I read Orson Scott Card’s scifi masterpiece when it was first published in 1985 and at the time, I was thinking that it was a superb cross of Starship Troopers and Lord of the Flies. It’s one of my favourite stories and you can imagine my emotional state as I was watching this film adaptation. Yes, I was crying like a baby. The adaptation is very faithful (I believe Card made that a condition of the option and license) and director Gavin Hood did a fairly reasonable job in getting the main plot points and themes of the book across. This achievement is aided by the strong cast with Harrison Ford, Ben Kingsley and the young Asa Butterfield giving solid performances.
Funny how Thor (the mightiest Avenger) is probably the weakest and least interesting character amongst the stars of the Marvel Studio flicks. The first movie spent time introducing Thor and like most origin stories, the interest was kept at a respectfully high level most of the time with the key being the character development of Thor himself.
This is where the sequel falls flat. Once you understand that Thor is arrogant, brash and headstrong (and loves Jane Foster), there is nowhere else to go unless you spice things up and the writers of Thor: The Dark World fail to do that completely. Thor is utterly boring (despite Chris Hemsworth’s best efforts) and predictable – lacking any edge whatsoever. Thor’s flaws and weaknesses (evident in the first movie) are glossed over and somehow he becomes the least interesting character in his own movie.
Halfway through this concert film before singing The Smiths’ classic, “Please Please Please Let Me Get What I Want”, Morrissey announces to his rapt audience that he loves them and definitely the sentiment comes across as genuine and heart-warming. Which summarizes the appeal of the English singer, 25 years since he first launched his solo career after the demise of his legendary former band.
This memorable gig – filmed at Hollywood High School in Los Angeles (where Morrissey currently resides) – finds the 56 year old in fine fettle performing solo faves like “Alma Matters”, “November Spawned A Monster” and “Everyday is Like Sunday” and of course, Smiths classics like “Still Ill”, “That Joke Isn’t Funny Anymore”, “Meat is Murder”, “Please Please Please Let Me Get What I Want” and “The Boy With The Thorn In His Side”.
Morrissey showcases four new tracks on the bonus feature, live recordings of “The Kid’s A Looker”, “Scandinavia”, “Action Is My Middle Name” and “People Are the Same Everywhere” produced by Tony Visconti. By the sounds of things, the next Morrissey album is going to be one to look out for…
Reel to Real is a new feature to cover non-geek films over here at Power of Pop.
Machete Kills (Directed by Robert Rodriguez)
The first Machete flick was fairly good fun as the unlikely anti-hero (Danny Trejo) cut a swath through one-dimensional bad guys with OTT cartoon violence, surrounded by buxomy babes and a host of well-known actors e.g. Robert De Niro, Jessica Alba, Michelle Rodriguez, Lindsay Lohan, Steven Seagal etc. Inspired by 70s action exploitation movies, Machete did fair business at the box office.
To sum it all up, Riddick was rollicking good B-movie fun! What else do you need to know?
Well, after the critical and commercial mauling that the previous movie Chronicles of Riddick received, writer/director David Twohy and star/producer Vin Diesel had to re-think and brought the franchise back to basics. Meaning that this is more a sequel to Pitch Black (2000) than anything else.
A quick wrap-up of non-geek films that I had the chance to watch in the last week or so. No detailed analysis, merely impressions.
I was pleasantly surprised by this. I mean, for the first 30 minutes it really seemed so cliched but then a significant plot point was delivered and The Place Beyond the Pines became a totally different film. Ambitious storytelling that moved from one lead character to another, I loved how the film communicated the role of fate (or destiny) in our lives and how the sins of the father do sometimes visit the sons. Ryan Gosling and Bradley Cooper were competent and Ray Liotta does what he does best. Was disappointed with Eva Mendes though and Rose Byrne was non de script as well. Maybe the parts written for them did not do their abilities any favours. Recommended.
The loosely defined Cornetto trilogy is concluded.
That’s about it actually. The premise in itself starts off quite intriguingly. Five friends reunite in an attempt to top their epic pub crawl from 20 years earlier. Loads of potential – 90s nostalgia and drunken hi-jinks. Throw in Simon Pegg, Nick Frost and Martin Freeman and things look promising.
BUT there’s actually more to their old hometown that meets the eye and the film morphs into an unlikely scifi thriller, except that it’s not very scifi and it’s definitely not very thrilling. And worse still, the humour runs dry halfway through the movie when even though they are faced literally by annihilation, Pegg’s character is determined to finish the pub crawl. Rather silly.
And don’t get me started on the ending of The World’s End.
