Author: Alton Williams

  • DVD Review: Puppet Master – Axis Of Evil

    DVD Review: Puppet Master - Axis Of Evil

    After a young man accidentally inherits a collection of creepy puppets from an old man, he stumbles into an allegedly intriguing plot by Nazi and Japanese agents to blow up a munitions plant in America. Luckily for him, the aforementioned puppets can come to life, and so decides to use them to foil the villainous plot. Rather than – you know – alert the authorities…
    Axis Of Evil has the dubious honour of being the 10th(!) instalment in the Puppet Master series. If it’s one of the better ones then, well, god help us all.

    Kicking off in 1939, with the US Army inexplicably shipping out to Europe and Asia (despite the attack on Pearl Harbour not occurring until 1941), young Danny (Levi Fiehler) is mortified that his gammy leg is stopping him from going to war. However, once an old man called Toulon kills himself to avoid being hunted down by two Nazi spies, Danny finds his case of puppets. Soon enough Danny discovers a formula in the case that causes the puppets to come to life, and embarks on his mission to defeat the same curiously American-sounding Nazis and a Japanese co-conspiritor.

    One would imagine that the creepy puppets would be the baddies, but obviously the Nazis are wearing the black hats in this one. The marionettes basically become the good guys, and what at first seems to be a horror film mutates into a boring spy ‘thriller’, that just happens to have sentient puppets running around it.

    The puppets themselves are suitably freaky looking, but look like they’re being played with by toddlers. While it’s nice to see practical props being used over any CGI, the puppets in Team America moved more convincingly. Add to this a director who over-cooks tension until it’s burnt to a crisp and there is very little to recommend here. Not even a few good splattery kills for gore-hounds, despite the fact that one of the puppets has a drill bit sticking out of his head.

    Maybe fans of the rest of the series will get a kick out of it. But probably not.

    © BRWC 2010.

  • The Other Superheroes: Teenage Mutant Ninja Turtles

    Whenever I think of superheroes that don’t get enough praise and attention, I think of the Teenage Mutant Ninja Turtles. A lot of people I know would say “But they aren’t superheroes! they’re mutant turtles who know martial arts. They don’t have super powers!”. Well Batman doesn’t have any powers, yet he’s one of the most iconic superheroes ever.
    Various comic book stars are ninjas and they can be considered superheroes. The X-Men are mutants, and they’re superheroes. And tons of teenagers have been putting on their capes and masks lately. So there we are, they’re teenagers, they’re mutants, they know the way of the ninja, and they’re turtles.


    And, not to mention, adorable at times.

    I remember absolutely adoring this movie as a child. Watching it now, as an adult, I notice things that I didn’t see before. The plot is highly intriguing to me, and it can even be quite emotional at times. The scene where the Turtles lose Splinter and go to April’s home surprised me, even today, with how the Turtles show their sadness in such a human way. Splinter himself is also quite interesting to watch. He may be a mutated rat, but he seems like the wisest being and most caring individual to the Turtles. He’s quite the Yoda to their Luke Skywalker.

    The film, in my eyes, is a great comic book adaption. It captured the look and feel of TMNT and I had no trouble suspending my disbelief. What made it great was the amazing work done by Jim Henson and his Creature Shop. It’s no wonder why most people were disappointed that the more recent TMNT film was full CG. To watch the Turtles express themselves, talk, laugh, fight, and just interact is enough to watch the movie for. The fact that the story itself is entertaining is like a cherry on top of this pizza sundae (may not taste good but I have a quota for pizza jokes).

    Donatello and Michelangelo, waiting for what they crave: Pizza. We have all done this.

    The Turtles aren’t the only ones in this movie, though. We have April O’Neil played by Judith Hoag, who I don’t feel was very suited to the role, but interacted with the rest of the characters well enough. Then we have one of my favorites, Casey Jones, surprisingly played by Elias Koteas. I love Koteas, and seeing him in a young tough guy role straight out of a comic book is pretty funny, but he does it well. 


    I don’t think I’d want to see anyone else play that role. The scenes where he trades insults with the Turtles are a great laugh, and it’s good to see a vigilante who wears a goalie mask fight with sports equipment. I’d normally have to pay hard cash and go to some shady warehouse to see something like that, or just watch a game of Hockey. On the opposite side of the good guys, however, is Shredder, his right hand man Tatsu, and his Foot Clan. A nasty bunch who you really really REALLY do not want to bump into in a dark alley. Or a bright alley. Or anywhere, now that I think about it.

