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Archive for the ‘Reviews’ Category

July 10th, 2008 by Davodd

Review of Reviews: Critics agree, Hellboy II is a red hot hit

OPENS: July 11, 2008
RATING: PG-13
GENRES: Dark Fantasy, Comedy, Steampunk
NO SPOILERS

Writer/director Guillermo del Toro (director of three-time Oscar-winner Pan’s Labyrinth as well as Blade II and the original Hellboy) is on a roll, according to mainstream movie critics, who hail him as everything from the next Hitchcock to the next Ovid.

Although not all the critics loved the film – almost 9 out of 10 gave it positive reviews – which is an accomplishment for a genre film since the mainstream press seems hellbent on dismissing anything with an out-of-this-world imagination.

Not so with Hellboy II: The Golden Army.

Critics universally praised del Toro for his unique visual style and ability to set a mood like not other directer working today. Also, the actor playing the title role, Ron Perlman (TV’s Beauty and the Beast) an unlikely action hero at age 58, was praised by most as being at the top of his game.

Of the few negative comments, some found fault with the story as too simplistic or unbelievable, as if they forgot they were watching a social commentary disguised as a horror comedy about a big red demon who cut off his horns, loves kittens and decided to fight for the good guys.

The absurdity of life is the message, guys.

Del Toro’s next films: Doctor Strange in 2010 and in 2012 – The Hobbit (official prequels to Peter Jackson’s Lord of the Rings trilogy)

WATCH THE TRAILER

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  • Outstanding special effects
  • Great visuals in cinematography
  • Genuine chills – and laughs
  • Moody and original dark fantasy elements

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  • Action, violence and language may be too harsh for children.
  • A few critics found the plot too predictable.

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{for="Los Angeles Times" value="8"}

"Starting with characters created by Mike Mignola for Dark Horse Comics, writer-director Del Toro, whose one-of-a-kind Pan’s Labyrinth won a trio of Oscars in 2007, is almost alone in his ability to re-create on screen the wide-eyed exhilaration and disturbing grotesqueness that is the legacy of reading comics on the page.” – Kenneth Turan

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{for=”Seattle Post-Intelligencer” value=”8″}

“It definitely gives us our money’s worth in the sheer volume of its imaginative fantasy creatures and it’s that rare superhero-movie sequel that’s better than the original.” – William Arnold

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{for=”Slate” value=”8″}

“Mexican director Guillermo del Toro has started to look like a legitimate successor to Ovid. Del Toro is not so much a creator of myths as a collector of them, a transhistorical myth nerd whose pantheon of influences ranges from Hesiod to Harryhausen (with liberal helpings of steam punk and Catholic iconography).” – Dana Stevens 

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{for=”Kansas City Star” value=”6″}

“Here’s the problem: too much razzle-dazzle. Not enough Ron Perlman.” – Robert W. Butler 

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{for=”The Vancouver Sun” value=”9″}

“In a season of endless comic book superheroes, Hellboy II is a unique visual feast.” – Jay Stone

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{for=”Minneapolis Star-Tribune” value=”9″}

“Guillermo Del Toro’s stylish sense of wonderment makes for the best superhero movie of the summer. ” – Colin Covert

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{for=”Chicago Tribune” value=”7″}

“in the right hands, digital effects, creature design and directorial elan can work together to give you the best sort of willies.” – Michael Phillips

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{for=”Rotten Tomatoes” value=”9″}

Del Toro crafts a stellar comic book sequel, boasting visuals that are as imaginative as the characters are endearing.” Tomatometer

{/for}{/rw_score} –>

July 6th, 2008 by Davodd

Review: The Nines – the best little genre film of the past year

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A very thoughtful and thought-provoking film combining the metaphysical, the spiritual and the human element, The Nines is directed by acclaimed screenwriter John August and stars Ryan Reynolds, Melissa McCarthy, Hope Davis and Elle Fanning.

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RATING: R (For brief drug use and mild sexuality)
NOW SHOWING: On DVD
GENRE: Science Fiction
NO SPOILERS

In these days of multi-million-dollar special effects extravaganzas, movie studios seem to be pumping most – if not all – of their budget dollars into getting flashier and more impressive computer-generated imagery on screen.

