The Transformers toys were such a craze in the 80s because they required your input, they were both cars and robots, and one turned into a cassette (what was that about?). The animated series that was created to sell them was surprisingly good too. And so we now have the inevitable and highly anticipated film adaptation by Michael Bay, king of the mindless blockbuster. It delivers just what you expect: lots of really cool robots fighting, lots of cars going really fast, and lots of in-jokes and references for fans. Unfortunately, since it’s a Michael Bay film, it also delivers the wafer-thin plots and ridiculous characters you expect.
Thousands of years ago the planet of Cybertron was devastated by the war between the Autobots (decent robots that can change their shape) and the Deceptacons (power-hungry, evil robots that can change their shape). This war is now spilling over into our world, as both sides try to find a mysterious and powerful cube that is somewhere on Earth. For reasons that are not unclear, but stupid, only a geeky teenager (Shia LaBeouf) can save the day – with the help of his new robot friends, of course.
The story also follows other people affected by the robot invasion, including a soldier, a politician, and a ridiculously pretty and made-up (just when does she find time to re-apply her lip-gloss?) computer geek, who is also inexplicably Australian. Everyone seems to be inexplicably Australian at the moment. Well, people in House and Sue Thomas: F.B.Eye are too, and I call that a pattern. It was weird for me to see Jon Voight (oh, Coming Home, how I love you so!) playing the Defence Secretary squaring up against a bunch of robots, but even weirder to see Barton Fink (John Turturro) playing a moody official.
The Transformers themselves are definitely the most interesting and the most realistic things in the film; the CGI is outstanding. Those Citroën adverts that everyone loves, with the silly burpy music, have been royally trumped by these robots. It is a little hard to follow the fight scenes, since they become clumps of moving, twisted metal, but Optimus Prime, Bumblebee and Co. are never less than astonishing. The script is full of silly jokes, and the frenetic pace and schizophrenic editing mean that you could never be bored watching it, even if you really wanted to. The discerning art house cinema regular will want to, though, and will feel dirty after seeing it. But if you’re a fan of Transformers or silly Hollywood action films, then you will definitely have fun. All in all, a bit of a laugh, but not a film to analyse on the way home.
Tuesday 7 August 2007
Sunday 5 August 2007
Review - Die Hard 4.0
The fear with any successful series is that whilst you obviously eagerly await the next instalment, you are at the same time fearful of it sullying your happy memories of what came previously. The original Die Hard managed to at once create a new genre, and become the best example of it. Luckily the mix of audacious stunts, excitement, and one-liners remains in the fourth in the series, Die Hard 4.0 (or Live Free or Die Hard as it is called in America, where you can apparently stomach such a title without a significant dose of irony, given today’s political situation).
It’s another average day for John McClane (Bruce Willis), everyone’s favourite grouchy, sweaty maverick cop, until another megalomaniac (Timothy Oliphant) decides to ruin it, this time by crashing the world’s computer systems and therefore causing mayhem. McClane is the one man who can stop him, armed only with his sense of duty, lack of respect for Health and Safety, and a supergeek (Justin Long). What follows is a rollicking rollercoaster of a film, full of explosions, incredible stunts, and twisty turns.
Willis is of course excellent in the role that made his name in film. Long, who will always be Warren from Ed to me, is extremely funny as McClane’s antithesis, and it was wonderful to see Kevin Smith as an even super-er geek (his perfect part) adding even more comic fun to the mix. Oliphant is not as deliciously maniacal in a pantomime way as previous Die Hard villains, coming across as more of a spurned trust-fund baby rather than pure evil, but sneers well all the same. The set pieces are jaw-dropping in their chutzpah, and make this the perfect popcorn movie. Definitely the best of this summer’s blockbusters so far, Die Hard 4.0 maintains McClane’s standing as the king of the action film.
It’s another average day for John McClane (Bruce Willis), everyone’s favourite grouchy, sweaty maverick cop, until another megalomaniac (Timothy Oliphant) decides to ruin it, this time by crashing the world’s computer systems and therefore causing mayhem. McClane is the one man who can stop him, armed only with his sense of duty, lack of respect for Health and Safety, and a supergeek (Justin Long). What follows is a rollicking rollercoaster of a film, full of explosions, incredible stunts, and twisty turns.
Willis is of course excellent in the role that made his name in film. Long, who will always be Warren from Ed to me, is extremely funny as McClane’s antithesis, and it was wonderful to see Kevin Smith as an even super-er geek (his perfect part) adding even more comic fun to the mix. Oliphant is not as deliciously maniacal in a pantomime way as previous Die Hard villains, coming across as more of a spurned trust-fund baby rather than pure evil, but sneers well all the same. The set pieces are jaw-dropping in their chutzpah, and make this the perfect popcorn movie. Definitely the best of this summer’s blockbusters so far, Die Hard 4.0 maintains McClane’s standing as the king of the action film.