    The Shredder, Tatsu, and the oddly named Foot clan. Don’t ask about the can opener helmet.

    The story of the movie is that crime has been going up in the city. Thefts, muggings, and other devious behaviour is everywhere. April O’Neil seems to be the only one who is trying to bring the people behind it, the Foot Clan, to the attention of others. The Foot Clan is not alone however, as they’ve begun employing various rebelious teenagers (possibly the only bad thing about the movie) and turning them into criminals. Luckily, we have Turtles around to help people when in need. With Splinter’s guidance and wisdom, they do there very best to prove that they are ready to go out and do good.

    The film was directed by Steve Barron, known for various music videos and the very entertaining mini-series such as Merlin and Arabian Nights. The music suits the film perfectly, having an odd but very pop music style feel for the time it was made. The writing is good, at times a bit too much like a story from a comic book, but nothing to complain about. As I mentioned earlier, the film looks great, and to this day it looks good enough to go up with modern movies. It really makes me wish movies would use less CG and more models and animatronics. Hopefully we’ll see that if they ever make another TMNT film, which rumors say will be happening. Warning: may involve Michael Bay. Sorry to ruin your day.

    Donatello, Raphael, Michelangelo, and Leonardo aren’t happy about that, either.

    If you haven’t given the film a watch, but you’re a fan of comedy, action, ninjas, comic books, mutants, turtles, or pizza, give the film a watch. You’ll be satisfied with it. It’ll leave you with a really happy feeling as the Turtles themselves really connect better with the audience than one would imagine. One scene that stuck out for me was a very sad and emotional scene where the Turtles sat around a fire and received a message from Splinter, the one person who means everything to them, who taught them, cared for them, loved them, and became their father. If that scene doesn’t make you feel something for these Teenage Mutant Ninja Turtles, I don’t know what will.

    This review brought to you by Pizza. Glorious, glorious Pizza.

    © BRWC 2010.

  • Film Review with Robert Mann – Confessions

    Confessions *****

    Best known for his critically acclaimed films Kamikaze Girls and Memories of Matsuko, Japanese writer and director Tetsuya Nakashima has developed a reputation for creating surreal candy-coloured worlds full of chaos and confusion in his films. However, the latest effort from the genre-busting auteur is a very different animal to the filmmaker’s past works, being a considerably darker but no less chaotic piece of work.

    Based on the award winning debut novel by Kanae Minato, Confessions – which is both written and directed by Nakashima – sees the director reign in his impulse for more colourful visuals to deliver a film that is no less impressive in the visuals department but more driven by darker imagery and intense drama. Very different to the filmmakers’ other films it may be but it is not less critically acclaimed and has, in fact, attracted so much acclaim that it has been selected as Japan’s official entry in the Best Foreign Film category of the 83rd Annual Academy Awards (for which the full list of nominees will be announced on 25th January) and has been nominated for Best Film at the 34th Japan Academy Prize (Japan’s equivalent to the Oscars). The film also received a hugely positive reception when it received its UK premiere screening at last year’s Film4 Frightfest All-Nighter, held last October in London’s Empire Cinema. With such acclaim having already preceded it and the film also receiving a fair amount of awards attention, you would definitely expect Confessions to be something quite special and that it truly is.

    Yuko Moriguchi (Takako Matsu) is a middle-school teacher who is struggling to cope with life after her four year old daughter has been found dead. While the death has been ruled to be an accident, though, the teacher knows otherwise. Her daughter was murdered and the two murderers are students in her class. No one believes her claims, of course, but this doesn’t stop her from waging all out psychological warfare on those she knows to be responsible – Shuya Watanabe (Yukito Nishii), a troubled individual whose desire for reconciliation with the mother who abandoned him as a child is driving him to commit increasingly sadistic acts, and Naoki Shimomura (Kaoru Fujiwara), an unwitting accomplice who turns out to be far more guilty than the mastermind behind the murder himself. What she doesn’t count on, however, is the long term ramifications that has her quest for revenge will have, the repercussions of the one evil act by the two boys being far reaching and many, affecting the lives of many including another fellow student, Mizuki Kitahara (Ai Hashimoto) and Naoki’s mother Yuko Shimomura (Yoshino Kimura), who is finding herself tested to the limit by the erratic and self destructive behaviour of her now traumatised son and blames his teacher for everything that has happened.. Through the personal confessions of Miss Moriguchi, Mitzuki, Miss Shimomura, Shuya and Naoki, the true effects of one evil act begin to reveal themselves, highlighting an entire world that is troubled and just how hard life really is for everyone involved.

