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Tuesday, July 7, 2020
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HELLBOY MOVIE REVIEW
Hellboy Review: Hellboy (David Harbour) is raised by his adoptive father Professor Broom (Ian McShane) to work alongside humans in the Bureau for Paranormal Research (BRPD) – an organisation that protects people from otherworldly forces who threaten the planet. Hellboy’s supernatural abilities are put to the test when the Blood Queen (Milla Jovovich) is raised from the undead, in a bid to take revenge on humans who tried to destroy her ages ago. Neil Marshall’s reboot of Guillermo Del Toro’s two films based on this comic-book universe aims to set itself apart with a distinctly gory, and expletive-laden tone. Marshall understands how to stage large scale action set pieces, and there are a couple of sequences that are disturbing, yet hilarious. But there’s little else of note.
Milla Jovovich as the villain is bad, and not in a cheesy yet enjoyable manner. She struggles to convey the required sense of menace; her dialogue delivery fluctuates between wooden and comical. It also doesn’t help that the Blood Queen is a weak antagonist who holds a lot of promise but doesn’t quite bring it eventually. Meanwhile, David Harbour is perfectly cast as the lead character. Hellboy is mighty while being snappy with oodles of wit, and Harbour nails down his devilishly fun persona. Ian McShane also attempts to add some pathos to the distorted father-son relationship Professor Broom shares with Hellboy.
Sadly, as soon as you begin to appreciate these sub-plots, the next action sequence is thrown at us. The tonality is wildly uneven which isn’t helped as outrageous characters enter the narrative with little context, and often exit quickly as well. If Marshall’s mere intent was to shock you with excessive gore and expletives, then he manages to do that. It isn’t quite enough, especially if you leave the theatre confused about what just happened, due to a ludicrous plot. Despite McShane and Harbour’s best efforts, this exhaustive ‘end-of-the-world’ story is unable to raise as much hell as it should.
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Milla Jovovich as the villain is bad, and not in a cheesy yet enjoyable manner. She struggles to convey the required sense of menace; her dialogue delivery fluctuates between wooden and comical. It also doesn’t help that the Blood Queen is a weak antagonist who holds a lot of promise but doesn’t quite bring it eventually. Meanwhile, David Harbour is perfectly cast as the lead character. Hellboy is mighty while being snappy with oodles of wit, and Harbour nails down his devilishly fun persona. Ian McShane also attempts to add some pathos to the distorted father-son relationship Professor Broom shares with Hellboy.
Sadly, as soon as you begin to appreciate these sub-plots, the next action sequence is thrown at us. The tonality is wildly uneven which isn’t helped as outrageous characters enter the narrative with little context, and often exit quickly as well. If Marshall’s mere intent was to shock you with excessive gore and expletives, then he manages to do that. It isn’t quite enough, especially if you leave the theatre confused about what just happened, due to a ludicrous plot. Despite McShane and Harbour’s best efforts, this exhaustive ‘end-of-the-world’ story is unable to raise as much hell as it should.
PET SEMATARY MOVIE REVIEW
Pet Sematary Review: Dr Louis Creed moves into a new home, along with his wife Rachel (Amy Seimetz), their two young kids Ellie (Jeté Laurence), and Gage (Hugo and Lucas Lavoie) with their cat, Church, in tow. Ellie wanders around the property when she comes across a burial ground that reads ‘Pet Sematary’. After Rachel finds Ellie, their neighbour Jud Crandall (John Lithgow) warns them not to stray too far from home as the woods aren’t safe. The Creed family soon discovers why this warning is not to be taken lightly. Those familiar with the 1989 version will be caught unaware by the changes made for this remake, although it would be best advised to avoid all the official trailers to maintain an element of surprise.
In this new adaptation of Stephen King’s novel, directors Kevin Kölsch & Dennis Widmeyer spin a fresh perspective, which has the potential to be far more impactful. After all, this harrowing tale is about the grieving process and how different people deal with the death of their loved ones. Sadly, this narrative is not explored to its full potential, as the directors often choose to focus on audio-visual elements for the sake of scares instead. This nullifies strong performances by the consistently brilliant John Lithgow as Jud, and Jeté Laurence’s standout turn as Ellie. Both Jason Clarke and Amy Seimetz are effective playing parents grasping at straws to keep their family intact. There’s a backstory setting up an intriguing angle that promises to work well with the overall theme, but is squandered as not enough time is spent on character development.
