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.

Jungle Cruise

Tags

2020’s, Adventure, Édgar Ramírez, Disney, Dwayne Johnson, Emily Blunt, Fantasy, Jack Whitehall, Jaume Collet-Serra, Jesse Plemons, Jungle Cruise, Paul Giamatti

Inspired by the Disney ride of the same name, Jungle Cruise is a true blast and the very definition of a summer adventure fantasy. If it’s escapist summer entertainment you want, Jungle Cruise is where it’s at .

It’s 1916 and forward thinking thrill seeker and scientist Dr. Lily Houghton( Emily Blunt)is coming up against the sexism of the era in London . Lily is determined to find the Tears of the Moon, which according to legend is a tree with petals that can cure any illness or lift any curse . She wants to do this to help the War Effort and for the good of mankind . After daringly acquiring an arrowhead which holds the key to what she seeks , she hightails to South America with her reluctant brother MacGregor(Jack Whitehall), who isn’t exactly cut out for rigorous travel but out of loyalty to his sister tags along. It’s here they encounter river cruise specialist Frank( Dwayne Johnson),  who makes money by taking visitors along the Amazon in his rickety but effective steamboat. Frank is an uncouth, wily skipper who is nonetheless not a bad man but rather a lovable rogue who knows his way along the river, can spew cheesy one liners/puns at rapid speed and how to give a good time to those visiting. After initial hesitation which is changed once he sees the arrowhead, Frank agrees to take Lily and MacGregor down the river. Relations don’t start out great between Lily and Frank owing to many factors. Over time, the initial hostility between Lily and Frank begins to thaw as they along with the foppish MacGregor brave the many dangers of the jungle. On their trail is the deranged German Prince Joachim(Jesse Plemons), who wants to find the tree for his own agenda and will do anything to get it. But Frank isn’t what he seems and Lily believes he might be hiding something just as it becomes apparent that the jungle has its own ways to defend and mystical at that, as evidenced by the cursed conquistadors who originally found the tree are now part of the jungle following a curse being put on them . It’s now a race against time to find before it falls into the wrong hands and is used as a weapon for evil

Jaume Collet-Serra, who I know from directing horror films and thrillers , gets the right tone of the piece as light and thrilling entertainment from the get go. He understands what the film is going for and helps deliver the necessary thrills of an fantasy/adventure flick. There are numerous callbacks to classic adventure movies tinged with fantasy like Raiders of the Lost Ark and adventure yarns from the 30’s and 40’s.  While it doesn’t quite reach those heights, Disney’s Jungle Cruise is a rollicking good time that’ll leave you with a smile on your face. There’s both adventure and slapstick action here, with many of the pursuit scenes blending the two things with wonderful panache. And I did appreciate how the movie wasn’t afraid to throw in a couple of curveballs at various points to surprise the audience My main gripes with the film are the running time and sometimes the CGI gets a bit overbearing. The film could have been a tad shorter and still been great, but it sadly does go on a bit longer than it needs to. I feel with a swift bit of editing it would have benefited Jungle Cruise. Visually , Jungle Cruise does impress in the setting and look. I just found that it went too far with the CGI when it could have toned it down as there are passages where it is too much for the eyes to handle. When it is brought back in however, it works very well at creating a magical ride and world to enjoy. James Newton Howard is on score duties with a rousing musical sense that percolates throughout Jungle Cruise  and envelops it in a jaunty air that’s hard to resist

