal power that she is - devoid of conscience or mercy. Her pet robotic dogs are evidence enough of her sheer strength and intelligence. The story is widespread that it can sometimes veer wildly around the world to separate locations. But, as it progresses, it never fails to keep the past in mind. Colin Firth's welcome return as Harry Hart is explained succinctly and well, even if extraordinary technology plays a part in his revival. His obsession with butterflies is great way to show how amnesia has affected his mind. It takes Eggsy's fake attempt to shoot a puppy to recover his sound intellectuality in the agent field. His contribution in the film is immense, and the film is written so well, that even as the break-neck speed of the plot continues, character development is never let down. Eggsy and Harry's relationship continues to blossom as if they had never been separated. Channing Tatum and Jeff Bridges are also welcome additions to the world of Kingsman, even if their roles are short-lived. Tatum brings a typical American character and adds an ounce of comedic license to his performance, just for show. Bridges may be playing a character he's played many times before, his screen presence never falters though. Halle Berry's appearance may be underused, but the script has enough space to give her a chance to shine alongside Mark Strong, and hopefully her legacy will continue in a third film. It's Pedro Pascal who makes a large impression in the film though, playing a supposedly good Statesman, known as Whiskey, on the outside, but with an alternate motive inside. He provides a lot of laughs throughout, and his skill with a "skipping rope" make him almost the action anti-hero. I'd like to pinpoint Mark Strong as a highlight in the film who plays Merlin with just as much class and well-mannered integrity as in the first. As a good friend to Eggsy and a stalwart and loyal member of Kingsman, his brains are often the only way of escaping trouble. His final scene is possible the highlight of the film, in which he sacrifices his life after Eggsy mistakingly steps on a mine. His rendition of Take Me Home, Country Roads will always be remembered as one of the greatest send outs for a character ever. Considering all the losses Eggsy had in this film, I'm surprised he wasn't even more emotionally degraded by the end. Action plays a prominent role in Vaughn films and this no exception. Nothing beats Colin Firth's church scene in the first Kingsman, but there are so many battles to watch, one even in the first minute of the film, that it's like one long rollercoaster. The expert camerawork is like a piece of art - the way he can visualise an action scene simply through the perspective of weapons and constantly rotating around the fight makes you feel completely exhilarated. As usual, there's no holding back on the violence as people are impaled by giant scissors, thrown through car windshields, split in half by robot dogs and a lasso, not to mention shot, shot and shot again. Even the end result of the potion from the drug misuse is pretty gory to see. In terms of missteps, the only thing that I perhaps riled over was the perhaps mildly misogynistic scene in which Eggsy sexually implants a tracking device inside a woman at Glastonbury. In a film as busy as this, it's extremely impressive that there was a chance for Elton John to gain the crown for most hilarious character as he swore in abundance, high-kicked a security guard and squashed the head of a robot dog with a bowling ball. The writers even had a chance to jibe at the President of the United States by having him impeached. Poppy's demise may have been anti-climactic, but by then you're so satisfied with the story up until then that it becomes null and void. The most satisfying thing is that the end of the film teases a possible further sequel as Tequila arrives at Kingsman in London, possibly to pick up a new assignment. Whilst it doesn't quite make the comedy genius and timing of the first film, the Golden Circle is most definitely still up there with one of the great action flicks. Holding up with the visually breathtaking special effects, it's beautiful to watch and gains a lot of praise for its balance of relentless action with emotional interactions. In my opinion, another win for Vaughn, and another additional flick to add to the collection of great films this year. With Get Out, The Circle, Logan, It and Wind River, they're mounting fast. Nothing has come close to Dunkirk though. 8/10 This isn't the land of waiting for back up. This is the land of you're on your own." What Wind River does right is introduce its audience to this harsh, consistently wintry landscape and describe its danger and sometimes unwelcoming image. In my opinion, the mountains capped in snow is a picturesque sight, but the way Taylor Sheridan paints it is bland, desolate and is some cases quite hostile. The inter-changeable weather for one thing tells a complicated story. But, more than everything else, the story is the element that really darkens the atmospheres, and where the movie finds its success.
