Tag Archives: monsters

The Mummy – Review

14 Jun

Since 1932, The Mummy franchise has gone through many different variations. There was a whole classic Universal monster series that started with The Mummy in 1932 starring Boris Karloff and spanned all the way to 1955 with Abbott and Costello Meet the Mummy. Then Hammer Studios made their own series which started in 1959 and ended in 1971 with Blood from the Mummy’s Tomb. I did a whole review on this series so you can see my thoughts on that there. In 1999, it was revamped by Stephen Somers which went on until 2008 with Tomb of the Dragon Emperor. Now, we have a whole new Mummy movie which is meant to kickstart Universal’s Dark Universe. While I’m sure they wanted this to start with a bang, it’s more like a very loud thud.

Nick Morton (Tom Cruise) and his partner, Chris (Jake Johnson), are two treasure seekers who use their military travels as an excuse to find hidden artifacts around the world. Their latest find comes as something of an accident. In Iraq, the two find the lost tomb of Princess Ahmanet (Sofia Boutella), a member of the Egyptian royal family who was cursed and buried alive for attempting to unleash the evil force that is the dark lord Set. While wanting to keep the find for himself, Nick reluctantly hands the find to archeologist Jennifer Halsey (Annabelle Wallis), who loads it into a cargo plane en route to England. The plane soon crashes and Nick is presumed dead. This doesn’t last long, however, since he soon wakes up in a morgue only to learn that Ahmanet wasn’t found in her sarcophagus, while also being haunted by visions of death and the past. Realizing he is cursed, and with Ahmanet wreaking havoc across London, Nick and Jennifer have to team up with mysterious forces to stop the mummy from giving Set life and overtaking the world with their dark powers.

If I can surmise something from The Mummy, it’s that Universal doesn’t seem to have any intention of making their Dark Universe scary in the least. This is the first majorly disappointing thing about this movie. The original Universal series and the Hammer series mainly focused on the eeriness of the curses and the slow but strong force that were the mummies. When Stephen Sommers made the reboot, it was more of an action movie, but there was more than enough horror with the scarabs and other effects to keep me entertained. This one feels more in the vein of League of Extraordinary Gentlemen, except that it’s nowhere near as awful. What I’m getting at is that this is more of an action film, so it’s appropriate Tom Cruise was cast in it, even though this character is so boring I’m pretty sure anyone with half a brain could have played it. Looking at it as an action movie, there are some pretty cool sequences, but Princess Ahmanet is really only responsible for one of those cool scenes. I thought this movie was called The Mummy. Sofia Boutella really tries to bring this character to life, but there just isn’t enough for this particular monster to do, and that’s another major disappointment.

What this movie did really succeed at doing is making me curious about what is to come with this franchise. There’s a part of the movie that I won’t spoil that became way more interesting than the main plot with Ahmanet and the curse. This had to do with Russell Crowe’s character and the place he’s in charge of. This whole segment is a major divergence from the plot, but it did give me hope that the studio has big plans for what they want to do. This is where a lot of exposition happens as well, but it also give Boutella to do some more acting and actually put some passion into a role that seems almost completely devoid of anything cool. Crowe is also excellent in his role, which again, I will no spoil. Let’s just say I demand more of him in the movies to come.

When the movie isn’t in blockbuster action mode, there really isn’t a whole lot to say about it. It starts off pretty well with some exciting moments and the character set up isn’t bad. The film also showcases some good CGI along with pretty well done practical effects and make up. Anyone who knows me or reads this knows I’m a fan of practical effects, so it was cool to see some in this movie. When all of this slows down, however, and we spend time with just the human characters talking about the curse and the mummy, it’s really not all that interesting. In fact, they utilize so many flashbacks and tricks with losing time that I was just getting annoyed. There’s way too many flashbacks and way too much basic exposition. I saw that there were a lot of writers attached to this film which makes me wonder if the script got bounced around so much that something more subtle was just lost in translation somewhere down the line.

I can’t really say I’m too disappointed because I didn’t go into The Mummy expecting much. Even with those low expectations, I felt like they missed out on something that could have really kickstarted this franchise well. There have been plenty of really good Mummy movies in the past, so I know the concept can be done well. Of course, this one balances setting up a whole universe, but I still believe it could have been done much better. This film isn’t awful and it is watchable, but it’s also very underwhelming and since the days have passed since I’ve seen it I can also say it isn’t all that memorable. Hopefully future movies in the Dark Universe will bring something more to the table.

