Stars Aubrey Plaza, Mark Duplass, Jake Johnson, Karan Soni, with Mary Lynn Rajskub and Kristen Bell Directed by Colin Trevorrow Director Colin Trevorrow was selected to take on the new Jurassic Park movie based on this, his first theatrical feature. It chronicles an investigation by a magazine writer and his interns into an unusual want ad that is looking for a companion; a time travel companion. A line in the ad gives the movie its title: Safety Not Guaranteed. Much of the movie rests on Aubrey Plaza’s somewhat down-trodden intern, Darius, who appears to be jaded at a very young age. She somehow manages to connect with their investigative subject, Kenneth (Mark Duplass), who is fairly paranoid about who answers his ad. The question running through the story is if Kenneth is a paranoid crackpot or did he truly build a time-machine. The chemistry between Duplass and Plaza work well for the story as they slowly warm-up and open-up to each other, and Darius appears to want to believe in Kenneth. A secondary plot revolving around Jeff (Jake Johnson), the writer, feels superfluous as he takes advantage of the assignment to pursue more a personal agenda. The primary plot is what drives the movie and the payoff is what makes the movie work in the end. Trevorrow’s direction builds the story well and he has an eye for some visual flair. There is some decent comic timing from a very game cast although the humour might be of a selective variety. It may play as a comedy or it may play as light drama for some. Still, there is a grand idea at the core of the movie and Trevorrow manages to milk it for its worth. On the whole, It’s an entertaining diversion with an ending that works wonders for the overall movie. It may raise some questions or demands a sequel, but that would diminish the overall effect. On its own, Trevorrow establishes himself as a director of note and it’ll be interesting to see if he has a voice of his own or if he’s simply a director for hire. Rating ***/5
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Stars Jemaine Clement, Taika Waititi, Jonathan Brugh, Cori Gonzalez-Macuer, Stuart Rutherford, Ben Fransham, Rhys Darby and Elena Stejko Directed by Jemaine Clement and Taika Waititi So, what does it take to be a vampire in the modern world? For Viago (Taika Waititi), Deacon (Jonathan Brugh) and Vladislav (Jemaine Clement) struggle along with the daily mundane activities of sharing a flat, trying to keep up with the rent, making sure the dishes are done and trying to get invited into nightclubs (because vampires can’t enter without being invited). The conceit here is a documentary crew given access to their lives, leading up to an annual gathering of the creatures of the night. So we get zombies and werewolves as well. So, this is tongue firmly in cheek with some very traditional vampires on hand - silver burns them, sunlight is dangerous, they have no reflection - even if they’re not entirely conventional due to their modern circumstances. Fortunes are limited and their powers aren’t always up to mark, usually to hilarious realists. The stars do well with their characters, particularly Waititi and Clement. The production values may turn some people off, this being an independent New Zealand production, but the integration of some effects shots is seamless for the most parts. Some are basic practical effects but there are some digital effects used sparingly and well. The costumes work incredibly well to reflect the characters and the era they came from, more so their disastrous modern day fashion sense If you’re looking for some balls-out horror flick, you’re going to be disappointed. This is not a spoof either but it works very well as a comedy and deserves some attention. Rating ***1/2 / 5 Stars Colin Firth, Samuel L Jackson, Taron Egerton, Mark Strong, Sofia Boutella, Sophie Cookson with Mark Hamill and Michael Caine Directed by Matthew Vaughn If anything, Matthew Vaughn does more than prove his capabilities as a director, wrangling a fairly diverse cast of veterans and newcomers, while delivering what has to be a solid James Bond flick. of course, Bond isn’t the only fictional spy to get name dropped as a couple of other JBs get mentioned too. Even with acknowledging the Bond films, Kingsman manages to chart its own course and stand apart from the venerable franchise and its upstarts. Colin Firth may seem to be playing a Bond-like character but looks more like Harry Palmer with those glasses on. It must have been a casting coup to get in the original Palmer, Michael Caine, to play the head of the Kingsman, while reliable Vaughn standby, Mark Strong, gets to inhabit a vastly different character than he’s commonly known for. Samuel L Jackson manages to steal scenes as the lisping Valentine and that’s despite being partnered with the awesome kick-ass Sofia Boutella as his assistant/body-guard, Gazelle. Relative newcomers, Taron Egerton and Sophie Cookson (among others who cut their teeth on TV shows) do well to keep up with the veterans, with nary a bum note in casting. Even