Rambo: Last Blood (2019) - FilmReview

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John Rambo (Sylvester Stallone).
Source: Official website

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"Rambo, John J. Born 7-6-47 in Bowie, Arizona. Of Indian-German descent - that's a hell of a combination. Joined the army 8-6-64. Accepted special forces, specialization: light weapon, medic, helicopter and language qualified. 59 confirmed kills. Two Silver Stars, four Bronze, four Purple Hearts. Distinguished Service Cross and Medal of Honor" — Major Marshall Roger T. Murdock, Rambo: First Blood Part II

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Our favourite son is back!

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Sylvester Stallone returns as Vietnam War veteran John Rambo in the fifth instalment of the popular action franchise and it certainly doesn't hold back on the carnage.

When last seen in Rambo 4 (2008), J.R. was returning home to the family ranch in Bowie, Arizona. Eleven years later and Rambo: Last Blood catches up with him as he manages that very same horse ranch, originally owned by his father until his death. On the surface Rambo looks to have found peace; but below ground he broods in his maze of tunnels, surrounded by his past: military medals, rifles and knives, and photographs. He's clearly still haunted by demons and suffers with Post-traumatic stress disorder (PTSD) from his time in the Vietnam war; we saw flashbacks of the brutality he suffered as a POW at the hands of his captors in First Blood (1982). In one scene from R:LB we are shown bottles of prescribed medication with "John Rambo" and "Bowie, AZ 85605" printed on the labels, clearly to help him cope with his mental health.

Before we get to the main plot, the opening scene gives us a severe storm and rescue teams searching for three missing hikers in the forest and hills. One volunteer on horseback braves the worsening weather to locate them: John Rambo. It's a well written moment that reflects his compassionate side, risking all to try and save total strangers. Surprisingly, some regions didn't get to see this 10-minute opener with the flash flood at all.

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It's all about family...

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Little is known of John Rambo's family, though we do learn that his father was simply referred to as "R. Rambo" (the rusted mailbox seen at the end of Rambo 4 our only clue); also, in the novelization of Rambo: First Blood Part 2 John's mother is named Marie Drago and it is said that she was abused by her husband, who drank often and would fly into fits of rage.

Importantly for Rambo: Last Blood, Maria Beltran (played by Adriana Barraza) has worked on the Rambo farm much of her life and is considered as "family" - certainly she thinks of John as a brother-figure. When Rambo returns to Bowie, Arizona, in Rambo 4, he most likely meets young Gabrielle Beltran, Maria's grand-daughter, for the first time. Whether he knew about Gabrielle via letter writing beforehand is unknown.

And so Rambo spends the next many years running the ranch and working as a rescue worker. It is likely during this period that he dug out the tunnels that would be so important to him, a place of refuge for his tortured soul.

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...both good and bad

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When Rambo's adoptive niece decides to go to Mexico to visit her father and find out why he left her and her mother (now deceased), things don't exactly go to plan. Betrayed by her "friend" Gizelle, Gabrielle is drugged, abducted and given to human traffickers. The saddest part is that she was warned by Rambo not to go to Mexico, telling her that it is far too dangerous.

Realising that she is missing, Rambo leaves the ranch to find his niece. This is where things take an even more brutal turn. Confronted by gang members of the traffickers, Rambo is beaten, his ID taken and a photo of Gabrielle is found.

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Rambo and adopted niece Gabrielle Beltran (Yvette Monreal)
Source: Rambo: Last Blood

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Sadly this means that the young girl has now been "noticed" and will be made to pay for Rambo's attempted involvement. Over time she is abused and injected with heroine. It's a heartbreaking story. Meanwhile, Rambo is taken to the home of journalist Carmen Delgado and cared for until he is well enough to stand on his own two feet. With newfound determination, he vows to rescue his niece.

One of the criticisms of Last Blood seems to be the level of violence. It's been described as "grotesque" and "genuinely horrific". Well I don't know what people were expecting from a Rambo movie - just take a look at Rambo 4 and tell me that that is any less violent? In all honesty, anyone going into this with no knowledge of who or what Rambo is should stay well clear if they're sensitive to scenes of violence and decapitation.

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Rambo creator feels "less a human being" for having watched Last Blood

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Even First Blood author David Morrell has criticised the film, saying such things as, "I agree with these RAMBO: LAST BLOOD reviews. The film is a mess. Embarrassed to have my name associated with it" (Twitter, Sep 20, 2019). In an interview with Newsweek, the bestselling writer commented further, "I felt degraded and dehumanized after I left the theater. Instead of being soulful, this new movie lacks one... I felt I was less a human being for having seen it, and today that's an unfortunate message."

In another tweet he compares Last Blood to Richard T. Heffron's 1976 exploitation film Trackdown.

I respect Mr Morrell's opinions but don't agree with them. Having read First Blood (first published in 1972), I found the novel to be a put off showcasing a character with no redeeming qualities; he wasn't just broken - he was psychotic and a killer! However, in Ted Kotcheff's 1982 masterpiece Rambo is depicted as a victim of sorts, someone who you can relate to. This is indeed the same character we see in Rambo: Last Blood, a man who's new life is torn apart by others and is forced into making decisions that others would recoil from. He goes all "Rambo" on them. I've even checked "Rambo" online at Cambridge Dictionary and it describes the word as, "someone who uses, or threatens to use, strong and violent methods against their enemies".

As for the comparison to Trackdown, I do see it, but what doesn't borrow from everything else these days? I've not even seen Trackdown; but I've seen Rambo: Last Blood, and it was enjoyable.

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Rambo: Last Blood is racist?

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This is one accusation I have real trouble accepting. Yes, the timing of the movie has "President Trump" written all over it but the film isn't deliberately depicting all Mexicans as villains. This is a gang, you know, like ones you get all over the world, who prey on children and the vulnerable, who kill indiscriminately and sell drugs on the streets. If Rambo V had been set in China then there would still be accusations of racism. In fact, both Maria and Gabrielle are Mexican and Rambo loves them like family — and they're living with him on the ranch in the US with no sign of immigration authorities anywhere...

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Final thoughts?

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It took Rambo: Last Blood years to make it into theatres, as a project it had been on and off for so long that it didn't look likely to happen at all. Various plots had been mooted including a killer creature and the title Rambo V: The Savage Hunt, based on the novel Hunter by James Byron Huggins. That in itself would have felt like a Predator-type story that I'm sure would have been pointed out by some. There was even talk of a prequel television series where someone else would have played a young Rambo.

I'm just grateful we got a proper blood and guts Rambo, with Stallone still in the iconic role. He's older, a little slower, but still capable of dispatching the bad guys. If this is the end, then what a journey it has been.

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Contracted (2013) - FilmReview

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Samantha (Najarra Townsend) unaware of the dangers to follow.

"Contracted" is one horror movie that explores the zombie story from an altogether different perspective, using sex as the source of the infection. Unsure whether this really was something worth a viewing, I decided one night to take the plunge. By the end, I was both shocked and impressed. We are all used to the generalised ways in which a zombie film progresses, with the undead rising to kill the living, in most instances devouring their victims. But how about the story of Samantha (Najarra Townsend) who, after a rape, becomes infected by something unknown, and gradually decays? This is no routine zombie feature. It is more an observation in slow motion, as a woman "dies" during the course of the movie's run. The sexually-transmitted disease angle does bring chills, as we are all too aware of the threat of HIV and Aids. And the final scene doesn't fail to impress... For some, though, "Contracted" might lose their loyalty after the first half hour. So, to the review...

For a low budget affair this horror thriller (distributed by IFC Films) works well, with leading lady Townsend working hard to capture the essence of the character and disintegration of her world - 10/10 for the special effects makeup and visual decay. Director and writer Eric England gives an "experimental" feature whose script took about 2-3 months to write, with filming also short. There is no doubt that "Contracted" is slow, and takes some dedication to really stay with it, but it does become an intriguing study of both sex and the consequences that derive from such an act. And if you believe this is likely to be purely an Aids or HIV-related portrait, think again. There is nothing regular about what is contracted here...

The movie opens with a mysterious man, only referred to as "BJ", as he engages in necrophilia with a corpse in a morgue. Later he meets Samantha at a party and, while drunk, she is taken advantage of (we discover that he had used Flunitrazepam in her drink). Later, unbeknown to her, some terrible virus has infected the young woman. This is the part where her universe collapses, and we are given an insight into one of the most horrifying and sickening transformations in the history of cinema! I was not prepared for what was to follow...

If there is one criticism regarding "Contracted" then it is simply this: there are some who fail to respond to her predicament realistically. Personally, if I had a daughter or friend whose physical appearance altered so radically in such a short space of time, I would be in hospital with her, demanding she be seen and tests be taken. Surprisingly, with countries on alert for acts of terrorism, including biochemical, would a medical practitioner really just allow Samantha to go home after seeing the state of her health? "Do not come into contact with anyone until we can determine what it is we're dealing with." Perhaps this film would have been bigger for exploring such a possibility, but I can understand the limited finances.

