Underworld

Tags

2000's, Action, Bill Nighy, Fantasy, Kate Beckinsale, Len Wiseman, Michael Sheen, Scott Speedman, Shane Brolly, Underworld

A dark action fantasy with imaginative mythology, Underworld certainly looks terrific and has a bit more plot than you’d expect. It’s an imperfect film, but with oodles of style and a kick ass Kate Beckinsale , Underworld holds the interest and has quite a few things to recommend.

A war has been raging for many centuries invisible to human eyes. It has been fought between the vampires and the werewolves, here called Lycans. Selene(Kate Beckinsale) is one such a vampire, referred to as a Death Dealer as she hunts down her enemy. We pick up with her as she hunts Lycans but finds something different this time. The Lycans are hunting a human by the name of Michael Corvin(Scott Speedman) ; which to Selene makes no sense as humans have no part of the conflict between the two clans. While pursuing Lycans, Selene becomes curious about Michael and how he somehow fits into events. The Lycans, headed by the slimy yet wily Lucian(Michael Sheen), have secret plans that involve blood and becoming more powerful . While the Vampires have plans to awaken one of their Elders very soon. Defying orders from the arrogant and scowling second in commands of  vampires Kraven(Shane Brolly), the reckless Selene investigates Michael and unexpectedly begins to care for him.  It then becomes clear that the conflict between the species isn’t as straightforward as many have been lead to believe. As various treachery is uncovered and her attachment to deepens, Selene begins to question what she’s been lead to believe just as the war hots up again and the dormant Vampire Elder Viktor(Bill Nighy) is awakened.

Len Wiseman is a very stylish director who makes a good go of bringing this story to life. He showers us with lashings of blood soaked violence, barrages of bullets captured in slow motion and leather gear throughout. And it must be said, on the visual scale, Underworld is rather dazzling . With a dark cinematography style bathing events in Gothic grey and moody blues, we are put into this nocturnal world of battles that feels fantastical and darkly intriguing.  What’s surprising about Underworld is that it isn’t just a mindless action fantasy, there is some good world building here. Occasionally it gets a bit too much with explaining things and the run time does leave a bit to be desired. I feel the movie flags in the midsection before all matter of violence breaks loose and sucks us back into the spectacle that was so entertaining. As I mentioned previously, it’s not a perfect movie but it’s sure as hell entertaining when it’s in high gear. It’s flawed but definitely got a lot going for it and I for one enjoy the good of what Underworld provides to me. A thumping score that is definitely what I’d call early 2000’s accompanies the film and fits in with the aesthetics quite well.

Underworld is not what you’d call an actors movie per say, though it has a handsome cast. Kate Beckinsale, clad in a figure hugging latex catsuit, has the appropriate sex appeal, icy cool and sullen attitude for her role of Selene. All these attributes work well as well as the physicality and reckless personality Beckinsale imbues into the part. She’s suitably cast and carries the centre of the e film as we watch her emotions become more prominent when Selene has tried to shut them off. In short, Kate Beckinsale is ideally cast and makes for a great kick ass heroine with a heart. Scott Speedman is mainly required to be startled and confused as the human caught in the midst of this war. Thankfully, Speedman does what he can with what he’s given and at least provides the centre of the story as he and Selene grow closer. Questionable morals and arrogant personality are on show from Shane Brolly as the leader of the vampires, who can’t help but feel inadequate when questioned by Selene and others on his judgment . Bill Nighy appears late but makes an impact as the Vampire, who while wise and seemingly respectable enough, may in fact be something more manipulative entirely .

So while it’s imperfect and not everything comes off, Underworld is still a largely engrossing fantasy with great action, nice wold building and good cast headed by the sexy Kate Beckinsale.

Tuck Everlasting

Tags

2000's, Alexis Bledel, Amy Irving, Ben Kingsley, Fantasy, Jay Russell, Jonathan Jackson, Romance, Scott Bairstow, Sissy Spacek, Tuck Everlasting, Victor Garber, William Hurt

Based on the popular novel , Tuck Everlasting is a magical and at times moving fantasy that ponders deep questions and boasts a wonderful cast. While it might not be to all tastes, Tuck Everlasting may very well surprise you. Especially because it’s not something I imagined would come from Disney but somehow works.

It’s the early 1900’s and rich teenager Winnie Foster( Alexis Bledel) feels constricted by society and how she’s never allowed to have any adventure. She’s largely confined to her house , where her parents smother her with rules and restrictions. Her mother Mrs. Foster( Amy Irving) is prim and proper , while her father Mr. Foster ( Victor Garber) is often busy . Winnie becomes more frustrated with her life when she’s informed that she’ll be going to a boarding school. Angry, she runs off into the woods that she’s been forbidden to enter. Finding herself lost, she meets a handsome young man called Jesse Tuck(Jonathan Jackson) . He’s secretive but before they can connect, Jesse’s brother Miles(Scott Bairstow) takes Winnie with him back to his family. Here Winnie meets the mother and father of the Tuck family, Mae(Sissy Spacek) and Angus(William Hurt). The family live in a wooden house, sheltered on the lake and among beautiful scenery . The family are hesitant over what to do with Winnie as they are clearly hiding from something . After initial uncertainty because of their secretive ways, the family warms to Winnie. As she spends more time with them, Winnie becomes entranced with how they live and finds trusted comfort with them. Jesse eventually reveals the secret of his family; they are immortal having drank water from a spring within the woods. Though they are a close family and live life with some sense of freedom, the Tuck’s have a few feelings of regret and sometimes question what they did. In the meantime, Winnie grows closer to the family. Unfortunately for Winnie and the Tuck’s, especially Jesse, who she has fallen in love with, darkness may be on the horizon. A mysterious Man in a Yellow Suit ( Ben Kingsley) has arrived with an intention on discovering their secret to immortality and wants to exploit it. And it seems he’ll resort to anything to get his wicked hands on it. Winnie’s parents also send out a massive search party to find their runaway daughter. With both of these things hanging over the summer that will change everything, the big question falls to Winnie. Will she drink from the spring to become immortal or decide against it and grow old like everyone else?

Director Jay Russell conjures up a pretty magical movie that takes innocence and the pressures of growing up and infuses them with summer adventure. He’s clearly got great admiration for the source material and doesn’t feel the need to over simplify for children, yet not alienate older viewers either. The visuals are simply gorgeous; long sweeping shots of woodland, dreamy dissolves between scenes and a sense of bittersweet reverie that colours every frame. Even the most cynical of people is likely to be charmed by this warm-hearted yet wistful movie that explores deep issues with heart and a soulfulness. Where other movies fail when trying to straddle both kid friendly content and weighty issues, Tuck shines. While some little moments get a tad saccharine, it steers to the right side of sentiment and heart that is hard to resist or fault. It’s a movie that can be incredibly moving too with the big question of immortality and eternal life at the centre . I mean I think the prospect has been something that has been of interest to people for centuries and is a concept that is most intriguing.  An eloquent, wistful and stirring score from William Ross highlights the often bittersweet nature of the film, but also the beauty and mystical energy involved too.

