Movie Musing: Going Ape for a Trilogy

With War for the Planet of the Apes we have one of the best film trilogies since The Lord of the Rings completed back in 2003. I know, I was just as surprised as you. If you look back at series that hit the three film mark you are hard pressed to find any that didn’t have at least a single dud in that chain.

Starting with Rise of the Planet of the Apes these films have all had solid to excellent scripts. They created interesting and engaging characters and they have build up each other. I would even argue that the films actually got better as they went along. I loved how Dawn of the Planet of the Apes raised the stakes for the humans, as well as the apes. But the stakes were intertwined in a way that created drama and conflict that you were invested in. War for the Planet of the Apes did the same thing, but it went further, putting Caesar’s very soul at the heart of the film. It is an impressive achievement, and one that I would never have called back in 2011 when the series started.

I wanted to take a look at the various elements that made this series work so well. It isn’t quite a top ten list, because I’m not sure any one element outshines the other. But it is fascinating to see how they all worked together to create one of the best trilogies of film in modern times.

1.  Reworking the older films that had issues, instead of trying to remake what many feel is a classic.

Taking matters into his own hands.

• This is something that I believe most studios really need to consider. Stop trying to remake and reboot films that are good. Look at the ones that had potential but fell short. Most people will say that Planet of the Apes is one of the best science fiction films of the 1960s, and some will even put it on a list of best science fiction films of all time. Fox made a wise decision to look at Conquest of the Planet of the Apes and rework the ideas presented in that film. It was a good move because people are less familiar with that movie, and it contains plenty of really intriguing ideas and moments that the new trilogy could develop in interesting ways. The most important element from that film (as well as Battle for the Planet of the Apes) is the character of Caesar.

2. Willingness to focus on the apes as the central characters

Sharing the story.

• Rise did start with James Franco’s character as our main protagonist, but Caesar gets plenty of screen time and his story is just as important to the film. I’d say they share the film. But starting with Dawn, Caesar takes center stage, and with him the rest of the apes civilization. The creators could have tried to shoehorn a human into the main plot to act as an audience surrogate, but they resisted. Instead, human interactions are used to compare and contrast with the apes. There are key human characters in Dawn and War, but they never take the spotlight away form Caesar or his people. It was a bold decision, but one that put faith in the audience as well as the ability of the visuals to allow the audience to relate to the apes.

3.  Utilizing impressive visuals but keeping them in service of the story and characters

Road rage!

• One of the main reasons it was a good time to revisit the Planet of the Apes franchise is that special effects technology is to the point where realistic ape characters can be created using state of the art technology. These movies share the same source material with the 70s films, but visually are very different. These apes look like actual apes, not people with ape heads. I’m not slighting the 60s and 70s films. They look very good for the makeup available at the time. But they create a more alien looking view of the apes. The current trilogy feels more grounded in what we understand as reality. But it isn’t just the impressive special effects, but the overall visual tone of the films. Director Matt Reeves gives Dawn and War a grim feeling that fits this view of one world dying and a new one beginning. It gives the new trilogy a cohesive feeling that was lacking in the earlier series. Finally these films have impressive visuals, but all of them are in service to the story and characters. There is very little visual showboating here. Yes you are blown away by some action sequences, but everything feels like it pushes the story forward, or is part of the themes of the series.

4.  Impeccable cast willing to commit to roles and stories

Kobe shows his laughing face... scary.

• Even when you have all the wonderful special effects in the world at your side, if you don’t have a cast that is willing and able to pull off the characters you’ll be in trouble. Luckily each film is blessed with some outstanding performances. The highlight is Andy Serkis, who gives us a Caesar that is relatable, admirable and yet flawed. It is a great character, and Serkis steps up to the challenge of not only delivering such a nuanced performance over all three films, but doing so with so few words. Body language and eyes are the key elements for all the ape performers, and we get so many good ones. Karin Konoval as Maurice is pitch perfect in her role. Steve Zahn as Bad Ape in War provides just the right amount of eccentricity and levity to the dark film. And I would be remiss if I didn’t mention the powerhouse performance that Toby Kebbell unleashed as the conflicted Koba in Dawn. These performances make us believe in the apes as characters, and why we get so attached to their story as it continues.