Sammy lives with her mom (portrayed by Caroline Williams, who was cast in Tobe Hooper's 1986 horror "The Texas Chainsaw Massacre 2") in Los Angeles, after splitting up with girlfriend Nikki (Katie Stegeman); she works at a restaurant as a waitress; and one of her male friends, Riley (Matt Mercer), fancies her. A normal life, you would think, but one that changes following the rape. What starts with hearing issues leads very quickly to blood and stomach pains. At this stage there is plenty of realism, with sympathy aplenty for the character. I am sure we would all worry if suffering symptoms that are first shrugged off as a "head cold and a rash". One can only describe it as rotting from within, leading to external complications. I do like how it is believed Samantha's condition to be drug related, which she denies. By the time we reach "Day 3", her "illness" is heartbreaking, as the corrosion gathers pace.

The least sympathetic character in this feature is Nikki, for being the most obnoxious person I have ever spent 84 minutes with. Well, perhaps not "84 minutes" but it sure does feel like it! Stegeman plays her well, and you can only wonder how on earth she and Sammy got together in the first place - talk about chalk and cheese! "I'm not into you any more!" Even her final encounter with her ex-girlfriend does nothing to redeem. Just what does she think is happening to Samantha? Is her physical deterioration not obvious enough? In truth, Nikki does not care, and has obviously never cared about the young woman's feelings.

If you can survive the first half hour then it is best to stay with the movie - the climax is most definitely rewarding! All it needs now is a sequel ("Contracted:Phase II") and director England's vision can expand into other areas... "Contracted" is ultimately Townsend's song, with a powerful performance that not only requires respect but admiration for such a human story. With "The Toy Soldiers" (2014) raising her profile further, there is plenty of reason to watch out for this young lady...

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Image courtesy of imdb.com (Matt Mercer © 2013).

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Article © Alwyn Ash 2015.

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12 Years A Slave (2013) - FilmReview

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Article author: Alwyn Ash

"Days ago I was with my family, in my home. Now you tell me all is lost. 'Tell no one who I really am' if I want to survive. I don't want to survive, I want to live."

Adapted from the memoirs of African American Solomon Northup, director Steve McQueen ("Hunger", "Shame") tells of kidnapping and mistaken identity, culminating in abuse and slavery. Though Solomon was born free in New York, he was abducted in 1841 and sold, forced to work on plantations in Louisiana. For twelve years he suffered cruelty, both physical and emotional, and witnessed the suffering of others just like him, as the law gave no protection - they were simply "property" to their masters. It is ironic that he was a learned man, intelligent and of standing within his own community, and yet during his imprisonment this knowledge was kept concealed from those who abused him. Mistaken for another man, he worked hard, endured pain and humiliation, but remained focused on the day when he would be free again, and return home to his family...

It has to be said that all the cast play their parts not just well but perfectly balanced and expertly embraced, credit going to everyone involved in this fine production. Actor Chiwetel Ejiofor gives the most warming performance as Solomon, with actress Lupita Nyong'o tugging at the heart strings portraying the role of Patsey, a fellow slave at one of the plantations where Solomon eventually ends up. It appears director McQueen cannot put a foot wrong with his selection of films; he has won awards, and been nominated so many times for his achievements that it is an honour to watch a master at his craft, experiencing the finest of cinema.

If you haven't already read the cast list then there are some nice surprises. First up is English actor Benedict Cumberbatch ("Sherlock", "Star Trek: Into Darkness") as kind plantation owner William Ford, who is so impressed by the slave's idea of transporting logs across a swamp that he gives Northup a violin as a gift. Of course, even here, tensions are high as Northup is targeted by Over-seer John Tibeats, who clearly despises him. After a short altercation the slave is almost lynched, and he is sold to new owner Edwin Epps (Michael Fassbender). This is where the story takes a far more sinister turn...

At this point the plot really steps up as God-loving Epps and his wife Mary (powerfully played by Sarah Paulson) demonstrate such cruelty towards their "property", the former inflicting beatings for failure to reach expected cotton production targets: 200 pounds daily. Patsey's hard work in collecting 500-plus is applauded by her owner, who not just rapes her regularly but develops an obsession with the young slave. This eventually leads to persecution from Mary, who both humiliates and physically attacks her. McQueen certainly does nothing to shy away from the brutalities of slavery, with scenes of lashings that will likely upset. It could be argued that the director wished simply to produce an accurate portrayal of life during the early to mid-1800s for the average slave, and he manages it with stark honesty.

Another welcome casting comes in the form of Brad Pitt (also producer in this feature), whose performance as gentle laborer Samuel Bass works well in contrast to the hard and unforgiving Epps. Northup and the newcomer strike a close bond while building a gazebo, and the latter learns of the slave's true story - how he was kidnapped and sold into slavery. The scenes between Ejiofor and Pitt are touching and well-written, as are those between Ejiofor and Nyong'o; you can appreciate why Nyong'o won the "Academy Award for Best Supporting Actress", her acting certainly brought a tear to this reviewer's eye!

"12 Years A Slave" is visually breathtaking and stunningly-shot, rich in colour and depth, making everything of John Ridley's screenplay. The time period is splendidly reproduced. After an initial meeting, McQueen and Ridley were keen to develop a feature that would focus on slavery in America. It was thanks to McQueen's wife that Solomon Northup's 1853 memoir came to light. The director commented in an interview (NPR), "I read this book, and I was totally stunned. It was like a bolt coming out of the sky; at the same time I was pretty upset with myself that I didn't know this book." I can fully understand the passion felt for this feature, having not been so emotionally affected by a single movie since Steven Spielberg's 1993 historical drama "Schindler's List". You cannot help but feel empathy for the slaves, and Northup's plight, rage toward Epps and his jealous wife, and an overall sense of appreciation for what those in slavery had to face during those harsh times.

Just like Spielberg's masterpiece, McQueen delivers a painful but insightful biopic, thought-provoking in ways I had not expected. It is even more poignant when you consider that racism is still existent in the modern world, and not just a warped attitude from a bygone era. Such mindsets are heartbreaking, and with "12 Years A slave" we get to see racial cruelty and tragedy in all their forms. Finally, no film is ever complete without its music score, and composer Hans Zimmer ("Crimson Tide", "Inception") excels at his art, achieving the right mixture to compliment the sentimental tides that each scene produces. I highly recommend this deeply powerful and moving drama.

Purchase 12 Years A Slave from the Store:
DVD / Blu-ray - Running time: 134 minutes

Picture: 12 Years: Official website

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Byzantium (2012) - FilmReview

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Article author: Alwyn Ash

"My story can never be told. I write it over and over, wherever we find shelter. I write of what I cannot speak: the truth. I write all I know of it, then I throw that pages to the wind. Maybe the birds can read it."

I have been a fan of Saoirse Ronan's work for about two years, after seeing the Irish actress in 2009 fantasy "The Lovely Bones". Since then I have enjoyed further performances from her in "Hanna" (2011) and "The Host" (2013), and so "Byzantium" is one of those movies that excites. Directed by Neil Jordan and written by Moira Buffini, the tale also stars Gemma Arterton and Jonny Lee Miller. It is a British-Irish affair focusing on mother and daughter Clara (Arterton) and Eleanor (Ronan), both vampires who have accompanied time through the ages. Based on the stage play "A Vampire Story" (Buffini's creation), this feature explores vampires for the modern age, no longer grotesque fanged parasites but people with a burdened past, and feelings. Eleanor has a story to tell, one too impossible to share, and so she writes it, never likely to free herself of the hardship.

There has been a surge in vampire offerings of late, in both film and print; there are likely to be some people who are tired of this phenomenon. However, I always welcome fresh takes on the vampire legend, and "Byzantium" does just that. Forget fangs, these vampires pierce their victims with a sharp fingernail, which can extend and retract in the same way as their toothed-cousins. It is clear that Eleanor is just a young girl (well, perhaps in body but not in mind) who longs for some kind of normality. Her companion, Clara, is the more dangerous of the two, a predator who's morals leaked away the day she was first inducted into prostitution, during the Napoleonic Wars - we get to see both their backstories. It is clear that Clara is determined to keep their whereabouts a secret at all times, from who we discover further into the story. And she has reason to be vigilant. Arterton's character is a survivor: selfish, cold-hearted... though her protectiveness over Eleanor redeems any negative qualities she possesses.

Irish filmmaker Jordan revisits the world of vampirism after his successful adaptation of Anne Rice's "Interview with the Vampire", released in 1994 and starring Tom Cruise as the vampire Lestat de Lioncourt. His collaberation with English-born Producer Stephen Woolley is legendary, both having worked on "Byzantium" and "Interview with the Vampire", along with other works including "Mona Lisa" (1986), "High Spirits" (1988), "The Crying Game" (1992) and "Michael Collins" (1996). It is a union that works well.