Heading the cast is the young Alexis Bledel , who gives a very fine performance. Bledel embodies the stifled feeling of caught in the need for adventure and wrestling with the prospect of growing up. A lot of the movie rests on her shoulders, but Bledel, with her blue eyes and genuine demeanour ,rises to the challenge of capturing a girl at the point of womanhood with a very difficult dilemma at her door. Plus she has very convincing chemistry with Jonathan Jackson as the main Tuck of the film. The aforementioned Jackson brings an incredibly earnest charm to his part and has enthusiasm to burn. Veteran stars William Hurt and Sissy Spacek bring experience, depth and honesty to their roles. Both Spacek and Hurt convey so much often without words and bring true class and heartfelt emotion to Tuck Everlasting. William Hurt possesses the wisdom of someone who cares deeply for his family, while Sissy Spacek beautifully portrays a genuine maternal warmth as the glue of the family in times of upheaval. Scott Bairstow is mainly left to glower and snarl as the resentful brother, though he does get one pretty emotional scene. On villainous duty and doing it in suitably stylish taste is the ever watchable Ben Kingsley. Complete with something quite unnerving, his skill for flattery and slippery way with words , Kingsley makes the main villain quite creepy and someone you really want to not succeed in his wicked plan. Amy Irving and Victor Garber , though not given the most to do, effectively embody the kind of parenting from a time gone by with strictness and want to please the rigid rules of society.

While Tuck Everlasting may not appeal to certain demographics or audiences( the Disney label might put some off), I’d say they are missing out on a very lovely and wistful story. With a blend of innocence and maturity, Tuck Everlasting is a winning fantasy in my book and one to treasure.

Heartbreakers

Tags

2000's, Anne Bancroft, Comedy, Crime, David Mirkin, Gene Hackman, Heartbreakers, Jason Lee, Jennifer Love Hewitt, Ray Liotta, Sigourney Weaver

A funny, scintillating and often raunchily sharp madcap crime comedy, Heartbreakers crackles with great, comedic performances and a game cast. While it overstays it’s welcome with the running time , it’s still a good knockabout time with scintillating scenes and many great laughs

Max(Sigourney Weaver) and Page Connors(Jennifer Love Hewitt) are a mother daughter con artist duo who have been largely successful in their schemes. Their main ploy is for Max to charm someone with money into marriage. On the wedding night, she falls asleep thus not consummating the marriage. Shortly after, Page poses as a seductive young girl in order to put the man in a compromising position. Max then discovers this indiscretion and files for divorce, earning plenty of money in the process. They begin the movie by pulling this number on hot shot car salesman Dean( Ray Liotta). But this charmed existence is dealt a blow when the IRS catches up with them and they are forced to pay back their ill-gotten gains. Wanting money once more, Max persuades Page to do one last con with her and they head to Palm Beach. They set their sights on the loathsome tobacco baron William B. Tensy(Gene Hackman), who is never without his product and is prone to hacking fits. Page, although obviously close to her mother, feels a tad resentful that Max is always the one who seems to be the most successful and skilful at the con game. And while obviously talented at the game too, thanks to sassy attitude and plenty of sex appeal, Page wants to prove she can do it alone and be as savvy as her mother . Alongside the big con she and her mother are working on, she decides to do one of her own. She meets the sweet and unsuspecting bar owner Jack(Jason Lee), who has been offered a good amount of money for his establishment. What Page hasn’t counted on is developing deep, romantic feelings for him, which threatens to throw a spanner in the works. Also around to complicate matters is the return of Dean who wants to get even , despite the fact he’s still crazy for Max. Much eventfulness unfurls as the elaborate con takes unexpected turns with an out of his mind Dean joining the fray and unexpected feelings getting in the way of a possibly lucrative operation for the scheming mother/daughter duo.

David Mirkin does a commendable job with Heartbreakers. He obviously is enjoying directing this amusing and at times raunchy crime comedy with amoral characters and a few good curveballs. When it comes to the laughs, Heartbreakers does deliver in large part due to the writing and zany events displayed. We have side splitting moments involving a nude statute , Max’s quick thinking in getting out of a possible jam when impersonating an Eastern European mistress and Page being used as the seductive decoy many a time. And basically anytime that Ray Liotta and Gene Hackman are on screen. The bone of contention within Heartbreakers comes with the running time, which it must be said goes on too long . Plus, there are some parts, mainly in the latter stages, that become overly complicated when they shouldn’t. I mean I’m all for twists and turns when observing a con game, but a few too many takes the cake. Thankfully, the vast majority of Heartbreakers is entertaining enough to compensate for these flaws and make it a fun-filled ride. It’s breezy and tart, with gorgeous locales and naughty antics a plenty. A jaunty and breezy score, peppered with fizzy mischief accentuates the fun time that’s being had by just about everyone involved.

The cast is what really makes Heartbreakers sizzle and have a great sense of humour. Sigourney Weaver, who is an actress I’ve always admired and been impressed with, flexes her comedic chops here with a charismatic turn. Combining a sense of experience in all things devious with moments of genuine heart, Sigourney Weaver is wholly convincing as a worldly con artist who is afraid to lose her daughter. Weaver is on great form as an commanding and slick criminal who had never grown tired of the grifter existence and displays it with appealing confidence and sexy ease. As her sparring partner in crime and daughter , Jennifer Love Hewitt also excels. Balancing cuteness, sex appeal and tough eye rolling sarcasm, she’s a vixen who develops a heart against her better judgment.  Although constantly scene in figure hugging clothing that is hard to ignore, Jennifer Love Hewitt isn’t relegated to brainless sexpot here. Rather she knows how to flaunt it with a sense of humour and fun that’s most appealing .Weaver and Hewitt share a great chemistry and are genuinely believable as not your average mother daughter. Watching their back and forth is a delight with bickering and double dealings going hand in hands in a joint venture. Both ladies are wonderful and so very watchable in this crime caper. Another big standout is Ray Liotta, having fun with his often intense and unpredictable  persona, is a delight as the out of his mind car dealer caught in the web. Liotta brings new meaning to the word manic with a hilarious performance as a spurned and played man who eventually gets in on the con game action. A scene stealing Gene Hackman is a true hoot as the man targeted by the women for their scheme. Spluttering through endless cigars, wearing heavy make up that makes him look like a reanimated corpse and embodying a sleazy routine as a dirty old man, the ever talented Hackman makes you howl with his comedic antics here. Both and are comedic delights in this movie and the screen lights up with them on it. Jason Lee probably gets the least to do as a potential pawn in the con game and love interest. He’s sweet and sincere, not to mention rather clueless, but he just isn’t as interesting as the other people who occupy the screen. In her last movie appearance before her death, Anne Bancroft has a ball as a shifty lady who you are never sure of. And boy does she have a blast in this supporting role that lets her sign off in style. 

So while it does wear out it’s welcome thanks to the running time getting long in the tooth and things stalling in the midsection, Heartbreakers is still a fun romp through the con game. It’s enlivened by an up for anything and delightful cast and some pretty fantastic laugh out loud moments. This review is dedicated to the exceptional Ray Liotta, who recently passed away. 