5.  Allowing the music to have emotional weight in the film.

Caesar doubts the veracity of your claim.

• There is a trend in “serious” Hollywood films today that film music should not call any attention to itself. It shouldn’t be emotional. It shouldn’t do anything but just kind of sit there in the background, droning away because we need a score of some kind and we don’t want the audience to feel manipulated. I wish I was exaggerating, but sadly I’m not. Now you could argue if these three films are “serious” or not, but I think we could have easily ended up with a low key droning score on these. The filmmakers decided to actually allow the music to be heard and to carry emotions. The two composers who worked on the series, Patrick Doyle and Michael Giacchino, were allowed to build scores that were heard clearly in the film. The music took on additional importance for Dawn and War where so many of the characters are not speaking actual words, but expressing feelings with their eyes and body language. The music does some heavy lifting in these films. It gives us a wonderful theme for the Apes (and Caesar) that carries over the two movies and showcases the strength of those characters. Understanding how powerful and effective the music needed to be in these films was vital and it pleases me to read so many reviews of War that say how effective Giacchino’s score is in context. Check out some samples of the scores here.

6.  Understanding pacing and atmosphere to build tension.

A shaky truce is about to go south.

• How easy would it have been to go the standard blockbuster route with these new apes films? Very easy indeed. Even with a title like War for the Planet of the Apes, the action sequences are restrained. Instead the films focus on building atmosphere and tension, so that when the big set pieces arrive, they have impact. Rise of the Planet of the Apes almost feels like a medical drama for the first half of the film, but it earns the climactic battle on the Golden Gate bridge. Dawn did up the action quotient, but did so by having the big sequences pull the characters in various directions emotionally and us right along with it. Those scenes in Dawn are nerve-racking because we are invested in Caesar’s dilemma and Koba’s conflict. War opens with a terrifying action sequence and then proceeds to go into tension building mode as the stakes get raised to almost unbearable levels. The final climax feels earned and cathartic when it hits. And because of the well-written scripts, the climax fits not just the film, but the whole trilogy as well.

7.  Tying all three scripts together.

Apes using eagle vision?

• I’m not sure if the overarching story for these three films was written at once, or if Dawn and War were written with close attention paid to the previous installments of the current series. In any case the scripts of these three films builds on each other. This is actually something that franchise stories not based on existing material run into problems with. Too many times we have sequels that seem to exist in a vacuum with only passing attention paid to the earlier installments (especially in horror series). But these films tell a continuous story, with Caesar as our central character. Dawn could not work without the events of Rise. War would not play out as it does without the story told in Dawn. Care was taken with these scripts and you can tell.

8.  Providing nods to the older series.

Maurice and Nova are both call back names.

• Even while these films forge their own path, they also take the time to provide nods to the films of the 1960s and 70s. I think Rise went a little too far with it. But the other two films don’t call attention to the references, but work them organically with the story. Someone who isn’t familiar with the older films will not feel like they are missing anything when they meet characters named Cornelius or Nova. But those who are familiar with the older movies will find an added layer to these films to enjoy. The new series doesn’t mock the older one (yeah I’m looking at you 2010 Clash of the Titans), but respects it for what it did and how it inspired these new films.

9.  Keeping to the grey zone.

It is the end of the world, and the colonel doesn't feel fine.

• One of the elements I really like about this series is that there are no good guys and bad guys. There are protagonists and antagonists. We understand the motivation of nearly all the characters in these films, and while we may not agree with them, we can empathize with them. James Franco’s character in Rise is not a mad scientist, but a man who cares deeply about his father and Caesar. His actions eventually doom the human race, but they were done to help humankind. But at the same time his is rash and bit selfish, flaws that allow events to spiral out of his control. This continues into Dawn where the humans and apes have members that are filled with fear and hate. It is those individuals who drive the action of the story into darker and darker levels. It is like watching a car wreck in slow motion. You can see how it is all going wrong, no matter what everyone tries to do. The tension from that conflict is still one of the best in the series. War presents us with a human faction that seems to be evil on the surface. But the more we learn about them and the reasons why the Colonel is pushing the attack so hard, we realize that the stakes for humanity have never been higher. We can empathize with the man, even as he does horrible things to Caesar and his people. In the end, we cheer for the apes, because they are oppressed. Caesar is the one that tries to maintain peace and is willing to open a helping hand to humanity. But like many leaders before him, he is constantly challenged. Sometimes it is by humans, sometimes it is by his own people and finally it is by his own emotions.