Final Grade: C-

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V/H/S Series – Review: Part 1

16 Apr

Found footage horror movies were a huge deal up until recently, and there was a good deal of bad mixed in with a handful of good. I firmly believe that if found footage is done correctly, it can be very effective, but the film makers who attempt this walk a fine line to make it seem realistic without making it look cheap. Perhaps one of the most recognizable series that implements the found footage style are the V/H/S films. These were mostly seen on the festival circuit before being released On Demand and then put on home media. I’ve never seen these movies, but I’ve heard plenty about them, so let’s dive right in.

Let’s start with the original 2012 film, V/H/S.

A gang of criminals is hired by a mysterious source to break into an elderly man’s house to retrieve a single VHS tape. What’s on the VHS tape is not explained and is deemed unimportant, so the thieves take the job. They easily break into the house but are shocked to find the old man dead and his house covered in an assortment of VHS tapes. In order to root out the correct tape, they start to watch what this man has in his collection, but are horrified at what they find. What is on these tapes are documented cases of horror that include a mysterious murderous entity, a siren that forces herself on men to feed her bloodlust, webcam footage that shows an unspeakable lie, a stalker hunting a couple on vacation, and a house that holds a deadly secret. While the thieves watch these tapes, they become aware of strange things happening around them that may have some connection with the dead man and what he has on these tapes.

So, I definitely have some things to say about V/H/S. Some of it’s good and some of it isn’t so much. Let’s get the negatives out of the way. First off, this is a found footage movie, and I believe that if found footage movies are done right, they can be a real success. This one takes that gimmick and goes a bit too far with it. The frame story of the thieves breaking into the old man’s house to find the VHS tape is fine, but it’s almost destroyed by these glitches in the tapes they’re using. This happens for the first few minutes, which didn’t really bother me, but they just kept happening. It drove me crazy. As I’m sure you’ve gathered, this is a horror anthology filled with short films. That being said, some of these shorts really didn’t do anything for me. The one that sticks out for being the most bland is the one titled Second Honeymoon. These shorts run close to 20 minutes long, so when one is really boring, it feels way longer than it actually is. This one leads absolutely nowhere, and it’s followed up by another short that also falls pretty short. This makes for a middle section of this movie that seems to drag on forever, but that’s the risk you take with anthology movies like this.

WhenV/H/S decides to get good, however, it gets real good. The general consensus from the critics I’ve heard from is that the first short and the last are the strongest, and I’m certainly inclined to agree. The first short called Amateur Night is a terrifying trip that has an excellent build up and an even better payoff. The final short called 10/31/98 isn’t the scariest of the bunch, but it does feature some pretty cool special effects that is the perfect climax to the style and mood that this movie has been building. There’s something startling about some of the imagery that’s used in this movie, and that’s probably what I’m going to remember the most about it. Since it is a found footage film, there are select elements that can’t be seen, which works since whatever you concoct in your imagination can be way scarier than the reality, but what is shown is brutal and has a style all its own.

V/H/S didn’t set a new standard of horror films when it came out, but the ripple that it made was well deserved. Comparing it to something like The Witch or It Follows isn’t really fair, but for what it is, it’s a pretty impressive low budget scare fest. There are certain segments that don’t hold up nearly as well as some of the other ones, and the acting can be a bit off at times. What does hold the movie up are some genuine scares and cringes that the scarier portions of the film provide.

Final Grade: B-

A year later, the sequel, simply titled V/H/S/2, was released. If this isn’t one of the most badass sequels I’ve seen in a while, I don’t know what is.

When two private eyes are hired to find a missing college student, their investigation leads them to a house that seems abandoned, except for a set up of televisions, a laptop, and a series of VHS tapes. The investigators begin to watch the tapes which seem to show unspeakable horrors. A man sees the vengeful undead through a new high tech prosthetic eye, a man on a bicycling trail is bitten and turned into a zombie, journalists witness a violent cult hit the climax of their worship, and aliens wreak havoc on kids having a slumber party. While the tapes don’t appear to be linked, it becomes clear to the investigators that something is very wrong with the house they’re in, and terror soon strikes them as they become part of their very own VHS tape to add to the collection.