The Passion of the Christ

Tags

2000's, Biblical, Biblical Drama, Hristo Shopov, Jim Caviezel, Luca Lionello, Maia Morgenstern, Mel Gibson, Monica Bellucci, Religious Drama, Rosalinda Celentano, The Passion of the Christ

Depicting the last twelve hours in the life of Jesus Christ, Mel Gibson’s unrelenting religious drama pulls no punches on the brutality scale. Though that does offer hope, if you can get make your way through the startling brutality depicted. All in all, The Passion of the Christ emerges as a truly powerful and emotion churning film.

We begin in the Garden of Gethsemane where Jesus(Jim Caviezel) knows he will be betrayed . Judas( Luca Lionello), one of his trusted disciples, betrays Jesus for pieces of silver and leads them to where the master he followed is . Arrested, Jesus is accosted by priests and faces the temptation of Satan. Watching are his disciples, plus his mother Mary(Maia Morgenstern) and Mary Magdalene(Monica Bellucci), who are devastated by the proceedings that follow. As the hours pass by, it’s an emotional rollercoaster for all involved. From being taken to the conflicted governor Pontius Pilate(Hristo Shopov) to his scourging by soldiers, Jesus is put through sickening abuse and soul shaking cruelty. Despite being tortured and mocked, Jesus remains as resolute as he can in his conviction of his purpose to be the saviour of the people. As his torture continues, Jesus eventually carries the cross to his place of death as jeering crowds and devastated followers continue with him. The hope of resurrection comes in a soulful conclusion with the ascension of the Messiah.

Mel Gibson directs with real conviction and pardon the pun, passion. He’s created a film that doesn’t sugarcoat or simplify the last twelves of Jesus Christ’s life . I’ve found that often in religious movies depicting Christ, the brutality and hardship of his last hours is watered down and over rather quickly . And while many of those movies are fantastically made and crafted, The Passion of the Christ is a different movie altogether. Gibson crafts a truly harrowing experience that both rewards and scars. The decision to have the film be in Aramaic, with also bits in Latin and Hebrew, is an interesting one that I think pays off because it makes things feel realistic and immediate. Now I’ve read that there are those who view as anti-Semitic because the main people wanting Jesus put to death are Jewish priests. While I can understand where the accusation is coming from , though I don’t believe that the film itself is anti-semitic . It rather shows how there is sin and darkness on either side of things and how man can often be cruel and shockingly vicious towards others . The scenes of vicious brutality are intercut with flashback from Christ’s past, including the Last Supper and rescuing Mary Magdalene from the street. These scenes are bathed in a beautiful glow which counteracts the almost muted colour palette of the early passages, followed by glaring brightness as the journey towards crucifixion comes into motion. All of this is strikingly shot and realised by the talented cinematography Caleb Deschanel .  His work is stark yet strangely beautiful; reminiscent of old fashioned painting and artwork. Among the savagery on show, the cinematography holds moments of soulful grace. The focus on eyes throughout is arresting in a very visual sense and in between the often harrowing images depicted, translates a lot of emotion to the audience. Sound editing makes every moment of brutality stand out, particularly the sound of the whip that cuts in the back of Jesus and into the ears of the audience. A truly haunting score from John Debney heightens all the emotions displayed in a way that is truly hypnotic, dark and yet stirring as it unfolds. For many viewers, the level of brutality, violence and general intensity will prove too much for them. And it is true that The Passion of the Christ is a test of endurance on both the emotions and the stomach. Some parts of it due feel like overkill, like a beating that refuses to end. But I believe that’s the main point of the movie and that by refusing to shy away from the brutality, it is attempting to bring a level of reality to the story which is often eschewed for something nicer. 

Jim Caviezel is truly astounding as Jesus Christ in what is obviously an immensely challenging role. Caviezel finds the core of strength that comes through when experiencing startling torture. His soulful expression, underneath viciously inflicted wounds, brings volumes of depth and beatific humanity to Christ. Put through the emotional and physical mill, Caviezel is on hand to deliver a performance that says so much and is filled with deep reverence and dignity throughout. Maia Morgenstern is sublime as Mary, the mother of Christ who is seen throughout the movie enduring every parent’s worst nightmare. What this woman conveys with her eye is simply extraordinary; you feel every emotion goes through her and is expressed on her marvellous and nuanced face. My hats off to the immensely talented and totally believable Maia Morgenstern.  The same can be said of Monica Bellucci, who doesn’t have a lot of dialogue but whose face speaks more than reams of dialogue ever could. Both women are truly superb as the important women in the life of Jesus. They both must watch with mournful, expressive eyes, the man they care about go through immense pain in order to save people from their sins. And they truly deliver work that like that of Caviezel, burns itself into the memory for its power. Hristo Shopov, who possesses a palpably haunted and weary aura, plays Pilate as a man who is damned if he does and damned if he doesn’t . The burden weighs heavy on him and Shopov plays this convincingly and authenticity .Rosalinda Celentano appears in the brief but important role of Satan. With her piercing visage and unnerving aura, she’s a memorable part of The Passion of the Christ and pretty unforgettable. Luca Lionello appears as the traitorous Judas, who soon feels the immense guilt and feeling of disgust that comes with betraying someone who trusted you. Lionello embodies when he’s on screen this feeling of self-hatred and regret as demons swell around him. 

At the end of the day, The Passion of the Christ is both a soul shaking and powerful movie. It’s not for the faint of heart and I wholeheartedly mean that , but if you have the stomach, it’s an unforgettable experience.

The Village

Tags

2000's, Adrien Brody, Brendan Gleeson, Bryce Dallas Howard, Cherry Jones, Joaquin Phoenix, Judy Greer, M. Night Shyamalan, Psychological Drama, Psychological Thriller, Sigourney Weaver, The Village, William Hurt

Somewhat of a conundrum among movie fans and critics upon release, The Village is no doubt about it a flawed movie from M. Night Shyamalan. But there is something about it that always sparks my mind and it does have my opinion of it being a misunderstood movie.

In the late 1890’s, a sheltered village borders a foreboding woods. The Elders of the village speak of creatures referred to as ‘Those We Don’t Speak Of’, who inhabit the woods but who not many have actually seen . No one is supposed to cross the boundaries between the village and the woods as their is a truce stating this and that never the twain shall meet. The villagers all go about their days seemingly in harmony but whenever they see a red colour they must discard of it and appointed members take a nightly watch over the village and the woods. The quiet yet thoughtful Lucius( Joaquin Phoenix )has an idea to trek through the woods in order to get medical supplies for those in need of it as recently a little boy died who could have lived if medicine was around. The request by Lucius is denied by the village Elders, which include his guarded mother Alice(Sigourney Weaver). We learn that the mentally disabled Noah Percy(Adrien Brody)has once been in the woods but supposedly wasn’t seen by Those We Don’t Speak Of. Noah also has feelings for Ivy(Bryce Dallas Howard) , who is the blind daughter of Elder Edward(William Hurt) . Ivy though loves the stoic Lucius and is determined to bring him out of his quiet shell. Things change within the village when Lucius briefly steps over the boundary before being spooked and returning home. After this breach of truce, animal carcasses are found about the village, red warnings are left on doors and Those We Don’t Speak Of appear to menace the villagers. It soon becomes clear following a near tragedy that someone must pass through the woods in search of help. But just what will be discovered when the brave Ivy does?