The twists wear thin as the film rushes to the finish line, by not allowing the weight of harrowing events to land as hard as they should, despite the tragedies hitting hard. In fact, this is a film that could afford a few more scenes for the terror to dig deeper within your psyche as it draws up some of your own demons. While the audience is spooked at regular intervals thanks to the compelling atmosphere and unsettling sound design, the cumulative effect starts to wear off eventually. Yet, the very nature of this story is disturbing enough to compel you to see it through, helped by its taut run-time, and one terrifying cat!
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In this new adaptation of Stephen King’s novel, directors Kevin Kölsch & Dennis Widmeyer spin a fresh perspective, which has the potential to be far more impactful. After all, this harrowing tale is about the grieving process and how different people deal with the death of their loved ones. Sadly, this narrative is not explored to its full potential, as the directors often choose to focus on audio-visual elements for the sake of scares instead. This nullifies strong performances by the consistently brilliant John Lithgow as Jud, and Jeté Laurence’s standout turn as Ellie. Both Jason Clarke and Amy Seimetz are effective playing parents grasping at straws to keep their family intact. There’s a backstory setting up an intriguing angle that promises to work well with the overall theme, but is squandered as not enough time is spent on character development.
The twists wear thin as the film rushes to the finish line, by not allowing the weight of harrowing events to land as hard as they should, despite the tragedies hitting hard. In fact, this is a film that could afford a few more scenes for the terror to dig deeper within your psyche as it draws up some of your own demons. While the audience is spooked at regular intervals thanks to the compelling atmosphere and unsettling sound design, the cumulative effect starts to wear off eventually. Yet, the very nature of this story is disturbing enough to compel you to see it through, helped by its taut run-time, and one terrifying cat!
THE CURSE OF THE WEEPING WOMAN MOVIE REVIEW
The Curse Of The Weeping Woman Review: Anna Garcia (Linda Cardellini) is a social worker raising her two children Samantha (Jaynee-Lynne Kinchen) and Chris (Roman Christou) as a single parent because her husband was killed on duty as a police officer. Anna is investigating a case involving Patricia Alvarez (Patricia Velasquez) when she comes across a supernatural element which begins to haunt her family. As she seeks help, she comes across a faith healer Rafael Olvera (Raymond Cruz). Rafael and Anna now must defend her kids from the wrath of La Llorona.
Here’s an interesting concept, because it plays on the innate fear every parent has – the fear of losing their kids. Linda Cardellini channelises this in Anna’s determination to protect her kids. Raymond Cruz is also quite effective as Rafael, a faith healer who used to be a priest. He’s tasked with a lot of the spell casting and chanting; not only does he do that with conviction, but he also brings some much-needed humour into the script, and he has his moments. Patricia Velasquez as Patricia Alvarez has a significant role to play, and she’s also adept at playing a mentally disturbed woman. The evil spirit itself - La Llorona, the weeping woman, played by Marisol Ramirez has a spooky appearance and intimidating presence when she’s on screen.
But that effect wears off pretty quickly because this is a horror film, and it makes sure to keep reminding you with all its screeching and creaking sound design, often resorting to the predictable jump scare treatment. What makes it even more frustrating is that the exposition is on the nose, because it must explain the backstory of the Weeping Woman. This is done in such an obvious way that makes the film drag between the scary scenes. With that, all the potential from this film goes flying out of the window, and you’re left with yet another horror film. The actors try to work their best with the shoddy material, but it’s not quite enough. Those who get scared easily will get spooked anyway; those who want more from their horror films will be left craving for that.