Take everything you liked about V/H/S and turn it up to 11, and that’s how you get V/H/S/2. This really is one of the strongest sequels I’ve seen in a while, and certainly one of the strongest sequels in the horror genre. There are so many memorable moments in this film that it’s hard to wrap my head around all of them. If you want to talk about real horror, I’d be in trouble if I forgot to single out Timo Tjahtjhanto and Gareth Huw Evans’ segment titled Safe Haven. I have yet to watch the next film in this series, but I can say that this segment is going to be the strongest in the whole series. Take the real world horror of a Jonestown situation and add the supernatural, plus make it found footage so you’re smack dab in the middle, and you got some excellent moments of terror. I also want to single out Eduardo Sánchez’s and Gregg Hale’s A Ride in the Park, where we see through a zombie’s point of view via a Go Pro on his helmet. This is works as a zombie horror movie, but also a sort of wacky dark comedy.

I do have a few complaints about this movie, and they really just have to do with the strength of a couple of the tapes. The frame narrative with the investigators really doesn’t seem like much, but the end pay off makes it all worth it, so that one gets a pass as a positive. The first short titled Phase I Clinical Trials has a good idea if it were an episode of The Twilight Zone. For a movie that has shorts like Safe Haven in it, I expected a little bit more. It has some scares, but it’s over before it begins and there’s really nothing to it. The last short called Slumber Party Alien Abduction also doesn’t hold up as well as the two that come before it. There’s some interesting sound work and the aliens have cool reveals, but it feels underwhelming after the gems that have already been shown.

V/H/S/2, despite some of the segments being weaker than others, is a really good horror anthology film that is even better than its predecessor. It takes the scares, the gore, and the ideas and turns them way up to create a horror film that I may never forget. All the film makers that worked on this movie each had a specific task, and some of the made gold while the others follow up with silver. Never was I bored during this movie and it’s one that I’d love to watch again.

Final Grade: B+

So there’s the first two entries of the V/H/S series. Both were solid movies, but I have to give the edge to the sequel. Stay tuned for my next review where I’ll talk about V/H/S: Viral and the spin off movie, SiREN.

Kong: Skull Island – Review

13 Mar

I love monster movies. Like I really, really love monster movies, so the fact that Legendary is giving us a whole universe dedicated to giant monster brawls is almost too exciting. The first film in the MonsterVerse, Godzilla, came out in 2014, and despite some mixed reviews, I thought it was pretty badass. It did have some flaws, but when it got down to the monster mayhem, it really knew what it was doing. Now we have the second film, Kong: Skull Island, which introduces King Kong and the island to the universe. This beloved ape has been around since 1933, and it’s awesome to see that he has no intentions of giving up his big screen glory. This film is excessive, yes, but it’s also an extremely entertaining and action packed thrill ride.

William Randa (John Goodman) is a government official who has all the proof he needs to lead an expedition to an undiscovered island in the middle of the Pacific Ocean called Skill Island. After fighting for approval, he finally gets the go ahead and begins assembling his team. His first order of business is to find a tracker, which he finds with James Conrad (Tom Hiddleston), a former SAS captain that served in the Vietnam War. He also recruits the help of Lt. Col. Preston Packard (Samuel L. Jackson) and his regiment, the Sky Devils, as a military escort. Photojournalist Mason Weaver (Brie Larson) also joins the expedition with hopes of uncovering some unknown government conspiracy. When the group finally gets to the island, it doesn’t take long for the protector of the realm, a 100 foot tall ape named Kong, to show up and defend his land. This attack splits the group in two, which forces them to work together and keep their eyes peeled for Kong and the other horrors that wait for them on the island.