M. Night Shyamalan is a very skilled director and he definitely knows how to stylishly delivery creepy imagery and emotion, plus a twist ending that is always going to be debated. Sequences like entering the village and menacing the locals are appropriately creepy as is Ivy’s eventual journey through the forbidden woods. These show M. Night Shyamalan exercising immense cinematic ability in displaying the build up in pace as we get to know the dwellers and their lives/routines.  I’m going to just put it out there that The Village is an imperfect film that while intriguing, leaves a lot of things vague and sometimes it doesn’t quite make sense. In some ways it provides a watchable mystery with a human heart, but then there are areas that really don’t add up when you actually give them some thought. Saying this, I do find that The Village  was pretty miss marketed at the time of release as a straight up horror movie when it’s more of a psychological drama/thriller in period costume. I think this made the public’s idea of what it would be to be very different from the finished article. And as a study in secrecy, belief and how fear/grief make an impact on those attempting to steer away from it, The Village is different but effective in its execution of those themes.

In terms of visuals, The Village looks glorious especially throughout, owing the mood enhancing cinematography of Roger Deakins that coats a lot of the unfolding film in a golden, near sepia tone which resembles flickering candlelight . This along with Shyamalan ‘s use of long close ups that start slow and then zero in on the faces of the cast add to the creepy and uneasy atmosphere. One of the best things in The Village is the sublime score from James Newton Howard and featuring the talents on solo violin of Hilary Hahn. It is by turns menacingly creepy and poignant in equal measure as the mystery unravels and the sense of sadness comes through to the sounds of ambience from James Newton Howard and the mournful yet expressive violin of Hilary Hahn . The duo deserve every inch of praise for their haunting contribution to a confounding movie.

Where The Village doesn’t falter is in its cast , which is pretty stacked with talent from top to bottom. Joaquin Phoenix, who I find is one of the most reliable and dedicated actors out there , is commendable as ever here. Contributing a thoughtful take on a man who often finds it difficult to express himself but who has enough gumption to begin to emerge from his shell, Phoenix is thoroughly superb. In an early role that helped her get notice and show off her talent we have Bryce Dallas Howard. Radiating a delicacy and alternating iron will , she’s beautifully convincing as Ivy. Though the character is blind, Howard makes her a character who refuses to be defined by this and instead is a rather forward thinking woman, who is braver than most of the eponymous village and not afraid to show it. Adrien Brody is effectively tragic as the misunderstood Noah, who finds himself in trouble but is not really aiming for it as he is not treated with the appropriate help, except from a sympathetic and beautifully understanding Ivy. William Hurt and Sigourney Weaver exhibit stoic secrecy and a guarded authority as the village elders who are a lot more than meets the eye . Brendan Gleeson emits a melancholy and dejected persona as a man who lost his son and is wrestling with the unimaginable grief. The impressive Cherry Jones is also effectively used as a high up member of the village with her own private sadness to hide .It’s only really Judy Greer that gets shortchanged with the role of Ivy’s sister. It’s not that Greer isn’t good, in fact she’s a very talented actress. Unfortunately it’s just that the part of Kitty doesn’t leave a lot of scope to do much with.

The Village has quite a bit to recommend and is quite an eerie and melancholy film from M. Night Shyamalan with many a great performance( particularly the one from Bryce Dallas Howard) and a superlative score. It’s still got many head scratching moments that can render some of it ambivalent for the viewers. Yet I believe some reassessment is in need for The Village, as it does have some forms of merit within it’s often mind bending story.

Master and Commander: The Far Side of the World

Tags

2000's, Adventure, James D’Arcy, Lee Ingleby, Master and Commander: The Far Side of the World, Max Pirkis, Paul Bettany, Peter Weir, Russell Crowe

A sensational adventure drama with a great attention to detail, fine direction and two sterling central performances, Master and Commander: The Far Side of the World is hugely entertaining while still holding inside a depth that you wouldn’t expect.

It’s 1805 and the Napoleonic Wars are in full swing. The experienced and charming Jack Aubrey( Russell Crowe)is captain of the HMS Surprise. At the orders of the British Admiralty he is taking his ship off the North coast of Brazil to intercept a French ship by the name of the Acheron. It’s feared that if the Acheron continues its journey , the wars will spread further and last longer . Aubrey and his crew are surprised when fog rolls in and the Acheron ambushes them, severely damaging the Surprise. It’s a much bigger ship that is more heavily armed and stronger than the Surprise. The crew have to fix the ship while at sea, which poses a challenge for them. For Aubrey, the mission becomes personal as he begins to push the crew harder and starts to display questionable tactics and a foolhardy attitude while in pursuit of the Acheron . He has the crew attempt to track the much bigger and elusive ship against the seemingly insurmountable odds. This puts him at sixes and sevens with everyone, most prominently the ship’s surgeon/ naturalist and confidante Stephen Maturin( Paul Bettany) who argues that his good friend is risking the lives of the crew and not following the code of conduct by which he usually governs by. The journey around South America and the Pacific Ocean to find the continues as much in the way of bad luck befalls those present aboard the and Aubrey’s single mindedness elevates. Once the Acheron comes into view again, but with the crew paranoid and the Captain’s ways beginning to challenge those in his care, it’s not going to be plain sailing for anyone involved

The talented Peter Weir is on fine fettle directing this adventure on the high seas thats both thrilling and engaging. He combines the epic scope of an adventure film with the sense of intimacy you think of with drama. While the whole exercise is beautifully mounted, it’s the little moments that really matter here. And we do bear witness to a compelling literal and figurative journey of morality and leadership, beautifully brought to life by Peter Weir. Master and Commander was filmed on two replica shops, one that was actually used on the sea while filming. Both add a further authenticity to events and truly place us at the heart of this journey. Plus, they truly convince as a living vessel of cramped conditions, doubts and thundering action. Once again, Weir and his exceptional crew of production designers really went for painstakingly true to the time period details that are sublimely realised . There’s a revealing side that displays the frictions, rivalries and bloodshed( though most of it is discreetly shot). As most of the film takes place in the ship, it becomes alive with all the emotions running through it from the characters. When one thinks of Master and Commander, there are two main action sequences in it, which might surprise many. But the sequences are stunningly orchestrated and full of danger, while not sugarcoating the often brutal reality of war and how damn unpredictable it can be. The opening out of the blue attack hits hard and unexpectedly while the ingenious final battle is a full on thrusting sequence of action and tactical one upmanship.A few parts in the middle sag but is largely a very involving movie, particularly pertaining to the characters and visuals . The sound editing which is thunderous and immersive and the cinematography that gets across the conditions aboard a ship and the natural beauty of the sea both received deserved Oscar wins. The sound design in particular is truly marvellous; every crack and shot of a canon rings with energy and fire The scenes in the are breathtakingly beautiful and a feast for the eyes so all lovers of stunning imagery should take note during these sequences, and the cinematography from Russell Boyd is gorgeous. The score from Iva Davies, Christopher Gordon and Richard Tognetti is an adventurous one that really suits the story and has the same amount of energy and drama that is depicted on screen.

