swp_1988 Reviews

Dawn of the Planet of the Apes (2014)

Dawn of the Planet of the Apes transcends the Hollywood blockbuster. Rich, beautiful and haunting filmmaking.

[9/10 · 10 July 2014]

Sequels can be a worry when coming from big studios. Greedy cash-ins are all too familiar, where rather than stepping further into the world established by the predecessor and exploring unlimited opportunities in character and themes, they just add more antagonists, more action and more noise. It can also be worrying when the original director who helped see a great film through till the end is replaced in the next film. Rise of the Planet of the Apes was a refreshing and involving take on an old franchise and director Rupert Wyatt set up such promise for its sequel. Matt Reeves takes over the reins here on Dawn...and thankfully has taking the film to a rare, brilliant new level.

The film is set ten years after the first film. The ALZ-113 virus has continued to evolve Apes. Led by Caesar, they have made their home in the woods and bred. On the other side of the island (and the world), humans are scarce. The virus has had the opposite effect and spread, killing billions. Those thousands we do see remaining are struggling to survive. When an unfortunate situation occurs between the two sides, war is imminent. But not all humans and Apes agree with the potentially devastating results.

Whereas Rise of the Planet of the Apes was a stripped back study of the science at the core of the story, whilst investing us in the human drama, Dawn of the Planet of the Apes throws us head first into a very different world. The scope is immense and multi-layered. At one view, it's a dead, frightening post-apocalyptic world. At another, it's brisk, dynamic and visually arresting. Matt Reeves has such a masterful handle on every string and creates brooding scope, claustrophobic tension and powerful action sequences; all amongst a basic, but incredibly rich morality play which is raw and powerfully spoken. What is most fantastic about the character approach is nothing is clear cut. Good vs. Bad meet in the middle and spirals out to both sides. I could sit here and blabber about the complete awe I had of the major step up in visual effects of the Apes, but that's not what caught my attention. Right from the opening scene of an extreme close-up of Caesars eyes, I felt the characters. The performances from all stunt men and actors bringing life to these apes transcend the visual brilliance. It is collective. It is immersive. It is terrifying. Andy Serkis delivers one of his most satisfying performances to date. His dedication and his understanding of every thread and fiber of Caesars being are in every frame of this film. And I cannot forget to mention the all-out, aggressive performance from Toby Kebbell as Koba. He breaks the barrier of something quite terrifying and strong.

Dawn of the Planet of the Apes transcends the Hollywood blockbuster. Not only does it deliver that rare sequel explores its world and characters further, but it's also richly told, beautifully and hauntingly portrayed and truly exciting and terrifying in equal measures. Quite possibly one of the best films of 2014.

Monsters University (2013)

"Monsters University" proves a solid achievement while we wait for Pixars triumphant return.

[7/10 · 27 July 2013]

It's tough to say if Pixar will ever return to the astonishing heights of their hay-day (If you count pretty much everything pre-Toy Story 3, excluding Cars). Since then they have churned out an unbelievably mediocre sequel, a well-designed, but bland original piece and I honestly felt I could be disappointed with this prequel to a wonderful film. I'm glad to say I was wrong, for the most part about Monsters University.

Monsters University takes us back to the very beginning with Mike and Sulley's insertion into university. Were they the best of friends then? It's good to see that the Pixar team has tackled the story a little differently than you might expect. It opens up the possibilities for more exploration of character and truth be told, it only really finds that place during the final 20 minutes. What comes prior appears to boardline a Disney film in its cute factor and fluffy antics and the charm might not be as strong as Monsters Inc, but I felt enough laughs and wit squeezing through for to me feel welcomed back to the world.

Monsters University proves a solid achievement that appeals strongly to the kids and has enough laughs and the odd thoughtful message for us adults. It shows that Pixar haven't continued down the hole that they fell into recently, but I wonder if they will ever scale their unbelievable heights again. I can continue to hope.