The introduction of an island that gives birth to vampires, and the guardians who protect its secrets, is intriguing, a step away from the more familiar making of a vampire process. Eleanor's own transformation is, of course, Clara's doing, but in a bid to save the young girl's life from venereal disease following rape at the hands of a vengeful Captain Ruthven (Jonny Lee Miller). This is what ultimately leads the two of them to go on the run: breaking the code of the vampire brethren for a second time - the first being Clara's own unsanctioned transformation! The island is sacred, and their disregard for ancient protocol a disgrace to all who uphold the legacy. Such a crime is punishable by death.

Actor Daniel Mays ("Made in Dagenham", "Saddam's Tribe", "Mrs Biggs") plays the role of Noel, owner of the once thriving but now forgotten Byzantium Hotel. Of course, being a loner, he is the perfect candidate for Clara's plans, who seduces him before moving in and converting the hotel into a brothel. Eleanor, in the meantime, befriends Frank (portrayed by American Caleb Landry Jones), a young waiter who she encounters at a restaurant where she plays a piano; they establish an instant bond. As the story progresses we learn of Frank's own personal destiny and feel for the two love birds as fate steps in to keep them apart, including Clara's inability to trust any outsider for fear of discovery. This paranoia also includes Noel, dare he become a threat in any way to the continued survival of these two timeless creatures. You do feel Clara's darkness, and know only too well that, unlike her daughter, she is a natural cold-blooded killer - the thought that she will only take out "pimps" and "johns" (clients of prostitutes) doesn't totally convince...

Having read a little about "Byzantium", I am surprised that gaining financial support can be difficult for a film whose leads are female, as gender inequality still plays a major role in decision-making. When asked, even Arterton agrees, "Yes, it's true. Very much so, unless you get someone properly famous in the lead role. We are talking very, very famous." Renowned actress or not, the film industry needs to do more to let some great cinematic experiences through: it is by no means a mistake that Sigourney Weaver, then relatively unknown, had been cast in "Alien" (1979) to influence an otherwise male-dominated genre - and Ronan's own performance in "Hanna" is nothing short of brilliant - proof that it is a script, and not female actors, that should be judged for finance backing.

If there are any negatives about "Byzantium" then it is the male characters of the piece - neither are established properly, or their relationships with either Clara or Eleanor explored efficiently. Perhaps, if Jordan had produced a love story, and examined the true destructiveness of a Human's relationship with a vampire... In the end, this is a tale of mother and daughter, lone travelers through time, restless for a place to remain without constant vigilance. For the latter their existence is a burden, secrets that must be shared but can never be, yearning for some kind of connection with anyone other than her mother, whose dominance makes any "normality" seem impossible.

What this feature shares with its predecessor "Interview With A Vampire" are the beautifully-shot flashback sequences for the two protagonists, as "Byzantium" steps back 200 years. If I am to be honest, this is where the movie works best. Though not a regular tale of vampirism, this fresh approach does take a look at what it is to be immortal Humans on the run, constantly unable to put down roots. Without the "vampire" tag, they are serial killers. And even with it, they are still more Human than any vampire in cinematic history...

Purchase Byzantium from the Store:
DVD - Blu-ray - Running time: 118 minutes

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Last Passenger (2013) - FilmReview

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Article author: Alwyn Ash

Train wreck or The Orient Express?

Alfred Hitchcock fans will likely find a delicious slice of drama in this suspenseful independent British thriller directed by Omid Nooshin - starring Dougray Scott ("The Day of the Triffids", "Doctor Who"), Kara Tointon ("Eastenders"), Iddo Goldberg ("Christopher and His Kind"), David Schofield ("Gladiator", "Pirates of the Caribbean"), Lindsay Duncan ("Rome", "Doctor Who") and Joshua Kaynama. And having discovered this thanks to an interest in Tointon after seeing her in an episode of "Bedlam" (2011), I just have to say that this is one train journey I will not forget in a hurry...

So what is it about? Well, put simply, six passengers are left onboard a London commuter train that has been hijacked by a sociopath, whose own motives are far from clear though his intention is to crash and kill himself and everyone on board. The use of a faceless enemy works well, as it has done in past movies such as "The Car" (1977) and "Joy Ride" (2001). The runaway train theme is not an original concept (I am reminded of Andrei Konchalovsky's 1985 action-thriller and aptly-named, yes, "Runaway Train") but the way in which this movie is executed gives it a rather intriguing and fresh approach whilst maintaining something familiar - the film's focus on characterisation benefits the plot, permitting us to care about the people whose very lives are placed in jeopardy.

And this certainly shows best in the on-screen relationship between eight-year-old Kaynama and Scott, who play young Max and his father Doctor Lewis Shaler. Add to this Tointon's beautiful performance as fellow passenger Sarah Barwell and you have the perfect family unit whose uncertain fate draws ever nearer...

Every actor works well to bring this drama firmly into the realms of enjoyable entertainment. If proof be needed that a small cast can make a satisying movie, then look no further than "Last Passenger", whose direction steers every moment with purpose - no scene is wasted as it becomes clear just who is in charge of the train. Director Nooshin described it as "being trapped in the Belly of the Whale", and there is no doubt that such a claustrophobic experience both brings dramatic actions and tests the humanity and bravery of others. Though there is much tension between Jan Klimowski (Goldberg) and Peter Carmichael (Schofield) at first, their mutual realisation that difference must be overcome if they are to survive does manage to win through! However, just how do you escape an out-of-control transport?

It is very satisfying to see that writers Nooshin and Andrew Love resisted any temptation to rely on blood and gore, instead giving us a much more intelligent and emotional tale: the casting strengthens what is already on paper. This is no slasher film, staying clear of any similarities to horror outings "Terror Train" (1980) or "Train" (2008). To be too critical of the movie or its plot is unwarranted, though some reviewers have criticised the lack of information regarding the "madman". I, however, applaud this direction, for a faceless enemy is a far more terrifying one, whose motives are, at the time of incident, unknown. And so, it is to the last passengers that we, the audience, turn and support, as they attempt to avoid almost certain death.

Nooshin had commented, "LAST PASSENGER began life as a daydream which absorbed me whilst sitting on a London 'slam door' train. The daydream revolved around the simplest premise: what happens if this train doesn't stop?" And with a budget of only £500, a trailer was produced, gaining interest from film studios. In the end, a "shoestring" budget of £1.5m was invested into the project. As the director added in an interview, "...the last movie set on a train was 'Unstoppable' which was $100m (£61m)."

No surprise then that Nooshin had been nominated for the Douglas Hickox Award (Directorial Debut) in The Moët British Independent Film Awards, though he finally lost out to Paul Wright, whose own drama "For Those in Peril" focused on Aaron, the sole survivor of a mysterious fishing accident. In all honesty, "Last Passenger" is the perfect directorial debut, tense with enough explosive charm to satisfy 97 minutes. Mention must also be given to Irish composer Liam Bates, whose score is truly powerful and gripping, evoking the feel of a golden era while echoing the growing tension in the feature - the perfect choice when you consider his other work on such films as "Ghostwood" (2006).

I am going to admit something now: though it was to be a predictable occurrence, the scene at the level crossing shocked me, I had not expected it to be as so well-realised and was glad that the victims remained faceless. But it did have my heart beating like a runaway train, I can tell you - a true cinematic moment! The last time I felt this way about a single scene was during a viewing of the passenger aircraft disaster in "Die hard 2" (1990), and the department store bombing in "Nighthawks" (1981).

I am not one for being too concerned over the use of clichés in film, for the overall voice is of far more importance in my opinion, what a plot has to say in terms of who the characters are and where they are in their lives at that point in time, and how they react to a given situation. For one hour and forty minutes we share the screen with six interesting characters, three of whom I have taken to my heart: Sarah (Tointon), Lewis (Scott) and Max (Kaynama).

Purchase Last Passenger from the Store:
DVD - Blu-ray - Running time: 100 minutes

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After Earth (2013) - FilmReview

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Article author: Alwyn Ash

"Fear is not real. The only place that fear can exist is in our thoughts of the future. It is a product of our imagination, causing us to fear things that do not at present and may not ever exist."

I can never quite understand Hollywood, or movie critics. So often we either have a spate of inventive and emotional films that receive poor reviews, or directors who go with the flow and hand us poorly-conceived reboots or sequels, which are given either mixed to positive reviews. Thankfully, "After Earth" is an inventive sentimental science fiction adventure focusing on father and son who crash on an earth abandoned for a millennium. Though not perhaps the most original premise - John Hillcoat's 2009 offering "The Road" succeeded in more dramatic fashion - there is still plenty of promise.

Following a worldwide cataclysmic event on Earth, mankind repopulated on a distant planet, Nova Prime. However, this new world became the target of an alien race known as the S'krell. Using blind predatory beasts called the Ursas as weapons, the S'krell intended to invade our new environment. The Ursas can sense fear, which allows them to hunt their prey. The Ranger Corps, led by General Cypher Raige (Will Smith) struggle to overcome their enemy. Defeat looks certain until one fateful day when Cypher overcomes his fear during a close-to-death moment, only to realise that without the scent of fear the Ursas are unable to track their intended victim. The Rangers are later trained in this "ghosting" technique, and the balance of power is firmly on their side, leading to victory over their invaders.

