If there is one film that couldn't have been categorised more perfectly in the 'Thrill' section at his year's London Film Festival it's Kim Seong-Hun's terrific A Hard Day.
Propelling us at breakneck speed from the get-go, this is Korean cinema
hitting it's famed heights, with frame-by-frame brilliance thrusting us
into a 24-hour scenario where things just don't feel like they are
going to get any better.
For detective Ko Gun-su (Lee Sun-kyun)
a drive back to the station when he is called away from the mourning of
his mother turns into a living nightmare as he is involved in a
hit-and-run incident. With his car baring evidence of the event, Ko
decides to brave the brunt of the consequences and takes the body in the
boot of his car to be dealt with against the better judgement of the
law.
Ko's day is about to get a lot worse; with the body only a
small chunk of the problems he will encounter. With his team being
investigated for corruption, the nightmare of the day only escalates
when the dangerous and threatening cop Park Chang-min (Cho Jin-woong) makes his presence felt.
Breathlessly
shifting us into a pacy and utterly enthralling tale of crime, tension
and explosive events, director Kim Seong-Hun's second directorial outing
is a Korean delight that once again propels the credentials of Eastern
cinema. Intent on giving the audience exactly what they pay for in terms
of a true down-to-the-bones thriller, the director fuses together a
wonderful blend of well-placed humour and a distinct appreciation of all
things dramatic as we twist and turn our way through a compelling
24-hour window that keeps us guessing to the very end.
Presenting
its style succinctly, the film blissfully goes through the paces as our
story surrounding Sun-kyun's main character unfolds, turning very
quickly into a panic-inducing day of life-changing proportions. In
delivering the tone and aggressive nature, the film is not only the
grand work of a director but also revels in the performances of its two
leading components.
Both
Sun-kyun and Jin-woong are devilish in their portrayals of two diverse
individuals working for the same corrupt police force. One seemingly
innocent in his job, caught up in the middle of an event that brings out
the worst in him, yet still has us backing him all the way, the other a
sly, charasmatic and ultimately fiendish force not to be messed with.
From
the unnerving phone calls slowly peeling back the layers, to the
eventual face-to-face confrontations that turn to much more than verbal
sparring, this is an opposing duo who simply lay the law down for how to
serve up a delightful dish of bad-versus-good.
Laden with twists, biting hard with its compelling drama and throwing in some fiendish humour at the right moments, A Hard Day
nails the thriller genre, grabbing the audience by the scruff of the
neck and shoving them into the passenger seat of a wild ride like few
others. Kim Seong-hun propels his name further into the Korean spotlight
and possesses a massively reliable dream team in his leading duo. Fast,
furious and utterly powerful.
Middle-aged musings on movies new and old
Showing posts with label LFF 2014. Show all posts
Showing posts with label LFF 2014. Show all posts
Sunday, 18 October 2015
LFF 2014 - Hard To Get
Hailing from South Africa, director Zee Ntuli brings
to life an enthralling tale of two very different strangers brought
together after an encounter with the same problematic individual making a
name for himself in a small town on the cusp of Johannesburg.
Channeling action thrillers of years gone past, as well as looking to stamp its own mark on the genre, Hard To Get is a combination of brute force, stylised action shots and an awareness of the classic relationships brought to life in the most extreme of circumstances.
TK (Pallance Tladla) is a gigolo whose way with women makes him one of the most charismatic and envied men in the local town. Finding it relatively easy to coax the local women into engaging in sexual relations with him, TK soon comes across a mysterious stranger in Skiets (Thishiwe Ziqubu), who isn't quite like the other women in the area.
With a certain dangerous vibe emanating from her, TK finds his latest challenge is more than he bargained for as the local hot-headed troublemaker forces them out of town and on the run, with further troubles and challenges meeting them when they reach the bigger, wider world of Johannesburg.
At the age of just 25, director Ntuli is clearly well versed in the action genre, his stylish presentation and distinct awareness of how to engage an audience a key indicator throughout his directorial debut. Immediately impacting with a relentless opening that throws both of our main characters in at the deep end, Ntuli rarely leaves time for a breather as we witness altercations, dubstep-infused slow-motion sequences and the constant threat of shady individuals heading into a crash course with TK and Skiets.
While action predominently features throughout, at the core of the proceedings lies a love story that is coaxed along by regular- and sometimes rather laughable - innuendos that sometimes hinder the evolution of these characters joined together. While these can often serve as a hinderance, the constant question mark over their relationship is certainly a draw, with certain events really adding doubt or instilling a faith in the pair as a unit. This irregular nature to their connection serves as a nice change and really helps the film to stand apart from the cliched nature of such films.
