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
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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 You give, and you give, and you give. It's just never enough." Perhaps the most abstract film I've watched since Shutter Island - Darren Aronofsky's Mother! is a psychological horror based on the nightmares of a mother. In my opinion, this movie perfectly depicts all the things that I believe my own mother would be distressed by. This has all the makings of being a paranoia-inducing film that will make you question your privacy, your identity and your own role in life - whether you're a mother or not. The concept itself has a great premise and ending, but along the way, the film loses itself in sloppy screenwriting and forgetting to inform the audience of its own intentions. Aronofsky's attempt at horror is commendable, but I think the build-up required more exposition for the audience to be fully invested.
To begin with, I'd like to praise the cast for their emotionally-resonant performances - never is there any doubt that these characters feel all that happens around them. Every horrific occurrence is reinforced with Jennifer Lawrence's gut-wrenching emotion, made even more prominent by the fact that the camera follows her around the house for the majority of the film. Javier Bardem plays a more sincere character than usual, which means he gets the chance to explore his acting skills a bit more (much better than Pirates of the Caribbean ever gave him a chance). His character revelation towards the end is more meaningful with Bardem's performance of love and devotion that is so obsessive it's almost terrifying. Ed Harris and Michelle Pfeiffer also provide great supporting roles, meaning there's a few more layers of intrigue to explore. Pfeiffer certainly has an evil turn as her character questions Lawrence's character for her failed attempts at motherhood. I think a lot of people will find the film frustrating, simply because there are barely any answers to anything until the final moments. Some might call it tedious as events unfold with nary an explanation until the revelation is finally given as to why the audience is subjected to the relationship of a writer and his wife in a formerly-destroyed house. There's a lot of small details to take in, and everything soon becomes overwhelming when the mother starts to become surrounded by the hordes of people who come to visit her home unannounced. In truth, it's a harrowing experience to find a stranger wandering your house or using your facilities without even asking for permission. Let alone thousands of people. There are a lot of themes to explore, and it's why I'd recommend (if you have the patience), to watch this film a number of times to pick up on the symbolism and dramatic irony that is riddled within the film. Small moments such as when the mother's baby kicks inside her womb, her husband has opened the front door. A subtle, yet interesting, detail that could mean the difference in this film between reality and insanity. In particular, her husband (known as Him in the credits) is worshipped almost as a deity following the publishing of his new poem, which leads to the mayhem that ensues in their home, and ultimately leads to the death of her baby. This surprising and incredibly claustrophobic portrayal of obsession is perhaps a mirror of modern day obsession, and the violence that develops from that obsession can be the death of that obsession, ironically. This is one of the many abstract elements that continues to fascinate me about this film. Not only has Aronofsky decided to touch on the emotional variations of the mother, but also on the thematic importance of a deity and his subjects - made even more horrific when her baby is embroiled in the obsession. One thing that can't be faulted in this film, is the sharp and disorientating directing. The camerawork is so visceral and flexible that it can make the audience feel sickened by the events around the mother or by her side. Aronofsky's decision to stick by Jennifer Lawrence throughout the film means that there's more meaning in the portrayal - perhaps she is the only window into this strange world. Moments such as when she sometime steps outside and can only hear silence, coupled with whenever she touches the house, she can see a heart beating, gradually transforming into a blackened heart as the story goes on. The writer and director has clearly thought out everything, but perhaps in making the film he has forgotten to take us along with him. Unfortunately, due to the lack of explanation for all the small references, and some strange decisions made by the characters, we're left blindsided by the onslaught of story. Equally, the screenwriting doesn't provide enough detail to explain the different reasons for all the people who turn up at her house, especially during the maniacal raids. Lastly, this is an incredibly violent film. From the beginning, it may not seem as though anything is coming to fruition, but as the strange events move forward, you start to feel uncomfortable for the mother as she is subjected to all sorts of psychological torture, sometimes unwittingly by her husband. The scenes involving her newborn baby are some of the most horrific scenes I've seen in my lifetime, and it underlines the heavy thematic subjects that Aronofsky wanted to question. Obsession is an incredibly dangerous emotion to have, and it can sometimes lead to the most devastating of conclusions. The one main concept I fully understood about this movie is that home is where the heart is. The perfect loop that Aronofsky creates inside the story at the beginning and denouement is well explained, and the significance of the jewel precious to him is also given clarity. In that respect, the symbolism is incredibly poignant and transcends the role of a mother as someone who provides warmth and comfort to a house that might as well be a skeleton of its former self. But, it's just a shame that this simple concept is bogged down in many other themes that Aronofsky wanted to raise. Nevertheless, the combination of powerful directing and performances, plus the complete lack of soundtrack, makes this a film you won't forget quickly. 7.5/10 What am I, then? An ignoramus who has to have things summarised by her husband?" The second episode of the second season offers a more light-hearted tone to the historical drama, but also balances a relationship obstacle for Queen Victoria and Prince Albert. Both are juggling their marital and occupational lives, which sparks a conflict of jealousy and miscommunication. There's a welcome return for Lord Melbourne as well, as Rufus Sewell gives another understated performance as the former Prime Minister. I particularly appreciated an emphasis on science, being a physics student myself. It's nice to see the Royal Society playing a close part with the royal family.
