In the hope of being readmitted to the army, despite initial warnings from doctors, Army Ranger Jackson Briggs (Channing Tatum) is tasked with travelling across the Pacific Coast to take veteran dog Lulu to the funeral of a fellow Ranger.
To give you an idea of just what kind of film Dog is, there’s a sequence part way through in which we see Channing Tatum as Army Ranger Jackson Briggs travelling along the Pacific Coast with Belgian Shepherd Lulu while Kenny Rogers’ The Gamble plays. The two (or rather Tatum) appear to have set aside their (Tatum’s) differences and settled in for a calm remainder of their journey. Both have seen and felt the impact of the terrors of war, and while Lulu suffers from anxiety and is known to be sensitive and easily agitated, Jackson is eager to get back into the field, despite doctors notices that he’s suffering from a permanent brain injury. Claiming to have a clean bill of health from a recent inspection Jackson asks his commanding officer what it will take for him to be allowed into the next rotation with all his Army Ranger friends, or rather family as the opening scrapbook-style credits show.
His mission is to deliver Lulu to the funeral of her handler of multiple tours, a few days trip down the Pacific Coast, before taking her to barracks where she will be put down due to not being of use in the field anymore. It seems easy enough to Jackson and so he and the initially caged and aggressive dog set off in his truck to the location of his fellow soldier’s funeral. It’s a fairly direct and conventional route that the film travels, we see the various sequences and elements that slightly set the pair off-track, and allow for their connection to go stronger; although in this case it’s absolutely about Tatum growing to like the dog rather than a true ‘buddy comedy’ sort of nature where there’s plenty of humour to be found within the dog’s antics.
In fact, there’s little humour in this regard throughout the film’s relatively well-paced 101 minute run-time. Yes, there are a couple of opportunities for chuckles here and there and the film itself is relatively light, however it doesn’t set itself out as a full-on, out-and-out comedy. It simply follows Jackson and Lulu as the former begins to somehow depend upon the latter to help him get by. It comes as he too experiences anxiety attacks and PTSD in the middle of the night. It’s a point that’s perhaps dealt with in a somewhat heavy-handed way, in the rare glimpses when it does actually make an appearance on screen, but generally feels a staple of this kind of feature, allowing for the convention to come through that bit more.
Over the narrative we see various moments sequences, some fitting in to the piece a bit better than others, as Lulu leads Jackson to meeting various different figures to help him along the way, for better or worse – or sometimes one into the other. The feeling of a set of sequences is felt and the blocks of the film do begin to clearly show, however the sequences themselves aren’t of a low quality and pass by well enough with little fuss to still create and engaging piece of work for the time that each one lasts, while not being too ‘obvious’ to create a stop-start feel to the film from setting to setting. Yet, the run-time is filled rather well and passes by fairly quickly with some nice beats and elements dotted here and there throughout.
Dog certainly has its moments where its conventions show within its generally direct nature. You kind of know what you’re getting from the opening 20 minutes or so. But, what you get is a rather engaging not-quite-buddy-flick that while a bit heavy-handed with its more dramatic elements produces enough enjoyable content and moments to pass the rest of the run-time well enough. It’s a simple tale of the growing bond between man and dog, and it’s a well-executed telling of it that doesn’t go for big laughs when it so easily could, twisting its tone to lean away from them and make a more dramatic point. It adds to the general nature and viewer involvement of the piece and, much like Lulu to Tatum’s Jackson, helps it through that little bit more.
While the conventions may show within Dog’s direct and occasionally sequential nature there’s still an enjoyable time to be had in the generally quick 101 minute run-time when it leans away from its rare, more forceful dramas.
Cert – 18, Run-time – 1 hour 22 minutes, Director – David Blue Garcia
A group of young entrepreneurs looking to revive an abandoned, small Texan town encounter an angered and lingering, chainsaw-wielding Leatherface (Mark Burnham).
“This is a chance for people to start over fresh, away from the madness and the violence” words spoken all too soon, with something of a knowing wink to the audience, as we know we’re about to meet the crazy locals still living within the small, otherwise abandoned, Texan town of Harlow. It’s the base for a group of young entrepreneurs hoping to transform the area into a tourist hotspot with plenty of dining outlets and attractions, bringing the area into the modern day while still keeping its traditional aesthetic. It’s something that this latest take on the titular Texas Chainsaw Massacre somewhat tries to do itself in its legacy to the original film, which it acts as a legacy sequel towards. There are certainly some traditional feeling elements to it as a whole, particularly the general simplicity of the narrative and slasher elements, and yet one or two more modern leanings and twists; to, of course, bring in newer audiences. It’s the kind of thing that the latest Scream film picked apart so well.