Russel Crowe heads the cast of the seafaring adventure with an absolutely entertaining performance. The dashing leadership, cheeky grin and then the realisation and sense of shock that comes with making big, life threatening decisions are all there and embodied by Crowe. It’s a full blooded portrayal of a rash but dedicated man serving his country and running into a questionable quagmire of which some is his own making. A delightfully subdued, dependable and cynical performance from Paul Bettany as the surgeon/naturalist Stephen is also of note for how effectively he slips into the part. Maturin is the more practical, rational one of the two but also boasts a deep sense of questioning curiosity that can’t be harnessed. Bettany brilliantly conveys all of these parts and really makes the character his own. It helps that Crowe and Bettany work so well together and boast a great chalk and cheese chemistry that lends an extra string to its bow. The friendship between the characters is one of the best parts of Master and Commander it has to be said. James D’Arcy makes for a stalwart supporting character playing the loyal first lieutenant, while Lee Ingleby is sensational as the tragic Midshipman who is unliked by the rest for his lack of nerve and suffers deeply because of his treatment. Young and spirited Max Pirkis stands out as the pint sized midshipman who loses an arm early on, but has enough tenacity to overcome this obstacle. Pirkis has a maturity that belies his young years and he more than holds his own against most experienced costars. The overall cast of the film is of a good standard, but it’s Crowe and Bettany that you’ll remember the most.

A surprisingly human adventure with questions of morality and order in at as well as spectacle, Master and Commander: The Far Side of the World is a fine achievement in filmmaking.

Pirates of the Caribbean: At World’s End

Tags

2000's, Adventure, Bill Nighy, Chow Yun-Fat, Disney, Fantasy, Geoffrey Rush, Gore Verbinski, Jack Davenport, Johnny Depp, Jonathan Pryce, Keira Knightley, Keith Richards, Kevin McNally, Lee Arenberg, Mackenzie Crook, Naomie Harris, Orlando Bloom, Pirates of the Caribbean, Pirates of the Caribbean: At World’s End, Stellan Skarsgård, Tom Hollander

The concluding part to the original trilogy of fantasy/adventure films( though two other sequels would inevitably follow), Pirates of the Caribbean: At World’s End is rousing but at times a very mixed bag. It’s very fun and has sublime action, it just gets a tad sidetracked with wrapping up many plot points. Still, it boasts quite an entertaining spectacle from Disney and I love it for that and how epic it feels.

The very existence of pirates is under attack from the evil and power mad Lord Cutler Beckett( Tom Hollander) . He has begun executing anyone associated with piracy, in the hope it’ll bring out the prominent members of pirate world out into full view for him. As his power grows, mainly due to him having control over the fearsome Davy Jones( Bill Nighy) after coming into possession of his cut out heart, pirates must form unlikely alliances to survive. In Singapore, Elizabeth Swann(Keira Knightley), the resurrected Barbossa(Geoffrey Rush) , Will Turner(Orlando Bloom), Tia Dalma(Naomie Harris) and others loyal to Jack Sparrow(Johnny Depp), arrive to meet with the famed yet shifty pirate lord named Sao Feng (Chow Yun-Fat). He possesses a navigational chart to the Locker, but being a crafty pirate he isn’t just going to give it over that easily. After their meeting is ambushed by The East India Trading Company and Navy, Sao Feng sends his crew along with the rescue group for Jack as he is prone to going with whoever benefits him and going whichever way the wind blows. The group need Jack in order to have someone who is part of the Pirate Brethren and can make a decision regarding the next course of action against Beckett and the fleet he owns. Each has a motive for wanting Jack’s return, particularly Elizabeth who feels guilty for her part in his imprisonment and Will who has plans that are personal to him . Will saw Elizabeth kissing Jack before his demise and didn’t understand that is was her distracting him. This is put a wedge between the lovebirds that both hope to overcome. Along the way, backstabbing occurs as loyalties shift and people attempt to survive the oncoming fight for their very lives. Journeying from Singapore to literally off the edge of the world, the real tag crew finally find Jack in Davy Jones Locker.  After much tribulation in an attempt to return to the normal world , now with a reluctant Jack, things seem to be on an even keel . But it’s not going to be plain sailing for them all, far from it. Elizabeth discovers her father Governor Swann( Jonathan Pryce) was murdered by and this ignites more action inside of her, we witness how she’s more than happy to go against the grain now and take charge in fierce fashion when it gets personal. Will wants to rescue his cursed father Bootstrap Bill(Stellan Skarsgård) from damned life on the Flying Dutchman . The only catch is that he must stab the heart but then become the captain of the vessel. This would mean he would be parted from his beloved Elizabeth and only every ten years for one day would he be allowed to see her is still mourning the goddess Calypso, who he loved and when she didn’t return to him, he became the monster he is at present . We learn that Calypso was bound to human form and that form is the ever enigmatic Tia Dalma , who has an axe to grind with the Brethren . Will has to align himself with the slimy Beckett to enable some of his plan to work while Elizabeth ends up with more responsibility than ever. Upon reaching where they need to be , opinions are raised about the future. It’s up to the to fight back against its enemies and though many present have differing motives and ideals, uneasy but needed unions are made as the time for fighting grows closer. Soon battle lines are drawn and it’s a battle that no one is going to forget.

Gore Verbinski still knows how to create a swashbuckler and succeeds in the stakes of action, adventure and fantasy. He has the right gusto to keep things spinning, even if the multitude of plot points is a chore. From doing my research, I saw that At World’s End was filmed back to back with its predecessor and you get the feeling more effort was lavished on Dead Man’s Chest than here . Which isn’t to say that the film is bad, it just can lack focus with all the varying strands it has to contend with and exposition runs heavily throughout. In the last two movies, I have mentioned the run times being a bit long. But here it really does feel overlong and sometimes needs an injection of something to get it going. It’s not hard to feel a bit confused with all the subterfuge at play and the plot points that need tying up getting drawn out. These areas tie the movie up in knots that derail some of the good that it has to offer. Mercifully, when the action and spectacle hit in At World’s Enf, they knock it out of the park in powerful fashion. The last hour or so is an onslaught of breathless action between ships in a stormy sea as the final battle takes place in grandiose style, following a rallying speech from the now fully fledged pirate Elizabeth . Water soaks, sails break and swords clash as the fight for freedom. And it’s pretty spectacularly mounted and executing from near every angle. It’s what the audience has been waiting for and it doesn’t disappoint. Earlier standout moments include the rousing rendition of a call to arms from those about to be put to death, the trippy purgatory of Davy Jones Locker , the rag tag crew slipping a boat over to escape the land of the dead and an extended battle in Singapore on wooden bridges over waterways. And that’s not forgetting the visual front of sweeping camerawork that captures many a cinematic moment, like the as two faction walk towards the other with equal intensity in their eyes that feels like a tribute to an old Western in the best possible way. The sets are gorgeously rendered and we have Hans Zimmer on music duties once more; crafting a suitably epic score that continues to build as the action explodes.