The plot reminds me a lot of Fargo, but there's a distinct lack of black comedy in this adventure. The seriousness is absolute from the first emotional scene as a teenage girl helplessly moves her way through a snowy field after an unknown horrific ordeal. The ominous music and the mysterious camera pans set the scene for a very bleak tone. Cory Lambert's back story is used as an emotional background and motif for his determination to find Natalie's killer. This may seem like an old trope, but in truth it provides motivation for Cory and gives us a chance to gain his perspective of proceedings, whereby he's almost reliving the dreadful discovery of his daughter, Emily. Whilst Jane Banner may not be given much exposition, her role in the movie is key to making ground in the investigation and she is effectively the exterior perspective of this hostile landscape, looking in as we are at why some of the local population can live there, but others find it drives them insane. Indeed, the theme of belonging ran deep in the symbolism of this movie. Those innocent affected in this attack are of Native American origin and whose traditions and beliefs almost ostracise them permanently from the wider society and population of Humanity. Despite Cory's cordial relationship with Martin and Annie, who've now lost their daughter, they originate from separate backgrounds. But, simultaneously, they can respect each other's perspectives without problem. This film, perhaps more than anything, attempts to teach us how to co-exist in the humdrum, eclectic world of diversity. That is certainly evident in its final, poignant message at the end of the final scene as Cory and Martin console each other for their loss. As I mentioned, Sheridan brings everything into play using an imaginative vision and employs beautiful scenery to balance the violence and death. Watching Cory drive around on his skidoo was surprisingly exhilarating. That close relationship with nature also helped to identify the main theme of belonging. But, the big scene is the final confrontation between law enforcement and the drill workers who were involved in both Natalie and Matt's murders. The scene is incredibly tense and proves that there's still a chance to surprise in these crime thrillers. Also, the poetic justice of the denouement as Cory gives Pete one final chance at survival, by giving him the same chance as Natalie before she suffered a pulmonary haemorrhage. It's testament to the writing and directing cooperation that ensured that the movie felt complete, but was not at all rushed. On the acting front, Jeremy Renner could definitely be in the running for an Oscar, as the emotionally-damaged father and hunter who sought justice in the cruel world. The scene where he explains his daughter's absence is evidence enough of his talent. Elizabeth Olsen was surprisingly strong in her performance as well, perhaps more the butt of the joke sometimes rather than one of the main characters. However, she took charge of the trailer-search scene with ease and convincing authority. In the supporting cast, Gil Birmingham certainly deserves acclaim for his emotional and visceral performance. Overall, Wind River doesn't shy away from the violence of its subjects, and some scene may be incredibly, psychologically, affective. There's no doubt the time and care gone into its production though, and the setting is most-definitely awe-inducing. Accompanied by all-round strong performances, the story plays along fluidly and the script offers some philosophical questions along the way. It may not be Dunkirk, but this has all the makings of being a stubborn classic, and a worthy contender for one of the best of 2017. 8/10 Sometimes I feel like I'm pretending to be a mother and a Queen, and really I'm an imposter." ITV's soft, historical drama takes a breather to collect its thoughts, but fails to show its mettle in this episode. There are disparate storylines all trying to progress together, but it's too confusing and overwhelming to settle on one at any time. Some storylines are almost non-existent, they just appear briefly for thirty seconds before disappearing into the history books. Albert's game-changing revelation was a surprising and somewhat awe-inspiring development, but the rest was squashed together into something less coherent, and more filler.
Victoria is in turmoil following the deaths of two individuals very dear to her, and now with the added burden of another child to look after, she perhaps suffers the overwhelming pressure of having to be mother, Queen and be equally resilient at both. It's a draining task, and one that sometimes doesn't reap rewards in its wake. It's interesting to see the Prime Minister almost forcefully convince her to attend events in order to keep up the morale of the people and to ensure that the country and its people still respect the Queen. But after a disastrous accident in London, Victoria is obliged to visit those affected and offer condolences. This proves too much for her as one of the victims informs her that he named his daughter after her, reigniting that responsibility within her that she is her Majesty, and the glowing representative and symbol of an entire nation. For Prince Albert and his brother Ernest, times are changing and they start to see the grey areas in their lives. The death of their father is a blow to their lifestyle and their family. Albert himself learns of a devastating revelation, which could be his undoing in Britain (a place where his reputation is in disrepair anyway) as it involves his legitimacy and the possible illegitimacy of his children in a hidden scandal. It seems his Uncle Leopold may have comforted his mother at some point, meaning that Albert would be a bastard. This new information leads Albert into a stupor in which he feels betrayed, and perhaps even an outlaw. Whilst his uncle urges him not to reveal this information to anyone, Albert is still forced to live with it, a scarp of knowledge that could be the death of the monarchy. For Ernest, we're still being spoon-fed a possible relationship between him and the Duchess of Kent, but it has amounted to nothing as of yet. The third main story is a culmination of the last two episodes in which the event of the boy who snuck into the palace unseen was advertised in the local newspaper. The Baroness attempts to find out the culprit for leaking the information, which is eventually wheedled down to Miss Skerritt. Despite revealing that she is an imposter herself