As the newly arrived quartet (Elsie Fisher, Sarah Yarkin, Jacob Latimore, Nell Hudson) arrive they discover an old woman (Alice Krige) living in the town’s orphanage. While disputing that she still has a right to live in the property she collapses, leading to an ambulance being called to tend to the woman – alongside her lurching son. It’s here that we begin to see the resurgence of Leatherface (Mark Burnham). The chainsaw-wielding villain of the franchise, back once again to create some truly gory kills. If there’s one thing that sets this film apart from the original it’s undeniably the levels of blood and gore throughout. The initial introduction of such elements truly has an impact and stays with you to create a sense of tension as figures try to hide from an increasingly enraged Leatherface.
The tension is used well as Leatherface makes his way back to the town to his unsuspecting, and panicked, victims. As they try to hide we see sustained scenarios instead of lots of running away and screaming. It still manages to fit in well to the very short 82 minute run-time that the piece holds and such feelings are largely held by the presence of the core antagonist. When not quite focusing on him being nearby and the threat that he poses certain sequences do feel slightly more drawn out then they perhaps should be, especially an extended idea involving Yarkin’s Melody watching his attacks from under a bed. Yet, perhaps the most impact comes in the running and the screaming of the final 20-25 minutes, where things do feel too drawn out and generally repetitive.
It’s perhaps an effect of the ‘legacy’ nature of this sequel. Bringing in Olwen Fouéré as a vengeful Sally Hardesty – the soul survivor of the events from the first film almost 50 years ago. She’s very much in 2018 Laurie Strode mode, however with a fair deal less impact and screen-time. Things feel slightly off-balance and out of place when dealing with her character due to the little amount that she has to do, and indeed only seems to be present for something close to fan service and to make the connection to the original 1974 Tobe Hooper flick. Such brief moments just simply don’t fit in as well as they perhaps hope to do. Yet, within the short nature of the film overall it’s not long until we’re back in the sustained world of Harlow. A town which seems inescapable to those trapped there with an almost faceless, murderous giant. There are plenty of effectively gory kills which, while one moment feels as if it goes a bit overboard, help to boost the tension for the characters as you wait to see if they are indeed next. It may dip as it goes along, however there’s still an enjoyable legacy sequel here to enjoy, even if the legacy elements don’t quite strike the right note of familiarity.
While the legacy elements of this legacy sequel don’t quite work there’s a nice level of tension, and undeniable gore, within Texas Chainsaw Massacre to make it an enjoyable enough slasher flick before it begins to decline and repeat itself.
Bartender Nathan Drake (Tom Holland) finds himself recruited by Victor “Sully” Sullivan (Mark Wahlberg) as the perfect candidate to help track down 500 year old hidden pirate treasure.
It’s been a long journey for the Uncharted movie to come to the big screen. At one point Mark Wahlberg was on board to play central character Nathan Drake, now he plays older mentor Sully. Instead the shoes of the young explorer belong to Tom Holland. However, now on the big screen the journey itself perhaps doesn’t feel so long, even amongst all the globe-trotting that occurs throughout it. The reason for the various changes in landscape throughout the just under two hour run-time is the search for 500 year old pirate treasure. Deciphering clues and solving puzzles, occasionally with the help of Sophia Ali’s sometimes quickly sidelined for duo convenience Chloe Frazer, the pair certainly go on a fair share of set-piece adventures throughout the film, to find the gold that Nathan grew up hoping to find with his long-lost brother Sam (Rudy Pankow in an early flashback).
In the first act build-up to the actual adventure nature of the piece we move through events fairly quickly. While there’s still a dash of action and discovery it feels as if the film is certainly eager to travel the globe, while never overly rushing the process beforehand. We meet Antonio Banderas’ Santiago Moncada, who believes that the treasure, and the valuable crosses that will lead him to it, are rightfully his by birth; despite disagreement from his elderly father (Manuel de Blas) who dismisses his sons attempts and want to find the gold, and the ships which hold it, worth billions. Despite being pitched as the core villain of the piece Banderas gets little screen-time, and barely a true villain moment or speech. The film is certainly more concerned with Holland and Wahlberg’s conflicting views on teamwork, and indeed Moncada’s henchmen who do most of his work for him – particularly Tati Gabrielle’s Braddock and Steven Waddington simply credited as The Scotsman, the name pretty much tells you everything you need to know about the character in this context; and his dialogue shows this.