I had such a blast with Kong: Skull Island, that I’m still getting excited thinking back on it. It’s exactly what I wanted from this movie, and based on what some other critics were saying, I was kind of worried I was going to be let down. One thing that’s worth noting that can be seen as a negative are some of the characters. Samuel L. Jackson’s Packard and John C. Reily’s Hank Marlow are two examples of well thought out and fully realized characters. I understand their motivations and they stand out amongst the rest. There are other side characters that also have large personalities that make them memorable, but there’s no real development with any of them. Tome Hiddleston and Brie Larson, however, seem to hardly be in character at all. They’re just the stereotypical heroes you would expect to see in this movie. They try to add a little back story to them, but that exposition doesn’t really help at all. They’re just there to save the day, and that’s about it.

The original King Kong has one of the most classic stories in the history of film, and no sequel or remake since then has been able to capture that same essence and feeling. Kong: Skull Island doesn’t even try, and it’s all the better for it. Sure, it has the same kind of set up with the characters being introduced and sailing to the island, and there are natives which are to be expected on Skull Island, but that’s where the similarities end. The story of this movie pretty much revolves around Hiddleston and company trying to stay alive and get to the rendezvous point on the other side of the island. This is really all I needed, but there’s a cool subplot added in with Jackson’s character that raises the stakes even more. I was so thrilled to see this movie not get bogged down in trying to be something more than it is. The plot was there to drive the movie forward, but it wasn’t so stale and uninteresting that I lost track of what I was really watching. This keeps the pace fast with the action always moving forward. It’s cool to say that I was never once bored watching this movie.

Let’s talk about the man of the hour though. Toby Kebbel is tasked with being a side character soldier, but also was the motion capture actor for Kong. This seems appropriate since he did the motion capture for Koba in the new Planet of the Apes movies. He really brings Kong to life in this movie, which is awesome, and the physicality of the role is not to be forgotten. Kong has major throw downs in this movie that will force any viewer to go into popcorn munching overdrive. This is where the movie really shines, and I appreciate the visuals that add to the excessiveness that I mentioned I loved so much. Sure, the close ups and the crazy compositions of Kong back lit by the sun may seem cheesy, but they’re really just too cool to look at, and provided some of my favorite parts of the movie.

Is Kong: Skull Island going to match the classic status that Merian C. Cooper and Ernest B. Schoedsack did with the original back in 1933? Of course not, but it does add a fulfilling new chapter to the MonsterVerse, and also was just a highly entertaining film. Once the characters get to the island, the action very rarely slows down and I found myself getting lost in the visuals of the island and the monster brawls that seemed larger than life happening before my very eyes. This isn’t a movie about characters nor does it have any important lessons to teach the viewer. This is about giant monsters throwing down for a couple of hours. In that way, it did not disappoint.

Final Grade: B+

Willow Creek – Review

4 Mar

In 1967, the Patterson-Gimlin Film was released, which appears to show a giant creature walking along a riverbed somewhere in the forests of California. This footage has been a favorite amongst the cryptozoological community and has been said this is the proof of the existence of Bigfoot, despite overwhelming evidence to the contrary. When I heard that Bobcat Goldthwait was going to be making a found footage horror film that explores the lore of Bigfoot, I was at the same time confused and intrigued. It’s been over three years since the film’s release, but I’ve just gotten around to seeing it, and I have to say that I’m more than a little surprised. Willow Creek is a suspenseful and often frightening film that is full of sharp dialogue, two rich lead characters, and a third act that provided me with some chilling moments.

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Jim (Bryce Johnson) is a Bigfoot enthusiast who decides to head to the area of Willow Creek and Bluff Creek to make his own documentary on the Patterson-Gimlin footage and his own attempts to find the area and possibly run into Bigfoot. Along for the ride is his girlfriend Kelly (Alexie Gilmore), who is an adamant denier of the creature, but also wants to support Jim in his efforts to shoot his film. The two finally arrive in Willow Creek and spend some time interviewing locals who have has some sort of encounter with Sasquatch, but some also warn them not to go into the woods. Despite the warnings, Jim and Kelly enter the woods where it is believed Bigfoot resides, and it doesn’t take long for them to realize that they are no longer hunting for Bigfoot, but it’s Bigfoot that’s hunting them.

