Stars Pierce Brosnan, Luke Bracey, Olga Kurylenko, Bill Smitrovich, Lazar Ristovski and Will Patton Directed by Roger Donaldson Pierce Brosnan’s return to the spy genre might catch one’s attention, but it’s not like he hasn’t been here before - the seasoned / retired agent called back to the game. The trick is in trying to create a new franchise around this character, Peter Devereaux, from the books by Bill Granger. After a prologue that takes place in 2008 that sets up Devereaux and his protege, Mason (Luke Bracey), the story jumps five years later where Devereaux is convinced to come out of retirement by Hanley (Bill Smitrovich), an former comrade-in-arms. A simple extraction goes so wrong and the game is on. The slightly convoluted plot and deliberate pacing betrays its literary origins, but the intrigue works well enough once the cat-and-mouse game starts. It might test the patience of viewers used to the more rapid fire edits and more simplistic plots of the current movies. This is one that requires your attention. Brosnan is on top form and carries the movie well. His Devereaux is as tough as they come where spies are concerned, going as far as to inflict a life threatening injury on a bystander to prove a point to his protege. Luke Bracey (last see - or not - as Cobra Commander in GI Joe: Retaliation) holds his own against the leading man, but remains a touch unsympathetic. It may have been the point though, and it does make it a little difficult to find a character to connect with throughout the show. Ex-Bond girl, Olga Kurylenko, joins the former Bond star and does well with her fairly complex and layered character, having matured quite well over the years. Director Roger Donaldson - who worked with Brosnan on Dante’s Peak - brings his typical workman style to the proceedings, keeping the action focused and tight while creating tension with aplomb to drive the story. There is a sense of professionalism in how the scenes are set up and it gives the movie a classy sheen. It’s only the story itself that could have done a with a little more streamlining. Despite that, the movie is a cut above the average spy thriller and delivers where it needs to without being too flashy (see The Bourne Ultimatum). As far as spy thrillers go, this is quite decent, good enough to warrant a sequel if Brosnan intends to forge ahead with this character. He does seem to be able to hold his own where the action beats are concerned and could potentially knock one or two more out. It’s not quite up there with either Bond or Bourne, but there is a need to keep things less than epic. Characters are played, secrets are layered and motivations are cloudy. In the long run, this could play better than one would expect as it wouldn’t render the viewer utterly breathless trying to keep up with any crazy action set-ups or attention deficient editing. Rating ***/5 Barnes and Noble / Amazon / Book Depository / ISBNS Net (for best deals) E-Bookshop / Lybrary / aLibris / Blackwell
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stars Denzel Washington, Marton Csokas, David Harbour, Johnny Skourtis with Chloë Grace Moretz, Melissa Leo and Bill Pullman Directed by Antoine Fuqua Aside from saying that it’s based on the TV series, there is little to connect this movie to that beyond the title and the name of the lead character. This ultimately feels more like an extended pilot, trying to kick-off a potential franchise for Denzel Washington. Problem is that it feels like several other thrillers out there, and in Denzel’s case, it could very well be a prequel to Man on Fire (2004), with a few tweaks to the character. Despite that, this is a commendable effort with solid performances and a decent plot. Here, Robert McCall (Washington) is a man with a past and he has a very ordered life going on, but it’s clear that he’s simply existing, not living. He does seem haunted by a past, and he barely sleeps. It’s even pointed out by Teri (or Alina as she reveals her real name, played by Chloë Grace Moretz) that his eyes reflect his being as ‘lost’. While Ms Moretz presence within the movie is fairly minimal, her character is the catalyst that gives McCall a jolt of life; a purpose. What follows is an oddity of a plot because while what happens to Teri drives McCall to action, what follows is a detective thriller in reverse. What do I mean by that? You know those thrillers where the protagonist has a close friend or family member brutally murdered? The hero would investigate on his own, sometimes cutting a path of vengeance across the underworld of disposable baddies leading to the ultimate showdown. Here, we follow Marton Csokas’ ‘fixer’ as he tries to figure out who or what McCall is based on the damage he’s done to the Russian mobsters. This turn of events serves its purpose and keeps McCall’s character sufficiently intriguing throughout without giving away too much. It’s a rare case of maintaining the air of mystery around its lead character, Washington does well as you would expect an actor of his caliber. He clearly enjoys this role, the character’s little eccentricities, and most likely would reprise it given the opportunity. Csokas is sufficiently chilling as the force-of-nature antagonist, a very believable and dangerous nemesis for McCall. Moretz also excels even with the minimal material she has, clearly etching a full character that McCall would care for. There’s rarely a bum note among the rest of the supporting cast. Director Antoine Fuqua, who worked with Washington on Training Day, keeps the pacing deliberate and the action fairly kinetic. The final showdown in particular is a tense cat-and-mouse scenario that is well executed, particularly with the practical action set-pieces. There is little CG VFX on hand, with a particular reliance on practical