It certainly doesn’t feel as if Uncharted is trying to be an Indiana Jones tribute or knock off of any sorts. The general feel throughout is a standard adventure flick with a handful of tricks, traps, riddles and puzzles to run into along the way. Action certainly comes more into play in the second half, not to mention the rather silly third act fight although there’s no denying it’s enjoyability, and it’s here where there’s a slight character change for Holland. Going from his, potentially slightly typecast, bartender Nate going along for the adventure and not always knowing what to do, to a more battle-ready, tactical version of the character. The feeling isn’t that he’s been miscast, more that there’s a noticeable, almost instant after one particular event around halfway through, shift in the character that makes him feel like quite a different person. Such a feeling is perhaps more prominent when it comes to Nathan’s (or, as he goes by, Nate) relationship with Sully. Not so much a mentor, but more a buddy relationship between a slight newbie and a more experienced adventurer, Wahlberg doing a decent job of capturing this (although not as aged or experienced as the Sully in the games apparently is – which I have to confess to not having played much of).
Yet, despite some character shifts and changes throughout the film, not just from Holland’s central figure, there’s still a fair deal to enjoy and get lightly caught up in when it comes to the general adventure nature of the film. The set-pieces go by relatively quickly and while not always the most complex in execution the film seems to not be striving to be anything expansive and grand in terms of its narrative. However, this does begin to create a more standard feel to the piece. One not quite wanting to push itself or go a full distance in worry of spilling over, particularly in more action-based scenes, aside from the finale; the ridiculousness of which is almost worth the price to get in alone. But, for what Uncharted does provide, there’s a quick and still engaging adventure flick that might not be anything groundbreaking, but still provides plenty of amusement for the time that it’s on to make it an enjoyable enough globetrotting watch.
Despite some big character shifts in the second half of the film there’s still an enjoyable nature to Uncharted as its key draws lie within its puzzles and adventure rather than its more narrative or action based scenes, where it never quite pushes itself beyond a relatively standard feel.
Cert – 12, Run-time – 1 hour 52 minutes, Director – Kat Coiro
On finding out that her fiancé (Maluma) has been cheating on her, moments before getting married on stage before millions of people, pop singer Kat Valdez (Jennifer Lopez) decides to marry maths teacher Charlie (Owen Wilson), a stranger in the crowd.
It’s been stated already by many people that the combination of Jennifer Lopez and Owen Wilson is perhaps a slightly odd one within a rom-com. However, Marry Me understands that and runs with it as part of its narrative. Lopez plays pop superstar Kat Valdez. Currently on tour with her fiancé, Bastian (Maluma), the final date is booked in to hold the couple’s marriage, live on stage in front of millions of viewers around the world. Their song Marry Me has been a smash hit, and the point of which the tour has revolved around. However, when Kat discovers that Bastian has been cheating on her moments before their about to exchange vows she calls the wedding off, or at least that one. In the crowd she spots maths teacher Charlie (Wilson) holding a Marry Me sign and on the spot agrees to do so. Cue media storm as the newlyweds are hounded by the press; fascinated at this random marriage between one of the most recognisable pop stars on the planet and a man with a passion for maths who has never heard of her before, only taking his daughter (Chloe Coleman) along to the concert when invited by a work-friend (Sarah Silverman).
As the film travels along its course it makes it clear that it’s not trying to be consistently laugh-out-loud funny. There are certainly a handful of chuckles throughout, particularly from Silverman as the guidance councillor at Wilson’s school, but there’s perhaps a more rom leaning nature to this rom-com than anything else. You’re kept in place throughout by the rather likable nature of everything. Wilson and Lopez do muster up a fair bit of chemistry and create an enjoyable set of figures gradually getting to know each other throughout the film. It gets to the point where a big grin spreads across your face as you simply sit back and embrace Lopez walking into Wilson’s math club, preparing for an upcoming major competition, and teaching the class about dealing with fear in the moment via the medium of dance maths.
It’s during such moments that a handful of pop songs begin to appear, after all the film does revolve around a pop star. And while in many films like this pop songs will feel rather tacky or slightly forced in tone those within Marry Me actually feel as if they could be something you hear in the charts (although I couldn’t tell you anything that’s currently in the charts myself…). It overall adds to the general nature of the film, makes the relationship that bit more believable and keeps you engaged and in place for the just under two hour run-time. The occasional chuckles add to your engagement with the piece and simply add another layer to the film that makes it a rather nice surprise, in the end bringing it above the line of a middle-of-the-road rom-com thanks to its general energy alone. This alongside the performances of the central cast, and supporting faces such as Silverman, John Bradley (after bringing a number of laughs to Moonfall just a couple of weeks ago) and Coleman (carrying on from 2020’s pleasant surprise My Spy, although sometimes pushed aside for the sake of the narrative in this case).