The feud between Victoria and Albert does have moments of incredulity, but it mostly follows on from last week's trepidation. Victoria continues to feel as though the men around her would prefer that she remain in the nursery rather than be in charge of sovereign duties. Thus, it's quaint to see her revisiting Lord M in an effort to find familiarity once again, as a way to countermand the fact that Albert always appears to be many steps ahead of her - especially in his newfound interest in mathematics. The scene discussing the theory of pi was both well written and well acted, giving us a clear sense of the trench that Victoria feels between herself and her husband. As usual, Lord Melbourne has the common sense to interlude their private meetings and give his opinion on Victoria's possible misgivings. His letter is a great way to say goodbye to the old and usher in the new. This is the clarification that Victoria needs to communicate with her husband once again and trust him to believe in her and bury her irrational fears about Lady Lovelace. The final scene between the Queen and Prince is a sublime way of asserting their new trust for one another as they welcome a new child. Other storylines in the story took a more comedic route. The Duchess, played unquestionably well by Dame Diana Rigg, is attempting to entrench her authority in the palace, but finds that things are not going as planned. The whole plot behind the boy loose in the palace was a bit strange and unconnected and without resolution felt inconclusive as a whole. Though it did provide some funny moments with Miss Skerrett's new assistant, Cleary, who fears there are ghosts loose in the palace. I'm pleased that Daisy Goodwin is succeeding in continuing other plot points as well, though sometime with so much to cover, certain elements are rushed. It doesn't take long to understand what's going on with Lord Alfred, but references such as the Duke of Coburg's sexist views and the Duchess' racist ones holds well for the time period. There's certainly enough exposition to ensure that we're fully immersed in Victorian times and are not distracted by any historical inaccuracies. In short, the show is progressing nicely and that we're easily divulging into Victoria's tumultuous life as leader of Britain. 8/10 This seems like a good time for a drink, and a cold, calculated speech with sinister overtones." Game of Thrones has a rival, in the form of Adult Swim's madcap, unconventional and paradoxical Rick and Morty. This little animated gem has always been known for successfully parodying other shows and recurring dark themes. Its prominent staple is to bombard the audience with a string of hilarious banter before dropping the ball on an unexpected revelation. These revelations have come uncommonly in the past, but this season has proved to have more than one surprise waiting around the corner. Indeed, this season has concentrated on character study - particularly how Morty and Summer have been affected by their parents' separation and the resulting emotions. This episode, however, looks to the wider universe of the show and explains what consequences Rick's actions have had on the Citadel of Ricks.
The thematic essence of the episode is all based on diversity - simple a world of Ricks and Mortys and how they are perceived in society. It's incredible how the writers can construct an entire reality based on the relationship between a man and his grandson. This unusual template for relationship is the basis for this new, confusing society, following Rick's demolition of the Citadel of Ricks. We get liberal glimpses of different members of society - Morty schoolchildren, police partners Rick and Morty, a Rick employee at a wafer factory and a Morty presidential candidate. All these storylines converge to make up this wonderful world of Ricks and Mortys without much effort, and everything is in such semblance that it's easy to jump from one storyline to another. The overall breakdown of society is incredibly clever and each element contributes to the big climax in which an old character returns to make his mark. All the stories seem to work so well together - probably because they are parodies of cult fiction. The school Mortys traveling to the Wishing Portal is, I believe, a parody of Stand By Me, and demonstrates the still childish side to Morty where he's seeking independence from Rick. The whole story around one Morty being assigned to many Ricks is a great way of reintroducing and analysing that relationship that we know so well, where society is built and given foundation by the cooperation of both characters. His sacrifice for change at the end is meant as symbolism for Morty's fall into darkness. The wafer factory storyline gives us Simple Rick again, with a noir storyline involving an employee fighting back against an institution. This is a jab at Rick's character, one in which he can't be suppressed and constantly needs to be the best of the best. Self-indulgent as it is, the idea of wafers coated in the happy emotions of a Rick being distributed throughout the society is both creepy and haunting. I also enjoyed the jibe that Rick is always considered to be a terrorist, and that is his basic function. The police partnership story is an interesting story, seeing as it is opposite to what we're expecting in the character's relationship. Here, Morty is the wiseman and Rick is the cautious, rulebook persona. Clearly parodying The Wire, this is an exercise in definition for the two characters. Morty seems to have little regard for his own characterisation, and yet Rick has full compassion for it. There's a hint of an upcoming confrontation as Rick makes a terrible decision to stop cop Morty and his tyrannical nature. The final storyline covers the presidential race as an underdog Morty comes from being ridiculed live on stage to being the most preferred candidate above the rest, simply because he understands the gaps in society - places where effectively their characterisation is flawed. There's a great buildup in the middle of the episode as it is hinted that this Morty is perhaps not what he seem, and the Morty who was fired discovers some unpleasant secrets. Indeed, this solidifies the connection to Close Rick-counters of the Rick Kind, where the Morty who controlled Evil Rick, now loose in the Citadel, has risen to the most powerful position