During the war, sadly, Cypher's daughter is killed, leaving only a son, Kitai (played by Jaden Smith, real life son to Will Smith) and Faia, Cypher's wife (portrayed by Sophie Okonedo). It is clear that Kitai feels guilt for not protecting his older sister, feelings reflected by his father, who is close to retirement from the service. What follows is one final mission for the general and a chance to bond with his son, who accompanies him off world. Hit by an asteroid shower, their ship is forced to take immediate action, resulting in both ship and crew crash-landing on a quarantined Earth. After one-thousand years the indigenous wildlife has evolved, including the landscape. To make matters worse, one of the Ursas was being transported on the spacecraft at the time of the crash, now on the planet with them but perhaps still contained in its cage in the tail section of the ship, which broke off during atmospheric reentry...

Unable to activate a damaged emergency beacon from their present location, and with both of Cypher's legs broken, it is up to young Kitai to trek across land and locate the tail where he will find a backup beacon. The journey will take much courage and instinct. Kitai, though, was rejected from becoming a Ranger due to his reckless behaviour, so just how will he cope in what is effectively an alien environment?

Whatever your thoughts on director M. Night Shyamalan, he has worked with great actors on some wonderful screenplays. "The Sixth Sense" (1999) will always be one of my favourites, starring Bruce Willis and Haley Joel Osment. Regardless of the controversial Scientology and Nepotism allogations, I like "After Earth" very much. As for the teachings of Scientology, I know of such things but have never taken an interest in such beliefs; and the accusation of Nepotism is remarkably pointless as I found Jaden Smith to deliver a finer performance than some actors I could mention, including those who have been in the business for years and have made astonishing success out of it. Jaden, of course, had worked with his father once before, in the 2006 American biographical drama "The Pursuit of Happyness", and has starred alongside actors such as Jennifer Connelly and Jackie Chan.

For a movie that was heavily panned by critics, being described as "dull, ploddingly paced exercise in sentimental sci-fi", I cannot help but disagree. Perhaps the sentiment is a little dulled by the performances of both Smith and Smith, but these are military-minded characters whose focus relies heavily on honour and discipline, with emotion taking a back seat. There is much morality to be found here, with the core being that fear is of our own making, especially that which is yet to meet an imagined scenario. Fear plays the "What if" game, allowing ourselves to be overcome by something that may not happen, or at least not occur in the way we originally perceived. "Ghosting" is a means of accepting this, and controlling unwanted emotions. It is something that Kitai needs to learn...

The production is certainly a family affair, with Jada Pinkett Smith (Will Smith's wife and mother to Jaden) and Caleeb Pinkett (Jada's brother) producing, but is it fair to describe the enterprise as a "vanity" exercise? And though I do not criticize Jaden heavily, it is true that the protagonist of the story (Kitai) does lack charisma - such charm had always been evident in Will Smith's performances, whether he portrays Captain Steven Hiller combating aliens in "Independence Day" (1996) or Del Spooner facing a robotic revolt in "I, Robot" (2004). That aside, the scenario is believable and well-paced enough to work.

It is also welcome to see a sci-fi movie that isn't overwhelmed by CGI, relying instead on plot rather than a landslide of visual migraine, which sadly appears to be the thing these days. The effects employed are decent enough, with the design of the Ursas well realised and effective. There is even an emotional couple of scenes that had this reviewer frowning with sadness, following a death scene involving a giant condor. By the end of his journey, taking him to a volcano where he must activate the backup emergency beacon, it is inevitable that young Kitai must face his greatest of fears - and both his life and that of his fathers are at stake. A confrontation with the escaped monster...

Perhaps not the best film of 2013, nor one that will make much impact, but a nice watch if you are prepared to give it a chance and not expect too much. It is recommended that you rent the film, rather than buy. Though my review is positive, it is not a feature that I will revisit again for quite some time. Or perhaps try the novelisation of the film instead, which has been described as "better than the movie".

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DVD - Blu-ray - Running time: 100 minutes

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Apocalypse Z (2013) - FilmReview

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Article author: Alwyn Ash

Not to be confused with the vastly superior - and bigger budget - "World War Z".

Often, when I come across a low budget indie film, I keep a distance. The bad acting, dire special effects (if any), and the direction usually leave a very nasty taste in my mouth. That said, I am a fan of some Web Series that just seem to hit the right buttons in style and direction, acting and vision. Please don't misunderstand, I have great respect for the indie market, but even with a low budget there must always be a focus to make the best possible feature - if you have talent, it will show!

"Apocalypse Z" is one of those features that has some good, and plenty of bad. Its downfalls are quite clear to anyone who actually sits through a viewing. Directed by Luca Boni and Marco Ristori, there is so much inconsistency and weakly-executed scenes that the whole affair feels laughable. Even the characters and dialogue are cliches without an attempt at some originality. As for the "plot", the US government sends a group of mercenaries into a Romanian town after the local population is infected by a toxic chemical, turning them all into zombies. We discover that the deadly chemical is actually a US experiment gone wrong, or at least, it is from a scientist's point of view. However, the military has other ideas. The town wasn't meant to be overcome by the chemical's affects, but an explosion at the research facility leads to a rapid spread and infection.

Originally titled "Zombie Massacre", the creators of this feature had clearly been inspired by financial possibilities and renamed it "Apocalypse Z" to cash in on the success of Brad Pitt's far superior "World War Z". Sadly, the "Z" is really all they have in common, as there is no comparing the two. Of course, the latter has a far superior budget too, so perhaps a comparison is unfair.

So, to the positives. Well, many of the zombie makeup effects are actually quite good. And the female cast outshine their male colleagues in every way. The opening scenes of a Romanian woman returning from work to feed her father (or husband) actually sets the atmosphere well, with her stepping out onto her apartment balcony to investigate the source of a distant explosion, only to see smoke rising and feel droplets of dark liquid on her hand. Inside, the droplets contaminate her and she mutates.

What follows the opening title sequence is far too much tedious dialogue without any zombies at all. Instead, for example, there is a long scene featuring mercenaries John 'Mad Dog' McKellen (Mike Mitchell) and Dragan Ilic (Daniel Vivian) as they discuss absolutely nothing at all. There are too many moments such as this, where there is a lot of talk but nothing that matters or adds to the plot. Thankfully, fellow mercenary Eden Shizuka (played by Tara Cardinal, above) says little until it is needed.

One of the things that really stands out with this feature is, no matter their nationality, the actors just do not try to match an accent to their character - this unforgivably leads to the President of the United States ("portrayed" by controversial director and "actor" Ewe Boll) having a German accent! And then there are the supposed skills that the mercenaries possess: highly-trained soldiers who seem as inept at skillfully firing guns as an over-excited badger, a female whose sword-fighting skills seem to be deeply lacking in... skill (sorry, Tara, but more training was needed), and decisions that just didn't make any military sense. Speaking of military sense, why would the US government send in to a small Romanian town this ragged group with an atomic bomb and not, let's say, fire a missile instead?

I can see that there is much fun to be had (which I am sure includes Boll delivering a German-accented US President), but this is neither a zombie comedy nor a serious attempt at a decent movie, it lies somewhere in between, and that remains the problem - it is "The Expendables" meets "The Walking Dead" without the talent! When being advertised with its original title, "Zombie Massacre" had the tagline: "There is no hope". At times that is precisely how the making of this movie feels...

It is true that the zombie genre is being over-saturated by the movie market, but there is always room for more well written and crafted films. Even at his worst, master of horror George A. Romero still manages to deliver a decent feature film.

It is a shame, as "Apocalypse Z" could have been so much more. Its use of make-up effects and design is passionately approving. However, what we are given is a low-budget feature with no great expectations of its own success - why rename your project to mirror a major successful Hollywood film unless you are desperate for an audience? It is clear that writers/directors Boni and Ristori thought "Zombie Massacre" unable to succeed on its own merits. Their own lack of faith is telling in itself. Also, if Boll's inclusion wasn't bad enough, there is even the "Resident Evil" Nemesis-like creature to bring this adventure to a "sharp" climax. Honestly, I would rather watch "Resident Evil: Apocalypse" (2004) and enjoy the real thing.

For die-hard zombie fans only. Not to be confused with "Infection Z" (2013) or any other project that carries the same letter.

Purchase Apocalypse Z from the Store:
DVD - Running time: 90 minutes

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Abraham Lincoln: Vampire Hunter (2012) - FilmReview

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Article author: Alwyn Ash

Is director Timur Bekmambetov's blockbuster a fangtastic adventure or just a stake through the heart?

There have been mixed reviews for "Abraham Lincoln: Vampire Hunter" since its theatre release, with critics calling it "uptight and dreary" (Christy Lemire, Associated Press) and unfulfilling. To some extent I can understand these criticisms. However, having sat through a viewing, my opinions are firmly in the positive...