effects. The music by Harry Gregson-WIlliams does much to drive the set-pieces and relay emotional beats although fans of the original will miss Stuart Copeland’s percussive theme of the TV show. In all, it is a decent thriller that, taken as it is, wouldn’t give you much to complain about. It would depend on what you would be expecting and if you’re a fan of the Edward Woodward version of the character. It is better than most thrillers delivered on a budget and ranks above the average direct-to-video or cable release. Rating ***1/2 / 5 Stars (vocally) Ben Kingsley, Isaac Hempstead Wright, Elle Fanning, Jared Harris, Nick Frost, Richard Ayoade, Tracy Morgan, Dee Bradley Baker, Steve Blum with Toni Collette, Simon Pegg and Maurice LaMarche Directed by Graham Annable and Anthony Stacchi That’s three for three as stop-motion animation production company, Laika, follows up Coraline and ParaNorman with The BoxTrolls, a fantastical fable of an unusually stacked town troubled by the titular beings. Or so things may seem. Perception is everything where this fable is concerned and like all truly enjoyably good fairy tales or fables, there is an element of darkness that permeates throughout. The nondescript town of Cheesebridge has a rather English air to it, giving it that gothic sensibility that might remind one of Tim Burton’s Corpse Bride. There is a separation of the upper-crust and the plain crusty and grimy where the human society is concerned, while The BoxTrolls themselves are creatures of the dark, living in under-ground caves beneath the town. After all, the original book source is titled “Here Be Monsters.” The environment itself brings about the one singular drawback of the movie - the character design. While residing within that gothic atmosphere, the character designs of the human in particular do make sense, but there is a more ‘clay-mation’ aesthetic on show in comparison to the more clean-cut puppet-like designs of the two previous films Within the world itself, the BoxTrolls do come across as ‘cute’ but out of context, it may not be as appealing. There might be a sense of the crafters trying too hard, although it is undeniably a unique look. For me, it works, but I can see where others might not feel the same. It might take away any sympathy one should have for the two child characters. The story’s focus - strangely - is on the machinations of one Archibald Snatcher (an excellent Ben Kingsley, obviously relishing in the performance) and his quest to rid his town of the BoxTrolls, believing that in doing so will give him a place among the “White Hats” - the upper crust of society who are also considered the Lords of the town. Snatcher is aided by his henchmen, the somewhat sinister Mr Gristle (Tracy Morgan) and the more moderate pair of Mr Pickles and Mr Trout (Richard Ayoade and Nick Frost, respectively) who believe their job is one of justice and good, while occasionally questioning the ulterior motives of their employer, Snatcher. Frost and Ayoade make a brilliant double act, more so in a post credit scene where Mr Pickles ponders on the nature of their existence. Really, stay a while back for that. On the other end of the spectrum are The BoxTrolls, whose lack of speech may have them lumped - unfairly - with Despicable Me’s minions. The BoxTrolls are scavengers and among them is a human child called Eggs (newcomer Isaac Hempstead Wright), who manages to attract the attention of Winnifred “Winnie” Portley-Rind (Elle Fanning), daughter of the man who might be considered Mayor of the town. The voice cast deliver on all counts with Ben Kingsley leading the way. Wright and Fanning manage to keep up, while much of the humour comes more from the banter between Frost and Ayoade. Frost’s constant partner in crime, Simon Pegg, pops by later in the game. Physical humour comes courtesy of the titular trolls themselves and their antics. Directors Graham Annable and Anthony Stacchi do a marvellous job of keeping everything together in terms of the animation and design. A standout sequence is the ballroom dance with the intricate movements on hand. The music by Dario Marianelli flits between the cheekiness of the trolls and the darkness and danger of the story while Eric Idle himself contributes the closing BoxTrolls song. The intricacy of the work is on full display, and that cloying bit mentioned above sheds a little light on the amount of work that was put into the making of this feature. As a movie, it does entertain, and as a fable, it manages to subtly weave in its message. Some parents may feel it’s too dark for their young ‘uns but then, all fables have their dark bits. Again, as with the story and as in the movie, it’s all about perception. Mild spoiler:- Not too sure about having the villain pulling a Creosote; but it does fit into the overall tone of the movie. Rating **** /5 Stars Dylan O’Brien, Aml Ameen, Ki Hong Lee, Thomas Brodie-Sangster, Will Poulter, Kaya Scodelario, Blake Cooper With Patricia Clarkson Directed by Wes Ball There is a glut of these movies lately (Divergent, The Giver - both of which I passed on), so why did I bother with this one? Well, check this out… That short is why Wes Ball was selected to direct this film, and he brings his visual aesthetic with him to his first major directorial effort. It is especially evident once our character enter the maze itself. So, from a visual stand-point, the movie gives some eye-candy, particularly with the design of the maze itself while reflecting the somewhat dystopian setting. Yes, it’s another one of those slightly sci-fi flicks with teens fighting for survival in either a dystoopian or totalitarian society, based on a trilogy of Young Adult books. A simple catch-phrase that has been attached to this movie is “The Hunger Games meets Lord Of The Flies” - an