Jungle Cruise boasts a fine cast, with the three principals of Dwayne Johnson, Emily Blunt and Jack Whitehall standing out. Dwayne Johnson, with his huge physique, tongue in cheek knowingness and action man persona, is ideal casting here. The part of Frank is someone who is quite mysterious and underhand but so disarming and hard not to be won over by. And all of this is played with panache by Dwayne Johnson. Also on amazing form is the always talented and watchable Emily Blunt as what can be described as an effective female take on Indiana Jones. Blunt exhibits a tough, scrappy aura but possesses a warmth , intelligence and dangerous curiosity that’s most winning as a woman who isn’t going to be restricted by society’s narrow view of women. Like Johnson, Blunt really plays to the humour and the physicality of the piece and it makes for fine, bristling chemistry . Now I’ve seen many describe the main relationship at the centre of Jungle Cruise a double act,  but I think many have missed that Jack Whitehall is just as important a part. Usually I’m not a fan of him as a comedian, but strangely enough I found him very agreeable here. Portraying Lily’s dandy of a brother who is nonetheless very loyal, he amusingly nails the snotty attitude that melts into something spirited and adventurous. Jesse Plemons hams it up spectacularly as the obsessed, deranged villain who has a lot of humour to him . A lot of this is down to the delivery of Plemons who is obviously having a completely, riotous ball with this part of main bad guy . Édgar Ramírez has the right mystique and imposing presence for the role of cursed who is desperately trying to free himself from the state of being undead And Paul Giamatti is a hoot in his small role as the gold toothed harbourmaster who has numerous run ins with Frank.

A rollicking good time that’s light and what I’d define as a crowd pleaser in the best sense of those words(apart from a few niggles), Jungle Cruise is a delight to be had at the movies and excellent viewing for the summer cinema time.

Clash of the Titans

Tags

1980's, Adventure, Burgess Meredith, Claire Bloom, Clash of the Titans, Desmond Davis, Fantasy, Harry Hamlin, Judi Bowker, Laurence Olivier, Maggie Smith, Ray Harryhausen, Ursula Andress

Taking basis from Greek mythology and past fantasy/swords and sandals, Clash of the Titans is one entertaining film. Not without flaws, but glowing with a sense of adventure that can’t be denied or not enjoyed.

In Ancient Greece, King Acrisius is angered when he discovers that his daughter Danaë  had a child that was fathered by the all powerful God Zeus(Laurence Olivier). he imprisons his daughter and her son Perseus in a box and has them thrown into the sea to die . The powerful God Zeus is infuriated by this and orders the destruction of the King’s realm. Danaë and Perseus are spared and wash up on another island. Years later, Perseus( now played by Harry Hamlin) is an athletic young man who is good at horse riding and adventure. And it’s adventure that awaits him as the unpredictability of those on Mount Olympus transports him to the city of Joppa . This is done by Thetis(Maggie Smith) who is angered by the fact that Zeus has persecuted her rebellious som Calibos. Her offspring destroyed the group of legendary flying horses (leaving only the iconic Pegasus) and for his wickedness was transformed into a hideous beast. Calibos was betrothed to the beautiful Princess Andromeda(Judi Bowker) but now has fled to the swamp. Andromeda is under a curse that makes her unable to marry unless her suitor solves a magical riddle. Into this melee comes Perseus, who immediately falls in love with Andromeda. After figuring the riddle out and subduing, Perseus asks for Andromeda’s hand in marriage. In retaliation for the treatment of her now deformed son and also stinging with anger when Andromeda’s mother dares speak ill of her , Thetis decrees that Andromeda shall die at the hands of the beastly Kraken in thirty days. Realising the severity of what is happening, Perseus sets out to discover a way to save his beloved from an untimely death. Aided by some of the Gods, an elderly but comic sidekick Ammon(Burgess Meredith) , winged horse Pegasus and a golden replica of the Owl Bubo , it’s a whole new adventure for Perseus. This entails encounters with wicked, vicious two-headed dogs, the Gorgon Medusa and the legendary Kraken. It’s one hell of an adventure for Perseus as he does battle with this assortment of creatures to fulfil his destiny and save Andromeda.