First off, the title says it all, no suspense or sleight of hand, just a fun film exploring what if one of the most famous men in American history had a secret life that focused on the supernatural. So often we are used to the scandal and affairs of politicians, those indiscreet moments that a politician would rather forget. So how intriguing, then, that Abraham Lincoln, the 16th President of the United States, is explored as a vampire hunter, stalking the streets at night assassinating the undead. Based on a novel of the same name by author Seth Grahame-Smith, with a sreenplay by Grahame-Smith and Simon Kinberg, we first encounter a young Abraham living with his parents. Even in these early years he is a strong and determined boy, prepared to stand up for what he believes in. Sadly though, this resolute personality later indirectly leads to the tragic death of his mother - to a vampire. This, ultimately, takes Abraham on a journey that will eventually lead to campaign, war, and the extinction of slavery.

This "mishmash" works well for the most part, its atmospheric scenes and plot perfectly balanced by the direction and acting. Previous attempts at this kind of fantasy horror have always been let down by attempt at humour, so it is a welcome change that Bekmambetov's movie leans more toward the serious, even if the subject matter and title suggest otherwise. Indeed, this could have been a camp, lighthearted affair, with enough one-liners to fill Queen Akasha's tomb ("The Vampire Chronicles" reference). However, when I think of what a mess Stephen Sommers made of the 2004 vampire feature "Van Helsing", I am thankful for small mercies!

Casting is excellent, with Benjamin Walker wonderfully versatile as the Older Abraham Lincoln - actor Lux Haney-Jardine, too, is a treasure as Young Abraham. Also cast is Dominic Cooper as Henry Sturges, Abraham's mentor. Mary Elizabeth Winstead, as the beautiful Mary Ann Todd (and later Lincoln's wife) never fails to light up the screen, whether she is dancing, visiting Abraham in jail, or simply confronting vampires.

Much of the film focuses on Abraham's training, his acquiring of newly-found skills to aid him in his fight against vampires (whose identity Henry advises him off via secret mail), and the Civil War which later erupts, tearing the United States apart and forcing families to fight one another, as the Union (federal government of the United States) and Confederate forces engage in bloodshed. It is interesting how, finding a path along the political circle, this future president puts away his silver tools and instead embraces the power of words, learning to be a strategist and diplomat first.

An idealist perhaps, but in this reality vampires still lurk in the shadows, preparing for a day when the world will be theirs to master over. Not only does Abraham and wife Mary suffer tragic loss after the horrifying cruelty of female vampire Vadoma (portrayed by model and actress Erin Wasson), but the undead are also persuaded to assist the Confederate in fighting the North on the battlefield - leading to the quite obvious Union losses on a large scale. This is the moment when you know Abraham must fight using his knowledge of the supernatural once more - words are no longer sufficient to protect the lives of his men. It also means that the president must, once more, take to battle in person...

This is where the action explodes, with a spectacularly-directed sequence of events on board a transport train delivering silver weapons to Union soldiers facing incredible slaughter at the hands of vampires. It is clear that the success of Abraham's campaign rests on the safe arrival of these new weapons. I applaud the movie's focus on slavery and exploitation, highlighting the Underground Railroad, and even its attempts at not shying away from showing the horror that war brings upon its victims. I did, however, feel a little uncomfortable at moments during the graphic scenes of conflict - though this film is a mix of fact and fiction, I couldn't help but feel sadness for those whose lives had truly been lost in this terrible civil war. It was just a momentary discomfort, but one I found difficult to observe...

"Abraham Lincoln: Vampire Hunter" might not be a classic, but it does have classic moments. I would have to say that, after one hour and forty-five minutes of axe-wielding, love, and warfare, there was plenty to satisfy this vampire fan. Negative reviews should certainly be taken with a pinch of salt. Decide for yourself.

Purchase Abraham Lincoln: Vampire Hunter from the Store:
DVD Blu-ray - Running time: 105 minutes

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Star Trek Into Darkness (2013) - FilmReview

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Article author: Alwyn Ash

"There will always be those who mean to do us harm. To stop them, we risk awakening the same evil within ourselves. Our first instinct is to seek revenge when those we love are taken from us. But that's not who we are."

The history of Khan Noonien Singh is an important one within the legacy of Star Trek, a genetically engineered superhuman whose ship, the SS Botany Bay, is discovered adrift by the USS Enterprise in deep space. Awakened from a cryogenic sleep, Khan and his people attempt to gain control of the Starfleet vessel. Thwarting this attempt at mutiny, Captain James T Kirk (William Shatner) shows leniency by allowing Khan and his followers to spend the rest of their days on an uncolonized planet, Ceti Alpha V. Though being exiled, Khan accepts the challenge.

Starring Ricardo Montalban as Khan, the episode "The Space Seed" aired in 1967, during the first season of "Star Trek: The Original Series". It was a plot that would be revisited years later in the feature film "Star Trek II: The Wrath of Khan". Montalban owned the role, and the actor's place in Star Trek history was most definitely assured, immortalised by a villain unmatched in anything since the 1982 motion picture.

Now there is no denying that the 2009 reboot of the Star Trek franchise, directed by J. J. Abrams, did wonders for a film series that had lost its momentum - the last big budget feature, "Star Trek: Nemesis" (released in 2002), was both a critical and financial disaster. Taking such a well-loved franchise and finding new ground was always going to be a risky... shall we say, enterprise? However, the gamble paid off. Set in an alternate timeline, we got to revisit Kirk during his early years, joined by all the original faces who shared his original voyages through space on the USS Enterprise.

It might seem a bit ironic to say "faces" when, clearly, the characters now belong to someone else, but the casting was simply wonderful and loyal to the show's origins. Chris Pine, for example, captures the essence of James T Kirk without even trying, whilst at the same time making the part his own; Karl Urban is unmistakable as Dr. Leonard "Bones" McCoy; and Zachary Quinto's Commander Spock is simply a joy to watch. Supporting cast include Zoe Saldana (Avatar, Colombiana) as Lieutenant Nyota Uhura, Simon Pegg (Shaun of the Dead) as Lieutenant Commander Montgomery "Scotty" Scott, John Cho as Lieutenant Hikaru Sulu, and Anton Yelchin (Terminator Salvation, Fright Night) as Ensign Pavel Chekov.

Though the plot for "Star Trek" (2009) wasn't the most original - Eric Bana's Romulan villain Nero didn't feel so inspired - the CGI was the best yet (even with those lens flares), each shot carefully constructed to make best use of character and script. The only problem I had with this first movie was the casting of Pegg as Scotty and that of his mascot, Keenser (played by Kenyan-born actor Keenser) - just why was the "Hot Fuzz" star cast in a role that quite clearly didn't suit his talents? Perhaps also, there should have been more screen time for Rachel Nichols as the Orion Starfleet cadet Gaila. However, overall there was much to enjoy about this new debut...

"Star Trek Into Darkness" works in similar fashion, injecting much life into an old tale. Once again the cast is excellent, each actor embracing their role and quite clearly enjoying the process. Like its predecessor, there is a visual mastery that embraces every scene, captures every bit of passion that is injected into the film by J. J. Abrams and his crew. The introduction of English actress Alice Eve as Lieutenant Dr. Carol Marcus is a welcome one. Even the new timeline - changed as a result of Nero's actions in the previous installment - works well. I find it amusing that some Star Trek fans seem to think their beloved franchise destroyed by J. J. Abrams' altered timeline, but isn't it just a case that the timeline featuring everything from the Original Series (plus "Star Trek: Enterprise") through to "Star Trek: Nemesis" simply continues to exist on its own path?

Though I had already learned via spoilers that Benedict Cumberbatch was to portray Khan Noonien Singh in this feature, I was prepared to watch it with an open mind. And, as terrorist Commander John Harrison, Cumberbatch works his skills well, bombing a secret installation Section 31 in London, a prelude to a far more cunning plot involving the deaths of senior Starfleet personnel. Given reason for revenge, Kirk commands the Enterprise and goes after Harrison, who has escaped to the Klingon homeworld. It is following these events that we learn of the terrorist's true identity...

Though expected, this simple revelation helped me to realise that Cumberbatch just isn't the Khan we deserved - it is perfectly understandable that following in Ricardo Montalban would be a difficult task for any actor, but casting should have reflected Montalban's physical appearance as well as his mannerisms as Khan. Considering the careful appointment of the main USS Enterprise cast to accurately emulate their predecessors, it is disappointing that the iconic character of Khan wasn't treated accordingly; though a good actor, Cumberbatch fails to be anything more than just another villain, unlike Montalban whose performance took the Star Trek film franchise to an altogether new level.

If some are wondering just what these films mean for Star Trek, it is this: J. J. Abrams has opened a door into an alternate reality, one where anything can change. If it had not been for actor Leonard Nimoy's appearance in both "Star Trek" and "Star Trek Into Darkness", one could easily consider that these movies are a full reboot and nothing more, able to be placed into a separate category from what has gone before. However, Nimoy's presence as the older Spock significantly recognises that Abrams has developed a sequel series, though veering in a different direction. Here lies the danger of complacency, the desire to recycle rather than to create original drama. Yes, Star Trek has a history, and exploring the original USS Enterprise's crew in a new light brings all kinds of exciting possibilities - so let this venture be completely brand new, subtle nods to yesterday, but a strong sense of "to boldly go where no man [or woman] has gone before..."