10.  Committing to the tone.

The quality of mercy...

• Now I’m going to sound like a bit of hypocrite here. I have lamented in the past about all the Hollywood blockbusters that were so dire and dower in tone after The Dark Knight became a huge hit. Rise came out right when that was still in full swing, and it was one of the reasons I missed the film in theaters. But I think the difference here is that the Planet of the Apes series as a whole has always had a very serious feel to it. They aren’t fun movies, but they are engaging movies. This new series falls into that same tone. We are dealing with the end of the human race after all. But I think the creators did such a good job balancing the tone just right. All three films have characters you can relate to, and hope for. They aren’t relentlessly depressing and dower just because they are trying to be cool. They are dealing with grim situations and the characters are reacting the best way they can. It feels right and earned. The creators never cheapen it by overplaying the mood, or trying to cut it with comic relief. Now War does contain the character of Bad Ape, who does bring some chuckles to the dark film. But his character has a tragic story, and even though his reactions can bring a smile or a laugh, we also feel bad for the guy. He is only reacting that way because of what happened to him before Caesar and his crew run into him. It is a dangerous character to introduce in that kind of film, but he is played and written perfectly. The tone was preserved and it delivers the impact it needs to. And as I mentioned above, the films could have veered off into pure action spectacle or gotten really ridiculous as they went along. But they stayed committed to the dark tone. It is an impressive feat that all three films are still engaging to watch and rewatch, even with such dark subject matter at the heart.

So those are my 10 reasons why this film trilogy is the best trilogy of films since Lord of the Rings. Did I miss something you think makes these work? Or do you have another trilogy that you think works just as well, or even better? Leave a comment and I’ll be sure respond (even to you Twilight fans out there).

Caesar in search for the dish best served cold.

Movie Music Musings: The Goldsmith Award 2011

It wasn't just animation, it was motion capture based animation, so that made it even more expensive than a typical animated feature. Add to that the simple fact that whenever someone talks about these types of animated films like The Polar Express or Beowulf or the 2009 version of The Christmas Carol, they usually use the world "creepy looking" in there somewhere. I'm not sure that a budget of 150 million was ever going to see any profit.

But Robert Zemeckis was obsessed with getting this motion capture animation to take off. Mars Needs Moms was such a bomb it pretty much ended that idea. The film came out before Spielberg's Adventures of Tin Tin, but that superior film got tainted and that seems to be last of that odd animation experiment. Most motion capture animation remains in the realm of video games.

All that said, Mars Needs Moms may have been a bomb (and a half) but the score isn't. John Powell composed a fun and exciting score. It is what he does best and animation really seems to ignite his creative powers. His scores for the two How to Train Your Dragon films are some of the best of the decade. Mars Needs Moms is right behind them, with lots of orchestral color and energy.

So enjoy the end credits suite to Mars Needs Moms by John Powell. No creepy dead eyed characters shown here. :)

Movie Music Musings: Soul Surfer

I tend to write about favorite film composers who are part of the older generation. These are guys who worked films in the 70s, 80s and 90s. Some are still working like John Williams and Ennio Morricone. Others have left us a legacy to enjoy like James Horner and Jerry Goldsmith. But since I do watch current films, I do actually enjoy music from some of the current crop of composers.

One gent that I'm finding more and more to like is one of Jerry Goldsmith's students: Marco Beltrami. I posted a blog about his outstanding work on 3:10 to Yuma. But one of my favorite scores by him is Soul Surfer. Now to be honest, I've never seen the movie. And normally scores to inspirational dramas are not usually something I pick up. But Soul Surfer has such a unique sound and has a couple of great uplifting themes that it is really hard not to fall in love with it.

