I'd previously had this to say about this film's predecessor, Rise of the Planet of the Apes;
When Rise of the Planet of the Apes came out you could almost hear the collective sighs go up across the world; at last, they said, a rebooted franchise that didn't sully the original films. It was a neat, smart prequel and great intelligent popcorn entertainment.
Even I agreed, and I'm a Luddite who has an aversion to CGI. But the work of…
As a proud Northerner I was disappointed to realise that this wasn't the biopic of Greggs the Bakers.
As such it just wasn't for me, sorry. It was nicely done I guess but this kind of cosy schmozy metaphorically heavy, spiritual 'journey' drama never really rings my bell.
Always nice to see Gérard Depardieu play Gérard Depardieu though.
I'm too old for modern cartoons I think, as such most Disney and/or Pixar efforts of the last ten years have been placed firmly on the Roger Murtaugh list for me.
But Wreck-It Ralph *just* managed to sustain some interest overall thanks to its knowing references to computer video games and the assured comedic playing of John C Reilly and Sarah Silverman.
The nostalgia gained from the gaming set up and references at the heart of the film feels original…
Up until around the hour mark I couldn't see myself giving this anything other than a 3 star rating. I just wasn't that sold. And even now, I'm not sure if I've rated it a bit too favourably.
So, let's start by the faults; the script is occasionally cheesy and oblique. Some scenes belong in a different far more commercial, no brainer movie ("I'll go and speak with The Wolf" cue really obvious intro of said character performing Ṣalāt) some…
A nail biting pseudo documentary narrative of the power struggle between two captains; the titular Phillips played by a career best Tom Hanks, US Captain of a hijacked cargo ship, and the Somali pirate captain Muse played by the electrifying Barkhad Abdi - a real find who won the BAFTA for best supporting actor.
Whilst some moments remind you of the claustrophobic international terrorism/hostage dramas of the Hollywood of the 1970s, director Paul Greengrass uses all his journalistic and documentarian…
The ultimate blockbuster.
The booby traps, Alfred Molina double crossing, Paul Freeman's suave arch rival/nemesis, the stunning locations, the John Williams score, Karen Allen being hot, the Nazi monkey, just shooting the sword wielding bad guy, Ronald Lacey's Peter Lorre homage and THAT coat hanger gag, snakes - why did it have to be snakes?, Pat Roach's burly bald headed mechanic, Wolf Kahler's Nazi, the opening of The Ark and that spooky perfect ending.
Oh and Denholm Elliott's Marcus Brody here is brilliant, serious and not at all like the comic relief (which was excellent as well) in The Last Crusade.
This isn't going to be much of a review, Adam Cook has recorded thoughts on this far better than I could come up with, but needless to say upon a much overdue rewatch my impression that this is the most perfectly realised film in many a year has only been furthered.
Bit of personal trivia, for those who like such things in a review; the longest/most important r'ship I've ever been in can be summed up in the cinema dates…
Meta humoured, self referential laugh out loud funny buddy cop movie based on a shit and largely forgotten 80s TV show that just happened to be Johnny Depp's big break.
Jonah Hill and Channing Tatum make for a likeable duo and, though it gets a little too mawkish once in a while and occasionally has patches were it feels like it's running out of steam or is overstaying its welcome, you're never too far away from a good one liner…
So I've finally got round to watching this.
If you look at the top left there it'll say I've seen this on 10 Oct 2012, for the first time. But have I?
Because you see I've watched the original Swedish version, and its two sequels, already. I adored them and frankly, when I heard that Hollydud had decided to remake them my initial feeling was 'why?'
It felt like a pointless exercise, much like BBC1 installing Kenneth Branagh as Wallander…
Perhaps naturally after the huge success if Drive, Winding Refn wanted to totally twist our melons and see just how far the clamouring audience waiting for his next ultra violent collaboration with Ryan Gosling was willing to go.
And perhaps naturally, not everyone was willing to go as far as he took them with Only God Forgives.
The positives to this film are huge. The visuals, my God the visuals - in turn beautiful and horrific, and the all pervading…