Utilising a location such as Johannesburg is evidently an advantage to Hard To Get also, with the neon advertisings set across hotel rooms adding that extra zest to the film, while the use of slow-motion often aids in hammering home the impact of the violence being portrayed between not only men, but also the harsh reality of men beating on women. Coupled with the sandy and grimy plains of the local town, the film helps to showcase a huge difference in lifestyle as the location whisks from lower class residency to the high and mighty.
The leading pair in Tladla and Ziqubu certainly make for a bankable duo, both combining to create their South African Bonnie and Clyde-esque story, with a brilliant question mark over who exactly is the dominant force in the partnership. This plays out as one of the film's strengths and lays out the comedic moments, while the simmering romance is hard to keep your eyes off, especially with the constant question mark over whether they will indeed confront their own feelings.
Hard To Get is certainly a thrill ride that is worthy of its relatively short runtime and rarely lets up in relentlessly blitzing you with a crazed combination of slow-motion dubstep sequences, powerful violence and a romantic element that never deters from the main plot. Director Zee Ntuli may only be 25 but it is clear he already has a grasp for great filmmaking and it's inevitable he will be around for some time yet.
Channeling action thrillers of years gone past, as well as looking to stamp its own mark on the genre, Hard To Get is a combination of brute force, stylised action shots and an awareness of the classic relationships brought to life in the most extreme of circumstances.
TK (Pallance Tladla) is a gigolo whose way with women makes him one of the most charismatic and envied men in the local town. Finding it relatively easy to coax the local women into engaging in sexual relations with him, TK soon comes across a mysterious stranger in Skiets (Thishiwe Ziqubu), who isn't quite like the other women in the area.
With a certain dangerous vibe emanating from her, TK finds his latest challenge is more than he bargained for as the local hot-headed troublemaker forces them out of town and on the run, with further troubles and challenges meeting them when they reach the bigger, wider world of Johannesburg.
At the age of just 25, director Ntuli is clearly well versed in the action genre, his stylish presentation and distinct awareness of how to engage an audience a key indicator throughout his directorial debut. Immediately impacting with a relentless opening that throws both of our main characters in at the deep end, Ntuli rarely leaves time for a breather as we witness altercations, dubstep-infused slow-motion sequences and the constant threat of shady individuals heading into a crash course with TK and Skiets.
While action predominently features throughout, at the core of the proceedings lies a love story that is coaxed along by regular- and sometimes rather laughable - innuendos that sometimes hinder the evolution of these characters joined together. While these can often serve as a hinderance, the constant question mark over their relationship is certainly a draw, with certain events really adding doubt or instilling a faith in the pair as a unit. This irregular nature to their connection serves as a nice change and really helps the film to stand apart from the cliched nature of such films.
Utilising a location such as Johannesburg is evidently an advantage to Hard To Get also, with the neon advertisings set across hotel rooms adding that extra zest to the film, while the use of slow-motion often aids in hammering home the impact of the violence being portrayed between not only men, but also the harsh reality of men beating on women. Coupled with the sandy and grimy plains of the local town, the film helps to showcase a huge difference in lifestyle as the location whisks from lower class residency to the high and mighty.
The leading pair in Tladla and Ziqubu certainly make for a bankable duo, both combining to create their South African Bonnie and Clyde-esque story, with a brilliant question mark over who exactly is the dominant force in the partnership. This plays out as one of the film's strengths and lays out the comedic moments, while the simmering romance is hard to keep your eyes off, especially with the constant question mark over whether they will indeed confront their own feelings.
Hard To Get is certainly a thrill ride that is worthy of its relatively short runtime and rarely lets up in relentlessly blitzing you with a crazed combination of slow-motion dubstep sequences, powerful violence and a romantic element that never deters from the main plot. Director Zee Ntuli may only be 25 but it is clear he already has a grasp for great filmmaking and it's inevitable he will be around for some time yet.
LFF 2014 - Electricity
On the surface if someone was to tell you that one percent of the
population has epilepsy it wouldn't strike as much as reaffirming that
this in fact totals to over 65 million people. It's a staggering figure
and one that I'm sure many of you will not have known, let alone the
actual impact such a disorder has on those experiencing the side effects
day in, day out.
For such a strong neurological disorder to have been portrayed neither powerfully or enough within cinema leaves a question mark, but in the latest film from director Bryn Higgins - Electricity - we have a seemless portrayal of one woman tackling epilepsy and the impact it has on her life as a whole.
Lily O'Connor (Agyness Deyn) is mourning the death of her mother and is reunited with her brother Barry (Paul Anderson) as the obligatory last will and testament issues arise. Working as a cashier at a seaside amusement arcade, Lily's life is far from the excitement that she would possibly like to experience but part of that is down to her struggles with constant bursts of epilepsy beyond her control.