Even as the third act slightly begins to make a slight dip into more distracting conventionality a quick song and montage make a turnaround of this and continue the consistent tone that came beforehand. Yes, there may be convention and familiar lines, but does it really matter when you’re engaged within the entertaining wraps of the film? You don’t overly notice or make a point of it because of the nature of Marry Me as a whole. Yes, there may be those cynical about it, not just because it’s a rom-com. But, it’s easily established early on and the central performances simply continue the likable trend throughout. Forming a chemistry that you can get behind and accept, much like the core base of the narrative itself.
Yes, there may be conventions and recognisable elements within Marry Me, but it’s nothing to be overly pointed out thanks to the highly likable nature of the film, thanks to the central relationship between Lopez and Wilson and the well-handled sprinklings of humour.
Release date – 22nd July 2022, Cert – 15, Run-time – 1 hour 35 minutes, Director – Charlotte Colbert
After a double mastectomy an aging actress (Alice Krige) finds herself confronting past and present traumas in an isolated Scottish wellbeing retreat.
There’s a large selection of ideas at play within Charlotte Colbert’s horror feature debut She Will. It pushes the feeling of a selection of genres also at play. Jumping between drama, horror and mystery for ambiguity when it comes to the central figure of aging actress Veronica (Alice Krige). After a double mastectomy she’s checked in to a quiet, forest-located health retreat in Scotland where while attempting to relax and recover she finds herself facing traumas of her past, particularly relating to affects on her career. Her relationships are tense with both the other, perhaps more outgoing, faces at the retreat and the young woman looking after her, Desi (Kota Eberhardt). However, as Veronica begins to recuperate and face the major events and traumas of her life shadows are cast on those around her, and particularly those who may have claimed to have forgotten her.
This particularly comes in the form of Malcolm McDowell as celebrated director Eric Hathbourne, who caused much of a teenage Veronica’s early trauma. Each time McDowell appears on screen there’s something of a surprise due to the fact that within the short 95 minute run-time he’s on screen for what feels like very little time. With only a couple of brief scenes it’s easy to genuinely forget that he’s even in the film. Such scenes appear to make a big deal of his character, and yet this feeling is conflicted by just how little he appears on-screen and the handful of references back to him we get. He largely feels like something almost unrelated to the rest of the film, apart from the various references to his dark relationship to Veronica, which he appears to have casually buried under a self-protective veil of ‘it was a different time’.
Instead we see snippets of ideas and moments in Veronica’s time at the retreat and the cabin in which she stays in. Attempting to take part in activities with other people looking to recuperate their mind and souls, through charcoal drawing outings by the nearby lake. There’s much of the piece focusing on drama before leaning into slight patches of horror, however with the various ideas at play – including an eventual side strand for Desi as she gradually grows slightly closer to the woman she’s initially only meant to bandage up, etc.
Throughout the short 95 minute run-time there are plenty of moments and ideas that are seemingly glued together to form strands of narratives, however there’s never anything to properly hook you into the piece as a whole. It causes a lack of connection to the film and the effects that it has when it comes to moments of horror. During such scenes, particularly in the latter stages of the piece, the main question at hand in terms of mystery is ‘what is actually going on?’. It boils down to a core narrative and characters that feel lacking in detail. There are points, particularly within the rushing nature of the third act, where you feel as if you’ve missed out on something as you try to figure out where this new burst of potential horror has come from. Where almost everything from the previous 75-80 minutes or so crashes together for a conclusion.
It’s one that feels much like the rest of the film. A jumble of themes and ideas, uncertain as to whether it’s supposed to be scary, mysterious, eerie, creepy or all at the same time, or perhaps none? It’s a long stretch building up to it as you feel disengaged for much of the run-time having connected to little and been unsure as to what to feel about a handful of scenes within the collection of moments and ideas. The core points of ambiguity and uncertainty are often as to what’s supposedly going on within the briefly hinted potentially supernatural beats, pushing the question of ‘what’s meant to be happening here?’, and ‘wait, Malcolm McDowell’s in this?’.
Providing little to connect with amongst the tonally imbalanced ideas collected, She Will never really brings you in to feel the effect of any of the horror and drama at play.
When a recently married bride (Gal Gadot) is murdered during her honeymoon Hercule Poirot (Kenneth Branagh) steps in to decipher which of the invited guests on a boat travelling down the Nile is the killer.