and is under the guise of her cousin who was unable to be employed due to an unexpected pregnancy, the Prince is generous enough to keep her position. In truth, I felt this story lacked substance, and there do not seem to be any consequences, despite the fact the public have been informed that there's a security breach at the palace. There are many other smaller elements, too numerous to mention here. This means that a lot of the impact of some scenes is lost because there's a lack of consideration for important events. For instance, the opening of the underwater tunnel is a big step forward for the country, a feat of engineering that it should be proud of, and yet it is mired by Victoria's depression. Whilst the new addition to the animal kingdom is adorable, there's a lot of substance and exposition missing from our characters' lives, and it would be nice if they were shared too. 7/10 We shouldn't take things for granite." Whilst I'm disappointed that the show hasn't already picked up where last week's left off - concerning evil Morty and his dastardly plan to take over the society of Ricks and Mortys - this week's self-contained adventure gave us a lot of laughs and a lot more exposition surrounding the lives of Rick and Morty that we haven't seen in its plethora of parallel universes. Cleverly, the writers developed a way to show that these scenes are actually forgotten memories, removed because either Rick or Morty decided it needed to be. The Morty's Mind Blowers concept takes heed of Pixar's recent success of Inside Out, but it also has a lot of original content going for it that is typically connected to this wonderful show. The anthology style that takes Interdimensional Cable's place is just as successful as its predecessor.
The idea itself is triumphant in that it is capable of analysing how these two characters' minds work. Rick has obliged Morty by using his invention to remove memories that have possibly psychologically haunted Morty for whatever reason. However, there's the hilarious opposite where Rick has removed memories deliberately because he has either made a big faux pas or embarrassed himself irreparably in front of his grandson. Morty's reactions to these once-owned memories are priceless, especially ones such as Rick's confusion between 'granted' and 'granite'. Not to mention mercilessly slaughtering a harmless creature because he mixed up the names of planets. The opening memory was a great way to start this little collection as Morty mistakenly thinks a man is on the Moon, which coincidentally leads him to meeting the same man the next morning at school. Due to some notable snippets of dialogue, Morty informs the headmaster about the man's presence on the Moon, which indirectly leads the man to killing himself, as the headmaster mistakenly believed Morty's accusations were code for him being a pedophile. It turns out that Summer was right all along and that Morty's telescope lens merely had a smudge on it. A dark and twisted story that you can understand why Morty had it erased from his mind. However, an even greater faux pas, and far more hilarious predicament, has to be Morty's attempts to converse with the wildlife of the world, which accidentally leads to overhearing a squirrel colony's worldwide dominion template. I can hardly think of a more hilarious scene as the head squirrel attempts to get Morty's attention. This unwittingly leads to Rick deciding that this reality is just as dangerous as the one caused by the potion back in Season One. It leads one to question how many times Rick and Morty have switched realities. Amongst all the dark short stories, the religion who believes in the afterlife included, there's a definite sense that the relationship between grandfather and grandson has reached the pinnacle of its development. They have experienced so many horrific and unprecedented events together, that it's hard to pull them apart. And yet, as Rick and Morty unexpectedly remove all their memories (apart from Rick's haunting memory of Men in Black 2), there's a moment of surprise as we see how these two brand new templates of the characters learn about each other all over again. It's a scenario we haven't really predicted could happen, but it's a tense one at that. It's like going all the way back to the beginning of their adventures and reliving their bond again. Thus, the truth comes out. After reliving all those memories, Rick and Morty are ready to kill each other. It's testament to the creation of these characters that we can believe that despite their family relations, they would be cutthroat enough to end each other. So, despite not getting a resolution to our Rick and Morty discovering the hell that the Citadel has fallen into, we get a glimpse of what could be the incoming future. Thank god for Summer, who's selflessness gives Rick and Morty a chance to live a little longer. It's nice to see that Rick has informed her of contingencies for just such an occasion as this. Whilst diverting from this season overarching story, Morty's Mind Blowers doesn't falter its characters. In fact it expands on them and gives us a chance to explore a different possible avenue of the main characters' dynamic. This stash of memories could hold many interesting and unseen moments in time that could mean the difference between cooperation and separation for our main characters. There's no doubt that Rick can sometimes be incredibly careless when it comes to his emotions and intentions, but Morty is just as emotional in his reaction. On a side note, I'd like to commend the writers on their ability to ridicule Jerry once again in a mere forty seconds at the denouement. Poor E.T.-equivalent. 8/10 Any damn fool can be prime minister. To leave behind a thing of beauty - something like this - something that people will marvel over centuries from now...that's worth living for." One of the better and more emotionally coherent episodes of Victoria, Warp and Weft has enough momentum to cover the basis of two of the Queen's sincerest relationships, while simultaneously addressing the class diversity that was so poisonous during the early years of the British Empire. Whilst Prince Albert continues to cautiously find his way through the unnatural order of things, Victoria finds attempts to help a struggling silk business by advertising its stock to the public with a ball. Naturally, this extravagant event is surmised to be simply the rich enjoying their own privilege, so to speak, as Victoria ashamedly discovers.