Desmond Davis is on directors duties and does a commendable job of laying on the challenges for Perseus and letting it flow. Some missteps are there it has be said , but it’s definitely very watchable as a fantasy film . Events looks amazing as do the sets that transport you to Ancient Greece in all its glory. A shot of pace might have benefited the middle section that does honestly drag things out a bit. But Clash of the Titans recovers in the finale as a glorious throwback to the old school adventure movies that where popular in decades gone by. And I frankly love it for that. Clash of the Titans is an imperfect film, but the nostalgia and feeling of adventure truly sweeps me as well as the audience along. Clash of the Titans is all about the work from special effects and stop motion wizard Ray Harryhausen. This was to be his last hurrah before retirement and he doesn’t disappoint with the array of creatures he crafts for the big screen for Perseus to face . The best among these are Medusa and the Kraken . The scaly and slithering Medusa is a terrifying creation that is part of one of the finest sequences here. Suspense abounds as Perseus attempts to slay Medusa while avoiding being turned to stone by the beast. And the last part with the Kraken is high on adventure and tension as Perseus swoops into the rescue. Both creatures on display make the movie that something special. It’s Harryhausen who is running the show here and whenever his touch is felt, it’s something to behold .The pace may get leaden in areas and the story is not exactly what you’d call the most cohesive, but as sheer entertainment it scores very high points. And the rousing score is another excellent addition to this action packed movie. 

Clash of the Titans isn’t exactly what you’d call an actors movie, but the cast is pretty good. Harry Hamlin is hardly the most expressive star out there, but he is nonetheless suitable and physically impressive in the part of the heroic Perseus. Judi Bowker is also hardly winning any awards but her stunning beauty makes it convincing that a man would risk life and limb for her. Burgess Meredith clearly has fun as the loyal best friend of our main hero, with a mischievous glint in his eyes. Laurence Olivier, with his Shakespearean training and sense of indomitable majesty is ideally cast as Zeus. Intimidating yet charismatic, it’s a blast seeing Olivier bring his theatrical talents to the screen in this fantasy yarn. The always excellent Maggie Smith has a ball as the vengeance seeking and silver tongued Thetis, whose meddling sets in motion a lot of events. Smith brings with her a sense of commanding power and playfulness, which she lends well to the film at hand. Sadly, Claire Bloom and Ursula Andress as goddesses are relegated to the sidelines as and don’t particularly register as a result. 

So while not quite up there in the echelon of fantasy films of yesteryear, Clash of the Titans is very close and boasts an immense amount of charm and nostalgia. Plus it’s a fine showcase for the Ray Harryhausen and a great final flourish for him. 

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

Tags

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

Tags

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.

Conan the Destroyer

Tags

1980's, Action, Adventure, Arnold Schwarzenegger, Conan the Destroyer, Fantasy, Grace Jones, Mako, Olivia d’Abo, Richard Fleischer, Sarah Douglas, Tracey Walter, Wilt Chamberlain

With Conan the Barbarian being a success, it was inevitable that a sequel would follow. And while Conan the Destroyer has its good moments, it doesn’t quite compare with its predecessor.

The warrior that is Conan(Arnold Schwarzenegger) is still alive and mourning the death of his lover Valeria. He is now joined by clumsy Malak(Tracey Walter), a thief who can’t help but get himself in trouble because of his magpie like love of jewels. He comes across the mysterious Queen Taramis(Sarah Douglas)who offers him a deal. She will using her magical powers being back the love of his life on one condition. Conan must escort her niece, the naive and virginal Princess Jehnna(Olivia d’Abo) , to retrieve a magical gem that will lead the way to the horn of an ancient God. Jehnna must do this as it is her destiny and Queen Taramis insists on it. What no one realises is that the ruthless and sly Taramis is in fact plotting to sacrifice Jehnna in order to use the power of the horn for nefarious purposes. She assigns her trusted Captain of the guard Bombaata(Wilt Chamberlain) to join the quest, but kill Conan once the jewel is obtained. So Conan, Malak and the rest of the venturing group begin their journey to find the fabled jewel. Along the way, Conan frees a fighter called Zula; who he finds being tormented and forced to scrap in chains with brutal villagers. As thanks for setting her free, the feral Zula joins Conan’s quest and proves to be a vital ally. The quest is perilous and fraught with danger, especially when Conan uncovers the deceit at the heart of it. Now it’s a battle to stop the evil power of Taramis from taking over.