The film is based on the life of surfer Bethany Hamilton and her experience of surviving a shark attack and rising above it to continue her life in competitive surfing. Beltrami takes the setting in Hawaii and uses it at the basis for his score. He fuses Hawaiian style music and chanting with an orchestra and the result is unique and completely engaging.

Here is one of my favorite tracks, I just love the way he builds into a wonderful crescendo in this one, called Half Pint Boards.

See, nice and soothing with a great uplifting lilt to it. But Beltrami takes that same style and turns it dark with some pounding percussion and sinister sounding chants for this next track, the fearsome Shark Attack.

Man, that almost sounds like a horror movie in parts, and I love it. Beltrami really captures the tension and fear of that sequence in the music. And male chanting is so intimidating, and over the propulsive percussion that just keeps the tension raising. It is one of the best tracks on the album, but not necessarily something you want to listen to all the time (unless you're a film music geek).

But let's end this with something more uplifting. This is one of the final tracks in the score Bethany's Wave. It takes the themes already presented in Half Pint Boards but brings them to this great triumphant conclusion. 

The whole score is one of those that I can pretty much listen to in one go and not feel the need to skip a track. And once it ends, I have no issue playing it again. Not too many film scores fall into that boat for me. Soul Surfer is a great example of a composer allowed to try something unique and yet fitting for the film. It is one of Beltrami's great talents, and when the man is given some free reign he composes some great stuff. But like many modern composers he often gets stuck composing minimalist scores or scores that rely on atmosphere over themes and storytelling. He does a fine job with those too, and actually can make some very interesting atmospheric music. But I love a good theme and musical color. Soul Surfer fits the bill perfect. Highly recommended if you like these samples.

Enjoy surfing this blog? Click on an ad and support it!

Rise of the Planet of the Apes (2011)

Introduction:

After Tim Burton crashed and burned with his remake of Planet of the Apes back in 2001, most of us thought the franchise died. Obviously the studio didn’t think so. So we started to see trailers for yet another film about Apes taking over the earth. But wait a second… are they actually starting the story where the later films like Escape from the Planet of the Apes were set? This could be interesting.

Summary:

Brilliant scientist Will Rodman (James Franco… stop laughing!) is attempting to create a cure for Alzheimer’s disease. His father Charles (John Lithgow) is afflicted and is getting worse, so Will starts experimenting a bit wildly on chimpanzees. Things end up going wrong, and he ends up on the outs from his company. But he does manage a breakthrough with a chimp named Caesar (Andy Serkis).

Caesar begins learning at an amazing rate, obtaining more cognition as well as human traits. The drug seems to work on Charles too, reversing the affects of the disease. Everything is going so well, so we know it can’t stay that way. Sure enough Caesar gets in trouble and is forced into a facility for primates. He is treated brutally by the John Landon (Brian Cox) and his son Dodge (Tom Felton). Meanwhile Charlie relapses and Will decides to alter the experiment, giving his cure virus-like qualities. These events set in motion the fate of the world, as Caesar takes a stand and we witness the Rise of the Planet of the Apes.

Good Points:

• Amazing visual effects bring the apes and especially Caesar to life
• Creates an interesting premise to lead us to a planet ruled by apes
• The build up to the great ape escape is filled with tension

Bad Points:

• James Franco is a super smart scientist… are you sure?
• Uses quotes to wink at the audience a few too many times
• Those looking for wall-to-wall ape action will be disappointed

Overall:

An admirable reboot (or is it?) to the Planet of the Apes franchise. The combination of Andy Serkis and amazing visual effects allows us to connect with Caesar and his story. The film builds on itself until the tense finale where things can go very badly. As the wheels are set in motion for a sequel, you’ll find yourself eager to see where they take this story.

Scores (out of 5)

Visuals: 5

Sound: 5

Acting: 4

Script: 4

Music: 4

Direction: 4

Entertainment: 4

Total:  4

Curious about a full review, sent me an email and I’ll make additional thoughts to this review.