Purchase Star Trek Into Darkness from the Store:
DVD - Blu-Ray

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World War Z (2013) - FilmReview

Article author: Alwyn Ash


"There will be no warning"... Taking a look at the blockbuster featuring Brad Pitt, zombies, and a ladder of Climbers.

Just when did the zombie culture become so successful as a film franchise? Perhaps in George A Romero's 1968 cult "Night of the Living Dead", or an earlier example with Hammer Horror's "The Plague of the Zombies" (1966)? Or just maybe Victor Halperin's 1932 independent offering "White Zombie" is the father of them all? And though it doesn't contain the romanticism of vampire lore, or the fascination of extra terrestrial beings regarding this earth with envious eyes, tales of the walking dead have kept theatre and television audiences entertained for over forty years. Even the gaming market has shared its own slice of terror with Capcom's survival series "Resident Evil". And comics have led to AMC's horror drama "The Walking Dead", developed by Frank Darabont ("The Shawshank Redemption", "The Green Mile")

If it is at all possible to forget Steve Miner's creatures in the 2008 reimagining of Romero's "Day of the Dead" (they can defy gravity - really?), there are two types of undead: "Generic Zombie", those that you can quite simply walk past (unless you are desperately out-numbered, as does happen from time to time); and "Fast Zombie", those whose speed brings an extra dimension to the fear factor, making it almost an impossibility to escape. The latter is where Marc Forster's feature film "World War Z" focuses...

Ironically, though based on the novel by horror author Max Brooks (son of Mel Brooks), the film adaptation chooses to speed up its zombies intentionally, and there is much difference from the printed version. "World War Z" is, however, one of the most ambitious zombie thrillers of all time, focusing on a worldwide epidemic with the best use of news reporting, CGI and regular action sequences. The confusion and panic of zombies in Philadelphia, for instance, really impresses as Former UN worker Gerry Lane (Brad Pitt), wife Karin (Mireille Enos) and their two daughters, Rachel (Abigail Hargrove) and Constance (Sterling Jerins) attempt to escape the chaos. Though they eventually seek refuge on a U.S. Navy vessel, Gerry is forced to return to active duty and help locate the origins of the virus.

During the course of 116 minutes approx., we are taken from Philadelphia and the coast off the New York City coast to a military base in South Korea, the walled city of Jerusalem, and finally a research facility in Cardiff, Wales. It is during the Jerusalem scenes that memories of Romero's "Land of the Dead" (2005) are resurrected, the defences of a protected city breached and finally overrun by zombies. It is indeed a chilling moment as we quickly learn that, no matter the precautions taken, no where is exactly a safe harbour against the flood of walking dead intent on attacking the living.

What I do admire about this take on the genre is that, instead of just being flesh-eaters, these zombies attack to infect, quickly moving on to their next victim. There is much about "28 Weeks Later" present too, a 2007 post-apocalyptic horror directed by Juan Carlos Fresnadillo that chronicled the outbreak of the highly contagious Rage Virus. In both, the infected move rapidly, as they also did in Zack Snyder's 2004 remake of "Dawn of the Dead". But what "World War Z" manages to serve up in addition is the extreme case of a world at war with its own, those who were unfortunate enough to be attacked, now single-minded in intent. The twist, however, as we learn later in the film, is that not everyone is at the mercy of the zombies - and not because they possess any special skill or fighting ability... We are safely in scientific territory now, and it is Gerry who must somehow find an answer to eradicate or slow the tide of the growing threat that is engulfing the world's population.

Though the majority of the cast is unknown to me, I was pleasantly surprised to see Scottish-born Peter Capaldi in the role of a World Health Organization (WHO) doctor. Fans of the popular BBC television series "Doctor Who" will understand the irony of the role he plays in this horror feature. Another welcome appearance comes in the form of Israeli soldier "Segen" (played by Israeli actress Daniella Kertesz), who remains with Gerry after his flight from the overrun Jerusalem. During one scene she is bitten and, in an attempt to prevent her from turning, the UN employee amputates her hand.

The scenes in which an airliner is overwhelmed by zombies really does everything to amplify the feelings of tension and desperate claustrophobia as you realise there is no place to escape. This is brief but much better handled than in the 2007 film "Flight of the Living Dead: Outbreak on a Plane". As more of the passengers are attacked, becoming infected, we are left wondering just how Gerry and Segan will survive this nightmare...

Being a zombie genre fan, this is undoubtedly now one of my favourites, alongside George Romero's "Day of the Dead" (1985). It is also nice to see a zombie feature with such large-scale storytelling. Copying the success of "The Walking Dead" in cinematic form is not an easy feat, but director Forster manages it with unforgiving expertise, as his undead go on the rampage in every corner of planet Earth.


Purchase World War Z from the Starfoyer Enterprise Store:
DVD Blu-ray - Running time: 114 minutes

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The Impossible (2012) - FilmReview

Article author: Alwyn Ash


When a family is torn apart, courage must take over...

I don't often allow myself to watch highly emotionally-charged true-life movies, simply because I find such a thing impossible, being a very sensitive and emotional person myself. And so opening up to these kind of experiences is both physically and, yes, emotionally tiring. However, when I heard of The Impossible - and knowing that the feature starred Naomi Watts - I just had to see what the fuss was all about. I certainly had no idea that the film focused on the 2004 Indian Ocean tsunami until I read the synopsis. What I discovered was a powerful and captivating tale chronicling disaster, bravery and humanity at its finest.

Based on Spanish physician María Belón and her family's experiences during and following the tragic events, Watts is cast as "English" physician Maria Bennet (temporary retired from practice), who travels with her husband Henry (Ewan McGregor) and three children Lucas (Tom Holland), Tomas (Samuel Joslin), and Simon (Oakley Pendergrast) to Khao Lak, Thailand, for the Christmas holidays. The fun isn't to last long. This beautiful paradise becomes the scene of mayhem when a flood hits, indiscriminately taking lives and destroying homes. The horrifying event is well realised, with effects that easily call up memories of those news broadcasts we had watched with deep sympathy and sadness for both the Indian Ocean and similar tsunami victims. Not one scene is taken for granted, or wasted.

In the wake of this mass destruction, the film focuses on both Maria and her eldest son Lucas, who are both swept away by the flood but manage to find one another; the former severely injured. It has to be said that both actors do a wonderful job, and it is easy to feel for them - separated from Henry and the other two children, whose fate remains a mystery at this time, mother and son at least have each other. In a lovely scene, they are soon joined by a toddler named Daniel, who is found alone and in wreckage.

There had been criticism regarding the movie's "whitewashing", casting "white" actors to make ethnic characters "more appealing to the white", with the main issue being that a white Western family gets caught up in a tsunami instead of a true reflection of the Spanish family whose experiences this feature is based on. I disagree, however. There is no sign that Spanish director Juan Antonio Bayona or writer Sergio G. Sánchez are purposefully engaging in such an act - the casting of Watts and McGregor is a wise one as they are clearly capable of delivering a performance that is needed for such demanding roles (how would Penélope Cruz have fared as María Belón, I wonder?). Even the young cast is exceptional, not once failing to embrace the script with true purpose. "Lo Imposible" is a Spanish production and, thankfully, overall response for the film has been positive.

The Impossible solidly hammers home the true nature of such a disaster, using authentic locations and focusing solely on the Human need for hope, bravery and compassion. Though their homes and lives have been wrecked, the Thai people work tirelessly in a bid to help tsunami victims (both local and tourists). They are the true heroes in this magnificent true-life tale that shines throughout...

Even when it is revealed that Maria, Lucas and Henry have survived the initial flood, it is clear that Maria isn't out of the woods yet - her injuries are extensive and surgery is required. Henry, too, is in search of his family, not knowing whether they are alive or dead. And there is plenty to admire about this movie, especially when Lucas leaves his mother's bedside to help others in the hospital, even reuniting a father and son in one touching scene. In another, Henry encounters a group of people - one of them, a German man named Karl Schweber (Sönke Möhring) permits the Scottish husband to use his cellphone, which leads to a rather emotional call home.

Whatever your own thoughts on the "whitewash", there is no denying that this feature is a total assault on the senses, an honest account of tragedy, loss and survival regardless of race, a heartbreaking walk through events when a tsunami injects terror into a delicate community. This is indeed one movie with fine performances from all involved, and a respectful account of the horrific tsunami that occurred on Sunday 26th December 2004, killing over 230,000 people. It is a firm reminder that we are fragile in nature, and that nothing is ever certain.

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Man of Steel (2013) - FilmReview

Article author: Alwyn Ash


Following a classic is the hardest task of all...