Go and watch Shaun of the Dead again…
After the risible remake of Total Recall, you can understand my skepticism about this new version of yet another Paul Verhoeven classic, Robocop. Judging from the trailer, it’s clear that this film is trying to find its own space within the basic framework of the original story. Too early to tell but the jury’s still out on this one…
I ain’t gonna sugar coat it – there is no justification for this pointless sequel, except the studio’s blind greed. I loved the first Kick Ass, I found it inventive, invigorating and highly entertaining with Chloe Moretz’s Hit Girl the icing on the proverbial cake.
Everything about this sequel is just wrong – not least the entire cliched sequence where Mindy MacCready (Hit Girl’s alter ego) attempts to lead a normal life and leaves her vigilante lifestyle behind. And when even scenes with Moretz are not able to satisfy, then it’s clear that the movie is in trouble!
There is nothing remotely interesting about the plot – predictable and unimaginative – it plods along at a didactic pace that threatened to induce sleep once or twice. Even Jim Carrey’s Captain Stars and Stripes is unable to inject any real humour into the proceedings.
By the time, the movie arrives at its inevitable denouement – the big battle between super-heroes and super-villains – one is simply past caring – there is hardly any depth of characterization that would encourage the audience to invest any concern regarding the ultimate fates of the characters.
Gravity (Opens on 3rd October)
Mexican Alfonso Cuaron earned his reputation as a leading cutting edge director with Children of Men, th etrailer for the upcoming Gravity (starring George Clooney and Sandra Bullock) certainly looks pretty enough but somehow Bullock’s cries for help is difficult to reconcile with a seriously cool flick. I am hoping that there’s more to the movie than the trailer suggests.
Ender’s Game (Opens on 7th November)
Orson Scott Card’s epic tale of gifted children recruited to fight an alien invasion of Earth finally hits the screen with controversy over Card’s anti-gay opinions threatening overshadow the merits of the movie itself. The trailer looks intriguing enough though…
Super-hero movies. Once upon a time the very idea was a joke. The only successful super-hero movies (Batman, Superman) were the exclusion domain of DC. How that has changed! Marvel characters have become immensely popular with movie fans since the first X-Men movie and this was further escalated by Marvel themselves entering the fray with the first Iron Man movie. With The Avengers generating over a billion dollars at the box office, Marvel licensees like SONY and Fox are dead set on holding on to its prized franchises.
Guillermo del Toro’s Pacific Rim is the latest in a recent line of original scifi blockbusters that more or less began with the phenomenal success of Christopher Nolan’s Inception. And if like me, you thoroughly loved the creatures in Hellboy 2, then you would have a heightened sense of anticipation for del Toro’s take on the classic ‘giant robot vs monsters’ genre.
Set in the near future (2020s), the setup is typically apocalyptic: Earth is under attack by Kaiju: colossal monsters which have emerged from a portal on the ocean floor. To combat the monsters, humanity unites to create the Jaegers: gigantic humanoid mecha, each controlled by two pilots whose minds are joined by a neural bridge. The war has reach a critical juncture and unless the people behind the Jaegars are able to execute one last gambit, it’s the end of the world!
Alright, so the plot’s nothing to shout about. Del Toro envisioned Pacific Rim as an earnest, colourful adventure story, with an “incredibly airy and light feel”, in contrast to the “super-brooding, super-dark, cynical summer movie”. And it shows. The characters are cyphers, the story resolution is cliched and there is no grand themes – what you see is what you get – in other words.
But that’s precisely the point – “what you see” is staggering! The action sequences make the film – like it or not – powerful scenes of all-out battle between Jaegars and Kaiju, that’s the main reason why Pacific Rim succeeds where other movies involving fighting robots failed big time (are you taking notes, Michael Bay?) 3D IMAX is the absolutely essential viewing option for Pacific Rim – it should be the default option – as the massive action will literally fill up your eyes with gorgeous eye candy.
For me personally, I felt like a little boy again thrilling to those old Ultraman/Godzilla/Rodan and Sinbad movies – no surprise here as Pacific Rim is obviously del Toro’s loving tribute to Ray Harryhausen, Ishiro Honda and Eiji Tsuburaya – but this time the realism factor was pumped up to the max! It is difficult to describe without spoiling your fun – suffice to say that I was going – Wow! Wow! WOW! throughout each awesome battle scene.
For the true-blue geeks out there, you’re going to want to watch it again just for the action sequences!
It’s almost impossible for me to be completely objective about Paul McCartney & Wings and this particular DVD. After all, Wings Over America – the live triple album that was released from this tour was one of my very first album purchases as a wide-eyed 15 year-old fledging rock fan.