Coriolanus (2011)

Introduction:

William Shakespeare wrote a lot of plays, but the same few are picked for adaptation to the silver screen. We’ve seen Hamlet a million times, Romeo and Juliet gets made every decade or so. Even Julius Creaser seems to be a favorite. But outside of some TV presentations, Coriolanus has never been on the big screen, until Ralph Fiennes helmed his version.

Summary:

Caius Martius (Ralph Fiennes) is a modern soldier in a country that calls itself Rome. His duty is to the aristocratic senate. He is a ruthless man, confident in his abilities, and scornful of anyone who does not measure up to his standards. But Martius is as good as he claims, and soon defeats Tullus Aufidius (Gerard Butler) and his army of Volscians in the city of Corioles. After his amazing victory Martius is given the title Coriolanus, and asked to stand as consul.

Unfortunately he has many political enemies, and they know just how to play him. Soon Coriolanus finds himself the object of scorn and hate by the people of Rome, no matter how valiant he is in battle. He spurns the advice of his mother Volumnia (Vanessa Redgrave), his wife Virgilia (Jessica Chastain) and an old friend and senator Menenius (Brian Cox). After an eruption of hateful speech Coriolanus is banished from Rome. But the man is not broken, not even close. He seeks out his enemy Tullus and joins forces with the Volscians. Coriolanus has a new goal in life, to watch Rome and all her people burn.

Good Points:

• The setting of the play is effectively modernized
• Includes powerful performances by Fiennes and Redgrave
• Moves at a brisk pace 

Bad Points:

• Not much of a catharsis for a very unlikable lead character
• The musical score is distracting at times
• Purists will not appreciate the edits and modernization of the play

Overall:

A really admirable effort all told. It feels and moves like a war film in the first half, and then turns into a dark character study in the second half. The surreal dialogue dealing with ancient Rome merges with some really clever modernizations of the setting. The performances are all passionate and powerful Even Gerard Butler (who I can take or leave on most occasions) was really good. My issues with the character come from the play itself, not the performances. Coriolanus is not a sympathetic man at all. But in a way, that is the whole point. If you don’t mind your Shakespeare being modernized and edited, this is a very good adaptation.

Scores (out of 5)

Visuals: 4

Sound: 4

Acting: 5

Script: 4

Music: 2

Direction: 4

Entertainment: 4

Total:  4

Curious about a full review, sent me an email and I’ll make additional thoughts to this review.

The Adventures of Tintin (2011)

Introduction:

It was a bit of a surprise to hear that Steven Spielberg and Peter Jackson were joining forces on their next project. Then it turned out it was going to be a motion capture animated film based on a character who was very popular in nearly every other nation in the world, except for the U.S. It seemed to be an odd strategy for a blockbuster, but hey, what did I know. I’d never heard of Tintin before.

Summary:

Intrepid boy reporter Tintin (Jamie Bell) purchases a beautiful model ship of the Unicorn piloted by the by famous Sir Francis Haddock.  But it seems that there are quite a few other people looking for the same model ship. It doesn’t take long for Tintin to deduce that a secret lies in the ship itself, and once he figures that out, the adventure begins.

On his whirlwind journey across the seas and into the deserts of North Africa, Tintin encounters a few of odd characters. Captain Haddock (Andy Serkis) is a drunken buffoon, whose addled memory may hold the secret to a buried treasure. Then there’s the vicious Sakharine (Daniel Craig) who is willing to kill to unlock the secret of the Unicorn. Finally there’s the duo of Thomson (Nick Frost) and Thompson (Simon Pegg) a couple of INTERPOL officers who can’t seem to find their brains in their bowlers. Prepare yourself for chases, escapes, slapstick, explosions, sword fights, cunning traps, not so cunning traps and a fat lady singing all in the first big screen adaptation of The Adventures of Tintin.

Good Points:

• Brings back the old fashioned adventure film back to the big screens
• Balances humor, thrills, and amazing visuals
• Wonderful musical score by John Williams

Bad Points:

• The motion capture animation just isn’t going to work for some folks
• Some of the visual flourishes are a bit much
• Some of the slapstick tone seems at odds with darker story elements

Overall:

Even though I was a Tintin newbie, I was still able to get sucked into the adventure and enjoy the ride. I’m still not sold on motion capture animation, but Spielberg does some really interesting things with it, moving the camera and executing chase scenes that would be impossible in a live action film. At times it’s gets overwhelming, and feels like showing off. But for the most part the movie is a great return to the classic adventure stories, with quite a bit of humor mixed in with the excitement. Well worth checking out.