In 1978 director Richard Donner gave us the ultimate Superman experience, a perfect delivery of action and adventure, science fiction and character-led emotion. Cast in the role as Kal-El, aka Superman/Clark kent, Christopher Reeve delivered a unique performance, a part that would make him a household name and a hero to children all over the world. There was a haunting quality about Krypton, its inhabitants, and the way in which the world's end came about. The casting was superb, with names like Marlon Brando, Susannah York, Margot Kidder and Gene Hackman attached to a feature film that would forever remain in the hearts of all Superman fans.

Sadly, 35 years later and Zack Snyder (Dawn of the Dead, 300) produces a typical modern-day mess of a reimagining, where CGI overwhelms a story that could have been far more subtle and rewarding, and action that explodes far too carelessly and not in keeping with what Superman represents. Just how can the Man of Steel fight his enemies so deliberately and with such destruction that the well-being of the innocent is overlooked? Superman should want to protect the people of Earth and yet it is he who causes more carnage than should be allowed - Reeve's Man of Steel would always have been the first to protect a single individual than risk destruction on a greater level. And yet, even though it isn't shown, just how many might have died because of Henry Cavill's quest for justice?

As with many later Hollywood offerings, Man of Steel relies too much on special effects and little anything else, far less interested in storytelling on a deep personal level and leaning more towards those teachings at the George Lucas school. One cannot help but see Krypton as a set piece from one of the Star Wars prequels, with scenes that could have been cut down and simplified, instead allowing for better development of a world close to its final days, its people desperate but accepting of their fate. There was a strange beauty with Donner's imagining of this world, however Snyder's attempt simply leaves this reviewer waiting impatiently for Krypton to end so that the remainder of the film can be told. And that, sadly, is another problem...

Man of Steel is too inconsistent, with not enough attention paid to developing young Clark's life with his new parents. Yes, we are introduced to moments in his life, but the overall flavour leaves a sour taste. Although most of us know his life story by heart, Man of Steel should have been an epic tale of discovery and growth, a boy learning of his unusual gifts and developing them, guided by Jonathan and Martha Kent (Kevin Costner and Diane Lane). But there is a shift, and we see an older Clark involved in a dramatic oil rig rescue - yes, as Clark, not Superman!

Even his relationship with Lois Lane (played by Amy Adams) is rushed and clearly not given time to develop. Underdeveloped characters is a major issue with this feature, no time spent to really get to know anyone or care about them. Overall the casting is good, with Cavill an excellent choice for Superman. But where is the true essence and heart of this comic book character tale? It is simply no where to be found!

One of the delights of the 1978 vision had been the Fortress of Solitude, a gigantic crystalline structure and Superman's Krypton home on Earth, in the Arctic. This was the moment when Clark, via "memory crystals", would learn more about himself, his origins, and his purpose. The interactive holographic "ghosts" of his parents and other members of the Kryptonian race visually impressive. So sad, then, that Man of Steel 2013 fails to resurrect that same magic, instead producing a less visually-pleasing representation of a dead Jor-El (Russell Crowe) as Superman's guide. It was as if Zack Snyder's imagination had been banished to the Phantom Zone (prison dimension).

Final criticism lies with the fight sequences between Superman, General Zod (Michael Shannon) and Sub-Commander Faora (Antje Traue), many of which are overblown and too drawn-out; why do some Hollywood movies look like they have been integrated with computer games these days? Again, there are ways to develop action without overuse of CGI...

Whether a sequel to Superman Returns (2006) would have been the better option, who knows? But Man of Steel serves as just another Hollywood menu of CGI and action that compromises both plot and characterisation.

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Hansel and Gretel: Witch Hunters - FilmReview

Article author: Alwyn Ash


As we are seeing an increase in vampires and zombies terrorising folk in both literature and on screen, could witches become the next big thing?

There is absolutely nothing better than a dark fantasy to feed a hungry mind, and a movie about brother and sister, orphaned, hunting and destroying evil witches easily fires the imagination just as surely as a witch being burned at the stake. And, on the whole, "Hansel and Gretal: Witch Hunters" works its magic well. The cast, too, perfectly matched, with stars Jeremy Renner and Gemma Arterton in the title roles, their talents pitted against head witch Famke Janssen.

Co-written and directed by Norwegian filmmaker Tommy Wirkola, the movie adds to the German folk fairy tale "Hansel and Gretel" (recorded by the Brothers Grimm and published in 1812) by exploring their adult lives, as they travel, town to town, village to village, in search of the evil that plagues innocent folk.

Though sprinkled with black humour, some of it working effectively, there was just a little too much of the "grotesque witch" for this reviewer, in similar style to that of 1990 feature film "The Witches" (based on the book of the same name by Norwegian-British author Roald Dahl). Personally I have always found evil witches to be more menacing when beautiful, alluring and deadly. Such a shame when you cast Janssen and fail to use her natural beauty in a way that would benefit the movie. The introduction of Pihla Viitala as Mina certainly makes up for this, however.

"Hansel and Gretel" is surprisingly quite gory in places, and violent, especially the scenes featuring Edward the troll (voiced by Robin Atkin Downes but played physically by Derek Mears). There is some fun to be had, though the story's thin plot is difficult to overlook. You do feel as if this movie was simply made for the 3D elements, without thought of what goes beyond that. Yes, the blood splattering and gore will undoubtedly look amazing using the 3D technology, but any film needs to be "story" first, clever visual techniques second.

This isn't a movie that makes you think, nor does it take itself seriously, but perhaps that is the problem - if the script held more depth, characterisation, and a stronger tale, there might just have been a complete change enough for this to be a classic, though it is likely to reach cult status for some. This was not writer and director Wirkola's ambition for the project, however. Clearly this feature was always meant to be a fun fairy tale with plenty of action and horror combined, although praise must be allocated for the former, for there are plenty of cleverly-choreographed scenes featuring Renner and Arterton.

The idea that Hansel and Gretel, both surviving a witch's attempt to kill them as children, grow to become bounty hunters is an interesting one, and there is absolutely nothing wrong with the lead actors, nor are Janssen and Viitala in any way miscast. The CGI and effects are masterfully realised too - "using mostly practical effects, supplemented by computer-generated imagery". Wirkola had even stated, "I’m a big believer in just using CGI to polish what you get on camera. For me that’s the ideal use of CGI".

As expressed earlier in this review, the project "works its magic well", for what is simply an engaging forgettable romp. It certainly isn't the biggest movie of 2013, nor will it make an impact within the film industry, but there is no denying that for over an hour and thirty minutes you will be entertained. Another frustrating point is the use of modern-day spin which, instead of keeping the right amount of atmosphere grounded in a perfect period setting, makes the feature feel mixed and inconsistent. I am not always a fan of movies that use this technique, though there can be exceptions to that rule: Steampunk, when done properly, can be very rewarding; "20,000 Leagues Under the Sea" (penned by French writer Jules Verne and published in 1870) is the perfect example!

Sadly, for me, "Hansel and Gretel" has more in common with 2004 feature "Van Helsing" than anything that will be praised and loved for many years to come. An emotional outing for the siblings might have been a far more embracing tale. However, Wirkola gave not one single moment that justified a tear, warm feeling or anything regarding a serious attempt at exploring how two orphan's lives changed following escape from the witch's gingerbread house and the loss of their parents. With skillful writing and concept, this could have been a trilogy of discovery, redemption and closure...

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Oz: Great and Powerful (2013) - FilmReview

Article author: Alwyn Ash


Taking a look at one of the most eagerly-awaited movies since...

It is not often that a wondrous tale captures the heart so completely; for this reviewer George Lucas' original Star Wars trilogy, JK Rowling's Harry Potter book series, and John Christopher's Tripods tales are some that have been successful, as books/or as films. And, of course, writing something that is either a prequel or sequel to a masterpiece can be a far more risky business, not always claiming the rewards or positive praise expected.

Taking someone else's original vision and giving it your own stamp while at the same time being respectful to the work that gave it birth is difficult too. And when the source material is from the wonderful series of Oz books by American author L. Frank Baum - plus the reputation of a classic 1939 film adaptation - managing any production based on those works will always be an arduous task. However, this is precisely what director Sam Raimi achieves, with a screenplay written by David Lindsay-Abaire and Mitchell Kapner; Disney's "Oz: The Great and Powerful" takes us on a magical journey to discover how the famous Wizard happened to rule the land of Oz in the first place; how he even came to arrive there as, we discover, he was originally a resident of Kansas (just like Dorothy Gale) and went by the name of Oscar Diggs...

Even now, following its release, some of the criticisms surprise me. Justin Chang, of Variety, commenting, "In a real sense, Oz the Great and Powerful has a certain kinship with George Lucas' Star Wars prequels, in the way it presents a beautiful but borderline-sterile digital update of a world that was richer, purer and a lot more fun in lower-tech form. Here, too, the actors often look artificially superimposed against their CG backdrops..." Thankfully he adds, "...the intensity of the fakery generates its own visual fascination".