In the directors seat this time is Richard Fleischer, who at least manages to make this film watchable and reasonably entertaining. Although the tonal shifts are all over the place, Fleischer is at his best with the action scenes and danger, which does help in the long run. While no one would consider the first Conan movie high art, it at least had some form of grit to it. I’m fine with incorporating humour into films but it feels a bit much in Conan the Destroyer. It starts pretty well with humour and action benefiting each other. Then things go south as idiotic occurrences happen and mount up. The first film had some humour but it was controlled and it felt a little more brutal than your average fantasy outing. It wasn’t deadbeat drama throughout, but it at least had some sense of stakes being high. Conan the Destroyer seems to forget this and just chuck things at us in ridiculously rapid speed. Yes I did say that the first film was overstretched with its runtime, but this sequel is too quick and rushed. And events feel a bit watered down and not as brutal as before, which does hamper events in this movie as it feels a bit too light and humorous. I believe behind the scenes there was a conscious decision to tone down the gore in order to increase box office takings, I think they still could have been successful even with more bloodshed and brutality on show.  Now things aren’t all bad in Conan the Destroyer, there are actually moments of greatness to be discovered. I’ll admit sometimes the goofy atmosphere is fun and once again the set pieces are rather fantastic. One in a hall of mirrors is very well executed, thanks to sterling production design and action present. This movie is most enjoyable when it’s serving up action and fantasy, instead of trying to make the film more child friendly.The score doesn’t let the audience down, providing boundless adventure and majesty to the film courtesy of Basil Poledouris. It’s again a highlight for how it immerses us in this fantasy world. 

Arnold Schwarzenegger is once again an imposing presence as the titular fighter on another quest. He gets the and when the humour lands , he succeeds while still casting a long shadow of skill in the fighting department. Though it is very strange to hear Schwarzenegger talk as much as he does. Previously, he only speaks a number of lines which adds to his impact as we are more focused on his actions. Though this is a niggle, Schwarzenegger is still an amazing Conan and delivers the goods you want. Grace Jones, of striking bone structure, agile yet rippling physique and high top fade hairstyle, acts as a great asset to Conan and the movie. Her very stare projects a menace and aggression of a warrior, complete with the fact that she’s always on the prowl. Jones lends her unique look, wild abandon and electric being to Conan the Destroyer and lights up the screen every time she’s on it. Wilt Chamberlain, who was a basketball player of immense height, has the physical goods to deliver a slippery turn as the wavering Captain who you just know is going to stab you in the back if you’re not careful. Tracey Walter is passable enough as Conan’s latest sidekick, though his clumsy antics get a bit repetitive as the film continues. More effective is Mako, returning as the wise and all seeing wizard who balances seriousness with some levity. However Olivia d’Abo is pretty grating and irritating as the innocent princess, mainly because she’s so naive and the character is pretty bland to begin with. This isn’t helped by her delivery of lines which is stilted and without resonance. I get that she’s supposed to be sheltered and immature, but she mainly comes off as a pain. Sarah Douglas does villain shtick very well while being darkly seductive at the same time. 

Conan the Destroyer has bright spots to it and has a fun, goofy quality, it just feels rather redundant and watered down when it could have been better

Conan the Barbarian

Tags

1980's, Action, Adventure, Arnold Schwarzenegger, Conan the Barbarian, Fantasy, Gerry Lopez, James Earl Jones, John Milius, Mako, Max Von Sydow, Sandahl Bergman

Based on the character in pulp comics and featuring Arnold Schwarzenegger in an early role that put him on the map just before he hit superstardom , Conan the Barbarian is nothing if not a dazzling, testosterone filled action-adventure fantasy that has its share of problems but is still riotously entertaining and a fun ride to experience.