While attempting to deal with her mother's property and tracking down her missing brother Mikey (Christian Cooke), Lily finds herself aided by Mel (Lenora Crichlow) in London. With aid in all the right places and the net closing tighter on her long-lost brother, Lily finds that the biggest obstacle in her way is her disorder; one that is infused with an electrical ferocity and can strike at any moment.
As ambitious a project as Electricity is, director Bryn Higgins is a man who is firmly in control of his overall delivery of a subject that many have shied away from in the past. With the subject of epilepsy creating the core of his film it could have been immensely easy to over-exert this onto viewers and also really over-exuberate on the topic, but Electricity is a fine example of how to tenderly and responsibly explain just how such a disorder creates a great hole in the life of those experiencing it.
Part of that is down to the direction of the film, with the moments of epileptic seizures beautifully captured in an Alice In Wonderland-esque barrage to the senses. Electrical currents, melting visuals and a distinct sense of an otherworldly place all creating a sense of how this disorder takes hold and immerses one into a state of flux. Each and every moment of visual creativity is diverse and sells the controlled state one finds themself within when the epilepsy takes hold.
In collaboration with the wonderfully crafted moments from Higgins and his team, the star of the show Deyn is simply breathtaking and undeniably well versed in just how her character would react to such a burdoning illness in her life. Tackling the role head-on with a core emotion and determination like few others, the model-turned-actress is in a role that could define her for years to come and she handles this superbly, with no sign of a flaw throughout.
The support cast are also a breath of fresh air as we encounter the brash and over-confident nature of Lily's poker-focused brother Barry and her less-than-inviting younger sibling Mikey. The ever-reliable Lenora Crichlow also adds an interesting angle as a friendly stranger whose own life entangles with that of a much more complicated individuals, resulting in some strong scenes unfolding.
Key to the proceedings is the film's setting, as we whisk from the shorelines of the north of England, the waves lapping in the distance creating a calmer approach to life, while the travel to London ultimately presents the more manic and jarring events in Lily's life. It's a transition that works perfectly for both the epilepsy aspect of the film and the quest to find her brother.
Handled beautifully and driven strongly and succintly by an absolutely staggering performance from Agyness Dean, Electricity is a wonder; a film grounded in realism and forever possessing an awareness for a subject that has rarely been uncovered on screen. If you need another reason why British film is regularly considered among the elite of the cinematic realm then look no further than this, another trail blazer of magnetic proportions.
For such a strong neurological disorder to have been portrayed neither powerfully or enough within cinema leaves a question mark, but in the latest film from director Bryn Higgins - Electricity - we have a seemless portrayal of one woman tackling epilepsy and the impact it has on her life as a whole.
Lily O'Connor (Agyness Deyn) is mourning the death of her mother and is reunited with her brother Barry (Paul Anderson) as the obligatory last will and testament issues arise. Working as a cashier at a seaside amusement arcade, Lily's life is far from the excitement that she would possibly like to experience but part of that is down to her struggles with constant bursts of epilepsy beyond her control.
While attempting to deal with her mother's property and tracking down her missing brother Mikey (Christian Cooke), Lily finds herself aided by Mel (Lenora Crichlow) in London. With aid in all the right places and the net closing tighter on her long-lost brother, Lily finds that the biggest obstacle in her way is her disorder; one that is infused with an electrical ferocity and can strike at any moment.
As ambitious a project as Electricity is, director Bryn Higgins is a man who is firmly in control of his overall delivery of a subject that many have shied away from in the past. With the subject of epilepsy creating the core of his film it could have been immensely easy to over-exert this onto viewers and also really over-exuberate on the topic, but Electricity is a fine example of how to tenderly and responsibly explain just how such a disorder creates a great hole in the life of those experiencing it.
Part of that is down to the direction of the film, with the moments of epileptic seizures beautifully captured in an Alice In Wonderland-esque barrage to the senses. Electrical currents, melting visuals and a distinct sense of an otherworldly place all creating a sense of how this disorder takes hold and immerses one into a state of flux. Each and every moment of visual creativity is diverse and sells the controlled state one finds themself within when the epilepsy takes hold.
In collaboration with the wonderfully crafted moments from Higgins and his team, the star of the show Deyn is simply breathtaking and undeniably well versed in just how her character would react to such a burdoning illness in her life. Tackling the role head-on with a core emotion and determination like few others, the model-turned-actress is in a role that could define her for years to come and she handles this superbly, with no sign of a flaw throughout.