Mila Kunis as Theodora, a beautiful Good Witch

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There has been much concern regarding the casting, and too-exact comparisons to the beautifully-filmed Judy Garland movie (to be expected, I guess), a musical that also starred Margaret Hamilton as the Wicked Witch of the West. You see why visualising a prequel or sequel has its problems? Had "Oz: The Great and Powerful" been released without the baggage, it would likely have been heralded a major success and unique in its development. Critics would have still circled the production like hungry vultures, I am sure, but its superior storytelling and cinematic greatness could not have been denied by the majority.

Additionally, due to legal issues, several iconic devices that featured in the MGM film could not be redeployed for this movie - specifically the ruby slippers (in the novel however they were described as "Silver Shoes" anyway, only introduced in the 1939 movie as "ruby" to take advantage of the new Technicolor film process), the shade of green for the Wicked Witch's skin, the chin mole that became so iconic of Margaret Hamilton's physical appearance...

Personally, I was mesmerized by the visuals in Sam Raimi's prequel as we came to explore Oz itself. As for the black and white opening sequences featuring Oscar Diggs (played by James Franco) working as a small-time magician in a traveling circus, what a wonderful and pleasing treatment with a firm nod to its 1939 counterpart. His flirtatious ways, which are responsible for him escaping the wrath of an angry husband in Kansas, resurface in Oz when he encounters both Theodora (Mila Kunis) and Evanora (Rachel Weisz) - a broken heart can be most painful, and Oscar's own lack of compassion leads to tragic consequences. Throughout the tale we accompany a man who lives through deceit, though his eventual heroism comes about thanks to this usually negative trait. Still, one cannot help but feel some sympathy for one of the Oz residents...

Further criticism has been targeted at Oz's companions Finley (the winged monkey voiced by the talented Zach Braff) and China Girl (voice provided by the beautiful Joey King), a living china doll who accompanies Oz after her home is attacked and laid to waste. The argument for this criticism: that these characters aren't as strongly developed as those who accompanied Dorothy in the original 1939 outing? However, aren't these critics aware that L. Frank Baum's land of Oz was not defined just by "The Wonderful Wizard of Oz", the book from which director Victor Fleming's motion picture was adapted? I am not a "fan" of the novels, so my knowledge isn't vast, but even I am aware that there were many characters invented and introduced during the book series. Besides, in my opinion Finley makes a nice light-hearted addition to the piece, and who cannot help but take China Girl to their heart?

I have had the pleasure of enjoying performances from both Rachel Weisz and James Franco in previous movies - "The Mummy" (1999) and "Rise of the Planet of the Apes" (2011) being my favourites - but I cannot praise Mila Kunis and Michelle Williams enough, whose acting I have never seen until now, for their pleasurable touches as Theodora and Glinda. Again, there have been negative reviews, especially regarding the former, but it was Kunis who had this reviewer smiling in the most positive way possible: a delightful magical lady portraying an equally magical character. I fell in love with Theodora's naivety and beauty, her caring nature, even her dress sense needed a world of its own. And those tears...

It is not often that I say this, regardless of the movie, but "Oz: The Great and Powerful" is one experience I wish to add to my blu-ray collection upon its release. Oz is quite simply one of the most bewitching lands in fiction.

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Cockneys vs. Zombies (2012) - FilmReview

Artile author: Alwyn Ash


Doctor Who fans will appreciate the connection between Planet of the Dead and Cockneys...

Shaun of the Dead (2004) and Zombieland (2009) are the two lead films that I would say had managed to take the zombie franchise and really do something new with it, make us laugh and show that there is still plenty of life in these kind of movies if they are approached correctly. This is exactly where 2012 hit Cockneys vs. Zombies fits in, a tale of inexperienced bank robbers who are caught in the middle of a zombie holocaust in London.

Of course we are on the side of these criminals from the start, as their schemes are put into action to prevent a retirement home from being demolished by developers. Sweet. With a cast including Michelle Ryan, Honor Blackman, Harry Treadaway, Richard Briers, and Alan Ford, there is much to admire about this outing for the flesh-eating walkers.

And I might as well focus on Ryan's performance first: what a treat to see this young talented actress in something that deserves her presence, as Katy, one of the robbers and a character who will have you smiling. Not only is she a tough act, but Doctor Who fans will appreciate the connection between Planet of the Dead and Cockneys... Not only is she clad in black gear, again, but watch out for a double-decker London bus! You will also be interested to know that the screenplay is written by James Moran and Lucas Roche - Moran wrote the 2008 Doctor Who story The Fires of Pompeii and contributed as writer to other shows including Primeval and Torchwood. He will also be linked to next year's Silent Night of the Living Dead feature starring horror legend Tom Savini.

For me, seeing a gang of pensioners holding off against a horde of zombies is worthy alone of the comedy tag - even more so when you see just what they are capable of when faced with almost impossible odds, led by Ford's Ray Maguire (Lock, Stock and Two Smoking Barrels and Snatch).

One reviewer had said "Cockneys vs Zombies won’t win prizes for originality. It’s very nearly a remake of Shaun Of The Dead", however I disagree - yes, there are similarities but where in Shaun did we see OAPs battling it out with zombies using bad language and a holdall of guns? German director Matthias Hoene manages to balance out both horror and comedy to full affect, giving us a bunch of people who, in the ordinary world, have never amounted to much and yet brave an outbreak...

The zombies are played straight, which allows the human characters to achieve their mishaps with even greater impact and the comic timing is set just perfectly in a script that simply shouldn't have worked at all. The very title "Cockneys vs. Zombies" makes you think of a low-budget affair, something that a group of college students might have whipped up in their spare time. And yet, this is one film that shoots a spectacular goal. Talking of which, even in death there is rivalry between football fans - as two gangs of zombies face up!

Subtlety is certainly missing from this feature, and there is enough gore to shock those who are not used to zombie flicks. For me personally, actor Briers (yes, another Doctor Who connection - 1987's Paradise Towers) is fabulous, as he tries to out-walk zombies using his Zimmer frame, and later when he straps an Uzi to the Zimmer and joins in with the battle against the brainless walking dead...

If you are looking for something to join your Shaun and Zombieland movie collection then Cockneys is the perfect treat.

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The Amazing Spider-man - FilmReview

Article author: Alwyn Ash


Director spins a Webb that surpasses previous installments...

If you felt that James Vanderbilt's story of the famous Marvel Comics character had come too soon after Sam Raimi's trilogy then you are not alone. I, too, had been deeply concerned by the reboot tag. Why a reboot and not a sequel? However, my viewpoint has changed somewhat after watching Andrew Garfield in action as teenager Peter Parker/Spider-man. Though Tobey Maguire's performance set a benchmark for the webbed superhero - I had always been a fan of Nicholas Hammond, and The Amazing Spider-Man television series which ran for two seasons from 1977-79 - in film, Garfield's handling of the role has gained him far more points in my opinion. And although the chemistry between Maquire and Kirsten Dunst as high school crush Mary Jane Watson was a delight to watch, there is no doubting the far superior chemistry between Garfield and co-star Emma Stone as Gwen Stacy.

And so to the plot: this is probably where I feel a "reboot" wasn't particularly necessary. Except for the look into Peter Parker's history, and his parents, the spider bite is still there, obviously, and the teenager's realisation that he has undergone a DNA "change". However, Dr. Curt Connors (Rhys Ifans) and his Lizard alter-ego could have sat quite easily in a Spider-Man 4 feature.

The special effects are simply superb, though the Lizard doesn't really make much of an impact as a super-villain. I guess full credit for this movie must be given to Garfield, who's character is seen as a geek, bullied and never truly fitting in. The death sequence of Uncle Ben (played here by Martin Sheen) is beautifully and painfully told, as is Peter's relationship with his Aunt May (Sally Field) throughout the film. There is warmth and positive direction in a feature that could have gone so badly wrong. The decision to reboot was explained too, with director Marc Webb decribing this new outing by saying "we're not making Sam's movie again. It's a different universe and a different story with different characters."

At the heart of the tale we have a boy learning to become a man while at the same time coming to terms with his new abilities. And, as with previous stories in this franchise, his love for the girl who catches his eye, in this case high school classmate Stacy. The Amazing Spider-man does feel more grounded than Raimi's vision, though perhaps its conclusion fails to satisy completely.

I have always stated that I am no comic book fan, and so these cinematic productions are my main glimpse into the worlds of Marvel and DC Comics. Perhaps fans will have felt more excitement by the Lizard's inclusion - Dr Curtis "Curt" Connors had featured in Raimi's Spider-man (in brief mention only), Spider-Man 2 and Spider-Man 3, and had been played by actor Dylan Baker, though there was no transformation into his alter-ego - but for this reviewer there was something lacking in the villain role this time around.

I have to pay tribute to James Horner's score for the film, which was simply wonderful throughout and embraced the emotional string just that little bit tighter.

The simple question is, does The Amazing Spider-man stand up boldly and proudly next to the success that was Batman Begins or sit in shame with Superman Returns? With a sequel already coming our way, the former is likely. Though how long this franchise can be sustained with Garfield in the lead role is unknown.

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