rather unfair comparison. For one, there is no life or death competition driving the story as in The Hunger Games. Bell himself has described the movie more as "Lord of the Flies meets Lost" a more apt description. The movie opens with our amnesiac lead being deposited into “The Glade” and as he learns about his new surroundings, the audience gets introduced to the world as a whole. The little society that exists is made up of only boys of varying ages - hence the Lord of The Flies reference. The Glade is located at the centre of a massive maze that apparently changes it formation every night. Among the members of the society are the Maze Runners, individuals who enter the maze to explore and find a way out. No prizes for easily guessing where the story heads after that. The set-up and premise is intriguing enough and the young stars deliver superbly on all counts. Dylan O’Brien (from TV’s Teen Wolf) is sympathetic enough as Thomas, our titular lead, whose curiosity of the maze itself becomes the fulcrum that drives the plot, as does the mysteries of the past. Every one of the characters were deposited into The Glade with no past save for their names, and with no rhyme or reason. They simply exist. Standing out among the cast are Thomas Brodie-Sangster as Newt, the second in command, and Will Poulter as Gally, something of a security conscious tough-guy. Poulter shines and continues to prove himself as a powerful young talent since his debut in Son of Rambow followed by The Chronicles of Narnia: The Voyage of The Dawn Treader and being just about the funniest in We’re The Millers. Also notable are Ki Hong Lee as the lead Maze Runner, Aml Ameen as Alby, the leader of the pack and Blake Cooper as Chuck, the youngest member of the tribe. Kaya Scodelario injects a little oestrogen into the proceedings, but the nature of the story - and the pacing by default - leaves no time for any romantic plots or triangles, which is a relief. The creature effects is impressive but the production design of the maze itself takes the cake; it’s very impressive. The action beats work to drive the story even if the plot is a touch predictable. Still, the presentation and direction by Bell works to serve the story and deliver a decent enough movie. Not quite up to The Hunger Games, a touch better than its sequel, though I can’t compare it to the other two movies mentioned earlier. In all, it is better than I expected, and Bell has positioned himself as a director to watch. Rating ***1/2 /5 Stars Zoë Bell, Vivaca A Fox, Brigitte Nielsen, Nicole Bilderback, Kristanna Loken, Tiffany Panhilason, Tim Abell, Alexis Raich and Cynthia Rothrock Directed by Christopher Olen Ray What is most likely a Direct-To-Video for sales or made for cable/satellite in the US has hit our big screens here. For a production company, The Asylum has specialised in what is commonly known as Mockbusters- B-Grade productions meant to cash in on the latest cinematic extravaganza. For example, when the studios released Snakes on A Plane, they had Snakes on A Train; The Da Vinci Code was accompanied with The Da Vinci Treasure; I Am Legend had I Am Omega; Transformers was met with Transmorphers; John Carter was challenged by Princess of Mars; Almighty Thor challenged Thor; and most recently they even got on the Hercules bandwagon with Hercules Reborn. The Asylum has also churned out those loveable creature features like Mega Python vs Gatoroid, Mega Shark vs Mecha Shark as well as the Sharknado films. As The Expendables 3 hit the big screens, The Asylum did what others have been talking about - put together a female version. They pulled in stuntwoman turned actress Zoë Bell (Death Proof, Django Unchained, Raze), Vivaca A Fox (Kill Bill, Independence Day), Kristanna Loken (Terminator 3: Rise of The Machines, TV’s Burn Notice and Painkiller Jane) with Brigitte Nielsen (Red Sonja, Paparazzi) pulling villain duties and Cynthia Rothrock (numerous Hong Kong action films, China O’Brien, Honor and Glory, Sworn to Justice) as the Government contact who puts together our team of Mercenaries. Sure, it’s not as big and grand as their cinematic counterpart, but this is done on a budget after all. Given their reputation and output (see listed samples above), Mercenaries is what you’d expect it to be, and at the same time manages to pull off some decent action beats and silly one-liners with humorous effect (e.g.: “What’s the plan?” Answer: “We go PMS from hell on this place!”). The plot is simple- President’s daughter gets kidnapped, a team of specialist is put together to rescue her. Things don’t quite go to plan. Nothing really much you can ask for, except for the lack of action on Rothrock’s part. Then again, she’s part of the old-guard here, so we’ll cut her a little slack. The acting is decent enough from the main stars, with Nielsen chewing these scenery. Bell does seem to be better than the material allows, and she delivers more than one would expect from a flick like this. There is a coolness factor having some of these ladies sharing screen time - and if you’re a B-movie fan from the 80s to the 00’s, it is a joy. Director, Christopher (son of Fred) Olen Ray (2-Headed Shark Attack) does a commendable job of delivering an above average action flick (worthy enough for our cinemas) without slathering on the cheese as one would expect. There is a cohesiveness to the action and its geography that even some other directors of actual cinematic releases seem unable to master. Still, the flick is meant more as a cable action movie, the kind you might stumble upon while channel surfing. It’s decent in its own way and fairly enjoyably satisfying as a time-waster. It delivers exactly what it promises and that’s really all you need. Rating: ***/5 |
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