The support cast are also a breath of fresh air as we encounter the brash and over-confident nature of Lily's poker-focused brother Barry and her less-than-inviting younger sibling Mikey. The ever-reliable Lenora Crichlow also adds an interesting angle as a friendly stranger whose own life entangles with that of a much more complicated individuals, resulting in some strong scenes unfolding.
Key to the proceedings is the film's setting, as we whisk from the shorelines of the north of England, the waves lapping in the distance creating a calmer approach to life, while the travel to London ultimately presents the more manic and jarring events in Lily's life. It's a transition that works perfectly for both the epilepsy aspect of the film and the quest to find her brother.
Handled beautifully and driven strongly and succintly by an absolutely staggering performance from Agyness Dean, Electricity is a wonder; a film grounded in realism and forever possessing an awareness for a subject that has rarely been uncovered on screen. If you need another reason why British film is regularly considered among the elite of the cinematic realm then look no further than this, another trail blazer of magnetic proportions.
LFF 2014 - Mommy
There's an undeniable talent about Xavier Dolan that
has been showcased throughout the immensely successful 25-year-old's
plaudit-laden career. Showcasing his fifth directorial outing in as many
years, Dolan has tackled many a jarring subject and this time takes a
rather softer approach as he delves into the relationship of a mother
and her son - but not without some conflict along the way - in the
riveting Mommy.
Diane (Anne Dorval) and her son Steve (Antoine-Olivier Pilon) have just moved into a new neighbourhood and are seeking a new start. While Die seeks out a new living and a stable way of living, Steve is tackling his own issues as an ADHD sufferer, his violent spurts not only represented by bad language but also outbursts of physicality.
While many are understandably stand-offish when confronting Steve in the neighbourhood, one person who soon befriends the two-person family unit is mysterious neighbour Kyla (Suzanne Clement). Kyla is currently on hiatus from work and experiences a stammer in her speech; along with the obvious fact that she isn't at all close with her own husband or child. Striking a blossoming relationship with both Steve and Die, Kyla not only finds a new lease of life but also aids in releasing a whole new meaning to living within her newfound friends.
Xavier Dolan is rarely one to skate far from controversial and powerful issues in his films but for the most part he sticks within boundaries of normality and presents a wonderful tale of a relationship that, like every, has its ups and downs. Not only exploring the true meaning of family, but also delving into the friendship aspect of life, he creates a wholly engaging and often humourous affair that revels in the wonderment and darkness that life can bring forth.
At the heart of Dolan's film is a simply subliminal performance from a young talent whose on-screen antics evoke so many different emotions from the audience. From sorrow to a real level of digust, Pilon is a true revelation, portraying a troubled youth to inch-perfect levels; his tantrums coaxing in the uncomfortable moments and a flip-sided cheeky humour often inducing a great deal of laughter. From such a young man comes an array of ever-changing emotions and he handles it with relative ease, tempting us into a false sense of security with a butter-wouldn't-melt persona, before whipping up a storm with his fists and vile language.
It doesn't stop there either, with both Clement and Dorval serving up their own powerhouse performances and going through the motions as they too jump from one end of the emotional spectrum to the next. Clement's Kyla is somewhat of a conundrum; sweet upon first clapping eyes on her eye, but possessing something deeper which remains a unexpected surprise that may catch many off guard. Dorval's Die on the other hand, is the woman bearing the brunt of physical and verbal assaults, her exterior steely and bold, while her insides slowly melt inside and transfer instinctively to the viewer.
Dolan's film isn't all spot-on though and there are issues encountered beyond the superb story and execution from its main acts. The music choices within the film, albeit looking to maintain the rather uncharacteristically upbeat notion, are often off-key with the events unfolding in front of our eyes and it drops the ball in its duration.
Agreed, some movies are completely acceptable in their use of a longer duration to tie up loose ends and find some sort of resolution, but Mommy takes it beyond that level and there will be moments where the end is in sight only for another fifteen to twenty minutes to follow. This slightly deters from what is actually a rather emotive and enjoyable outing from the talented filmmaker, but overall the experience once again showcases why this young individual is continuously racking up awards left, right and centre.
Diane (Anne Dorval) and her son Steve (Antoine-Olivier Pilon) have just moved into a new neighbourhood and are seeking a new start. While Die seeks out a new living and a stable way of living, Steve is tackling his own issues as an ADHD sufferer, his violent spurts not only represented by bad language but also outbursts of physicality.
While many are understandably stand-offish when confronting Steve in the neighbourhood, one person who soon befriends the two-person family unit is mysterious neighbour Kyla (Suzanne Clement). Kyla is currently on hiatus from work and experiences a stammer in her speech; along with the obvious fact that she isn't at all close with her own husband or child. Striking a blossoming relationship with both Steve and Die, Kyla not only finds a new lease of life but also aids in releasing a whole new meaning to living within her newfound friends.