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Here’s an interesting concept, because it plays on the innate fear every parent has – the fear of losing their kids. Linda Cardellini channelises this in Anna’s determination to protect her kids. Raymond Cruz is also quite effective as Rafael, a faith healer who used to be a priest. He’s tasked with a lot of the spell casting and chanting; not only does he do that with conviction, but he also brings some much-needed humour into the script, and he has his moments. Patricia Velasquez as Patricia Alvarez has a significant role to play, and she’s also adept at playing a mentally disturbed woman. The evil spirit itself - La Llorona, the weeping woman, played by Marisol Ramirez has a spooky appearance and intimidating presence when she’s on screen.
But that effect wears off pretty quickly because this is a horror film, and it makes sure to keep reminding you with all its screeching and creaking sound design, often resorting to the predictable jump scare treatment. What makes it even more frustrating is that the exposition is on the nose, because it must explain the backstory of the Weeping Woman. This is done in such an obvious way that makes the film drag between the scary scenes. With that, all the potential from this film goes flying out of the window, and you’re left with yet another horror film. The actors try to work their best with the shoddy material, but it’s not quite enough. Those who get scared easily will get spooked anyway; those who want more from their horror films will be left craving for that.
AVENGERS: ENDGAME MOVIE REVIEW
REVIEW: Overwhelming. It best describes the final chapter that culminates Marvel Cinematic Universe’s 21 iconic films into one. And that also describes the experience of watching your favourite superheroes come together for a singular goal, for one last time. Directors Anthony and Joe Russo ensure that the humongous build-up and the avalanche of expectations do not get the better of them. They deliver a largely wholesome product that is full of moments laced with action, emotion, comedy and drama. Writers Christopher Markus and Stephen McFeely take you along, even if you haven’t been following the franchise. They do an incredible job with the screenplay to balance emotions with visual spectacle. So if you’re not a fan yet, chances are, you might become one after watching this instalment.
While the screen time for each character is not equal, their significance in the story is. And there are enough surprises in store, as far as their fates are concerned. ‘Endgame’ delivers quite well on the emotional quotient, bringing out superpowers and vulnerabilities of its cinematic demigods through their measured performances. From an upright Captain America (Chris Evans) to a stoic Black Widow (Scarlett Johansson) and from a straight-faced Captain Marvel (Brie Larson) delivering the punches to the reassuring presence of Iron Man (Robert Downey Jr.), ‘Endgame’ has it all and a lot more. Thanks to the conviction in performances, you also might just find yourself rooting for the bad guy, Thanos (Josh Brolin) at some point. However, it’s the comic collective of Thor (Chris Hemsworth), Hulk (Mark Ruffalo) and Ant Man (Paul Rudd) that ensures there are enough lighter moments in this otherwise heartfelt finale.
The action becomes progressively intense, but never overbearing. In fact, it remains relevant and true to the narrative, such that it weaves in enough opportunities for major plot twists that even the diehard fans may not see coming. The extensive CGI work adds to the visual appeal, even in 2D.
For the non-fans, the film’s explanatory tone might come across as a speed breaker at times, but for the fans, the same invokes hope and excitement, leading to constant gasps and howls.
Overall, 'Avengers: Endgame' is a befitting tribute to the Cinematic Universe that has spawned larger-than-life superheroes and super fans. At three hours plus, ‘Endgame’ delivers on a lot of its hallmark promises, leaving its fans with a range of emotions and fond memories.
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While the screen time for each character is not equal, their significance in the story is. And there are enough surprises in store, as far as their fates are concerned. ‘Endgame’ delivers quite well on the emotional quotient, bringing out superpowers and vulnerabilities of its cinematic demigods through their measured performances. From an upright Captain America (Chris Evans) to a stoic Black Widow (Scarlett Johansson) and from a straight-faced Captain Marvel (Brie Larson) delivering the punches to the reassuring presence of Iron Man (Robert Downey Jr.), ‘Endgame’ has it all and a lot more. Thanks to the conviction in performances, you also might just find yourself rooting for the bad guy, Thanos (Josh Brolin) at some point. However, it’s the comic collective of Thor (Chris Hemsworth), Hulk (Mark Ruffalo) and Ant Man (Paul Rudd) that ensures there are enough lighter moments in this otherwise heartfelt finale.