Scores (out of 5)

Visuals: 5

Sound: 4

Acting: 3

Script: 3

Music: 4

Direction: 3

Entertainment: 4

Total:  4

Curious about a full review, sent me an email and I’ll make additional thoughts to this review.    

Score Sample - The Adventures of Tintin - John Williams

When it comes to John Williams most folks forget that he started out doing jazzy scores for movies in the 1960s. We know him for his orchestral sound, but Williams is quite at home with other musical styles. After all this man brought us the cantina band music in Star Wars as well as the wonderfully asian sounding Memoirs of a Geisha. While most of his score for The Adventures of Tintin remain in his familiar orchestral adventure mode, he has some fun with the opening titles. Enjoy the return of jazzy Williams with the title track The Adventures of Tintin.

Mission: Impossible – Ghost Protocol (2011)

Introduction:

You can’t keep a good franchise down, or even a mediocre franchise down. But I kid Mission: Impossible. For the most part, the series has remained entertaining and perfect summer weekend viewing. But it’s one of those series that I don’t hear people clamoring for. One will come out; people will see it, enjoy it and then move on to the next action flick. It’s rare to hear someone say, “I can’t wait for the next Mission: Impossible. But that doesn’t keep Tom Cruise from going back to the well.

Summary:

After Ethan Hunt (Tom Cruise) is sprung from a Russian prison, he finds himself involved in a new impossible mission. Agent Jane Carter (Paula Patton) and newly minted field agent Benji Dunn (Simon Pegg) need his help to break into the Kremlin and steal some classified information. Of course things don’t go as planned and before you can say, “Didn’t this happen in the last three movies”, Hunt and his team are accused of a terrorist action and disavowed.

It’s all a plot by the diabolical Kurt Hendricks (Michael Nyqvist). This brilliant war strategist believes that nuclear war will bring about the next stage of world peace and human evolution. Now Hunt and his team are joined by the capable analyst William Brandt (Jeremy Renner) to stop the mad man, and do it off the grid. But Brandt is hiding a secret and Hendricks is one step ahead. Can Hunt and his team survive all the chases, escapes, explosions, dust storms, building climbing and malfunctioning gadgets to save the world?

Good Points:

• Excellent direction by Brad Bird keeps the flick moving at a good pace
• Plenty of humor injected into the film, keeping everything fun
• Enjoyable musical score by Michael Giacchino

Bad Points:

• Michael Nyqvist is underused in a flat role
• Some of the scenes break the laws of physics a bit too freely
• Tom Cruise is… Tom Cruise

Overall:

This movie was a bit of an improvement over the last film. The pacing was perfect, the humor was a great addition and action scenes were intense and fun. However the main villain isn’t given much of a chance to shine here. Cruise is pretty much in his comfort zone , and that will not work for some viewers. But this outing was a fun evening’s viewing.

Scores (out of 5)

Visuals: 4

Sound: 4

Acting: 3

Script: 3

Music: 4

Direction: 4

Entertainment: 4

Total:  4

Curious about a full review, sent me an email and I’ll make additional thoughts to this review.

Mission: Impossible Reviews

• Mission: Impossible
• Mission: Impossible 2
• Mission: Impossible 3
• Mission: Impossible - Ghost Protocol
• Mission: Impossible - Rogue Nation

Conan the Barbarian (2011)

Introduction:

I discovered the work of Robert E. Howard a few years ago, and I really enjoyed his take on fantasy. The world of the Hyborian Age is a brutal and exciting place, and the character of Conan is intriguing. Of course he gets into all kinds of crazy adventures, usually involving plenty of battles, a naked woman or two and usually some kind of magical twist. The previous attempts to bring this world to the screen were moderately successful, but I was excited to hear that a new version was taking off in 2011. Would it stick closer to the world Howard created?