So let’s get what I wasn’t a huge fan of out of the way first. For one thing, this is a pretty standard found footage movie when it comes to certain beats and the structure of the narrative. I knew pretty much exactly how the movie was going to play out and, for the most part, I was right. It even has the horror cliché of locals telling the main characters not to go somewhere, and then, of course, they go anyway. Shocker. I also just wanted a little bit more from this movie. This can also be seen as something of a compliment because I was really enjoying the movie and I wanted more of it. If another 10 or 15 minutes were added to it, I would have been thankful for it. I’m all for leaving things kind of ambiguous, and that shouldn’t change, nor do I want any more that what is shown, but a couple more scenes to build up some extra tension would have been much appreciated.

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There’s a lot more to like in Willow Creek than I would’ve ever thought. For one thing, the two main characters are very well thought out and feel genuine. They have a past and a future and it’s briefly explored through dialogue to give them more weight. They aren’t just living in the now of the movie. This makes what happens to them later on in the movie even more intense because they’ve been developed so much that we want them to escape the terrors of the woods. Goldthwait also made the smart choice to make this a slow burn of a horror film. The first 40 minutes or so may seem boring on the surface, but I didn’t find them so at all. It took its time building up the characters, the town and its inhabitants, and the lore of Bigfoot. It’s a sharply written film that is just as sharp in its execution.

So, let’s talk a little bit about the last third of this movie. Holy hell, is it something else. Put yourself in these characters’ positions. Stuck in the middle of the woods in the middle of the night with your only protection being the tent that you’re sleeping in. There’s a 20 minute long take of the couple sitting in the tent and listening to the bone chilling sounds happening outside, like footsteps and howls getting closer and closer to the tent. As this is all happening, their efforts to talk themselves down become futile. The suspense is almost too much and when Willow Creek finally explodes, it will leave you tired. It perfectly utilizes the idea that less is more and what the imagination creates, especially in this atmosphere, can be even more horrifying than anything that exists.

When this movie came out just a few years ago, found footage movies were still over saturating the market, so the only way to do the genre right is to create something special. I think Willow Creek is a special kind of horror movie. It has a tight script with witty dialogue and fully realized characters, but also a really courageous move to make a scene of suspense happen inside a tent during a 20 minute long shot. This is a very impressive film that would have been made even better if some more was added to the story or if some of the derivative moments were removed. Even with these small problems, Willow Creek stands, to me, as an under appreciated gem of modern horror.

Final Grade: B+

The Great Wall – Review

3 Mar

I recently did a review for Zhang Yimou’s 2011 war drama, The Flowers of War. In that review, I mention that Yimou is a very respectable film maker who has an especially strong talent for filming what I believe to be some of the most beautiful looking movies I’ve ever seen. His latest film is The Great Wall, a monster movie that involves protecting the Imperial City from creatures hell bent on destroying civilization as we know it. That combined with Yimou’s colorful and sweeping directorial style kind of made this a must see for me. Well, all I can say is that this film definitely looks great. That’s pretty much where the compliments end.

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William (Matt Damon) and Pero (Pedro Pascal) are two mercenaries scouring the East looking for “black powder,” which we now know as gunpowder. During their search, they end up at the Great Wall of China and are questioned about their intentions immediately upon their arrival. The two partners soon learn why the soldiers at the wall are so concerned about their motives. During a seemingly quiet afternoon, the wall is raided by alien monsters called the Tao Tie, whose goal is to penetrate the wall and continue on to the Imperial City. It doesn’t take long for William to come to a decision as to wether he wants to escape with Pero and another Englishman, Sir Ballard (Willem Dafoe), or if he would rather stay and defend the Great Wall with the newly appointed general, Lin Mae (Jing Tian).

I was excited for this movie for multiple reasons. First off, I was pumped to see Zhang Yimou tackle a big budget monster movie and have his style painted all over the movie. I was also just pumped to see another monster movie from Legendary, which has pretty much become the monster movie company for America. In these ways, the movie does succeed. When battles start happening, I got really into it. The special effects look kind of cartoony, but for some reason, that didn’t really bother me. I was taken aback by Yimou’s use of color and framing scenes to make them look as epic as possible. One of these shots in particular happened in the very first battle where you can see most of the battle in one super wide shot. Another really cool thing are the different regiments of the soldiers and the uniforms they wear to identify themselves. Honestly, in terms of style and scope, this movie stands tall.