    In virtually respect, Confessions is a perfectly made film. For a film where plotting is so essential, the writing never fails once, with Nakashima delivering a completely unpredictable storyline that is packed full of real surprises and genuinely shocking developments that you definitely won’t see coming, and building up to a climax that that really won’t let you down. Dealing with some very disturbing themes in a very sensitive manner, Nakashima also offers an in depth exploration of the repercussions of the actions of a few individuals and also the burdens that can come with being a teacher to troubled students and goes far deeper than you might expect based on the premise, explaining the motivations of the characters in tremendous detail. The characters are all broken and fractured in some way and even as they commit or plan to commit horrific atrocities we are still able to view them as human beings with living relatable motivations than rather than evil incarnate. They all have multiple levels, none of them necessarily being all bad but certainly not being all good either, rather just shades of grey that can’t really be classified either way. This, combined with acting that is excellent across the board – the way Takako Matsu depicts her character calmly rather than aggressively going about enacting her vengeance is particularly effective – makes for interesting, completely three dimensional characters who manage to be relatable even when they are doing things that are very hard to relate to. A relationship that develops between Shuya and Mitzuki, while seeming rather twisted, actually proves quite convincing, two individuals who feel out of place in the world seemingly finding one another, or so it appears for a while, the ultimate outcome of their relationship being a tragic one. The way the perspectives of different characters intersect with one another is magnificent and the way Nakashima integrates a variety of dialogue styles – the dialogue being very poignant and memorable – is also very effective. An interesting story told in a different and fresh storytelling style, the approach of telling the story through a series of confessions works extremely well, with the slightly non linear (events are mostly in chronological order but it doesn’t entirely play out that way) storytelling format makes for an altogether more interesting film overall. And the level of honesty on display makes this a film that has much to say about the world we live in and the pressures of modern society, dealing with some really serious issues that really do apply to the world we live in. This is also a film that really screws with your head, playing with our minds just like the teacher plays with the minds of her students, and one that doesn’t necessarily give you all the answer you’re looking for, encouraging you to think about what is going on. Often tragic and sometimes heartbreaking – a statement that is particularly true of the scene where Miss Moriguchi recalls the circumstances surrounding her daughter’s death, the whole thing is very tense and poignant and the way Nakashima builds up tension is masterful, this being a very unnerving film to watch, even though I should make it clear that is in no way a horror film, rather a psychological drama.

    It isn’t just the writing that is excellent, either, but the visuals as well. This film boasts some of the most original and innovative camerawork I have seen in a long while. The cinematography is stunning, the camera work stylish and the editing excellent, and the shots achieved being simultaneously beautiful and haunting, whether they be elaborate – shots that depict the students running about portray a sense of silent menace while the killing scenes depict the full horror of the events and portray the harsh and brutal truth without feeling the need to portray anything in graphic detail, Nakashima avoiding needless gory detail in its depictions of killings in progress – or simple – reflections in mirrors on street make a change to normal walking shots while a shot showing rain falling on a railing is vividly captured. The darkened visuals – unlike Nakashima’s past works, the visuals here are not very colourful – give the film a very bold look and all the shots manage to look vibrant and be extremely memorable. Nakashima uses all the filmmaking tools at his disposal to deliver something that is really quite spectacular and this also includes great use of sound. In scene sound is captured perfectly while a soundtrack that includes tracks by Radiohead, acclaimed Japanese experimental rock band, Boris, and this year’s Mercury Prize winner, The XX is perfectly pitched. The chosen songs and the hauntingly beautiful musical scoring all perfectly convey and emphasise the moods and tones being portrayed in the images on screen. So, Confessions is a work of masterful psychological tension from start to finish that makes for a very chilling and unnerving viewing experience but also one that is very rewarding. A very dark and sinister but also haunting and beautiful film that delivers a very different and unique take on the revenge movie – unique being a word that applies to this film in a big way – it isn’t hard to see why this film has been chosen for submission to the Oscars and this film definitely has what it takes to win.

    Confessions opens at selected cinemas in the UK on 18th February 2011.

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    Review by Robert Mann BA (Hons)

    © BRWC 2010.

