Author: Alton Williams

  • The Week in Film by Robert Mann – Week Starting 19/6/09

    Transformers: Revenge of the Fallen *****

    In 2007 director Michael Bay unleashed the Transformers in all their CGI glory onto the big screen for the first time. Finding its inspiration in the toy line (and other subsequent spin-offs, e.g. comics and an animated TV series) of the same name, it hardly seemed like the kind of film that would really stand out for moviegoers, after all, a film based on a range of toys doesn’t necessarily sound like a recipe for success. This critic in particular was extremely apprehensive about it when the project was first announced. How wrong I was. Combining some of the most impressive visual effects ever seen with rip-roaring action sequences, witty humour and an impressive cast consisting of both established actors and up-and-coming stars, Transformers proved to be the perfect embodiment of everything you could hope for from a popcorn blockbuster and, consequently, it became one of 2007’s most successful movies at the box office, paving the way for the inevitable sequel. Now, two years later, it is upon us in the form of Transformers: Revenge of the Fallen, which has become one of 2009’s most eagerly anticipated blockbusters. Bay has promised a movie packed with even more robots, lots more action and more eye candy courtesy of Megan Fox and, judging by the trailers it appears to fully deliver on this promise. But does the film itself deliver on the promise of these trailers and, in the grand tradition of second movies is it an improvement upon its predecessor or just more of the same name?

    Several years have passed since the war between the Autobots and the Decepticons first found its way to Earth. Since then the organisation known as Sector 7 has been disbanded, forcing Agent Simmons (John Turturro) to go underground, and a new organisation known as NEST has been created, uniting the Autobots with the US military, including Captain Lennox (Josh Duhamel) and Sergeant Epps (Tyrese Gibson), in hunting down Decepticons who are still hiding out on Earth. Megatron (voiced by Hugo Weaving) is lying dormant at the bottom of the ocean under permanent guard and the last piece of the Allspark, the source the gives the Transformers life, is under safeguard. Meanwhile, Sam Witwicky (Shia Labeouf) is trying to live a normal life and is heading off to college. Despite the distance between them Sam is determined to keep his relationship with Mikaela Barnes (Megan Fox) going, as their relationship seems to be going to a whole new level. Sam’s attempts to lead a normal life seem in vain, however, as he once again becomes the centre of the war between the Autobots and the Decepticons when he accidentally learns the ancient origins of the Transformer race. Becoming the target of the Decepticons, who want the knowledge he now possesses, Sam must follow the clues as he tries to unlock the secrets buried within his mind. And time is of the essence as the Decepticons revive Megatron, who in turn sets about bringing forth the revival of The Fallen (voiced by Tony Todd), the most powerful Decepticon in existence who is determined to wipe out the entire planet. All that stands between the Decepticons and Sam is the Autobots, under the leadership of Optimus Prime (voiced by Peter Cullen) and tragic circumstances in store threaten their very existence, with the future of the entire of the human race left in the hands of Sam. With the help of Mikaela, Simmons, Lennox and Epps Sam must follow the clues before all hope is lost.