Johnny Depp headlines this end to the original trilogy with usual blend of outrageous comedy styling and moments of occasional seriousness. Jack is wily and up to his usual tricks but we see that he can loyal in his own roundabout way. Knockabout humour and action go hand in hand for Depp in his finely energetic performance that once more makes it mark as memorable. Orlando Bloom has come a longboard way  from the start and it’s great to see him play the ruthless and cunning yet still charming Will. Gone are the overly saintly antics of the first chapters of the character, and we have Bloom playing Will as someone who engages in piracy with efficiency and verve but still has shreds of integrity and selflessness to him. Keira Knightley impresses once more as Elizabeth becomes a fully fledged pirate once she realises that she has nothing left to lose following the murder of her father . She’s vengeful, spirited and knows how to cut anyone down with either words or sword. Knightley is a winner once more in how she’s portrayed Elizabeth throughout the trilogy; her emergence from well brought up lady to skilled, respected pirate is one hell of a journey thanks to the delightful young actress. And who else could look so fetching in pirate garb and command such deep respect from those around her like Knightley? Say what you will about some of the plotting in the trilogy, but the development of Will and Elizabeth has been a shining factor and hugely positive in the course of the three movies. Geoffrey Rush is back and as wickedly entertaining as ever, playing Barbossa with a glint in his eyes and spitting out amusing one liners whenever the occasion calls for it. Stellan Skarsgård, who I’ve aways found to be a really underrated actor, wrings out the sadness from his part of doomed father and damned man. There’s something in his eyes that just really evokes a feeling of pity. Nighy makes for both a terrifying prospect and a tormented man, ably supporting Naomie Harris as the enigmatic long lost love. Once we become privy to the knowledge of the history between these two, their story takes on more pathos that is thankfully a good plot thread that interests. Tom Hollander continues to grease it up as the skippering Beckett, a little man with big ideas who is quite the loathsome cockroach that many characters wish to kill. A wasted opportunity comes in the form of Chow Yun-Fat. He’s a commanding actor and has an elegance to him, but its not put to good enough use here which is most unfortunate. More successful is the stalwart Kevin McNally as the noble friend to all and the one who is the most approachable amid all the larger than life characters. They aren’t the favourite characters of everyone, Pintel and Ragetti(Lee Arenberg and Mackenzie Crook) that is, and but their buffoonery and blunders of quite entertaining when I see them. Some of it wears thin but they are clearly having a blast. Jack Davenport appears again as the Commodore who switches loyalties, and he successfully plays someone who grows a spine a little too late. Jonathan Pryce is sadly sidelined for his part, though the unexpected death of his character certainly sets in motion something within Elizabeth. Watch out for the much publicised cameo by Keith Richards as Jack’s pirate father( with added tongue in cheek humour as Depp based the part he plays on Richards himself)

So if it goes on too long and feels just a bit too convoluted, Pirates of the Caribbean: At World’s End can at least be praised for its acting, action and pure sense of escapism. After all, it’s a fun filled time for most of it that can prove worthy of your patience and viewership. And it caps off the trilogy in style so I can’t begrudge it that.

Pirates of the Caribbean: Dead Man’s Chest

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2000's, Adventure, Bill Nighy, Disney, Fantasy, Gore Verbinski, Jack Davenport, Johnny Depp, Jonathan Pryce, Keira Knightley, Kevin McNally, Lee Arenberg, Mackenzie Crook, Naomie Harris, Orlando Bloom, Pirates of the Caribbean, Pirates of the Caribbean: Dead Man’s Chest, Stellan Skarsgård, Tom Hollander

The sequel to the highly successful first film, Pirates of the Caribbean ups the ante and continues on a darker but still entertaining path. My heart may belong to The Curse of the Black Pearl because of nostalgia, but this Disney swashbuckler is definitely a very close second with glorious set pieces and pure escapism galore.

Jack Sparrow(Johnny Depp) is on the run from the Navy after his escape in the last movie. But the Navy is the least of his worries when he is given an ominous piece of news by Bootstrap Bill(Stellan Skarsgård), who is Will Turner’s damned father. Jack owes a debt to the infamous Davy Jones(Bill Nighy); the chilling captain of the Flying Dutchman who has a lot of mystical forces on his side. If he doesn’t pay his debt and become a member of the doomed crew, he’ll be dragged to Davy Jones Locker by the beast known as the Kraken. Meanwhile, lovebirds Elizabeth Swann and Will Turner are set to marry buy on the blessed day, their nuptials are interrupted by the East India Trading Company and they are arrested for helping Jack escape. A warrant is also issued for Commodore Norrington( Jack Davenport), though he is now far from the Navy and a very different person now. The East India Trading Company is headed by the arrogant and conniving Lord Cutler Beckett(Tom Hollander) . This contemptible  weasel tries to strike a deal with Will. If Will can retrieve the magic compass that Jack owns that points to what the use desires, Beckett will pardon him and Elizabeth. The compass would lead to the whereabouts of the Dead Man’s Chest; the heart of Davy Jones that if anyone owns can rule the sea and make others fall under command. Along the way, Will meets his father and after bonding attempts to save him from eternal damnation. Elizabeth is freed by her father(Jonathan Pryce) and she begins to join the hunt for the Dead Man’s Chest after striking something of a bargain with for information on the whereabouts of her man and what he’s seeking. This is also so she can be reunited with her beloved Will and insure his safety. But this time, something begins to creep up on Elizabeth. A frisson with Jack leads to complex emotions becoming known, which troubles Elizabeth. In between loyalties shifting, an islands of cannibals that captures the main crew at one point, an encounter with swamp dwelling clairvoyant Tia Dalma(Naomie Harris)and meeting with the fearsome Jones, it’s going to be anything but plain sailing for the characters. Soon everyone has their sights on the Dead Man’s Chest for their own personal reasons. Just who will emerge with it?

Gore Verbinski is directing again with great flair for skullduggery and action of the highest order . He isn’t afraid to raise the seriousness as well, while still retaining some of the knockabout charm the audience knows and loves. Dead Man’s Chest feels darker than it’s predecessor The stakes are higher here and it shows in feelings of being epic. There’s quite a bit of brutality and darkness in this film(particularly some of the opening shots of prisoners and their fates), but nothing too grisly as it knows just went to push things and when to leave it up to the viewer’s imagination. As I’ve mentioned, is my favourite of the series, yet Dead Man’s Chest is a very enjoyable sequel with plenty to thrill an audience and that’s why I do hold it in high regard. The length of the film is a smidgeon too long but the sheer amount of action and adventure more than makes up for the long running time. The action set pieces come thick and fast, especially in the last half of Dead Man’s Chest. Of particular note is the extended fight for the eponymous chest as all manner of people get their hands on it and lose it in elaborate fashion, Combining humour with breathless action when we see Jack, Will and on a severed wheel from water mill duelling for their lives as it careens through jungle , it’s one hell of a ride on my book. The visuals are of high quality too, crafting many a fine moment of magic. Particularly deserving of the praise is the computer generated design of Davy Jones, who is an amalgamation of sea creatures, most notably having a squid face of innumerable tentacles. The effects make him come to life in very creepy fashion and seem so real, as if he could leap out of the screen in full villainous form. Hans Zimmer takes over score duties and builds on the already impressive atmosphere and then sum. His score thunders along with an epic sweep that pulls you in and is more than a match for the stunning visuals on show.