  • BAFTA Nominations Seem To Have Popped Up

    Whether your a fan of awards, devotedly following all those nominated to keep up to date with the films that are considered the best of the crop or if you don’t give a toss, we are now into award season.


    Here are the BAFTA nominations!


    BEST FILM
    BLACK SWAN
    INCEPTION
    THE KING’S SPEECH
    THE SOCIAL NETWORK
    TRUE GRIT
    OUTSTANDING BRITISH FILM
    127 HOURS
    ANOTHER YEAR
    FOUR LIONS
    THE KING’S SPEECH
    MADE IN DAGENHAM
    OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCER
    THE ARBOR Clio – Barnard (Director), Tracy O’Riordan (Producer)
    EXIT THROUGH THE GIFT SHOP – Banksy (Director), Jaimie D’Cruz (Producer)
    FOUR LIONS – Chris Morris (Director/Writer)
    MONSTERS – Gareth Edwards (Director/Writer)
    SKELETONS – Nick Whitfield (Director/Writer)
    DIRECTOR
    127 HOURS – Danny Boyle
    BLACK SWAN – Darren Aronofsky
    INCEPTION – Christopher Nolan
    THE KING’S SPEECH – Tom Hooper
    THE SOCIAL NETWORK – David Fincher
    ORIGINAL SCREENPLAY
    BLACK SWAN – Mark Heyman, Andrés Heinz, John McLaughlin
    THE FIGHTER – Scott Silver, Paul Tamasy, Eric Johnson
    INCEPTION – Christopher Nolan
    THE KIDS ARE ALL RIGHT – Lisa Cholodenko, Stuart Blumberg
    THE KING’S SPEECH – David Seidler
    ADAPTED SCREENPLAY
    127 HOURS – Danny Boyle, Simon Beaufoy
    THE GIRL WITH THE DRAGON TATTOO – Rasmus Heisterberg, Nikolaj Arcel
    THE SOCIAL NETWORK – Aaron Sorkin
    TOY STORY 3 – Michael Arndt
    TRUE GRIT – Joel Coen, Ethan Coen

    FILM NOT IN THE ENGLISH LANGUAGE

    BIUTIFUL – Alejandro González Iñárritu, Jon Kilik, Fernando Bovaira
    THE GIRL WITH THE DRAGON TATTOO – Søren Stærmose, Niels Arden Oplev
    I AM LOVE – Luca Guadagnino, Francesco Melzi D’Eril, Marco Morabito, Massimiliano Violante
    OF GODS AND MEN – Xavier Beauvois
    THE SECRET IN THEIR EYES – Mariela Besuievsky, Juan José Campanella
    ANIMATED FILM
    DESPICABLE ME – Chris Renaud, Pierre Coffin
    HOW TO TRAIN YOUR DRAGON – Chris Sanders, Dean DeBlois
    TOY STORY 3 – Lee Unkrich
    LEADING ACTOR
    JAVIER BARDEM – Biutiful
    JEFF BRIDGES – True Grit
    JESSE EISENBERG – The Social Network
    COLIN FIRTH – The King’s Speech
    JAMES FRANCO – 127 Hours

    LEADING ACTRESS

    ANNETTE BENING – The Kids Are All Right
    JULIANNE MOORE – The Kids Are All Right
    NATALIE PORTMAN – Black Swan
    NOOMI RAPACE – The Girl with the Dragon Tattoo
    HAILEE STEINFELD – True Grit

    SUPPORTING ACTOR

    CHRISTIAN BALE – The Fighter
    ANDREW GARFIELD – The Social Network
    PETE POSTLETHWAITE – The Town
    MARK RUFFALO – The Kids Are All Right
    GEOFFREY RUSH – The King’s Speech
    SUPPORTING ACTRESS
    AMY ADAMS – The Fighter
    HELENA BONHAM CARTER – The King’s Speech
    BARBARA HERSHEY – Black Swan
    LESLEY MANVILLE – Another Year
    MIRANDA RICHARDSON – Made in Dagenham

    ORIGINAL MUSIC

    127 HOURS – AR Rahman
    ALICE IN WONDERLAND – Danny Elfman
    HOW TO TRAIN YOUR DRAGON – John Powell
    INCEPTION – Hans Zimmer
    THE KING’S SPEECH – Alexandre Desplat