    As you would expect from a Transformers movie (or any movie directed by Michael Bay for that matter) Revenge of the Fallen is hardly a masterpiece of filmmaking. But, it doesn’t try to be nor does it pretend to be. This is a film that isn’t ashamed to be just pure entertainment that doesn’t require much work on the part of the audience to appreciate it and this is why the film works so well as a popcorn blockbuster. Rather than trying to add subtext to create a film that is thought provoking as well as entertaining Bay just delivers what viewers want from a film such as this and the film delivers on everything that he promises. There are loads more robots than the first film. There is much more action and even more explosions. And there is lots more Megan Fox too. And, of course, there is also the humour that helped to make the first film such a crowd pleaser. This film also has a darker streak, however, something that helps to distinguish it somewhat from its predecessor. As with the first film the biggest triumph is of course the visual effects. Once again the effects are amazing with the film showcasing some of the most photo realistic CGI even seen on the big screen. Not only that but the interaction between real actors and environments and the virtual creations are virtually seamless, which serves to heighten the realism further. Frankly, we have come to expect nothing less from the visual effects wizards at Industrial Light & Magic. The spectacle that this film offers doesn’t just come courtesy of the effects though but also the locations. Whereas the first film was set predominantly in the vicinity of Los Angeles, this time around there is a much more global feel with a genuine sense that the world as a whole is under threat. As well as numerous locations in America, Shanghai and Egypt both feature prominently and the apparent use of real locations, as opposed to digitally created recreations, also serves to heighten the realism of everything that happens. The action sequences that are created against these backdrops are breathtaking and in line with the seamless real-virtual interaction it really seems as if Shanghai and the Pyramids are being decimated by the Transformers. The action delivers all the thrills you could want, many of the sequences completely outdoing those from the first film. The only gripe is that the final battle between Optimus Prime and The Fallen does feel a tad anticlimactic considering the build up but this doesn’t diminish the sheer entertainment value of the film as a whole. Another element from the first film that is carried over is, of course, the humour and, for the most part, it is witty and well executed. There are a few gags which some may consider in slightly bad taste but these are few and far between. With a few exceptions most of the gags don’t get in the way of the film’s darker, more serious elements, with the light and dark working together quite well for the most part. Much of this can be attributed to the script by Roberto Orci, Alex Kurtzman (both of whom scripted the recent Star Trek movie) and Ehren Kruger, which blends together all the elements pretty well.

    As far as the cast are concerned, while the film hardly offers a master-class in acting, all the returning principal cast members are still very good in their roles, delivering performances that may not win them any awards but are still very good on their own terms. Since appearing in the first Transformers movie Shia Labeouf has become a big name in his own right and here he shows why he deserves his success. His performance of a teenager turning into adulthood who wants to live a normal life but constantly finds himself thrust into the middle of the war between the Autobots and the Decepticons is convincing and likable and he proves adept at all sides of his character’s personality, being witty at times but deadly serious at others. He also shares a believable and likable romantic chemistry with co-star Megan Fox (who has also become a big name since appearing in the first film) and their somewhat strained and troubled relationship rings true and works well against the backdrop of everything that is going on around them. Much has been made of Megan Fox’s presence serving as eye candy and while this is certainly prominent her role in the film is far more than just for her looks. She is actually pretty good as the heroine and romantic lead role and while much talk will be made of her with regard to her eye candy role she deserves far more recognition than that. Also returning from the first film is John Turturro, who once again delivers an amusing performance as the (now unemployed) agent from Sector 7, as well as Josh Duhamel and Tyrese Gibson, both of whom don’t get a lot of screen time this time round with the younger actors getting a lot of the attention. The vocal cast behind the Transformers is also of a good standard with the principal actors from the first film being joined by a range of different actors who really help to give the different Transformers distinct personalities, helped slightly, of course, by terrific work from the digital animators who created the characters. All in all, Transformers: Revenge of the Fallen follows in the footsteps of its predecessor in being a (near) perfect popcorn movie. It features all the crucial elements that made up a crowd pleasing blockbuster and, at 2 hours and 30 minutes long (clearly the idea of a short movie is an alien concept to Michael Bay) you get real value for the price of your cinema ticket. Sure, it isn’t a masterpiece and it won’t transform your life but if all you want from a movie is to be entertained this is a film that will do just that. Is it better than the first film? Not quite but it does deliver more of the same, essentially matching its predecessor for quality, and this is all that is necessary from it.

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    Review by Robert Mann BA (Hons)

    © BRWC 2010.

  • Action Force Trailer


    Action Force Trailer

    Action Force, G.I. Joe: The Rise Of Cobra, whatever…

    © BRWC 2010.

  • Lovely By Surprise

    I’ve been emailed by someone called Ben. He sent me bits and pieces about a award-winning feature, Lovely By Surprise. It’s being released on DVD at the end of this month.