The East (2013)

"The East" is simply just a solid, taut and investing thriller that values telling the story of its characters, while keeping the political stance to the side.

[8/10 · 26 July 2013]

I generally get tired of films pushing politics throughout their story with all this left-wing, right-wing crap, that because of the focus of the group of people who make that type of film, so becomes an entanglement of an unnecessary debate with audiences and critics, that the film itself becomes lost. The East tells its message straight and clear and understands that most will agree with a majority of its ideas, but never loses sight of the story and the characters its wants to portray.

The East follows an operative for a PI firm who is handpicked to infiltrate an extreme anarchist group who focus their sights on major corporations for the crimes they have committed on humanity. I agree that that basic synopsis probably will make a few shy away from seeing it, but I don't believe anyone will come out of the film in a heated debate with the next person on its political issues, however timely. It has a great perspective instead on what we as individuals value most. It never allows itself to succumb to any political wash-over, but instead takes a side for the characters and where they stand as people that manages to invest us in the emotional elements rather than just straight ideals.

Brit Marling plays the operative at hand and also co-wrote the screenplay with up-and-comer, Zal Batmanglij. They both worked together and the equally excellent Sound of My Voice last year and its apparent that they have continued to build their ground in their respective fields, each finding a voice to be heard away from the mainstream flow.

The East is simply just a solid, taut and investing thriller that values telling the story of its characters, while keeping the political stance to the side and also having fun tangling the audience up its in web.

Mud (2012)

"Mud" is an assured and outstanding work at the hands of a very confident new voice in cinema.

[9/10 · 25 July 2013]

You just don't see this kind of film too often. Mud is small scaled slice of the simple Southern life that methodically takes its time, but completely grips your eyes and your senses and tangles you within the rich character work and it's stunning sense of place. It all might seem calm on it's soothing surface of fairy tales and innocence of boyhood, but slowly start to peel back the many layers and you will see, as the tension brilliantly bubbles, what the world is really like and what's just around the corner.

Tye Sheridan portrays a 14 year boy who is as ignorant as they come, but he lives life by simple values and shows maturity beyond his years. Tye is truly phenomenal in the role. He has set himself out for a fine career with only two movies notched under his belt. Matthew McConaughey continues his comeback and delivers his worth as a fine actor with an ocean of range and subtlety as the lead character, Mud.

Mud is an assured and outstanding work at the hands of a very confident new voice in cinema. Lushly shot and completely affecting in its honesty. This film is an art-form. Three for three, Jeff Nichols.

Stories We Tell (2012)

"Stories We Tell" is rich and affecting storytelling at it's finest.

[9/10 · 22 July 2013]

Sarah Polley has set the stage in mind for many years to tell a simple story. Much like the process of forming a story, things are always taken back to the storyboard and new influences are introduced. Sarah ultimately made the natural choice to deliver this story by simply setting the basis and allowing each party to tell the story as they know it, in every detail from each individual memory.

Stories We Tell works a unique twist on the documentary format and allows the audiences into the life of the family and friends who knew the filmmakers mother, Diane Polley. An eccentric ball of energy with the appearance of an open book, she might have really been a big mystery and her secrets could cause a rift throughout all those connected. Family and friends from all corners step up to the plate and what's heard are a melding of scripted order and the unscripted nature of each individual and their memories of the events that unfolded. At times it's an interview, at others it's a humorous interrogation; we witness the mystery unfolding in a truly compelling, warm and emotional fashion. It's a wonderful case study on human beings and how we shape ourselves throughout a lifetime and the events that can change our lives forever. It's fascinating to see how we all perceive moments and how our memories contain them. Different characters have different takes and yet the feelings resonate the same.

Sarah Polley took the right path and remained on the sideline and behind the camera until it was absolutely paramount. The real people tell their stories and actors portray history with an uncanny authenticity. It delivers the reality and the real people involved without bogging down the narrative. This is rich and affecting storytelling at it's finest.

The Conjuring (2013)

The Conjuring works with the tried and true and delivers pure, unnerving terror and dread.