Xavier Dolan is rarely one to skate far from controversial and powerful issues in his films but for the most part he sticks within boundaries of normality and presents a wonderful tale of a relationship that, like every, has its ups and downs. Not only exploring the true meaning of family, but also delving into the friendship aspect of life, he creates a wholly engaging and often humourous affair that revels in the wonderment and darkness that life can bring forth.
At the heart of Dolan's film is a simply subliminal performance from a young talent whose on-screen antics evoke so many different emotions from the audience. From sorrow to a real level of digust, Pilon is a true revelation, portraying a troubled youth to inch-perfect levels; his tantrums coaxing in the uncomfortable moments and a flip-sided cheeky humour often inducing a great deal of laughter. From such a young man comes an array of ever-changing emotions and he handles it with relative ease, tempting us into a false sense of security with a butter-wouldn't-melt persona, before whipping up a storm with his fists and vile language.
It doesn't stop there either, with both Clement and Dorval serving up their own powerhouse performances and going through the motions as they too jump from one end of the emotional spectrum to the next. Clement's Kyla is somewhat of a conundrum; sweet upon first clapping eyes on her eye, but possessing something deeper which remains a unexpected surprise that may catch many off guard. Dorval's Die on the other hand, is the woman bearing the brunt of physical and verbal assaults, her exterior steely and bold, while her insides slowly melt inside and transfer instinctively to the viewer.
Dolan's film isn't all spot-on though and there are issues encountered beyond the superb story and execution from its main acts. The music choices within the film, albeit looking to maintain the rather uncharacteristically upbeat notion, are often off-key with the events unfolding in front of our eyes and it drops the ball in its duration.
Agreed, some movies are completely acceptable in their use of a longer duration to tie up loose ends and find some sort of resolution, but Mommy takes it beyond that level and there will be moments where the end is in sight only for another fifteen to twenty minutes to follow. This slightly deters from what is actually a rather emotive and enjoyable outing from the talented filmmaker, but overall the experience once again showcases why this young individual is continuously racking up awards left, right and centre.
LFF 2014 - Robot Overlords
When you think of robots on the big screen many will offer up the
likes of the Transformers, Johnny Five and various others when our
technologically advanced beings come into play. While robotics have
recently been thrust upon us with big-budget sci-fi clout, one film
coming way of the UK looks to remain a little more grounded. Combining
the likes of Sir Ben Kingsley and Gillian Anderson, Jon Wright's Robot Overlords presents a family adventure that doesn't quite hit the dizzy heights of manny of its predecessors.
The world has been ravaged by war as robots have taken over and dictate the lives of all humans, meaning life outside homes is practically impossible. When Sean Flynn (Callan McAuliffe) becomes determined to find his missing father (Steven Mackinstosh), he sets out on an adventure with his friends as danger lays in wait in the form of both the hulking robots patrolling and the betraying Smythe (Sir Ben Kingsley).
As Sean and his friends look to get closer to seeking out his father, Smythe schemes and involves Sean's mother (Gillian Anderson) in his treachery. With help in the form of the rebellious Wayne (Tamer Hassan) and a special power of his own unlocked along the way, can the robots be finally eradicated or will the planet remain a slave to the machines?
The first thing instantly noticeable about Robot Overlords is its over-willingness to throw around swear words as if it were a teenage comedy aimed at audiences 15 and above. Unfortunately this is not the case, and with its target audience very much in the youthful category, the visual gags and obsessive dropping of foul language appears rather distasteful. From a reference to the 'c word', to a kid making a robot scratch his nether regions, Robot Overlords rides very close to the edge and doesn't let up.
In its story is where the film actually garners the most plaudits; from its setup of a robots-versus-humans war to the aftermath, the film lays the foundations for an interesting movie well and even has some clever ideas along the way. Foolishly, this soon becomes dislodged and almost becomes a parody of itself with some truly questionable acting and even more puzzling dialogue.
Considering the status of its main draw actors in the fray, Robot Overlords gives both Sir Ben Kingsley and Gillian Anderson little to work with in terms of delivery. Admittedly, Anderson is incredibly wooden in her mother role, while Kingsley plays his pantomime villain to the best of his ability (ala Thunderbirds), but it all feels a little winceworthy. That's even before the massively miscast and unintentionally hilarious Tamer Hassan enters the fray with his cockney rebel Wayne, uttering lines such as 'You Rat!' and carrying a cliched swagger around with him throughout.