Summary:

The film begins with a prologue describing an evil mask made of human skulls and how it was smashed. If it were brought together, than a supreme evil would claim the land. You know how these ancient prophecies are. Then we jump forward to witness the birth of Conan (Jason Momoa), as he is ripped from his mother’s womb during a battle. Wow! That’s some entrance. We watch his childhood among the Cimmerians, and how he kicks ass even as a child. Sticking to fantasy cliché number 24, his village is raided and his people killed. This includes his father, played by Ron Perlman who is required to be in at least one fantasy movie per year due to fantasy cliché number 22.

This means that Conan now has vengeance in his heart for the folks that destroyed his people. But mostly he travels the world with his partner Artus (Nonso Anozie), has adventures and sleeps with hot babes. But a chance encounter puts him on the track of the evil king Zym (Stephen Lang) and his sorcerer daughter Marique (Rose McGowan). Seems that these two are trying to piece together the bone mask and fill it with “pure blood”. They’ve zeroed in on Tamara (Rachel Nichols) as the vessel they need. Little do they know that Conan the Barbarian remembers them very well and is coming to spill blood, get revenge and bed a hot babe.

Good Points:

• Retains some of the feel of the Howard books
• Momoa makes a good Conan
• The villains are having a great over the top time

Bad Points:

• Feels like a rehash of the 1982 film and other fantasy flicks
• The editing and camera work kills many of the action scenes
• The music is terribly underwhelming at best, distracting at worst

Overall:

This movie got slammed when it came out, and honestly it isn’t that bad. Strictly middle of the road fantasy fare, and that makes it a disappointment on some levels. It has lots of elements that Howard fans will enjoy, and the R rating keeps it closer to the spirit of the stories. If only the editing and camera work were able to make this film really click. Instead you end up distracted by the nonsensical scenes and the abrasive score. A shame, because a good movie was hiding in there somewhere.

Scores (out of 5)

Visuals: 4

Sound: 4

Acting: 4

Script: 3

Music: 2

Direction: 2

Entertainment: 3

Total:  3

Curious about a full review, sent me an email and I’ll make additional thoughts to this review.

Hugo (2011)

Introduction:

When most folks hear the name Martin Scorsese, you imagine gritty, gangster, realistic flicks with a hard-hitting edge. A delightful family film never enters your mind. But in 2011 Scorsese attempted just that, and in the bargain attempted it all using 3D. Was the result worth checking out?

Summary:

Welcome to Paris in the 1930s, where a young boy named Hugo lives in the walls of the Paris train station and tends the many mechanical clocks, to ensure they are always accurate. However, Hugo has a secret, no one knows that he is the one performing these tasks, and must remain hidden or else he’ll be caught by the Station Inspector (Sacha Baron Cohen) and sent to the orphanage. Unfortunately, Hugo must steal to survive, and that puts him in direct danger every day. One day, he is caught by the cantankerous Georges (Ben Kingsley), a toy maker who seems intrigued and annoyed by the little thief.

Further mystery unfolds when Hugo meets the pretty niece of Georges, Isabelle (Chloe Grace Moretz). To solve the mystery, the two much delve into Georges past as a silent filmmaker, reactivate a mechanical man and witness a trip to the moon. Prepare yourself for some laughs, some adventure, an intriguing mystery and a love of movies as you take a trip with Hugo.

Good Points:

• Amazing use of visuals
• Solid acting by the entire cast
• Wears a love of movies on its sleeve

Bad Points:

• Some of the humor with the Station Inspector doesn’t click
• Relies on some knowledge and appreciation of silent film
• Those looking for typical gritty Scorsese will be disappointed

Overall:

For any fan of film, this is an easy movie to enjoy. Scorcese’s enthusiasm for the visuals comes right through. So does his love of movies, with all kinds of references (obvious and subtle) to silent film. But the heart of the story, about Hugo and his father is really what makes the whole thing click. This is an easy recommendation to anyone looking for a fun and visually absorbing family oriented film. And it was a wonderful musical score by Howard Shore.