There were a great number of comparisons being made throughout the episode for the political diversity of Britain. The montages interchanging between the ball dancers and the protestors outside the palace gates resolutely symbolised the blind humanity of the situation as Victoria, instead of attempting to gain appraisal from the deprived, is admonished for enjoying luxury in her own home. The moment as Victoria watches from the palace window and witnesses the new perspective on wealth is beautifully done. Despite the backlash of the ball, it's nice to see that a few walls between classes are knocked down - once as Victoria learns that the ball was beneficial to the local silk merchant, and twice as Prince Albert decides to increase the palace staff wages in an effort to negate crooked dealings. The most poignant story of the episode, however, is concentrated on the infallible Lord Melbourne as he's given bad news about his health. Whilst his journey to death is heavily foreshadowed, the gradual development is nevertheless saddening as the audience is fully aware of Victoria's closeness to him as both an adviser and friend. My favourite scene is the Prince's meeting with him at Westminster as Lord M discusses the fact that despite all his contributions and successes, he regrets never having been the architect or progenitor of a beautiful building such as the Abbey. It's a defining moment for the respected man who brought about a new age of progression and prosperity for the country. Indeed, this is coupled with Victoria's final gift to him, a scene too emotional to comprehend as Victoria is unable to reveal the fact that she knows his end is nigh. His demise is nuanced by the dying tune of Mozart composition. If M's death wasn't enough, Victoria's most loyal companion, Dash, unfortunately suffers as well due to old age and Victoria finds herself heading speedily into the future with barely any of her past friends for guidance. Where the series still struggles, is it's obsession with the smaller stories and never allowing them space to breathe. Prince Ernest's love triangle between the Duchess of Kent and Wilhelmina Coke is rather unconventional and holds no bearing against other events, even if the Prince's final offering to Wilhelmina is sweet. Equally, whilst Penge's contribution on the comic relief front is appreciated, the general stories around the staff have effectively fizzled out of proportion. Whatever happened to the young burglar and thief was never truly explained. Miss Skerrett's story surrounding Eliza and her baby may amount to something eventually, but currently it's completely ostracised from the main storyline. Production-wise, the show is certainly showing signs of rivalling the Crown, but its writing is still aeons behind, and despite some convincing performances as expected, the overall product is less than on point. However, I felt more connected with the characters this week given the severity of the developments that occurred and the sombre note that it left during the end credits. 8/10 This isn't real enough for you, Billy? I'm not real enough for you? It was real enough for Georgie." To begin, I have neither read Stephen King's famous novel or the 1990 mini-series, but as a pop culture classic, it's very difficult to avoid any mention of It when it comes to the anticipation for this recent adaption. Having someone of the calibre of Cary Fukunaga was always a good sign at the beginning, someone who is truly devoted to writing something modern and yet wildly horrific. The other contributing writers it seemed helped to tone it down so that we as an audience are not overwhelmed by the scare factor so that it becomes mundane and unnecessary. What was produced at the endpoint is a deep, emotional piece of cinema that covers all the basis of an 80s nostalgia trip, much like Stranger Things succeeded in doing last year.