A game cast is on hand to flesh out this fantasy adventure. Johnny Depp is at head of it as the one and only Jack Sparrow. Depp embodies the sneaky and shifting loyalties of someone used to playing the game. Sparrow is a flawed character as he’s more than happy to sell his friends down the river with a cheeky grin on his face, but Depp evinces the hidden decency that catches up with him. Only Depp can play Jack Sparrow this way and make it truly work, which is one of the highest compliments I can give him. Orlando Bloom is definitely stepping it up as Will, finally throwing off the shackles of being a holier than thou hero. He’s definitely still got some honour, but it’s fun to see him embrace pirate instinct and action, feeling more dynamic than ever before. Keira Knightley excels once more as the ever evolving Elizabeth, who really shows off her flinty and cunning side on this adventure. Knightley, clearly relishing the chance to partake in more action,  possesses the right balance of determination and confusion when her romantic inclinations begin to go in a way she never imagined. The whole triangle is played out excellently as both have things Elizabeth wants, adding further fuel to the fire in the process. A combination of great animation effects and a fine actor in the form of Bill Nighy craft a ruthless character in Davey Jones. Created via motion capture and then with the computer generated design overplayed onto the face of Nighy, Jones is a chilling villain with Bill Nighy lending a great deal of presence and impact to it. The effects are very convincing and worthy of praise but it’s the inhabiting of the part that makes it so impressive on the part of Bill Nighy. His distinctive eyes are noticeable through the CGI and the voice he adopts has a real spine-tingling quality; while a certain pathos and glimmers of someone who isn’t all that bad emerges from this. We are also introduced to the mysterious voodoo priestess Tia Dalma, who provides much in the way of intrigue surrounding her knowledge of Davy Jones. Naomie Harris plays the part with an enigmatic grace and knowing playfulness that is most intriguing as the part is a peach. Jack Davenport reappears as the now dissolute and fallen from grace Commodore, who ruined his image and promise by chasing Sparrow. Stellan Skarsgård makes for a welcome addition to the party as the tragic Bootstrap Bill. Hidden behind layers of crustacean make up, his melancholy delivery is surprisingly touching in the long run. Villainy of the human kind is found within Tom Hollander and his portrayal of a ruthless chairman for the East India Trading Company. Constantly belittling others and acting superior, you really start to despise the character. Which in my book shows how good an actor Hollander is to elicit such strong feelings. Lee Arenberg and Mackenzie Crook provide more knockabout humour as the idiotic pirate duo never far from a scrape, while the stalwart abilities of Kevin McNally are on show as the ever faithful Gibbs. Jonathan Pryce, though only in a supporting part, works his talents to make sure that his character isn’t merely throwaway.  

With plenty of action, darkness and an upping of stakes, Dead Man’s Chest makes for a compelling sequel of fantasy and adventure on the high seas.

Pirates of the Caribbean: The Curse of the Black Pearl

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2000's, Adventure, Disney, Fantasy, Geoffrey Rush, Gore Verbinski, Jack Davenport, Johnny Depp, Jonathan Pryce, Keira Knightley, Kevin McNally, Lee Arenberg, Mackenzie Crook, Orlando Bloom, Pirates of the Caribbean, Pirates of the Caribbean: The Curse of the Black Pearl

A swashbuckling fantasy adventure inspired by of all things a famous ride at Disneyland, Pirates of the Caribbean: The Curse of the Black Pearl is rousing, high spirited fun full of action and derring do. I’m sure many were doubtful about a film based on a theme park and how it would go were very surprised by how effective and throughly entertaining it turned out to be.

It’s the 18th Century in the Caribbean and in Port Royal, things are about to get very interesting. The arrival of the infamous Jack Sparrow( Johnny Depp), he of the keen wits, outrageous antics and swagger, is picked up on by the admiralty after he arrives in port minus a ship. Meanwhile, the beautiful Elizabeth Swann( Keira Knightley) is being prepped for marriage to the newly promoted strait-laced Commodore Norrington(Jack Davenport). But this is not as simple as it seems as Elizabeth is chafing at society and there is someone else who carries a flame for her. That someone is dashing blacksmith Will Turner( Orlando Bloom), who admires her from afar but doesn’t act on it because of how rigid society is. Elizabeth helped rescue Will as a boy when he was found floating in the sea when she was making the journey to Port Royal as a little girl. She took the necklace that was around his neck as it identified him as being related to pirates. Years later she has the necklace and is still intrigued by pirates. However society and her protective father Governor Swann( Jonathan Pryce)have subdued these ideas of a life on the high seas. The gold piece soon brings danger to Port Royal when a menacing ship by the name of The Black Pearl attacks. The vicious pirates aboard kidnap Elizabeth, though through her pirate knowledge she manages to stay alive. She is taken to the cursed ship and here she meets the wily Captain Barbossa( Geoffrey Rush) and she gives a false name(Will’s last name) that intrigues the crew. Barbossa is in search of  the last piece of gold from a cursed treasure chest, which currently hangs around the neck of Elizabeth. The curse renders anyone who touches it to become one of the living dead, which Barbossa and his crew are. Only by the spilling of blood from one of pirate lineage can break the curse, which the crew mistakenly believe is Elizabeth. Though Commodore Norrington wants to go about things in the proper way befitting his training, the determined Will has other plans to get Elizabeth back. Will can’t stand pirates, as he is unaware of his own historical link with the sea faring scoundrels, but decides to implore Jack Sparrow for help. Springing Jack from jail and still distrustful, he begins to work with the rapscallion that is Jack. After all, The Black Pearl was Jack’s ship before Barbossa proposed a mutiny against him, thus leaving the crafty cursed pirate as captain. Elizabeth emerges as a stronger person along the way, with much in the way of being resourceful and surviving among buccaneers. Jack Sparrow and Will still have a bit of animosity but work some of it out in their quest to rescue Will’s beloved from the hands of Barbossa . Jack always has something up his sleeve that allows for many turns and twists in what is an epic journey. Much adventure, double crossing and events across the high seas follow for the characters in this adventure.