So it’s full-blown nostalgia as I watched this recording of the concert in Seattle in 1976 where 67,000 fans witnessed McCartney & Wings deliver 28 songs including not only the band’s greatest hits but also tunes from McCartney’s Beatles songbook!
Some of my favourite versions of McCartney’s material are featured here – “Maybe I’m Amazed”, “The Long and Winding Road”, “My Love”, “Let Me Roll It”, “Live and Let Die”, “Letting Go” and so on. Supported ably by arguably the best Wings lineup – Denny Laine, the late Jim McCulloch and Joe English – not to mention a crack horn section, Rockshow is a historic document that is wonderfully presented for audiences (old and new) almost forty years later.
Heads up, folks! This coming Friday 21st June, Esther Lowless will launch her amazing debut EP – Strange Place to Meet – at the Esplanade Recital Studio. How good is the EP? Well, I gave it 5 stars over at TODAY and it is no exaggeration to state that it is one of the best debut recordings I have heard in a while.
Not only that but Lowless has – together with talented collaborators – produced music videos to accompany each one of the six tracks on the EP. You can view these videos at her YouTube channel. My favourite is the gorgeous “Everything”, a duet with Mark John Hariman, which you can watch below.
In geek movie franchises (scifi, fantasy or superhero), going back to the beginning to re-introduce a iconic character is virtually unavoidable nowadays. In Batman Begins (2005), Christopher Nolan (director/co-screenwriter) and David S Goyer (co-screenwriter) succeeded in re-vitalizing the Dark Knight after the critical failure of Batman & Robin (1997). This success was due to Nolan’s approach to portray Batman as realistically as possible (within the context of a superhero movie) and Nolan and Goyer would bring the franchise to greater heights with Dark Knight (2008) and Dark Knight Rises (2012).
It was therefore natural for Warner Bros and DC Comics to look to Nolan and Goyer to do the same for Superman. By all accounts, Bryan Singer’s Superman Returns (2006) was a massive flop and Warner Bros was keen to turn it all around for Superman with Man of Steel. Adding director Zack Snyder (300 and Watchmen) to the mix, Nolan and Goyer applied the Dark Knight approach to Superman.
And it works.
With nods to numerous scifi movies of the recent past (Matrix, Independence Day) and a healthy referencing of the first two Christopher Reeve Superman movies, Man of Steel is,without doubt, one of the best superhero movies ever made and provides a solid platform for Warner Bros to build up the DC Universe from its foundation.
So many high points – the brilliant cast, the thought-provoking themes, the appropriate flashback sequences, the astounding art direction, the sensational special effects and dynamic film score – but the best part of all was that Snyder, Nolan and Goyer chose not to pander to the comic book audience only but instilled a science-fictional tread that ran right through the well-written plot narrative.
Considering the number of iconic films that The Rolling Stones have been associated with – Gimme Shelter, Sympathy for the Devil, Performance and Cocksucker Blues, it was simply not enough for director Brett Morgen to come up with a by-the-numbers 50th anniversary retrospective. Which, to his immense credit, he didn’t!
Fact is, Crossfire Hurricane manages to provide a kaleidoscopic perspective of events that made the Stones the living rock n’ roll legends that they are. One very crucial decision made was not to shoot the Stones as they currently are – so they only provide the relevant voiceover but visually, the viewer is never distracted from the story by how the Stones look like in 2013 (basically, old).
In this manner, Crossfire Hurricane is able to be interesting to new and old fans alike. It never comes across as a nostalgic exercise but a critical study of key events of the Stones’ career that intersected with the milestones of rock n’ roll. Thus, this documentary film is essential for longtime fans as well as rock scholars.
There can be no doubt about The Eagles‘ place in rock history. Biggest selling album of the 20th century, inducted into the Rock n’ Roll Hall of Fame, a comeback album that sold in excess of 5 million in these troubled times for the music industry and a best-selling live show that continues to run and run.
Not to mention, a sideshow of controversy that has dogged the band despite the absolute highs. The high profile suit by former member Don Felder against The Eagles and the publication of Felder’s ‘tell-all’ book, Heaven and Hell: My Life in the Eagles (1974 – 2001) has tarnished somewhat the reputations of Don Henley and Glenn Frey (the co-leaders of the band) but that has not stopped the musical juggernaut from continuing to pull in the big bucks.
This documentary – as you might imagined – tells the story from Henley and Frey’s perspective. Both men are rather dismissive about Felder in the interviews and Frey evens gets in some descriptive expletives for good measure. The fact that the duo come across smug and self-righteous leaves a very bad taste in the mouth.
The first DVD recounts the band’s rise to fame and implosion in 1980 with rare footage and incisive comments from the key players. The second DVD recounts the band’s even more impressive comeback beginning the Hell Freezes Over tour in 1990.