As a whole, It advertises itself as a horror mystery, but there's more themes in this movie than most of the films I've watched this year. As is typical with King creations, the stories cover the basis of numerous genres all at once to get a sense of constantly enthralling entertainment. In truth, you'd imagine that at least one of the genres would falter because it's just not cohesive enough for the film, but instead - everything holds up. The comedy, in particular, matches the horror well, and generally helps to find the humanity in the main characters. Every individual character in the forefront of the movie is incredibly well fleshed-out within the time-frame of the film - it's astonishing how connected we are to them by the end. Speaking of characters, all the cast are fantastic. Jaeden Lieberher surprises most people as the emboldened young lad with a stutter. The character, "Billy's", love for his younger brother, Georgie, is the motivation for his adventure in the film, but without Lieberher's emotional performance, not many audience members would have joined him. Indeed, his character flaws help him to be empathised, but it's his towering performance in this film that really captures the heart of It's concept and the friendship shared between the Losers club. The other main cast are nothing to sniff at, Jeremy Ray Taylor and Sophia Lillis both share wonderful performances as Ben and Beverly, respectively. Their subtle exchanges throughout the film are beautifully portrayed and it brought about a strong payoff. Lillis certainly looks like a potential rising star, especially with the way she handled her deprived and ultimately abusive relationship with her character's father. Chosen Jacobs and Wyatt Oleff were equally talented in their roles - perhaps more in the background than the rest, but certainly Jacobs' Mike had a perfectly symbolic rite of passage during the development of the film. Finally, Finn Wolfhard and Jack Dylan Grazer, perhaps given most of the best lines during the film, gave their utmost to portray scarred, anti-social and decidedly vulnerable boys. Grazer's Eddie was consistently entertaining, and his paranoia is loveable. Wolfhard has certainly gained momentum since his starring performance in Stranger Things, and his talent continues to flourish here as the bad-mouthed member of the club. But it was particularly eerie to learn that he was the one with a fear of clowns. The film wouldn't be complete without its Pennywise though, and Bill Skarsgard is stunning. I wouldn't dare compare him to Tim Curry, but Skarsgard's mix of childish gibberish and incessantly haunting cackles are enough to put the scare levels up to ten. He's also the main reason why the film is so incredibly tense. While he's rattling on about floating and dancing, the audience is just waiting for him to make the next bloody move. Although, I was particularly surprised by how sometimes Pennywise could come off as incredibly hilarious, in the middle of a terrifying scene. Either genuine hilarity, or just dark comedy. Thankfully, Pennywise's appearances are minimal, meaning that when we do start to see him in full glory, he's just as terrifying as we expect. Plus, the production doesn't hold back on the horrific imagery and gore, meaning that everything gains that extra grit for extreme effect. The story in itself, is well told. As I mentioned before, the main characters are all given a decent amount of screen time, meaning that their character development is top notch. Each member of the Loser's Club has gained some understanding of their own feelings and personality. The tragedy behind Billy and Georgie is incredibly heartbreaking, and Pennywise's deranged attempts to entice Billy into believing that his little brother is back are difficult to digest. Also, Beverly's relationship with her father shows how fear can be portrayed in many different ways. When he died, it seemed that Beverly could conquer Pennywise, because she had nothing to fear anymore. Directing for the film, Andy Muschietti has breathed a lot of life into an old type of horror, and it has worked marvellously. Distinctively scary scenes that I enjoyed included the opening storm drain scene, Beverly in her bathroom and the first time the Losers' Club enters the Well House. There are also some incredibly affective jump scares riddled throughout the film that had the whole cinema jumping with fright. The scene in the Denbrough basement is probably the most haunting scene though, especially as this was the place that Georgie was scared of at start of the movie - and yet here he is, under the control of Pennywise, seeking out his older brother. The horrific moment as the clown lifts its head from underneath the water is unforgettably terror-inducing. In essence, this first chapter has all the makings of being a classic in horror - undoubtedly. The concept itself is evidentially awe-inspiring and a combination of directing, writing, acting and eerie music has given it the potential to appeal to millions. I do have a few gripes though, and that's with the conclusion of Pennywise so far. Despite Skarsgard's unnerving performance, the final scene with It is not particularly scary, and the fact that Pennywise is powerless to the onslaught from the kids means that his capacity for scaring loses its value. I just hope that when he returns in twenty-seven years he maintains that horrific guise as something that will pit friends against each other for the sake of its chance to feed. All in all, however, It is a triumphant new candidate in the horror collection. I'm not usually a horror fan, but as this film decided to lean towards a more meaningful selection of characters as well, there was more heart and definitely more passion in its creation. Also, the fact that it can make you scream and laugh out loud in the space of a few seconds is commendable to both the director and writers. It may sometimes lean on the age-old tropes of love and friendship, but its execution is sometimes very original, and that makes it all the more unpredictable. 8/10 |
AuthorA very passionate Welsh nerd... Archives
October 2017
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