Review - 4: Rise of the Silver Surfer
As previously mentioned, I’m a big Marvel fan, and the Fantastic Four happen to be one of my favourites. The first film in this serious was not a total success, but what it did very well was set up the squabbling dynamics of comics’ First Family. The sequel continues in this tradition, and successfully introduces another important member of the Marvel Universe. Unfortunately, it suffers from the first instalment’s problem with storyline and set pieces.
The film opens with Sue and Reed planning their wedding and their future life outside of super-heroics, much to the disappointment of their team mates Johnny and Ben. The ceremony is rudely interrupted by a mysterious silver figure on a surfboard causing mayhem in Manhattan. This is the Silver Surfer, the herald of Galactus: Devourer of Worlds, and not your ideal wedding guest. The Surfer’s arrival, you see, signifies that there are just a few days for Mr Fantastic, the Invisible Woman, The Human Torch, and The Thing to stop this world being devoured too.
The Surfer looks great; it’s such a relief to see a comic character remain unchanged in the journey from page to screen, but with the Silver Surfer, this is unsurprising. He is so cool-looking, and would be designed the same today as he was in the 60s. All the four main players fit their characters very well, taking the Mickey out of each other whilst still being adorable (apart from when Mr Fantastic is using his powers, which is just creepy). I do wish they’d left out Dr. Doom, though, a character that didn’t work in the first film; his presence here is unnecessary and not well explained. The physical appearance of Galactus was a bit of a disappointment, too. However, it is possible to just lie back and enjoy the nice jokes and special effects, and not analyse the plot too much. If one does that, then this move is a fun ride.
The film opens with Sue and Reed planning their wedding and their future life outside of super-heroics, much to the disappointment of their team mates Johnny and Ben. The ceremony is rudely interrupted by a mysterious silver figure on a surfboard causing mayhem in Manhattan. This is the Silver Surfer, the herald of Galactus: Devourer of Worlds, and not your ideal wedding guest. The Surfer’s arrival, you see, signifies that there are just a few days for Mr Fantastic, the Invisible Woman, The Human Torch, and The Thing to stop this world being devoured too.
The Surfer looks great; it’s such a relief to see a comic character remain unchanged in the journey from page to screen, but with the Silver Surfer, this is unsurprising. He is so cool-looking, and would be designed the same today as he was in the 60s. All the four main players fit their characters very well, taking the Mickey out of each other whilst still being adorable (apart from when Mr Fantastic is using his powers, which is just creepy). I do wish they’d left out Dr. Doom, though, a character that didn’t work in the first film; his presence here is unnecessary and not well explained. The physical appearance of Galactus was a bit of a disappointment, too. However, it is possible to just lie back and enjoy the nice jokes and special effects, and not analyse the plot too much. If one does that, then this move is a fun ride.
Review - Ocean's Thirteen
I have never been more bored in a cinema than when watching Ocean’s Thirteen. Silent Hill was excruciating, but at least I was confused and mildly repulsed, sustaining my interest minutely. This film, on the other hand, is such a one-note affair, with no emotional content whatsoever, that it is hard to stay awake. For a film about a daring heist, this is quite an achievement.
The problem is that everyone is trying to be so suave that they turn into nothing more than cool robots: coolbots, if you will. These coolbots, with the faces of usually charming actors (Brad Pitt, George Clooney, Matt Damon et al.) wander around organising the comeuppance of a casino owner (an unusually subdued Al Pacino, considering he’s playing the baddy) for two long hours. Given the lousy, slow, unfunny build up, you’d have hoped for an exciting denouement when the actual heist occurs, but even that is boring. The trouble with really cool people is that they don’t care about anything; if the characters relished all this double-crossing and the thrill of the chase (if there was a thrill of the chase, even), this would have been a diverting movie. As it is, it’s Yawnsville.
The production design, on the other hand, is excellent. The sets are easily the most interesting bit of the film, so if you have to see this, keep your eyes on the background.
The problem is that everyone is trying to be so suave that they turn into nothing more than cool robots: coolbots, if you will. These coolbots, with the faces of usually charming actors (Brad Pitt, George Clooney, Matt Damon et al.) wander around organising the comeuppance of a casino owner (an unusually subdued Al Pacino, considering he’s playing the baddy) for two long hours. Given the lousy, slow, unfunny build up, you’d have hoped for an exciting denouement when the actual heist occurs, but even that is boring. The trouble with really cool people is that they don’t care about anything; if the characters relished all this double-crossing and the thrill of the chase (if there was a thrill of the chase, even), this would have been a diverting movie. As it is, it’s Yawnsville.
The production design, on the other hand, is excellent. The sets are easily the most interesting bit of the film, so if you have to see this, keep your eyes on the background.
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