with Mark Hamill’s accent. The first thing that grabbed my attention was the design aesthetic which gives the movie a certain timeless quality. The sets and costumes may reflect a certain era, particularly coupled with the music, but there is a very nice retro design in certain areas, reflecting the timeless quality of being a gentleman spy as required by the story. I’ve never read the comic on which this movie is based, but if Kick-Ass is anything to go by, Vaughn and fellow writer, Jane Goldman, did a fine adaptation to suit the cinematic form. Then there are the action beats, which is sure to please most action movie fans. The bravura scene of Kick-Ass was a single take set-piece with Nicolas Cage’s Big Daddy storming the bad guy’s warehouse, and we have a couple sequences here that match, if not surpass that. The design, choreographhy and filming of the action / fight sequences are amazing to behold with some very inventive moves, both physical (for the stars and stunt professionals) and technical. The inventiveness and execution of the action, coupled with the storytelling and Vaughn’s direction sets a high bar indeed for the upcoming spy movies of the year, which include The Man From U.N.C.L.E. as well as the next James Bond film, Spectre. Kingsman may dip its toe into the Bond pool, but it also manages to create its own world and mythology. The use of music alone is outrageous, particularly once you get to the Pomp and Circumstance. As they stress within the dialogue itself, “It’s just not that kind of movie.” Rating: ****/5 Stars Michael Keaton, Zach Galifianakis, Andrea Riseborough, Amy Ryan, Emma Stone, Naomi Watts and Edward Norton Directed by Alejandro G. Iñárritu The subtitle for this is “The Unexpected Virtue of Ignorance” and it is probably the original title for the whole film. Both titles don’t make sense as the movie plays out but what is undeniable it the magnetic performances led by Michael Keaton, and the technical prowess on display to pull off the entire movie as if it were filmed in a single shot. It helps that the story is set mostly within a theatre where washed up actor, Riggan Thompson (Keaton) is trying to put on a play he adapted, is starring in and directing at the same time. Thompson is striving for a credibility, the need to be taken seriously while battling his ego and alter-ego of Birdman, an iconic superhero character that made him famous over two decades ago. Similar to how Keaton himself played Batman in two movies over two decades ago (Birdman has three, the last being in 1992, the same year Batman Returns was released). There are other issues that Thompson faces as the movie goes on including a preening (in more ways than one) stage actor (Edward Norton) who treatens to steal the spotlight; his daughter (Emma Stone) who is a recovering drug addict and currently working as his assistant; as well as financial troubles in trying to hold the play together, assisted by his friend/laywer, Jake (Zach Galifianakis). Add to that Birdman constantly taunting him, and Thompson may very well be on the edge of a nervous or mental break from reality, as several key moments throughout the movie seem to prove. Those moments of ‘magic realism’ - starting with the unusual sight of Thompson seemingly levitating in his dressing room right at the beginning - work well to hint at mental issues at hand, if they are issues or not. The effects work and cinematography (by the incredible Emmanuel Lubezki) work seamlessly that you would question the reality of the situation. Add to that the incredible long takes and almost invisible editing, the movie simply flows and you’re carried along with the narrative, even as the story spans several days, perhaps weeks. Director Alejandro G. Iñárritu shows off some incredible technical prowess at handling the stars within the given environment along with the camera movement. The use of an almost free style jazzy score adds to the almost freewheeling nature of the narrative, slipping across reality, Thompson’s psychosis and the play itself as all the elements somehow converging and informing each other. Holding the centre is Keaton in a bravura performance (genius casting), surrounded by equally powerful performances from the other members of the cast. Norton is on top form, Stone delivers, Andrea Riseborough and Naomi Watts shine and even Zach Galifianakis does more than just hold his own against Keaton. The only trick is the nature of the narrative as it surrounds individuals in search of acceptance as well as something greater, despite the reality beating on them, hence the subtitle. The willingness to believe in the impossible and not accept the norm. It is something that may be aimed squarely at the creative industry and, as such, may not reach certain viewers. There may be no middle ground and it’s going to be a love-it-or-hate-it deal. For me, it is an incredibly smart film and it is also technically impressive. Definitely worth taking a chance on. Rating: ****1/2 / 5 |
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