But, every so often a lower-budget film comes along that reminds us of the power of great writing in filmed speculative fiction; how an audience can me moved and come to love a movie through its characters and by deft story telling.

The Nines is one of those films. It succeeds as a science fiction movie without space ships or with computer-animated cartoons as main characters as is all the rage these days.

Unfortunately, during this film’s original theatrical run during late 2007, it was lost in the shuffle of Holiday blockbuster wannabes and was relegated to just a handful of theatres in just the biggest U.S. cities. Luckily, thanks to home video, The Nines now has a home on DVD and is available to all.

Like recent lower-budget speculative fiction films like Donnie Darko and The Eternal Sunshine of the Spotless Mind, The Nines uses story and character in the contemporary world to pose its ”what if.” This is a lesson we’ve known since The Twilight Zone first appeared on TV screens in the 1960s.

So, big-budget studios, listen up. The secret to how a good movie is made: You need to start with a great story.

The fact that a great story is at the heart of The Nines should be no surprise. It was written by director John August, the writer of such screenplays as Go, Titan A.E., Big Fish, Charlie and the Chocolate Factory, Corpse Bride and the forthcoming movies, Billy Batson and the Legend of Shazam and Dark Shadows.

A Twist

The problem with writing a review for The Nines is that the film is set up like M. Night Shyamalan’s The Sixth Sense. There is a surprise ending that would spoil full enjoyment of the film if you knew what it was before you start watching it.

What I can say is that the film is set up as a triptych of sorts, a series of three short films starring the same three actors centered around the characters of Ryan Reynolds (Blade: Trinity, Amityville Horror, and the forthcoming X-Men Origins: Wolverine) who plays Gary, a troubled actor; Gavin, a television show runner; and Gabriel, an acclaimed video game designer.

None of those stories appears to be the least bit science fiction or fantasy until the final scene of the final story. That’s when it all comes together as a metaphysical fable to appeal to those living in the 21st century’s Internet age.

The Cast

Reynolds is joined by independent cinema star Hope Davis (American Splendor, Six Degrees) as the characters, Sarah, Susan and Sierra. Melissa McCarthy (Gilmore Girls) plays the characters Margaret, Melissa and Mary.

The cast and acting are top-notch and that quality of this film never falters helps the viewer suspend disbelief enough for this weird ride of a movie.

Reynolds shines playing three distinct characters in a self-obsessed actor, a big-hearted TV writer and a devoted family man. Davis is downright spooky as her character walks a line without letting the audience truly know of her character’s real intentions or motivations until the very end.

But it is Melissa McCarthy’s performance that is the standout. Her character is the heart and soul of this film and the actress pulls it off. It is through her eyes that we ultimately realize what is going on.

The Rating

The movie is rated R for foul language and brief drug use and sexual situations in the first of the three vignettes about the action movie star, although these scenes are much less disturbing than many of the blood-gore shootouts in many PG-13 summer blockbusters these days.

The Trailer

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  • Top-notch writing by John August
  • The three main actors are flawless at their craft
  • The twist ending is both poignant and thought-provoking

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  • Not meant for children.
  • Drug use and mild sexual situations may be a turn off for some.
  • People who prefer action movies, fight scenes and space ships may be bored by the pace of this film.

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July 2nd, 2008 by Davodd

Review of Reviews: Is Hancock the most-hated blockbuster of 2008?

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According to critics, it’s a toss-up between Hancock and Speed Racer for worst big-budget film of 2008.

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OPENS: July 2, 2008
RATING: PG-13
NO SPOILERS

Will Smith has a new big-budget blockbuster film out this 4th of July weekend and most film critics hate it.

In Hancock, Smith stars alongside Jason Bateman (Juno) and Charlize Theron (Aeon Flux) in a film about the ultimate super anti-hero.

Of particular note is the phrase “Super Zero” that has shown up in many, many of this film’s negative reviews.

Of those who do not like Hancock, most took particular time to point out that the film contains gritty, realistic violence that normally is reserved for R-rated films.

Also noted as negatives were a haphazard script and a confusing and undeveloped plot.

Of the few who liked the film, Hancock was praised as being daringly original. Particular praise was given to the on-screen chemistry between Theron and Smith.