The CGI doesn't offer much inspiration either - even with its low budget taken into consideration - as Rubik's cube-esque spacecrafts kept afloat by shoddy fire effects leave little to to be desired and even the robots themselves remain less than intimidating. There are moments of tension and excitement from these otherworldly beings but it all feels too reckless to remain an engaging outing, even within the short 90 minutes runtime.
Robot Overlords lies somewhere in between childsplay and young adult, with the target audience questionable, especially with its barrage of swear words and questionable characterisation. It's a bold move from a director who has been in the horror field previously, but one that doesn't quite pay off.
The world has been ravaged by war as robots have taken over and dictate the lives of all humans, meaning life outside homes is practically impossible. When Sean Flynn (Callan McAuliffe) becomes determined to find his missing father (Steven Mackinstosh), he sets out on an adventure with his friends as danger lays in wait in the form of both the hulking robots patrolling and the betraying Smythe (Sir Ben Kingsley).
As Sean and his friends look to get closer to seeking out his father, Smythe schemes and involves Sean's mother (Gillian Anderson) in his treachery. With help in the form of the rebellious Wayne (Tamer Hassan) and a special power of his own unlocked along the way, can the robots be finally eradicated or will the planet remain a slave to the machines?
The first thing instantly noticeable about Robot Overlords is its over-willingness to throw around swear words as if it were a teenage comedy aimed at audiences 15 and above. Unfortunately this is not the case, and with its target audience very much in the youthful category, the visual gags and obsessive dropping of foul language appears rather distasteful. From a reference to the 'c word', to a kid making a robot scratch his nether regions, Robot Overlords rides very close to the edge and doesn't let up.
In its story is where the film actually garners the most plaudits; from its setup of a robots-versus-humans war to the aftermath, the film lays the foundations for an interesting movie well and even has some clever ideas along the way. Foolishly, this soon becomes dislodged and almost becomes a parody of itself with some truly questionable acting and even more puzzling dialogue.
Considering the status of its main draw actors in the fray, Robot Overlords gives both Sir Ben Kingsley and Gillian Anderson little to work with in terms of delivery. Admittedly, Anderson is incredibly wooden in her mother role, while Kingsley plays his pantomime villain to the best of his ability (ala Thunderbirds), but it all feels a little winceworthy. That's even before the massively miscast and unintentionally hilarious Tamer Hassan enters the fray with his cockney rebel Wayne, uttering lines such as 'You Rat!' and carrying a cliched swagger around with him throughout.
The CGI doesn't offer much inspiration either - even with its low budget taken into consideration - as Rubik's cube-esque spacecrafts kept afloat by shoddy fire effects leave little to to be desired and even the robots themselves remain less than intimidating. There are moments of tension and excitement from these otherworldly beings but it all feels too reckless to remain an engaging outing, even within the short 90 minutes runtime.
Robot Overlords lies somewhere in between childsplay and young adult, with the target audience questionable, especially with its barrage of swear words and questionable characterisation. It's a bold move from a director who has been in the horror field previously, but one that doesn't quite pay off.
LFF 2014 - Fury
War has been depicted on-screen throughout the decades from many
different angles; whether from land, sea or air there is a common
denominator in that all look to portray the true horrors of such
historical events. The latest director to take on such a challenge is David Ayer, whose aptly titled Fury is both grounded in realism and instantly striking with its emotional connectivity.
As the close of the Second World War approaches in 1945, army sergeant 'Wardaddy' (Brad Pitt) takes his Sherman tank Fury into one final battle as the troops look to complete their mission in the heart of Nazi Germany. Joined by his motley crew (Shia LaBeouf, Jon Bernthal and Michael Pena), Wardaddy not only has to encounter the dangers of the enemy, but also the threat of a new recruit in Norman (Logan Lerman), whose inexperience in the field - let alone in a tank - makes him a liability.
With Norman refusing to embrace the harsh lifestyle of a soldier and a seemingly impossible mission in their path, the tank-bound soldiers are about to face their most testing times on a gruelling battlefield.
It can often be all-too-easy for war-based films to fall into the trap of relying heavily upon respect for former films and coming across as an end result that feels all too familiar. Thankfully, Ayer has full awareness of the genre he has entered into and the strong subject matter he finds himself embroiled within. War is a harsh and harrowing thing and the director carries this message throughout a film that is grounded in its realism and ultimately looks to depict just how psychological the warfare can be, as well as the physicality of it.