in the society, on the basis of lies. The accompany music wonderfully ushers in the conclusion as we're left with a revelation that could mean a major turning point in the show. One where our Rick and Morty are in mortal danger, either from exterior forces or from each other. Hands down, this is the greatest episode of Rick and Morty yet - tying together a number of storylines that have been left hanging and also teasing us with an Atlantis trip, when actually it was all a decoy. In a mere twenty-two minutes, this show has covered a number of heavy-going themes and succeeded in preparing the audience for a big conclusion this season. The writers continue to show-off their skill for the unexpected and have thrown a curveball that could be the defining moment in the show, one that is almost a parody of itself, but one that is so successful that the jokes are less funny, but more poignant and dark. There's a distinct shift into darker territory as the true enemies are highlighted. I for one am intrigued to see the final three episodes, and I expect a lot of cameos and surprises. 10/10 Believing in yourself is everybody's magic." Despite a few indiscriminate missteps in the final third of Season 2, Little Witch Academia ends on a more than satisfactory note. Above all else, it succeeds in bringing all of its characters together for the final extravaganza in which the Triskelion is finally discovered and the true enemy is revealed and, rapidly, destroyed. Thankfully, in light of my criticism for some of the character development, Akko gets a well-deserved transformation in the final episodes as she finally understands the true meaning of her destiny. Corny as it is, kids will certainly enjoy the empowerment of the protagonists.
The final chapters are set up well as Chariot, in the guise of Professor Ursula, rediscovers her past with Croix and reveals all her secrets to her favourite student, Akko. In an emotional revelation, we are given, with exquisite surprise, the context of why Chariot decided to hide her identity. It seems that Chariot's performances to the masses caused the onlookers to lose their magical powers, and sadly this is why Akko struggles to uncover her talent. The cliffhanger is an emotional climax, as not only does Akko feel like her heroine and entire life potential has been decimated, but Croix takes the upper hand with her new technology to use Human beings as the vessel for unlocking the Triskelion. The following episode is a great build-up for the finale as Akko's friends and colleagues try to locate her after the terrible truth was introduced. Yesterday is a great way to quickly and successively reassert our knowledge of how each character reacts to Akko and her gradual development into the magical world. I particularly admire Diana's development as she now sees Akko's kindness towards her during her harrowing time at her family's home as the beginning of their thriving friendship. It's also helpful to get a full, chronological depiction of Chariot and Croix's relationship during their early years at Luna Nova. The Road to Arcturus sets up an epic conclusion, certainly, but perhaps it is overwhelmed by the revelations that have come shortly before it. Seeing a number of characters in one place and returning to the Forbidden Forest from the first episode is exciting, but the resolution of Croix's quest for the Triskelion loses its way in the grandure of that moment. However, it seems the technology that Croix devised in finding that Rod becomes independent and starts to use the negativity of the local population as fuel to create a makeshift weapon for mass destruction. As crazy as it sounds, this was the cliffhanger we were given for the penultimate episode. Indeed, this is where I divulge my disappointment as Little Witch Academia turns to a completely different show in order to incorporate a conclusion for Andrew who has seemingly spent the last four episode trying to return Akko's hat. Whilst a love story doesn't come into fruition, Andrew's political connection is used as the motif for the incoming disaster. On a positive note, I liked the fact that references from previous episodes make an appearance including the Shooting Star, which helped Akko, Diana and all their friends remove the danger. The final moment of the finale are also very heartfelt as Croix promises to help Ursula following her encounter with the Wagandea curse, and, more importantly, Akko succeeds in flying her broom for the first time. If this is to be the end of this quaint little anime series, then it would be a shame. The potential is astounding with the premise and the setup provided throughout, but the finale of season two lacks the general charm and wit that was present in many other episodes. Whilst most of the support plots were given answers, there's a lot more to elaborate on and perhaps more histories to uncover for Akko and her friends to investigate. Apart from Diana Cavendish, the supporting characters have had barely any background extrapolation and so there's definitely more room for improvement. Otherwise, there's a lot to enjoy on the uneven two seasons so far. Chapter 22: Things We Said Today - 8.5/10 Chapter 23: Yesterday - 8/10 Chapter 24: A Road to Arcturus - 8/10 Chapter 25: Changing at the Edge of the World - 7.5/10 I do not aim with my hand. He who aims with his hand has forgotten the face of his father. I aim with my eye. I do not shoot with my hand. He who shoots with his hand has forgotten the face of his father. I shoot with my mind. I do not kill with my gun. He who kills with his gun has forgotten the face of his father. I kill with my heart." Before I begin the review, I'd just like to point out that I have not read the Stephen King novels on which this film is based. I have read up on some of the overall context of the novels, but have not delved deep enough to know the characters or locations at all well. Thus, I am entering this fantasy world completely blind. In this respect, the approach has both pros and cons. The pros being I have no standard to base the movie on, and the cons being that it has the heavy duty of introducing me to his primary characters and guiding me and many other viewers into a new lore - something that can never be considered lightly. Indeed, the question remained how this was to be attempted successfully when the film is only an hour and a half.