Watch the trailer: (Warning some minor spoilers)

A choice selection of Hancock film reviews follows:

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  • Outstanding cast
  • Smith and Charlize Theron shine

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  • Level of bloody violence worse than you’d expect for a PG-13 film
  • Not recommended for children younger than 17.
  • Plot not cohesive.
  • Excessive foul language may be too much for some.

{/rw_bad} –>

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{for="Minneapolis Star-Tribune" value="3"}

"Almost any moviegoer should be able to find something to enjoy, but it's hard to imagine anyone liking this mishmash from beginning to end."- Colin Covert

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{for="Bloomberg" value="5"}

"In this summer of superhero movies, Hancock stands out like a homeless beggar on a millionaire's yacht. " – Rick Warner

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{for="The New Yorker" value="9"}

"Hancock suggests new visual directions and emotional tonalities for pop. It’s by far the most enjoyable big movie of the summer.” – David Denby

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{for=”Washington Post” value=”5″}

Hancock is indigestible. It’s a movie with an identity crisis that seems to offer one gentle pleasure but instead offers a harsher experience by far. It’s very, very strange.” – Stephen Hunter

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{for=”CNN” value=”4″}

Hancock will likely post strong long weekend figures, but just watch those numbers plummet as the word gets out. A superhero can overcome many things, but not a movie that goes off the rails.” – Tom Charity

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{for=”San Francisco Chronicle” value=”5″}

“The movie feels trivial as an emotional piece and never takes off as an action movie. The special effects are ho-hum, and in the dramatic scenes, the actors seem to be feeling a lot more than the audience. That’s never a good sign.” – Mitch LaSalle

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{for=”NPR” value=”4″}

“It has to be emphasized that though the film’s trailers carefully hide it, Hancock has a blisteringly profane tongue. How diatribes that would make a stevedore blush got a PG-13 rating is a question for another day.” – Kenneth Turan

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{for=”Boston Globe” value=”3″}

“Yet once the vulgar comedy dissipates, we’re left with poorly photographed, bullet-riddled summer-action mayhem. The only thing drunker than Hancock is the editing and camerawork.” – Wesley Morris

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{for=”USA Today” value=”5″}

“What starts out with a sense of quirky fun loses direction and devolves into a mishmash of story lines. The finished product is so poorly conceived and misguided that even Will Smith, with all his charm, can’t save it.” – Claudia Puig

{/for}

{for=”Chicago Tribune” value=”3″}

“It depresses me to think of all the preteens who’ll be sitting through this, since it squeaked by with a PG-13 rating; the violence and the general abrasiveness are a genuine drag.” – Michael Phillips

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{for=”Cinematical” value=”8″}

“one of the weirdest studio movies in some time, and not one without precedent. Superhero satires tend to get regarded as passable comedies, but they’re often loaded with pertinent social commentary. As long as America continues to obsess over good guys in funny costumes, there’s a benefit to satirizing them: It helps us understand the mania. .” – Eric Kohn

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June 27th, 2008 by Davodd

Review of Reviews: Incredible Hulk

RATED: PG-13 | NO SPOILERS

Five years after Ang Lee’s disappointing Hulk, Marvel decided to reboot the comic hero with a new film, The Incredible Hulk, which picks up roughly where the 1970s-80s TV series left off; ignoring the 2003 film altogether.

The film also features fa nod to long-time Hulk fans with witty cameos of the stars from the TV series.

Mainstream critics had been lukewarm on the film, with the most scathing comments from those critics who are quick to pooh-pooh most genre films anyway.

But the consensus is that those who are looking for a great action film with killer CGI animation, this Hulk will not disappoint.

Also noted in most reviews is a stand-out performance by Oscar-winning actor, William Hurt – who make the most of his part of a military leader teetering on the edge between loyalty to his orders and loyalty to his conscience.

Some thought the message was a little too preachy and most found the end battle scene too predictable.