    There are four clips, plus the trailer, on the Vimeo channel.
    The official release is July 7, by the way.

    Here is an excerpt from the press release:

    Winner of the Special Jury Prize at Seattle International Film Festival, and the New Filmmakers Forum Award at St. Louis International Film Festival, Lovely By Surprise established itself as a cinemagoers favorite.

    Leading a true ensemble cast, Carrie Preston turns in a moving performance as Marian; while Austin Pendleton, playing her literary mentor/ex-lover, and his wife, played by Kate Burton, try to keep Marian from falling apart before finishing her first novel.

    In the second of three interwoven threads, Richard Masur does his best to buttress a bereft Reg Rogers, until Michael Chernus and Dallas Roberts literally escape from Marian’s developing manuscript to emerge in the “real” world.

    Shot by Steve Yedlin and amplified by the astral sounds of Shelby Bryant, with songs by the visionary Stephin Merritt, Gunn’s film displays a beautiful palate while remaining a defiantly independent labor of love featuring cameo performances from legendary members of the Memphis arts scene, with Tom Waits performing the closing song.

    Lastly, I’m attaching a pic that we haven’t released to anybody. Taken by Trey Clark, it is of Carrie Preston (Marian) and Dallas Roberts (Mopekey).


    © BRWC 2010.

  • Mission Impossible 4

    Not sure if this is old or new news? but I heard about on the E! News today and thought it might interest some people.

    If you are a fan of Mission Impossible you will be pleased to hear that a 4th film is being made and all the rumours seem to state that it will be co-produced by JJ Abrams and Tom Cruise and Tom will star again. Greenlit for a 2011 release if possible, I’m sure fans of the Cruise will be happy he will be hitting the screens again as Ethan Hunt.
    what are your thoughts on Tom Cruise taking on this role again?

    © BRWC 2010.

  • Too Much Freedom aka. The Problem With Robert Rodriguez

    Robert Rodriguez‘s career was born from limitations. With a desire to become a film-maker but a lack of funds, Rodriguez famously participated in scientific test subject work whilst penning the script for his debut low-budget feature. Intended for the Spanish video market the resulting film, El Mariachi, was a surprise festival hit and box office success. Costing just $7,000 to shoot Rodriguez made the most of what he had access to, his friends, a guitar case, a bus and created a fast-paced, witty, action flick that opened the cheque books of Hollywood studios. Anyone who has seen Rodriguez’s brilliant 10 Minute Film Schools on his DVD releases will have even more of idea how the director milked every penny from his tight budget.

    Capitalising on its success Rodriguez did a Sam Raimi and basically re-made El Mariachi with a bigger budget (and sexier stars) as Desperado, with the budget going up three noughts to $7,000,000 Rodriguez expanded his vision accordingly. Creating cartoon-like shoot-outs, an array of explosive set-pieces and populating his cast with indie cool cameos (notably Tarantino as a jabbering pick-up guy). Desperado was still a low-budget flick, but it didn’t feel that way, Rodriguez used the limitations to his advantage once more and created a knockabout, if flawed, fun film.

    After, whisper it, Four Rooms, Rodriguez and Tarantino joined forces again to bring – in my opinion – his finest film to date, From Dusk Til Dawn. This gritty post-crime thriller would have showcased an awesome twist if it weren’t for the giveaway title/trailer/poster/everything, but still is an expertly balanced Grindhouse flick with too-cool-for-school dialogue played beautifully by George Clooney, eager to shed his E.R. image, a generally fantastic supporting cast and gore-soaked, B-movie, horror action come the film’s second half.

    It was after this, and The Thing-lite teen-horror The Faculty that things began to go awry. Spy Kids was a surprise move from the director, but a somewhat logical one, Rodriguez had always wanted to be a cartoonist and this light, colourful children’s flick was a silly but entertaining step. However when a sequel emerged barely a year later the charm was gone, replaced by an over-abundance of glossy effects and shrill dialogue, then another sequel plopped out a year after that, this time practically drowning in CG and coming out at you in gimmicky 3-D.