The action becomes progressively intense, but never overbearing. In fact, it remains relevant and true to the narrative, such that it weaves in enough opportunities for major plot twists that even the diehard fans may not see coming. The extensive CGI work adds to the visual appeal, even in 2D.
For the non-fans, the film’s explanatory tone might come across as a speed breaker at times, but for the fans, the same invokes hope and excitement, leading to constant gasps and howls.
Overall, 'Avengers: Endgame' is a befitting tribute to the Cinematic Universe that has spawned larger-than-life superheroes and super fans. At three hours plus, ‘Endgame’ delivers on a lot of its hallmark promises, leaving its fans with a range of emotions and fond memories.
AFTER MOVIE REVIEW
REVIEW: For Hardin Scott, “Nice is just another word for boring.” He has an enigmatic charm and there’s an air of uncertainty in his cryptic behavior. That is perhaps an irresistible combination in a young lad, who is also conventionally good looking. Throw in a girl-next-door with textbook good behaviour and an ambition to make her mother proud. When these two meet in a film, the audience knows what to expect. Ideally, that would take away the surprise element, but it’s the writing of these characters that keep you invested.
Tiffin is in the best form portraying the unpredictability of Hardin in measured tones. It’s easy to root for him even when he’s not doing the right thing. He also gets some really cool lines that add to the curiosity around his character. Josephine Langford successfully brings the vulnerability of Tessa to fore. Her performance is honest and understated that portrays her hunger for new experiences. Selma Blair as Tessa’s mother performs well in her limited screen time. But the rest of the cast has too many clichés. College teens sporting tattoos and nose piercings, a spiteful and vamp-ish fellow student with pigtails and a constant smirk, girl’s supportive friend in college, who is dark skinned. Wonder why? There are also American stereotypes like the dysfunctional families, daddy issues and single parents.
But none of that hampers the film’s strong emotional texture. Writers Susan McMartin and Tamara Chestna weave in the intense romance between Tessa and Hardin in a conventional yet mystical way that builds interest.
There are not many twists and the narrative is simple. However, it hoodwinks you into feeling that something really unusual will happen - whether or not it does, is for you to find out. Sex scenes are aplenty but none of them over-the-top. They are aesthetically executed and remain complimentary to the storytelling. Director Jenny Gage handles those scenes with finesse, never letting her young, good looking actors lose their next-door image. This helps the audience stay connected with the characters and feel for them. The pace is slow, but consistent with moments that will stay with you. Soundtrack packs quite a punch into this intense college romance.
‘After’ is as formulaic as it is ambitious for young lovers who seek exciting first experiences. It has love, lust and heartbreak in equal measure.
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Tiffin is in the best form portraying the unpredictability of Hardin in measured tones. It’s easy to root for him even when he’s not doing the right thing. He also gets some really cool lines that add to the curiosity around his character. Josephine Langford successfully brings the vulnerability of Tessa to fore. Her performance is honest and understated that portrays her hunger for new experiences. Selma Blair as Tessa’s mother performs well in her limited screen time. But the rest of the cast has too many clichés. College teens sporting tattoos and nose piercings, a spiteful and vamp-ish fellow student with pigtails and a constant smirk, girl’s supportive friend in college, who is dark skinned. Wonder why? There are also American stereotypes like the dysfunctional families, daddy issues and single parents.
But none of that hampers the film’s strong emotional texture. Writers Susan McMartin and Tamara Chestna weave in the intense romance between Tessa and Hardin in a conventional yet mystical way that builds interest.
There are not many twists and the narrative is simple. However, it hoodwinks you into feeling that something really unusual will happen - whether or not it does, is for you to find out. Sex scenes are aplenty but none of them over-the-top. They are aesthetically executed and remain complimentary to the storytelling. Director Jenny Gage handles those scenes with finesse, never letting her young, good looking actors lose their next-door image. This helps the audience stay connected with the characters and feel for them. The pace is slow, but consistent with moments that will stay with you. Soundtrack packs quite a punch into this intense college romance.
‘After’ is as formulaic as it is ambitious for young lovers who seek exciting first experiences. It has love, lust and heartbreak in equal measure.
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