[9/10 · 18 July 2013]

Horror, as a genre, just doesn't cut it in modern cinema. Audiences have become too desensitized to cheap images and loud noises to provoke a 'scare' that everyone has begun to believe that this is the norm. It has been the destruction of a great genre for the past 20 years and we've only had a shimmer of light maybe once a year, if we're lucky, on what truly can be done amongst the vast possibilities of horror. The Conjuring just shook the genre right back into place.

Based on true events, however dramatized, of one of the most shocking events witnessed by controversial paranormal investigators Ed and Lorraine Warren, The Conjuring lays out the era of the 70's in stylish fashion right from the opening frame and it brings you head first into the atmosphere of the film right away. From there only director James Wan can guide the way...and dare I say it, he has set himself as an auteur of modern horror. He knows not to tamper with a tried and true formula of old-school horror and just goes for the heights of pure, unflinching dread and unbearable tension in nearly every scene, setting up his frames beautifully and timing it all so well, teasing the audience and building the tension as slow as he dares to go within his rich and frightening atmosphere. He delivers a shock or two with sound, but its all set out to test the audiences limits before he truly unleashes a flurry of evil and terror that hasn't been done in such a film for years. I found myself more than once feeling completely unnerved. That is a tough thing to do with me. It was also a nice thing to see that even though the script isn't deep with character development, that the time is still taken to intertwine the family within the evil and show that the power of family is a godly thing.

Great performances across the board are held higher thanks to a truly terrific performance from Vera Farmiga. She has had a fair share of dips in the last couple of years but 2013 is looking to be the year for her.

The Conjuring has to be seen in theaters. Letting the sight of a large screen and the encompassing atmosphere really take you in will have you experiencing all the familiar horror beats, but delivered with such methodical skill and pure terror. This right here is the best horror film in many years and stands nicely as a wonderful reminder of what the classics were all about.

Pacific Rim (2013)

Pacific Rim goes berserk with a great sense of wonder, camp and old-school action.

[8/10 · 10 July 2013]

We all carry a great sense of wonder. It seems to hide away as we get older, but was always strong and persistent when we were children. We could sit down and really make something out of nothing physical, or tip our toy-box all over the floor and just go mad. Pacific Rim is Guillermo Del Toro at his most unleashed. He's been given the toys for his sandpit and has gone completely bonkers, but he has also created a sense of wonder from completely nothing.

The plot is simple. Kaiju (monsters) from another dimension break through to ours and wage war on the planet and us humans must do what we can to stop them. So we build giant machines called Jaegers. General audiences are doing the worst thing by comparing this to Transformers or Battleship simply because of some simple image traits. Well I'm here to tell you that you're way off and also working comparisons in the wrong league. Del Toro has crafted an insane amalgamation of Sci-Fi, old-school thrills, special effects and brilliantly entertaining set pieces that all meld together in beautiful harmony, with just enough satisfying human moments and arcs that carry a nice balance of emotion and camp. It all blends well with the loopiness of it all. Its Guillermo Del Toro's trademarks turned up to 11, all while going nuts and having fun with his toys.

There's just so much to love, that not even some minor pacing problems or a couple of sub-par performances can destroy the experience. Mainly its in the lesser background characters, but for me I'd say that Charlie Hunnam doesn't quite shine in the lead. He's certainly more than commendable, but he just doesn't break out here. Idris Elba steals the spotlight with a look and a bellowed delivery and its amusing to watch and Rinko Kikuchi has such an incredible skill with her mannerism and in her eyes, that's its a shock that she isn't in more films. Ron Perlman comes and goes and works his usual incredible moments.

Pacific Rim is triumphant above the rest of the blockbuster herd. It knows what is missing from the norm and just goes crazy with it. Its a big, giant load of awesome fun. Prepare your jaw muscles, because you'll be smiling throughout.

(Hint: Stay a couple of minutes into the end credits for an awesome additional scene)