    In an effort to return to his routes there was a third Mairachi movie, Once Upon A Time in Mexico, but despite its cooler-than-cool cast the film was a mess. Over complicated, under-written, lacking any real set-pieces or narrative drive, and sloppily edited. Sure it had Johnny Depp being a bit weird, Willem Dafoe playing a Latino and an okay bit where Salma Hayek and Antonio Banderas escaped from a building whilst chained together; but it just felt so slapdash and ill conceived, lacking any of the magic of his earlier, grittier efforts. Watching his Ten Minute Flick School on the DVD begins to shed light on why this may be so.

    Rodriguez had, by this point, converted his house into his own studio and editing suite, with sound mixing and scoring facilities, just down the road from where he lived were his studios and effects house. Rodriguez had all the gadgets and gizmos a film-maker could desire right at his fingertips, 24/7. This was so, as Rodriguez says, he could move ‘at the speed of thought.’ This should, in some ways, bring out the best in a film-maker, but what it seemed to do was strip away the pressures of having a studio breathing down his neck, or a budget looming over his head. With his whip-smart style of using a lot of tricks and cheats to wring the most of low budgets he was actually beginning to under-think what he was doing, and cheating even when it wasn’t required.

    There was a brief hurrah with the arrival of Sin City in 2005, a faithful recreation of Frank Miller‘s tale of guys, guns, girls and corruption. It was a comic book printed on celluloid and succeeds due to its reverence and adherence to the source material, indeed, going so far on the DVD as to present the film chopped up into its original ‘books’. Here the ‘limitation’ placed on Rodriguez was to adjust Miller’s panels to cinemascope and fit his grizzled speech bubbles into the lips of professional actors. With perfect casting the film succeeded, all style and swagger, the promise of a sequel was – unlike Spy Kids – no bad thing.

    At the same time though Rodriguez brought another family-friendly 3D flick to our screens. I feel ashamed even writing these words: The Adventures of Sharkboy and Lava Girl. The story for this film came from Racer Rodriguez, Robert’s – by then – 8 year old son, and I only mention that mainly to reinforce how much freedom Rodriguez had amassed for himself as a film-maker. How many other auteurs could have their kid give them an idea for a movie and rush out and make it? Rodriguez’s home studio allowed him to create these ‘dream’ projects, the films that perhaps you and I may have conjured in our youthful imagination, and realise them with relative ease. The results, however, were dire.

    Since then Rodriguez made the ‘quick and nasty’ Grindhouse installment Planet Terror, which suggested more of the cartoony, ultra-violent fun of Rodriguez past, but he seems to have squandered any remnants of respect he may have reamassed from that by following up with Shorts.

    Now, far be it for me to judge a film before it’s released, but the trailer for this latest kid’s flick (starring Rebel Rodriguez), does not bode well.

    Beyond this, who knows what’s in store for Rodriguez. His upcoming slate seems to chop and change ‘at the speed of thought’, with projects laying dormant and suddenly becoming green-lit or seemingly appearing out of nowhere. It seems that he may be about to lens the Grindhouse spin-off Machete, which, in itself, is a Mariachi spin-off as well, and perhaps this combination will bring out the best in Rodriguez. Though, personally, I wish he’d hurry up and return to Sin City. Other than that there’s the potential for his Predator sequel (?) Predators or his live-action take on The Jetsons.

    Perhaps there are too many ideas in Rodriguez’s head, and with studios wavering commitments to a film-maker who works erratically, Rodriguez never reall gets a chance to properly develop a project, leaving results half-baked. Or, maybe he just has every tool at his disposal now and instead of figuring out a more ingenious way of making something work he can just nip down to the tool-shed and grab the appropriate CG template. It’s nice that an interesting film-maker, developing ‘original’ ideas can have some freedom for a change, it’s just a shame that the films coming from Rodriguez’s Troublemaker Studios seem to be a little, um, troubling.

    © BRWC 2010.