The story, the characters and the spectacle are all cohesive, that's fair enough, and the world is easily accessible. However, there are a few detractions. The fast nature of the film, whilst it does get a chance to establish characters, the audience never gets a chance to appreciate most of them, apart from Roland and Jake. Even, Walter, the big bad of the film, is so one-dimensional, that it's hard to feel anything emotions at all towards him. The supporting characters are equally cast aside, and barely acknowledge, which means that this world doesn't seem tangible enough or empathetic enough to be believed. Roland is a great character, with a well-defined past and purpose, and Jake is given heroic and emotional stature in the film, even allowing us a moment of grief as he realises Walter killed his mother. But, other than that, even the main characters falter, as most of the film concentrates on their journey rather than their choices and actions. Speaking of action, the film has lots of it - well-directed and exciting, the final battle between Roland, the Skins and Walter was a superb set-piece and gave the ending the impact that it needed, but, generally-speaking, it's not so different from most action flicks - a few cool flips and tricks, followed by the hero saving the day - it was too predictable and unimaginative to seem in any way powerful. Again, the attack on the camp on Mid-world was well-executed and the Gunslinger trick that Roland used to save Jake was a brilliant moment, but it had already been spoiled by the trailer. Meaning that everything amazing that happens in the film has already been pre-conceived by the audience before it has even begun. The directing, in contrast, was well done, and I particularly enjoyed the landscape shots in the desert and across Mid-world, it gave the sense of an alien planet. The special effects were not overwhelming as well, although the guardian at the Keystone Earth portal was a bit disorientating as there was not much explanation for all the monsters and beings that dwelt in this new lore. The script was a bit lacklustre and amateurish, although I did enjoy the Gunslinger Creed, which was most-probably lifted from King's novel. It has a potent ring and message to it. Other than that, characters lack empathy and depth, meaning that when most of them died, the audience had no recollection to the importance of their role in the story - they were effectively dispensable anyway. Because of the short screen time, the script did not provide any exposition to Gunslinger history, Walter's sorcery, the Dark Tower or Jake's life with his father. Overall, it felt rushed and resulted in an incomplete story that had captured my interest, but not my heart. On an incredibly positive note, the acting was top notch. All the cast involved gave admirable performances, the three main characters in particular. Tom Taylor shows great promise as an actor, giving us a heartfelt performance and one that is full of flare and versatility. I can see him taking on more roles of this calibre. Idris Elba is a safe option for an action hero, and his prominent presence in all his scenes owes to his charismatic ability to capture the audience in his emotional expressions. Unfortunately, he didn't get much to work with. Matthew McConaughey, despite having been written as a villain with barely any features whatsoever, gave his performance his all - balancing between psychotic demon and cunning genius. His scene with Jake's mother was particularly terrifying, and McConaughey never fails to add his own touch of menace into the mix. Whether Stephen King appreciates this adaption of his beloved novel series is by the by. Seriously, it has a lot of potential, but it seems the filmmakers weren't brave enough to steer away from the Hollywood formula, and resulted in a rehash of pretty much most fantasy films that have been produced in the lifetime of entertainment. The ideas are all there, but it needs substance and at least an ounce of emotion to make it seem real or captivating. Because everything seems half-hearted and unfulfilling, you can't help but feel this was just a regular moneymaker, where the edges were disregarded in order to make it durable. A risk needed to be taken, and unfortunately, despite the actors' best efforts, the film falls back into a recycling formula that has been regurgitated more times than Friends has been broadcast on E4. 6.5/10 |
AuthorA very passionate Welsh nerd... Archives
October 2017
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