Below are selected reviews from prominent critics:

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  • Outstanding Special Effects
  • Great Supporting Cast
  • Action packed

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  • Too Scary for Small Children
  • End is Predictable

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{for="National Post – Canada" value="5"}

"For all its ground-shaking, the final battle amounts to no more than a pause between the creation story we have just witnessed and the inevitable sequel." – Chris Knight

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{for="Christian Science Monitor" value="6"}

"Now that we've demonstrated that comic book icons can look like you and me, how about we go back to the Christopher Reeve era when they looked like square-jawed movie stars?" – Peter Rainer

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{for="CNN" value="7"}

"The climax is a bit of a yawn — it boils down to two big apes slugging it out with an entirely predictable outcome — but most of what precedes it is vigorous and sharp." – Tom Charity

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{for="Washington Post" value="7"}

"There are sequences that are genuinely beautiful, especially the scenes shot in the Brazilian favela, with its rich visual textures and evocative roofscapes." – Ann Hornaday

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{for="San Jose Mercury News" value="8"}

" The Incredible Hulk has a few annoying flaws, but it’s gratifying in many of the ways a Marvel Comics movie should be.” – Bob Straus

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{for=”New York TImes” value=”6″}

The Adequate Hulk would have been a more suitable title.” – A.O. Scott

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{for=”Chcago Tribune” value=”7″}

The Incredible Hulk keeps slamming everything forward, satisfyingly.” – Michael Phillips

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{for=”Entertainment Weekly” value=”7″}

“The audience, in all likelihood, will be so grateful not to see another joyless, inert, pea green dud that it may not mind that The Incredible Hulk is just a luridly reductive and violent B movie — one that clears a bar that hadn’t been set very high.” – Owen Gleiberman

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{for=”USA Today” value=”6″}

“The saga is uneven and there are plot holes, but as a popcorn movie steeped in action, it keeps our attention.” – Claudia Puig

{/for}

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June 26th, 2008 by Davodd

Review of Reviews: Critics agree – WALL·E is a SF masterpiece

Wall-ERATED: G | NO SPOILERS

In what may turn out to be the most universal of critically acclaimed films of 2008, WALL·E, a dystopian science fiction cartoon made by Disney’s PIXAR studios shines.

Set 700 years in the future, it revolves around a little robot dealing with the aftermath of life on Earth long after humanity fled the plant due to it becoming uninhabitable from environmental short-sightedness.

In what sounds like a depressing and bleak story, critics agree that instead, this is an uplifting film about hope and love even in the face of seemingly insurmountable odds.

Of critical response, the film was noted for maintaining the PIXAR tradition of being both child-friendly without being mind-numbingly boring for adults. In fact, most critics found the story very appealing because they were adults.

Also, the movie was noted as having some of the best special effects and storytelling of the year.

Following is a collection of reviews by some of the more prominent movie critics:

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  • Special Effects
  • Family Friendliness
  • Doesn’t Insult Intelligence of Adults
  • Good Story
  • Appealing Characters

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  • May be too slow or too scary for very small children

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{for="National Post – Canada" value="10"}

"An automatic classic that will stand the test of time and sear itself into the collective memory of a generation, WALL-E is so profoundly moving, so quietly eloquent and so purely magical, it may well be movie of the decade." – Katherine Monk

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{for="Hollywood Reporter" value="9"}

"This is getting to sound like a broken record: Pixar Animation Studios has just topped itself. Again." – Kirk Honeycutt

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{for="Los Angeles Times" value="9"}

"Part robot romance between two mismatched mechanized marvels, part science fiction saga with deliberate echoes of Stanley Kubrick's '2001,' this may be the first animated feature to pivot around novelist E.M. Forster's famous imperative, 'Only connect.'" – Kenneth Turan

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{for="Chicago Sun-Times" value="8"}

"I thought I had just about exhausted my emergency supply of childlike credulity, but here is a film, like “Finding Nemo,” that you can enjoy even if you’ve grown up. That it works largely without spoken dialogue is all the more astonishing; it can easily cross language barriers, which is all the better, considering that it tells a planetary story." – Roger Ebert

{/for}

{for="Washington Post Family Filmgoer – Kid Friendliness" value="9"}

"Although it is funny and exciting, with vivid characters, albeit robotic, some kids might fidget at times and be upset by some parts. Scary bits include roaring dust storms, explosive lasers and fiery spaceship landings. The movie is preceded by "Presto," a breathlessly funny animated short, also rated G, about a magician and his rabbit." – Jane Hortwitz

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{for="Associated Press" value="9"}

"Within the rumbling, stumbling hunk of junk that is WALL-E beats the sweetest, warmest heart – a robotic representation of humanity's highest potential." – Christy Lemire