    CINEMATOGRAPHY

    127 HOURS – Anthony Dod Mantle, Enrique Chediak
    BLACK SWAN – Matthew Libatique
    INCEPTION – Wally Pfister
    THE KING’S SPEECH – Danny Cohen
    TRUE GRIT – Roger Deakins
    EDITING
    127 HOURS – Jon Harris
    BLACK SWAN – Andrew Weisblum
    INCEPTION – Lee Smith
    THE KING’S SPEECH – Tariq Anwar
    THE SOCIAL NETWORK – Angus Wall, Kirk Baxter

    PRODUCTION DESIGN

    ALICE IN WONDERLAND – Robert Stromberg, Karen O’Hara
    BLACK SWAN – Thérèse DePrez, Tora Peterson
    INCEPTION – Guy Hendrix Dyas, Larry Dias, Doug Mowat
    THE KING’S SPEECH – Eve Stewart, Judy Farr
    TRUE GRIT – Jess Gonchor, Nancy Haigh
    COSTUME DESIGN
    ALICE IN WONDERLAND – Colleen Atwood
    BLACK SWAN – Amy Westcott
    THE KING’S SPEECH- Jenny Beavan
    MADE IN DAGENHAM – Louise Stjernsward
    TRUE GRIT – Mary Zophres
    SOUND
    127 HOURS – Glenn Freemantle, Ian Tapp, Richard Pryke, Steven C Laneri, Douglas Cameron
    BLACK SWAN – Ken Ishii, Craig Henighan, Dominick Tavella
    INCEPTION – Richard King, Lora Hirschberg, Gary A Rizzo, Ed Novick
    THE KING’S SPEECH – John Midgley, Lee Walpole, Paul Hamblin
    TRUE GRIT – Skip Lievsay, Craig Berkey, Greg Orloff, Peter F Kurland, Douglas Axtell

    SPECIAL VISUAL EFFECTS

    ALICE IN WONDERLAND – Nominees TBC
    BLACK SWAN – Dan Schrecker
    HARRY POTTER AND THE DEATHLY HALLOWS PART 1 – Tim Burke, John Richardson, Nicolas Ait’Hadi, Christian Manz
    INCEPTION – Chris Corbould, Paul Franklin, Andrew Lockley, Peter Bebb
    TOY STORY 3 – Nominees TBC

    MAKE UP & HAIR

    ALICE IN WONDERLAND – Nominees TBC
    BLACK SWAN – Judy Chin, Geordie Sheffer
    HARRY POTTER AND THE DEATHLY HALLOWS PART 1 – Amanda Knight, Lisa Tomblin
    THE KING’S SPEECH – Frances Hannon
    MADE IN DAGENHAM – Lizzie Yianni Georgiou
    SHORT ANIMATION
    THE EAGLEMAN STAG – Michael Please
    MATTER FISHER – David Prosser
    THURSDAY – Matthias Hoegg

    SHORT FILM

    CONNECT – Samuel Abrahams, Beau Gordon
    LIN – Piers Thompson, Simon Hessel
    RITE – Michael Pearce, Ross McKenzie
    TURNING – Karni Arieli, Saul Freed, Alison Sterling, Kat Armour-Brown
    UNTIL THE RIVER RUNS RED – Paul Wright, Poss Kondeatis
    THE ORANGE WEDNESDAYS RISING STAR AWARD
    (voted for by the public)
    GEMMA ARTERTON
    ANDREW GARFIELD
    TOM HARDY
    AARON JOHNSON
    EMMA STONE

    © BRWC 2010.

  • Golden Globes: 2011 Winners (Film)

    Golden Globes: 2011 Winners (Film)


    Here are the winners, if you interested…Best film (drama)

    The Social Network


    Best film (musical or comedy)

    The Kids are All Right

    Best director

    David Fincher – The Social Network

    Best actor (drama)

    Colin Firth – The King’s Speech

    Best actress (drama)

    Natalie Portman – Black Swan

    Best actor (musical or comedy)

    Paul Giamatti – Barney’s Version

    Best actress (musical or comedy)

    Annette Bening – The Kids are All Right

    Best supporting actor

    Christian Bale – The Fighter

    Best supporting actress

    Melissa Leo – The Fighter

    Best foreign language film

    In a Better World – Denmark

    Best animated feature film

    Toy Story 3

    Best screenplay

    Aaron Sorkin – The Social Network

    Best original song

    You Haven’t Seen the Last of Me – Burlesque: music and lyrics by Diane Warren

    Best original score

    Trent Reznor and Atticus Ross – The Social Network

    © BRWC 2010.