In assembling such a strong team to lead the film, Ayer has accomplished an immediate connectivity with the audience. With Brad Pitt in the driving seat as Wardaddy we have a sergeant whose layers slowly unfold for him to become the beacon of right and wrong, while the brilliant Lerman showcases the harsh terms in which younger men are drafted into an unavoidable fate. In addition, Shia LeBeouf hits back with a powerful performance as the emotion-driven Boyd, and the likes of Bernthal (immersed in yet another dark role) and Pena ensure that chemistry is at its peak level.
The cast pulling together in harsh circumstances (both lived through on and off screen) helps Fury power through the muddy and treacherous landscapes like a classic war movie. Filmed predominently in the UK, the presentation of the film is every bit the dangerous and damning scenario of war, the tank tracks squelching through the mud and bodies being deposited left, right and centre. The background sound of exploding shells and overflying planes only heightens the realistic edge to Ayer's representation of war and when battle commences it is an intense experience.
That is where Fury often revels; in-between some emotionally harrowing and affecting scenes (one within a German home especially handled perfectly), Ayer barrages us with a foray of thrilling and tension-thrilled battle cries, often coming out of nowhere. From seemless explosive tank head-to-heads to town raids, the End Of Watch director uses every opportunity to solidly bring us the horrifying nature of war without ever feeling heavy-handed or brutal. Indeed, bloodhsed is of high levels but this is once again the grounded reality of the situation and continually feels well handed under his direction.
Surprisingly moving, incredibly engaging and brimming with a level of humanity that many war films lack, Ayer's Fury is a film that is exceptional on many levels. Many may have issues with some of the characters but their actions only heighten the damning reality of soldiers involved in such horrific events. Handled beautifully in both its emotion and action, Fury is a sure-fire hit.
As the close of the Second World War approaches in 1945, army sergeant 'Wardaddy' (Brad Pitt) takes his Sherman tank Fury into one final battle as the troops look to complete their mission in the heart of Nazi Germany. Joined by his motley crew (Shia LaBeouf, Jon Bernthal and Michael Pena), Wardaddy not only has to encounter the dangers of the enemy, but also the threat of a new recruit in Norman (Logan Lerman), whose inexperience in the field - let alone in a tank - makes him a liability.
With Norman refusing to embrace the harsh lifestyle of a soldier and a seemingly impossible mission in their path, the tank-bound soldiers are about to face their most testing times on a gruelling battlefield.
It can often be all-too-easy for war-based films to fall into the trap of relying heavily upon respect for former films and coming across as an end result that feels all too familiar. Thankfully, Ayer has full awareness of the genre he has entered into and the strong subject matter he finds himself embroiled within. War is a harsh and harrowing thing and the director carries this message throughout a film that is grounded in its realism and ultimately looks to depict just how psychological the warfare can be, as well as the physicality of it.
In assembling such a strong team to lead the film, Ayer has accomplished an immediate connectivity with the audience. With Brad Pitt in the driving seat as Wardaddy we have a sergeant whose layers slowly unfold for him to become the beacon of right and wrong, while the brilliant Lerman showcases the harsh terms in which younger men are drafted into an unavoidable fate. In addition, Shia LeBeouf hits back with a powerful performance as the emotion-driven Boyd, and the likes of Bernthal (immersed in yet another dark role) and Pena ensure that chemistry is at its peak level.
The cast pulling together in harsh circumstances (both lived through on and off screen) helps Fury power through the muddy and treacherous landscapes like a classic war movie. Filmed predominently in the UK, the presentation of the film is every bit the dangerous and damning scenario of war, the tank tracks squelching through the mud and bodies being deposited left, right and centre. The background sound of exploding shells and overflying planes only heightens the realistic edge to Ayer's representation of war and when battle commences it is an intense experience.
That is where Fury often revels; in-between some emotionally harrowing and affecting scenes (one within a German home especially handled perfectly), Ayer barrages us with a foray of thrilling and tension-thrilled battle cries, often coming out of nowhere. From seemless explosive tank head-to-heads to town raids, the End Of Watch director uses every opportunity to solidly bring us the horrifying nature of war without ever feeling heavy-handed or brutal. Indeed, bloodhsed is of high levels but this is once again the grounded reality of the situation and continually feels well handed under his direction.
Surprisingly moving, incredibly engaging and brimming with a level of humanity that many war films lack, Ayer's Fury is a film that is exceptional on many levels. Many may have issues with some of the characters but their actions only heighten the damning reality of soldiers involved in such horrific events. Handled beautifully in both its emotion and action, Fury is a sure-fire hit.
LFF 2014 - The Town That Dreaded Sundown
It's fair to say that in recent times the horror genre has become
rather saturated with wholly familiar themes, whether they be found
footage, paranormal presences or otherwise. Included within that list
would be a barrage of remakes and sequels that never seem to recreate
the magic of the original source material. One film looking to put it to
the doubters of such films is an updated version of The Town That Dreaded Sundown, a remake/sequel that is much more creative than many would think.