{/for}

{for="Chicago Tribune" value="8"}

"All the elements fold into a unified creation. Stanton doesn't strain for a message or for his emotional effects. The story's core may be closer to "The Little Prince" than "The Little Mermaid," but this vision of an optimist surviving a pretty rough patch in his planet's history just plain works. Like Voltaire's "Candide," WALL-E learns to tend to the garden. While I may argue with the little guy's taste in musicals, it's remarkable to see any film, in any genre, blend honest sentiment with genuine wit and a visual landscape unlike any other." – Michael Phillips

{/for}

{for="USA Today" value="8"}

"WALL·E is at once futuristic, funny and fantastical. It’s an extraordinarily captivating adventure, laden with equal parts humor and heart and populated with memorable and endearing characters.” – Claudia Puig

{/for}

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June 15th, 2008 by Davodd

Review: Serve It Forth – edited by Anne McCaffrey

A fundraiser for the Science Fiction and Fantasy Writers of America, Serve It Forth, is edited by Anne McCaffrey with John Gregory Betancourt.

The purpose of the book was as a way to raise funds for an emergency medical fund for members of the group who are unable to pay for their own medical treatment.

At 203 pages, the book is chock full of more than 100 recipes for everything from Starship Trooper Chili to Night of the Living Meatloaf. Many of the recipes are included for humor’s sake – but most are functional and a few standouts are sure to impress your friends.

Some are delicious despite their names, like Deborah Wheeler’s “Worm Pie” – which is actually a delicious and not-totally-heart-unfriendly spaghetti casserole made with olive oil and turkey meat. Another better-than-its-name-suggests is Melissa Crandall’s “Pull My Finger Carrot Cake” – which is utterly delicious and does not, as its name suggests, cause gas in those lucky enough to eat it.

There are also some delightful healthy and heart-friendly surprises – like Poul Anderson’s skill with recipes – including a favorite fish dish from his time in the SCA (Society for Creative Anachronism).

But I doubt I’ll get up the gumption to try Grant Carrington’s “Ultimate Peanut Butter, Cream Cheese, and Onion Sandwich” – ever. Although it was interesting to read how he came up with the idea and about his success (or lack thereof) of getting others to try it.

Perhaps the best quality of this book is that it contains recipes that a fan’s favorite authors actually cook for themselves or family and friends. Additionally, the recipes range in skill levels from the utterly simplistic to near-gourmet level, to allow cooks of every skill level a chance of cooking like a published author.

 

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  • Find out if your favorite authors can cook, and if so, what they make.
  • Proceeds from sales support the Science Fiction and Fantasy Writers of America’s Emergency Medical Fund
  • Cover is glossy hardback and water resistant for kitchen friendliness.

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  • Like most multiple contributor cookbooks, it does not have a large variation of food types.
  • Organized by Author instead of food type, which makes it hard to find entrees vs. desserts. 
  • Some of the ingredients in some of the more exotic recipes are not easy to find in rural locations.

{/rw_bad} –>

August 23rd, 2007 by Davodd

Video: ‘Stardust’ review

CBC takes a look at Stardust.

March 27th, 2006 by Davodd

Film Review: ‘Vendetta’ does future imperfect in perfect pitch

Underworld Evolution

9 out of 10
V for Vendetta (2005)
NO SPOILERS

V for Vendetta is a science fiction film made by the people who brought us The Matrix series and is based on the 1982 to 1985 graphic novels (long-form limited-run comics targeted to an adult audience) written by Alan Moore with the art of David Lloyd.

The world that this story inhabits is an alternate future United Kingdom. A series of events, including war and a plague-like disease has crippled most of the world, but miraculously left Great Britain largely untouched. Well, except for the fact that the country is now run as a fascist state that is a curious cross between Hitler Germany and Orwell’s Big Brother.

The basics: a masked man with a mission to overthrow an oppressive government befriends a scared nobody of a girl who is stronger than she realizes.

Trivia: This release of this 2005 film was postponed six months because of the London subway bombing.

Dystopia of V

Science fiction has a long tradition of showing dystopic futures where technology has been abused and society has suffered. Some of the best science fiction books and films such as Blade Runner, The Matrix, The Terminator, Alien, 1984, The Handmaid’s Tale and Brave New World are set in dystopian futures. As a dystopic warning film, this movie works.