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Like I said before, that’s pretty much where all of the good stuff ends. The Great Wall really isn’t all that good of a movie despite having a really cool premise. My biggest problem was the characters. I haven’t seen such poor development and writing in a really long time. Any scene that didn’t involve a battle or special effect of some kind fell flat. Like completely, utterly flat. It’s incredible how an epic period piece featuring alien monsters attacking the Great Wall of China could be so boring. There are a few characters worth something, but that’s not saying to much. William’s partner Pero has a good amount of one liners and a story that at least attempts to go somewhere before that’s shut down by some idiotic decisions from the writers. Lin Mae is also a pretty cool character who feels the most human out of anyone else. The worst offender of characters not worth anything is Sir Ballard. If you were to take Willem Dafoe out of this movie, nothing would be different. He’s completely wasted here.

I was also really bothered by the acting in this movie, but part of this also has to fall on the writers. There was so much clunky and awkward dialogue in this movie which only made me more distracted during the down time that I’ve already complained was boring enough. Like I said before, the only exceptions from this are Pero and Lin Mae. They weren’t perfect, but they were better than the rest. Honestly though, I was mostly shocked at how flat and uninspired Matt Damon was. I didn’t know until the end of the movie that he was supposed to be European, and I still don’t know exactly where he’s supposed to be from. His accent is on and off throughout the whole movie, and the way he delivers his lines is cringeworthy. Aside from his weird accent, he uses this over the top tough guy voice that wore thin on me after the second line of dialogue he had.

The Great Wall is a very disappointing movie. Throughout its run time, I saw a lot of hope for potential, but nothing really came of it. I will say that this is a fantastic looking movie with cool creature design and some excellent use of lighting and costume design. Everything else from the characters and their development to the structure of the narrative is flat, recycled, or just plain boring. As a monster movie, it works at the most basic of levels. As a movie to be appreciated and viewed for something more than that, it’s a failure.

Final Grade: C-

Frankenstein’s Army – Review

9 Jul

There are movies with crazy ideas, but then there are movies with CRAZY IDEAS. Sometimes it’s hard to imagine that certain movies get made at all with the stories that they boast, but the it’s even harder to imagine that some of those same movies are actually something worth watching. Believe it or not, this is where we find Frankenstein’s Army, a 2013 film that was made with a seriously low budget, and made up for it with a massive amount of imagination. While this film isn’t destined to be on anybody’s list of classics, it’s one that should be noted for the passion and the dedication that went into ensuring it would be completed.

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At the end of World War II, a group of Soviet soldiers are sent into Germany for a recon mission. After hearing a mysterious distress call from other Soviet soldiers, who weren’t even scheduled to be in Germany, the group decide to go the the coordinates that were sent and investigate. The coordinates lead them to an abandoned factory where they discover a horrifying secret. Instead of finding Soviets, they stumble upon a squadron of mutated, robotic zombies constructed by Viktor Frankenstein (Karel Roden), the grandson of the original Dr. Frankenstein. This begins a fight for their lives to hold off the creatures and escape becoming one of Frankenstein’s next experiments.

Without actually seeing the movie and just judging by the ludicrous story, it would be safe to assume that this movie is brainless and without point. In fact, I’ve even heard people that have seen the movie say that it is brainless and has no point. They are sorely mistaken, however, because Frankenstein’s Army is packed to the brim with imagination and excellent design, so much so, that it is impossible to call it brainless. Even the story of Nazi “zombots”created by a descendent of Dr. Frankenstein is entertaining as hell. But with a movie as much fun as this, there always seems to be one near fatal flaw, and Frankenstein’s Army has a glaring one, BUT I will get to that later.

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Since this movie had a shoestring budget and the co-writer/director Richard Raaphorst is also an illustrator, he decided to combine these two things, draw out the monsters, and have some ridiculously skilled costume artists bring them to life. I swear, the zombots are some of the coolest looking things I have seen in a movie in years, because they are really just guys in costume made with practically achieved means. One zombot actually has a fully functioning propellor sticking out of its front. Another one walks around on these blade like stilts. On top of that, the set design looks really authentic, like this is what you would actually find in a situation like this. Finally, I just want to mention the overabundance of blood and gore that is NOT CGI, and also Karel Roden’s wonderfully maniacal performance.