In Ancient times, a young boy by the name of Conan is the son of a blacksmith and a loving mother. Unfortunately, brutality strikes when the followers of the evil cult leader Thulsa Doom( James Earl Jones) attack his village. His father is wounded and then mauled to death by dogs, while Doom himself hypnotises Conan’s mother before beheading her in front of her terrified son. Doom then takes a powerful sword owned by Conan’s father before leaving the carnage in his wake. The children of the village are spared and sold into slavery, being charged with pushing a giant wheel in back breaking fashion. Over the years of pushing the wheel, Conan( now played by Arnold Schwarzenegger) is a muscle bound mountain of a man with incredible strength. He becomes a gladiator of immense renown and is taught many things by his master. Later he is set free into the wild, which is where he starts trying to track down Thulsa Doom, where he discovers an ancient sword, a strange prophecy and encounters three important people in his quest . Firstly he meets thief and archer Subotai(Gerry Lopez) , then he encounters beautiful and lethal bandit Valeria(Sandahl Bergman). Lastly there is Akiro the Wizard(Mako), who provides the narration for the film. Valeria and Subotai are soon faithful friends and in the case of Valeria, a romantic interest who assist Conan on his journey, while Akiro instils wisdom and prophecy. The trio of wonderers hear of a jewel that they decide to steal, mainly because the snake symbol is something that Conan believes will lead him to his nemesis. They are then summoned by the old King Osric( Max Von Sydow), who knows they stole the jewel but doesn’t wish to imprison them, he actually wants their help. His daughter has fell under the influence of Thulsa Doom and he wants Conan and his friends to retrieve her for a good reward. They decide to accept this offer as Conan continues on his path of vengeance hoping to meet Doom and enact brutality upon him as retribution for what he did to his family.

John Milius and his work here are the definition of macho and it’s perfectly suited to this kind of film. He’s the well appointed director of Conan the Barbarian and he keeps events ticking over, even when it gets a bit laboured and indulgent towards the end. got what you want from a swords and sorcery; lots of violent action( standout being the opening raid on Conan’s childhood village), unusual fantasy, well muscled heroes and buxom ladies, alongside traps, tricks and magic. And it’s unapologetic and upfront about it too which is rather refreshing in that way, especially as the violence isn’t sugarcoated . The action set pieces are staged with verve and efficiency, making them very memorable as Conan fights his way across a desolate land. Now at two hours, Conan the Barbarian does feel a bit longwinded in the grand scheme of things and that is a flaw. But for the majority, the adventure, excitement and brutality of the movie is done to a high standard. You don’t need to invest intellect into the story as it’s pretty much what you’d expect. Though that, in my book at least, is not something that should be seen as a fault. Sometimes it’s great to go into a movie that takes you to another place and doesn’t require you to think about it deeply. And I for one don’t mind when a movie does that when it does it as well as Conan the Barbarian. Sure it’s not going to stimulate your mind in a sense of depth, but who can begrudge this swords and sorcery concoction that simply wants to thrill? Saying this however, it feels more rough and gritty than some fantasy and that does make it stand out a bit from the crowd. It’s not Shakespeare by any stretch of the imagination, but nor is it trying to be. So sit back and lap it up the best way you can with enjoyment in mind and thrills by the minute . The largely practical effects are decent for their time, though looking through modern eyes they look rather dated. Still at least the film isn’t overblown when it comes to effects, instead when they are used in scenes of the spirits healing but also attempting to snatch our hero away and a fireside vision by a seductive but lethal witch, they are impactful. And the look of Conan the Barbarian is one of its strongest aspects with the vast open spaces, mountainous terrain and creepy atmosphere of the opulent Snake Cult rendered with great detail. Things feel epic here and this contributes well in keeping the whole highly charged atmosphere alive. One of the finest elements of Conan the Barbarian is the stupendous score from Basil Poledouris. With thundering drums aplenty and a sweeping scope that benefits the action, it’s one score you won’t forget in a hurry.