To understand the world of V, one must look at the time in which the story was written. The early 1980s was the height of the worldwide AIDS panic. Popular culture was dominated by extremes; either the rampant commercialism of Dynasty and Dallas or the nihilistic influences of such films as The Day After and The Hunger or musical artists as Joy Division and the Sex Pistols.

With that in mind, the producers attempted to update the story for today’s audiences. They partially succeed. But at it essence, V for Vendetta is a child of the 1980s with all of its neuroses intact.

Too bad it took almost 25 years for film technology to catch up and be able to do this classic science fiction story justice.

The art (and politics) of V

Back when I was in college – which coincidentally was in the 1980s, a professor challenged me and my fellow students to come up with one sentence that defined the difference between what is – and is not – art.

It took us more than one class period, but eventually we came up with a workable answer:

Art is the work product of a person that evokes an emotion in the audience whether they enjoy it or not.

Now, I’ve later learned that that definition of “art” doesn’t apply 100% of the time. But in the case of V for Vendetta, it does.

This movie is disturbing. It raises issues an audience going to a sci-fi action film will not be expecting. It asks disturbing questions of the audience. It deals frankly with issues and uncomfortable themes seemingly ripped from today’s headlines such as the elimination of gay rights, the use of religion as a shield for violence and supposedly-neutral television news organizations spouting partisan rhetoric.

I firmly believe that rabid conservatives will hate this film. They will probably mistakenly see it as a leftist attack on George W. Bush and his allies in Europe. That is naive being that the story was conceived in the early 1980s when the current President was busy running the Arbusto oil and gas exploration company in Texas.

Likewise, I firmly believe rabid leftists also will find much to hate in this film. Lines such as “Governments should be afraid of the people” and ruminations on the lack of an armed general public are enough to put a chill in the heart of most dyed-in-the-wool liberals.

This is because at its core, V for Vendetta is neither liberal or conservative – it is a film with a Libertarian ideal. Yes, Libertarian with a capital “L.”

The acting in V

Natalie Portman (Star Wars) as “Evey” and Stephen Rea (Interview with the Vampire, FearDotCom) as “Finch” carry this film. It is through their eyes that the audience discovers both the depths of fear and the true consequences of life in a totalitarian society.

Hugo Weaving (The Matrix) provides the voice of V, the mysterious masked man that tries to overthrow the government. Somehow he pulls off what may seem impossible, making a sympathetic and tragic character of a man in a mask that looks like a humorous cross between Batman‘s Joker and the Phantom of the Opera.


RATINGS
Overall: 9 out of 10
MPAA Rating: R
Genre: Science Fiction
Sex: Minimal adult situations
Violence: Bloody deaths, attempted rape
Special Effects: Outstanding

CAST
Natalie Portman … Evey
Hugo Weaving … V
Stephen Rea … Finch
Stephen Fry … Deitrich
John Hurt … Adam Sutler
Rupert Graves … Dominic

March 7th, 2006 by Davodd

Film Review: ‘Ultraviolet’ a beautiful mess

Underworld Evolution

5 out of 10
Ultraviolet (2006)
NO SPOILERS

If you’ve been dying for the first big-budget live-action anime film, the good news is your wait is over. The bad news is that it comes in the form of Ultraviolet, the new wire-fu sci-fi flick from Sony’s Screen Gems genre studio.

The plot revolves around a concept that sometime in the future, scientists will stumble upon an ancient disease (one for human vampirism) and modify it in hopes of creating a super soldier with enhanced, speed, strength, intelligence and healing ability. Things go awry and the virus mutates to become very infectious. Society devolves into a war to save itself, led by a pseudo-religious inquisition bent on the extermination of the infected.

(No that wasn’t a spoiler because it is never fully explained in the film, although an attempt is made over the beginning credits.)

The film stars Milla Jovovich (Resident Evil, The Fifth Element) as Violet, William Fichtner (Invasion, Armageddon) as Garth, Cameron Bright (Stargate: SG1, The Butterfly Effect) as Six and Nick Chinlund (The Chronicles of Riddick, Buffy the Vampire Slayer, X-Files) as Daxus.