But like I said before, there is one thing about this movie that is just so unbelievably stupid and illogical that it almost spoils the entire thing. Ladies and gentlemen, Frankenstein’s Army may be a movie that takes place at the end of World War II, but it is also a found footage movie… Yep. Not only is it a found footage movie, but also one with excellent sound design and shot on digital. Ok, I know that part of the reason it is made like a found footage movie is because of the budget, but like it’s just so weird to be watching it and then remembering that it’s World War II and the picture quality is just so clear. I don’t even think this is nitpicking, either, because it makes so little sense.

Frankenstein’s Army is certainly a one of a kind movie depending on how you want to look at it. I completely understand if someone hates this movie or disregards its existence because of that overwhelmingly illogical fault of it being found footage, but I just don’t want to hear that the movie is brainless. I, for one, was entertained throughout the entire movie because there was so much to look at with the excellent design. That’s pretty much all I can say about the movie. It’s definitely worth checking out just for the creativity behind it all.

Pacific Rim – Review

2 Aug

Giant monsters. Equally giant robots. Guillermo del Toro. Ok, now we’re talkin’. From the trailer, you really know exactly what to expect with Pacific Rim, a movie that brings to mind Toho’s Godzilla movies of the past. Giant robots are really nothing new to movies. Just look at Michael Bay’s Transformers franchise (ok, on second thought maybe you shouldn’t). But, and this is important, del Toro takes this concept and makes it totally new. Instead of robots, they’re giant mech suits with people inside controlling it. I’m getting ahead of myself here. I’m just really excited about how excellent this movie was.

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In the not too distant future, an inter dimensional portal opens up at the bottom of the Pacific Ocean in which giant monsters, called Kaiju, are climbing out of and wreaking havoc on cities across the globe. In response to this, the superpowers of the world come together and create a program where giant mech suits, called Jaegers, complete with two pilots who have merged their minds can walk into the path of the Kaiju and stop them. For years, this seems to work just fine, but it appears that the Kaiju are evolving and adapting to earth and its defenses, making the jobs of the Jaeger pilots more demanding and much more dangerous. As the pilots begin failing at an alarming rate, Commander Pentecost (Idris Elba) hatches an idea that may very well be the key to closing the portal and saving the earth.

Now, this movie is absolutely outstanding. It’s certainly not much of a captivating drama, but it sure is a lot of fun. The main protagonist isn’t anything interesting and his partner, played by Rinko Kikuchi, is pretty good, but still nothing too great. Idris Elba on the other hand has a really cool character who is very interesting. He has to be since his main job is “canceling the apocalypse.” Finally, Charlie Day and Burn Gorman are exactly the kind of comic relief that this movie needs, as the two scientists who are obsessed with unlocking the secrets of the Kaiju.

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I guess that wasn’t the first talking point you would expect me to start with. The question of the hour is: How were the Jaeger vs Kaiju fights? Excellent question, and the answer is that they were mind blowing. Like the whole movie itself, these fights had the potential to be garbage, but the way they are executed makes all the difference. First of all, the sound design and visual effects make it very easy to believe that these behemoths are actually throwing down right in front of you. That, and camera angles that are interesting and make the action easy to follow. Everything feels really big about this movie, and that’s important given the subject matter. Some camera angles are shown from the ground level while others are from the view of distant buildings. Let’s just say that these fights look about as epic as anything I’ve ever seen.

I will say that there are slow parts to the movie where the lack of strong characters and dialogue really shows. The way these scenes play out are entirely too predictable and the characters are pretty stock for the most part. Like I said, most of the main characters are nothing special, even as sort of “everyman” characters. A lot of the disagreements and drama seems a little underplayed, and don’t amount to anything too special. Kikuchi’s character at least has a nice back story that helps her dramatic scenes feel a bit more interesting.

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While the human drama doesn’t really feel all that spectacular, it is adequate. On the flip side, the colossal battles between machine and beast in the oceans and cities of the world are some of the most fun you’ll have at the movies this year. Like I said, Pacific Rim had the potential to be generic drivel and nothing too special save for some pretty scenes. Instead, Guillermo del Toro has created an awesome thrill ride that, in my opinion, gives Star Trek Into Darkness some competition for my favorite film of the year.