Arnold Schwarzenegger heads proceedings as the eponymous warrior out for revenge and makes quite an impression. Physically, he is a hulking being that is intimidating and strong from the moment we see him and the fact he doesn’t speak a lot adds to this feeling of immense presence. Schwarzenegger isn’t known for being the finest actor out there, but his work here is an example of fantastic casting as he exudes strength, intense vengeance and physicality throughout. I can’t imagine anyone else filling the role of Conan quite as effectively as Schwarzenegger. Embodying an eerily menacing villainy, James Earl Jones is the ideal counterpart to our hero. He’s got such a chilling presence( mainly through that iconic voice)throughout that comes from his seeming calmness that belies inner psychopathic tendencies. Gerry Lopez provides some comic relief and sense of friendship as the skilled thief Subotai . He works well against with Schwarzenegger; the two of them being opposites physically but in terms of mindset definitely on the ball and understanding of each other. Ferocity and athleticism is provided by Sandahl Bergman with added doses of sex appeal to boot . Though not what you’d call the most versatile or nuanced performer, Bergman nonetheless contributes a physical charm and action to that can’t be denied . Mako and his off the wall appeal that is twinned with his impressive narration adds a layer of epic awesomeness to Conan the Barbarian. The only person who feels wasted is the great Max Von Sydow as the elderly king. Someone of his calibre should at least have been given more to work with, even if his role is small.  Most of the acting isn’t what you’d call award worthy, but not is it trying to be. The cast is called upon to play these characters in a certain way and they each do what the film demands handsomely.

So aside from some flaws along the way, Conan the Barbarian still stands out as a fantastic spectacle of action and fantasy that is enjoyably full of action set pieces and sweeping spectacle.

The Shape of Water

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2010's, Doug Jones, Fantasy, Guillermo del Toro, Michael Shannon, Michael Stuhlbarg, Octavia Spencer, Richard Jenkins, Romance, Sally Hawkins, The Shape of Water

The winner of four Academy Awards, including Best Picture, The Shape of Water throughly merited this acclaim with its imaginative and universal story, beautifully haunting direction from Guillermo del Toro and top notch performances from an outstanding cast of actors. Plus, it stands as one of Guillermo del Toro’s finest films put to screen.

The year is 1962 and in a coastal area of Baltimore, Maryland, Elisa Esposito(Sally Hawkins)lives above a picture house that screens old movies to a pretty absent audience. She has been mute since childhood when she was found by the river with marking on her neck. An orphan who lives an ordered, almost ritualistic life, Elisa’s forms of companionship are closeted gay artist Giles(Richard Jenkins) and wise cracking and loyal co-worker Zelda Fuller(Octavia Spencer). Elisa and Zelda work in a government facility as cleaners, where they are expected to make things tidy and not ask any questions about the goings on within their workplace. One day, the facility has an arrival of a humanoid creature(Doug Jones) that comes courtesy of the finding of nasty government agent Colonel Strickland(Michael Shannon). He is head of the operation regarding investigating the creature, which mainly involves torturing it as he sees it as unholy, yet who himself is a self righteous hypocrite. Elisa becomes curious about the creature and begins to spend time with it. The creature responds to her and though it doesn’t talk either, they find a way to communicate with one another. Over time, a genuine love forms between them. This places her in danger as the people higher up than Strickland want to vivisect the creature and an enigmatic scientist by the name of Robert Hoffstetler (Michael Stuhlbarg) has his own motives for studying the humanoid. Elisa, feeling emboldened by her newfound love and understanding, decides to help the humanoid escape. Though this is not going to be an easy operation and Strickland has grown suspicious of her and the consequences could be deadly for Elisa if she does not succeed in saving her lover. 