Of the two DVDs, the first one is the most exciting as one gets to witness the making of iconic songs (“Take It Easy”, “One of These Nights”) and albums (Hotel California) and how Henley and Frey went from backing Linda Ronstadt to having the best-selling album of the 20th Century – Their Greatest Hits (1971-1975). The second DVD, well, is simply too sanctimonious at times with the unwelcome sight of Henley and Frey justifying their arrogance – rather unwatchable at times. Overall, the excellent first DVD is worth the price of admission though.
Let me get this off my chest right from the get-go. The best way to enjoy J.J. Abrams’ Star Trek Into Darkness is to watch it in IMAX 3D, switch your brain off and simply enjoy the ride. The visual spectacle should be able to remove all your concerns about plot holes, character motivations and illogical actions.
Iron Man 2 was only half a movie, in my humble opinion. The first half was quick-paced and exhilarating but then the wheels came off and the movie came to a tired conclusion. The sequel did well at the box office but one sensed that director Jon Favreau had lost interested in the franchise that he had kickstarted. So when it came to talk about the third Iron Man movie, Favreau passed and Shane Black came onboard.
Truth be told, I was excited when I saw the first trailer for sci-fi Tom Cruise action movie vehicle Oblivion. It looked intriguing. Of course, a trailer really does not tell you anything about the movie itself. I was also excited by the fact that Oblivion was an original premise (based on a story co-authored by director Joe Kosinski) and perhaps was hoping that it would be as good as District 9, Moon or Inception.
Ultimately, Oblivion is a huge disappointment. Don’t get me wrong, the movie is a visual treat throughout. For most of the first thirty minutes or so, Oblivion comes across like Wall-E meets I Am Legend (the Will Smith remake), updated with cool gadgets, weaponized drones, sexy encounters between Jack Harper (Cruise) and his colleague Victoria (Andrea Riseborough) and menacing ones with alien beings called ‘scavengers’. The setting is a dystopian future (2077) where the earth is dying after a war with aliens (which humans won, it seems) and humans are about the leave the planet and start a new life on Titan.
However, things are not as they seem (when are they ever?) – Harper has memories of another woman (strange, as his former memories have been removed), he meets this woman when her ship crash lands on earth and Harper is captured by the ‘scavengers’ and discovers the truth.
From then on to the hackneyed resolution, the movie degenerates into a sequence of cliches, with planet-sized plot holes and pedestrian acting – Olga Kurylenko, Nikolaj Coster-Waldau (Game of Thrones‘ Jamie Lannister) and even poor old Morgan Freeman – and by the time the ending comes, the promise of ‘original’ sci-fi movie genre is utterly lost. Apparently, director Kosinski himself stated that Oblivion pays homage to science fiction films of the 1970s. Seriously? Well, perhaps superficially but whilst Oblivions certainly borrows heavily from the dystopian worldview of movies like Omega Man, Soylent Green, Zardoz, Logan’s Run, Silent Running and the Planet of the Apes series, it has none of the imagination, gravitas or even consistent writing that was a hallmark of the decade.
Ghost Child is a made in Singapore horror film, inspired by the “Toyol” or “Kwee Kia” of South-East Asian mythology. At its Facebook page, the plot is described thus –
Struggling to accept the death of her mother, Kim suddenly has to deal with a new mother in her life. Her dad, Choon, brings home a woman one day and announces his decision to marry her. A series of mysterious incidents start to occur soon after.
Once again, director Gilbert Chan takes on a horror film with local flavour and like 23:59 before, largely succeeds in connecting with its target audience (i.e. teenagers). The film manages to be effective in terms of delivering scares (without almost any gore whatsoever) due to dynamic editing and an excellent sound design. In addition, the lead actors (Chen Han Wei 陈汉玮, Jayley Woo Jiaqi 胡佳琪, Carmen Soo 苏慧敏) have done enough to establish sympathy so that their horror is shared with the audience.
Story-wise, much is unexplained – which is either puzzling or mysterious, depending on your perspective – but at least there are no lulls in the narrative whatsoever as any excess is trimmed to a minimum to keep the action moving. On that score, the film succeeds.
Originally entitled Jack the Giant Killer, this latest Hollywood foray into the classic fairy tale update (Snow White and the Huntsman, Hansel and Gretel) looks like it might actually be worth the trouble. Directed by Bryan Singer – whose last two movies Superman Returns and Valkyrie were decidedly less than stellar – the movie tells the familiar story of a young farmhand (Jack) who must rescue a princess from a race of giants after inadvertently opening a gateway to their world.