Scores (out of 5)

Visuals: 5

Sound: 4

Acting: 4

Script: 4

Music: 4

Direction: 5

Entertainment: 4

Total:  4

Curious about a full review, sent me an email and I’ll make additional thoughts to this review.   

Innkeepers (2011)

Introduction:

This movie has gotten a lot of good buzz in horror circles and the director Ti West has been called one of the best horror directors to come around in a while. His previous film, The House of Devil was considered one of the best of the genre in 2009. Is The Inkeepers as good as the buzz says or is this one haunted inn to stay away from?

Summary:

Claire (Sara Paxton) has a pretty dull job at the Yankee Pedler Inn, a picturesque old building that is just about to go out of business. She minds the place with Luke (Pat Healy), both of them going through the motions, goofing off and keeping the few guests as happy as possible. They also spend some time hunting ghosts. You see the inn has a history and a ghost story or two tied to it. Luke has actually encountered the supernatural in the inn and Claire wants to have some spooky fun too. This all leads to some “be careful what you wish for” especially when a psychic (Kelly McGillis) sees some trouble in Claire’s future. Will our Innkeepers see some ghosts or become the ghosts?

Good Points:

• Excellent acting by the leads makes you like and care about them
• Wonderful atmosphere builds the tension up to a boiling point
• Some funny and fun dialogue

Bad Points:

• Gore fans will be very disappointed
• Anyone looking for lots of scares will be disappointed
• Some may find the quirky characters annoying

Overall:

What a surprise this movie turned out to be. It’s an old fashioned ghost story with some fun and quirky characters. The first two thirds of the movie establish your leads and their personalities, and slowly build up the ghost story and history of the inn. The final third brings everything into play – including the guests to create some really good jump scares and some solid tingles for your spine. An easy winner for a spooky evening for fun. I’ll certainly be looking forward to more from Mr. West.

Scores (out of 5)

Visuals: 4

Sound: 4

Acting: 5

Script: 4

Music: 4

Direction: 4

Entertainment: 4

Total:  4

Curious about a full review, sent me an email and I’ll make additional thoughts to this review.

Captain America: The First Avenger (2011)

Introduction:

Yikes, another comic book movie? Why yes, of course, we have to fill in all the backstories before we release The Avengers. Ok, I guess that makes sense, but I’m feeling a bit burned out on all of these. That’s too bad, you’re going to get more. Don’t we get to vote or something? No, you lost all your voting privileges because you didn’t like the remake of Clash of the Titans. Now wait a minute, that movie stinks… See, you don’t deserve to vote with that attitude.

Wait a sec, who the hell am I talking to?

Summary:

World War II rages on and all Steve Rogers (Chris Evans) wants to do is join the military and serve his country. Alas, he is weak, scrawny, and sickly. Luckily that is just what Dr. Erskine (Stanley Tucci) is looking for. He wishes to create a super soldier that can serve as a prototype for future army of heroes. The experiment works and Steve becomes Captain America! Dr. Erskine is killed by an enemy agent sent by the diabolical Johann Schmidt (Hugo Weaving). After some convincing Colonel Phillips puts Captain America to work, hunting down Schmidt and his army of super-soldiers. But Steve has to juggle his new found powers, his feelings for the lovely Peggy Carter (Hayley Atwell) and his devotion to his country to become The First Avenger.

Good Points:

• The 40s look to the bulk of the film is impressive
• Throws in some light hearted fun into the super hero mix
• Tommy Lee Jones steals nearly every scene he’s in

Bad Points:

• The story is not very engaging
• The visual effects to make Evans look feeble look bizarre
• Really feels like a long set up for little pay off

Overall:

This should almost work, and if they weren’t so concerned about making a movie that leads into The Avengers it could have been a real blast of fun. Instead the movie feels muddled in some places and redundant in others. It ends up being an uneven viewing experience. It’s not bad, but of all the Avenger superhero prologues this is the weakest.

Scores (out of 5)

Visuals: 4

Sound: 4

Acting: 3

Script: 3

Music: 3

Direction: 3

Entertainment: 2

Total:  3

Curious about a full review, sent me an email and I’ll make additional thoughts to this review.