From the moment The Shape of Water opens with a submerged dream sequence involving Elisa’s water filled apartment and with narration from Giles, you know it’s a film by the masterful Guillermo del Toro. His strong presence and boundless imagination are on full display, twinned with a sensitive story of acceptance, love across the boundaries and understanding of what is deemed different. He was rightly rewarded with an Oscar for his poetic direction of this dark yet endearing movie that pays homage to monster movies of the 50’s, old Hollywood and Cold War intrigue, all wrapped in the confines of his exceptional vision. The Shape of Water is many things that it can be difficult to classify it as it mixes intense thriller suspense, socially aware drama and budding romance. His script, co written with Vanessa Taylor, grounds fantasy in a historical prism, exploring prejudice within the narrative. The main players in the story are all deemed outsiders;Elisa is mute, Giles is having to conceal his sexuality and Zelda faces adversity due to her skin colour. By featuring this aspect, it seems wholly appropriate that Elisa would find solace in the arms of a humanoid creature, who himself is tortured for being different at the hands of the ignorance of others. The message of accepting everyone’s differences and uniqueness is rendered excellently into the fantasy realm with a very human touch that’s simply irresistible. The Shape of Water is a beautifully engaging and unusual fairy tale, that retains a sense of almost childlike curiosity and wonder but is definitely a fantasy for mature audiences owing to violence, brutality and sexuality displayed in the story. This is aided by amazing, award winning production design that captures a darkness of the 60’s in terms of historical context and the ravishing cinematography( blue, green and red feature heavily) that transport us into the distant past via a fantasy romance that’s not afraid to be strikingly adult or daring. Alexandre Desplat earned his second Oscar for his sublime score that captures a wistful, romantic longing and sense of dreamlike joy, coupled with darkness and action when events start to deepen and the stakes of the story increase. 

One of the strongest aspects of The Shape of Water is the sensationally talented cast it boasts. Front and centre is the talented Sally Hawkins, who never lets me down when it comes to convincing acting that feels so true. She’s required to not speak a word, but displays a silent symphony of feelings from quiet delight, aching sadness and growing, admirable bravery in an exquisite anchoring portrayal. You buy all of this because of just how darn good Sally Hawkins is in this part. Hawkins injects Elisa with a deep humanity and sense of authenticity that it stands as one of her finest performances that truly shines in this romantic fantasy. She’s the beating heart of The Shape of Water and it simply wouldn’t be the same without her layered performance of dazzling emotion and winning, hopeful clarity. Hawkins is supported delightfully by Richard Jenkins and Octavia Spencer as the two people closest to her. Jenkins, who has been one of the most reliable character actors in what seems like forever, gives life and pathos to his acting as the artist having to suppress his sexuality in a world of ignorance. He’s something special here it must be said with his notes of humour and sympathy splendidly telegraphed. Octavia Spencer also brings her A-game as the loquacious best friend with attitude and conviction. You feel the energy of Spencer and also her understanding of the part, which shows her as tough but deep down longing, hurting yet extremely loyal to those closest and willing to defend them until the end. All three actors were rightfully nominated for Oscars for their respective performances here and they were much deserved.

As the Amphibian creature, Doug Jones, although covered entirely in a scaly suit and make up, brings out a curiosity and sinuous movement in his role. It’s a credit to him that we see the soul of the misunderstood creature and that’s high praise indeed. Although the humanoid is seen as the monster in the story, that title actually the fits the part of the vicious Strickland, played by the incredibly reliable Michael Shannon. He’s excellent as the bible spouting, bullying government agent who always needs to be in control. Shannon is fine when giving voice to Strickland’s frustrations and nastiness, but it’s often when he is silent with emerging rage and intensity that he’s most riveting to watch. Not to say that he’s better at one than the other, he’s amazing at blending both but there’s just something about the way he uses body language and his face that really sells it. Michael Stuhlbarg displays his skills as a secretive scientist with more going on that it seems behind the appearance of studious investigation. He’s nicely understated with his subtle turn as a man who ends up conflicted on what to do with regards to the creature. 

A beguilingly unusual but very touching fantasy romance about acceptance, love and bravery, The Shape of Water is a different but enthralling film that knows how to move the audience with its story, compelling craftsmanship by Guillermo del Toro and simply stellar cast, headed by the sublime Sally Hawkins.