It's 65 years since the events of the 'Moonlight Murders' in which the town of Texarkana was haunted by a masked killer hellbent on murder and chaos. With the annual Halloween anniversary once again under way, Jami (Addison Timlin), a young girl whose own past is as haunting as that of the murders, is forced to encounter another murderer on the loose.
Along with aid from the likes of Sheriff Underwood (Ed Lauter) and Lone Wolf Morales (Anthony Anderson), Jami must revisit her mysterious past as well as try to uncover whether the terrorising masked killer is in fact the original or a copycat.
Filmed in the same grainy presentation as the film it is based upon, the 2014 update of The Town That Dreaded Sundown is certainly a positive removal from the horror remakes of past. Under the wing of debut director Alfonso Gomez-Rejon, and produced by recognised horror figures in Jason Blum and Ryan Murphy, the film almost becomes a hybrid of both sequel and remake, producing some worthy content in the process.
We've all seen slasher films and, in truth, they can appear rather repetitive and lethargic by the time we reach the halfway point, but with the newly regenerated 70s-based horror we get a rather different beast. Intent on showing a high level of respect for its original, Gomez-Rejon often merges footage of the 1976 film in with his own fresh scenes to create a rather interesting combination of new and old that you can't help but admire. Maintaining that old-school feel to the proceedings certainly adds that extra chilling element and really makes you feel like you are watching within the heyday of such cinematic offerings.
The story, however, is rather one-dimensional like so many slashers, and is the slight letdown of an otherwise fresh and ambitious project. With many slasher films, the predictability comes in the kills and ultimately the key components of the lead character's background story. This is no different and, while the deaths are at times rather inventive and well executed, the core elements are simply a little too obvious for a wholly diverse horror outing.
The film also falls into the general pitfall of the sexual kind, with some nudity and needless sex scenes thrown in for good measure like any cliched slasher movie, leaning a little too much towards that framework we all know too well in this day and age. Thankfully these scenes don't deter too much away from the positives that few other horrors of late have been able to garner.
The Town That Dreaded Sundown may essentially be a remake but in merging blissfully the new and old versions of the film, along with some truly inventive and eye-catching presentation and death scenes, this is certainly one horror that could stay on the radar for years to come. You never know, this may even have the steel to become a newfound cult classic...
It's 65 years since the events of the 'Moonlight Murders' in which the town of Texarkana was haunted by a masked killer hellbent on murder and chaos. With the annual Halloween anniversary once again under way, Jami (Addison Timlin), a young girl whose own past is as haunting as that of the murders, is forced to encounter another murderer on the loose.
Along with aid from the likes of Sheriff Underwood (Ed Lauter) and Lone Wolf Morales (Anthony Anderson), Jami must revisit her mysterious past as well as try to uncover whether the terrorising masked killer is in fact the original or a copycat.
Filmed in the same grainy presentation as the film it is based upon, the 2014 update of The Town That Dreaded Sundown is certainly a positive removal from the horror remakes of past. Under the wing of debut director Alfonso Gomez-Rejon, and produced by recognised horror figures in Jason Blum and Ryan Murphy, the film almost becomes a hybrid of both sequel and remake, producing some worthy content in the process.
We've all seen slasher films and, in truth, they can appear rather repetitive and lethargic by the time we reach the halfway point, but with the newly regenerated 70s-based horror we get a rather different beast. Intent on showing a high level of respect for its original, Gomez-Rejon often merges footage of the 1976 film in with his own fresh scenes to create a rather interesting combination of new and old that you can't help but admire. Maintaining that old-school feel to the proceedings certainly adds that extra chilling element and really makes you feel like you are watching within the heyday of such cinematic offerings.
The story, however, is rather one-dimensional like so many slashers, and is the slight letdown of an otherwise fresh and ambitious project. With many slasher films, the predictability comes in the kills and ultimately the key components of the lead character's background story. This is no different and, while the deaths are at times rather inventive and well executed, the core elements are simply a little too obvious for a wholly diverse horror outing.
The film also falls into the general pitfall of the sexual kind, with some nudity and needless sex scenes thrown in for good measure like any cliched slasher movie, leaning a little too much towards that framework we all know too well in this day and age. Thankfully these scenes don't deter too much away from the positives that few other horrors of late have been able to garner.
The Town That Dreaded Sundown may essentially be a remake but in merging blissfully the new and old versions of the film, along with some truly inventive and eye-catching presentation and death scenes, this is certainly one horror that could stay on the radar for years to come. You never know, this may even have the steel to become a newfound cult classic...
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