A few things work very well in this film. A true fan of free-form plot anime or wire-fu (Matrix, Crouching Tiger Hidden Dragon) films will probably thoroughly enjoy this film. The special effects are stunning, the camera shots are gorgeous, and the feel is very … Japanese.

As a semi-silent film or a work of visual art, this film succeeds.

But alas, films in the American action-adventure tradition tell a story with a clear beginning, a clear middle and an end that resolves something. Ultraviolet lacks these conventions. Now, for an audience that doesn’t care, that can be a good thing.

But, for an audience who wishes to find a good hour-and-a-half of swashbuckling fun, this lack of clearly defined story is not good at all. For the vast majority of the American film-going public, Ultraviolet will probably be seen as boring or confusing. The writers and director fail to explain to the audience why they should care if the main character lives or dies.

Otherwise it is a gorgeous, dreamlike and exciting film destined for cult status.

But as a mainstream film, something is missing – something big.

After watching Ultraviolet, I left the theatre with a definite feeling that I had witnessed a film with much potential that just didn’t live up to its promise. In essence, there was no there there … to borrow Gertrude Stein’s famous quote.


RATINGS
Overall: 5 out of 10
MPAA Rating: PG-13
Genre:Science Fiction
Sex: Minimal.
Violence: Fantasy violence.
Special Effects: Good.

CAST
Milla Jovovich … Violet
Cameron Bright … Six
Nick Chinlund … Daxus
William Fichtner … Garth

For: Fandominion

February 27th, 2006 by Davodd

TV Review: ‘Hard Pill’ is a good science fiction premise ruined by a muddled script and unfocused directing

Hard Pill

5 out of 10
Hard Pill

{NO SPOILERS}

Premise: A gay man unhappy with his life takes part in drug trials after a pharmaceutical giant develops a pill that may “cure” homosexuality.

So, what would happen if scientists found the cause of homosexuality and said they developed a pill that could “cure” the condition.

This is the premise of Hard Pill, a so-so film being shown this month on the Logo Network.

The film follows the life of a gay man named Tim, plated by Jonathan Slavin (Inconceivable, Summerland), who doesn’t feel like he fit in with the rest of the gay world. After he enrolls in a drug company trial, the film follows his life as he tries to change his sexual orientation from gay to straight.

The film also focuses on how his decision and the outcome of the drug trial affects the men and women Tim’s life.

The Premise as Science Fiction
One of the great strengths of science fiction is that it can use its “what if” factor to show a morality play of a possible future to question the morals of today. In fact science fiction television has a long and proud history of doing just this, from the original Star Trek and Twilight Zone in the 1960s to today’s Battlestar Galactica.

Ironically, for an issue film, this is where Hard Pill is its least effective. The film is muddled and unfocused. As the main character experiences his transformation, the people around him struggle with his changes. But as the final credits roll at the end of the film, it is anyone’s guess about what the thematic purpose of this film is.

The film’s weakness ultimately is that it fails to take a stand of any kind. Not let nature be; not whether homosexuality good or bad; not anything. It leaves the viewer wanting – in the bad sense.

The Screenplay
Written and directed by John Baumgartner, Hard Pill has the infuriating knack for starting compelling stories but never fleshes them out to be anything but distractions. That is annoying.

Especially in the case of the romance between Tim’s commitment-phobic friend Joey, played by Scotch Ellis Loring (Wonderfalls), who stumbles accidentally into a relationship with gay activist Brad, played by Timothy Omundson (Judging Amy, Deadwood, John Doe, Xena: Warrior Princess). The relationship between these two builds, but the story is dropped without any form of resolution.

Acting
The sole bright spot of this film is the acting talent, which is top-notch. Each performers rises above the material and uses what little is there to shine in their own way.

Some adult themes.


RATINGS
Overall: 5 out of 10
V-Chip Rating: TV-14 DS
Genre: Science Fiction.
Sex: Adult situations, heterosexual and homosexual kissing.
Violence: None.
Eye Candy: Low.
  

IMDB listing

CAST
Jonathan Slavin … Tim
Scotch Ellis Loring … Joey
Susan Slome … Sally
Mike Begovich … Don
Jennifer Elise Cox … Tanya
Timothy Omundson … Brad