Gore Verbinski fashions a rollicking adventure yarn with a flair for humour and a really good time of excitement for almost everyone. He clearly knows what he’s doing and provides us with a film that is thoroughly sweeping and action packed. There’s something delightfully old fashioned about The Curse of the Black Pearl, which is mixed with a contemporary and irreverent sense of humour. The two aspects melding make the film very appealing to a pretty wide audience with old school feeling of swashbuckling and off the wall humour and modern cinema techniques proving rather good bedfellows. Pirates become fun and the genre of the swashbuckler is resurrected in style. As I said earlier, I’m sure many expected The Curse of the Black pearl to fail because of its origins. These naysayers were obviously thrown for a loop when it turned out to be a rip-roaring fantasy adventure that both critics, audiences and this reviewer loved. You’d have to be Scrooge to not find something to tickle your funny bone or make you feel swept along on a great voyage in The Curse of the Black Pearl. Set pieces and action are what allows the film to flow on a well tuned ocean of entertainment and swordplay. The effects are rather excellent too, especially when it comes to the undead crew. They are rendered gloriously creepy in the moonlight and make many a good sequence, particularly the first reveal of them to a startled Elizabeth. One little flaw is that the film is a bit overlong and could have used some trimming. Though you can forgive it as the ride is a fantastically enjoyable and enthralling voyage into a time of swashbuckling action and spectacle. The score from Klaus Badelt is a splendid accompaniment to the events on screen, while mixed with a slightly jaunty air that permeates through with brio.

One of the biggest things that stands out in The Curse of the Black Pearl is obviously the cast, headed by a wonderfully creative and attention grabbing Johnny Depp. Portraying the flamboyant and witty Jack Sparrow who always seems to be able to get out of a scrape, Depp is obviously having a ball putting all manner of eccentric traits into the part with superb comic timing and suitable panache. From the drunken walk, ability to confuse those in his way with riddle like language and a daring glint in his eye, Jack Sparrow comes alive thanks to the reliable and unique talents of Johnny Depp. He’s the definitive scene stealer in this adventure and make no mistake about it. The Curse of the Black Pearl would not be the same without him. Then we have Orlando Bloom as the main hero of the piece. Bloom, while not being the finest actor around, has the right physicality and noble presence to compensate for some niggles in his range. Plus he makes for an attractive partner for Keira Knightley as the two characters begin to find themselves acting on their feelings after keeping them under wraps. It’s Keira Knightley, who was rocketed to stardom with her performance here, that really goes through the biggest journey over the course of the movie. Knightley moves from well-mannered but curious lady of upper society/damsel in distress to a strong fighter and smart player of the pirate game. While being a striking presence and mature in demeanour with a tall figure, alert eyes and enviable cheekbones, it’s the spirited energy of a woman not wanting to be apart of a stifling status quo that Keira Knightley brings which sells the part of Elizabeth successfully here. On stellar form as well is the reliable Geoffrey Rush, who is delightfully tongue in cheek yet bristling with a creepy menace. His scenes with Depp are delightful as sworn enemies sparring with both swords and wits. Jack Davenport nails the duty bound honour of a man married to his job and enjoying being the bus, but not quite succeeding on the romance department. Jonathan Pryce has the right elder statesman presence as Elizabeth’s elderly father whose biggest concern is the fate of his daughter in all of this. Kevin McNally embodies the person with the most sense of loyalty, first mate Gibbs. He’s both a hoot and a source of calm among all the chaos around him. The devious pairing of Lee Arenberg and Mackenzie Crook as two of the cursed pirates by the names of Pintel and Ragetti, who are prone to all sorts of trouble is also a source of humour, particularly Ragetti. He has an eye that never seems to stay in place and is found often popping out at the most inappropriate times, causing much in the way of slapstick that both actors play too. 

Rip-roaring, gloriously riotous and a whole barrel of delightful action, Pirates of the Caribbean: The Curse of the Black Pearl is the definition of a fun time at the movies. For adventure and thrills, look no further.

Boogeyman

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2000's, Barry Watson, Boogeyman, Emily Deschanel, Horror, Lucy Lawless, Skye McCole Bartusiak, Stephen Kay, Supernatural Horror, Tory Mussett

A supernatural horror that has some promise, The Boogeyman sadly dies a quick death in terms of watchability and any form of effectiveness as it goes on. A truly missed opportunity hampered by lazy writing, plotting and overall sense of being.

As a child, Tim was terrified of a Boogeyman he believed lived in his closet. This was heightened one night when his father came to comfort his son from what he believed was a nightmare. His father was snatched by an unseen force and never seen again, traumatising young Tim.  Memories of that night are dismissed by others who believe that he was just trying to process his father leaving him and vanishing from his family. Now grown up( and portrayed by Barry Watson), the scars of that night have never left him. He doesn’t have doors on cupboards, keeps lights on even when sleeping and has a dozen locks for his front door. He’s in a relationship with Jessica(Tory Mussett) but there is a hesitancy on his part to further things, which doesn’t bode well with Jessica. Around this time, he receives news that his troubled mother (Lucy Lawless) has passed away. Now without either parents and lots of questions regarding his childhood incident, he contacts his childhood psychiatrist. She suggests staying in his old house to purge the demons that have tormented him. He reluctantly does this and along the way reconnects with childhood friend Kate(Emily Deschanel), who is concerned by his emotional state . Tim knows that he will have to face his fears and confront his demons once he steps back into the house from his childhood. At first nothing happens, but soon enough creepy events besiege the house.  But just what demons will Tim have to fight , literal or imaginary?

Stephen Kay tries to be edgy with a dizzying visual style of quick zoom shots and wind machines a plenty, but it’s ultimately rendered hollow and without a sense of substance. A lacklustre script does the movie no favours whatsoever, resulting in what can only be called a mess. As aforementioned, Boogeyman does have some moments that suggest it could get better. The opening specifically is very creepy and seems auspicious, before delivering sub par work from that moment on. As the film goes on and the jarring editing and sloppy effects take hold, Boogeyman falls apart spectacularly and it’s rendered just dull. Boogeyman is the definition of a film with a seemingly decent set up only to be completely blown apart by awful execution. I can live with a movie being predictable but shoddiness and laziness is another bag. The supposed mystery at the centre is anything but enigmatic as it’s obvious whether the eponymous spectre is real or not. The music is also very obvious and leaves nothing to the imagination, which is a shame as it’s done by Joseph LoDuca, who has done great work on many a film and tv series.

Barry Watson gets the haunted look of someone clearly dealing with a deep sense of trauma but he isn’t particularly given much to work with. Watson himself resembles Timothy Olyphant but sadly doesn’t really show off near enough star presence to make him memorable. Emily Deschanel doesn’t stand out either, despite being a good actress. The problem once again lies with the script that seems to just place her in the story and not really given much depth or reasoning. There’s a small role for Lucy Lawless, but it’s practically a nothing part thats insubstantial. It’s a shame to waste the talents of Lawless in such a thankless and blink and you’ll miss it part. Skye McCole Bartusiak and Tory Mussett are also hampered by underwritten roles that lead to nowhere.

So my advice is to avoid Boogeyman, unless you’re a fan of horror that isn’t really that scary and doesn’t add up in the slightest. It’s best to set your sights on watching some effective horror instead of this piece of drivel.