If there’s one thing that confirms Hercule Poirot as one of the smartest detectives, and fictional characters, around it’s perhaps, alongside his smashing moustache, the fact that he seemingly loves a jaffa cake. While not exactly looking like what we know them as it’s undeniably excellent to see him grieved by the disturbance of his enjoyment of “a sublime jaffa cake!”. He’s (Kenneth Branagh) disturbed by old friend Bouc (Tom Bateman) who, whilst flying a kite on the ancient pyramids, invites the detective along to a wedding celebration for two family friends – the recently married Simon (Armie Hammer) and Linnet (Gal Gadot) Doyle. However, surrounded by somewhat jealous friends and family, some distracted by the wealth on display, envy runs deep when Simon’s former fiancé of just six weeks prior, Jacqueline (Emma Mackey), stalks the pair on their honeymoon.
However, when Linnet is killed on the boat that acts as the couple’s honeymoon cruise down the Nile – which seems like a largely CG background with occasionally odd lighting on the characters making it stick out just that bit more – that the killer could be any one of the attendees. Therefore Poirot, who was taken on board to watch out for the newlyweds, puts his skills to use to find out who the murderer is before it’s too late. While he might have the sleuthing skills to know that jaffa cakes are indeed excellent there’s not quite enough from this second outing for Branagh’s take on Agatha Christie’s classic detective to make the actual detection scenes overly engaging. If anything the hour or so before the murder is actually more interesting than when the murder-mystery elements eventually come into play.
The film jumps through various interviews with each of the characters as if trying to remind you of who’s who each time and re-establishing potential motives. It almost runs through circles each time with each figure of the large ensemble cast – all of whom seem to instantly leap into hammy caricature as soon as the murder happens, apart from Gadot who is not only dead by this point but can’t exactly be said to be doing any subtle acting throughout her screen-time. There’s no overall point where you find yourself actively playing along and trying to guess who the killer is, instead simply watching Poirot try to reach a conclusion by asking various questions and eventually reaching his dramatic reveal.
While there’s still a watchable nature to the film, and overall it feels a slight step up from the very generic, middle-of-the-roadness of Murder On The Orient Express, it’s still apparent that the mystery isn’t as involving as everything that comes beforehand. While nothing overly stretching, simply seeing the slight tensions between characters and the interactions on the boat and various sights along the way does generally keep you in place for that chunk of the film. Things eventually build up to a comfortable point where there’s some level of consistency which the film gently travels along in something of a traditional way. You observe the characters and that’s about that. There may be occasional slices of humour, particularly from Dawn French as the nurse of Jennifer Saunders’ socialist godmother to Linette, but mostly the piece continues along a lightly dramatic note until the murder.
It’s easy to focus on the performances and the overall rapid change and nature between scenes in the second half of the film, yet there is still somewhat watchable and some likable moments and nuggets throughout. You’re still generally kept in place watching things unfold, even if not actively taking part, and perhaps the show-stealer is still Poirot’s undeniably excellent moustache. Yet, what’s provided is a film that juggles a lot of characters but manages to play along with its ‘everyone is a suspect’ idea rather well. You sit and watch things unfold in perhaps not the most elegant of ways, but still with a generally traditional feel that has enough within its busyness to make something of a good swipe, if not a clean cut.
The waters, and performances, may be choppier than hoped for, despite the traditional route, but there’s still a generally watchable nature to Death On The Nile. You might not play along with it, but thanks to the first half you’re generally situated in the piece for most of the busy run-time.
Release Date – TBC, Cert – N/A, Run-time – 1 hour 14 minutes, Director – Sam Firth
Director Sam Firth looks back at, and attempts to recreate, her parents divorce, and her own childhood, based on their accounts and her own personal memories.
“In some ways I’ve been making this film since I was a teenager” states director Sam Firth towards the start of her documentary feature The Wolf Suit. It’s an undeniably highly personal project for her as she looks back at her early childhood, particularly around the time of her parents divorce. Through recreations of memories and events in all their lives she attempts to work out what happened, with most of her memories being happy ones of family fun and bonding. However, that’s not how things are seen by everyone else, particularly the differing perspectives of her parents who haven’t spoken for many years. Firth claims “I could use drama and filmmaking to prove that everything is not subjective” as she assembles actors and a small production team to craft recreations of her families life before her parents broke apart.
There’s certainly something interesting within the recreations and the way the actors try to understand who they are playing – asking the real life figures, present on set at almost all times, for help in what their mindset should be at the time; despite occasionally conflicting feedback and personal memories. It enhances the point that the film is trying to capture what’s described as “the confusing, contradictory and sometimes painful course that is life”. It’s something that each figure appears to be reliving to different extents over the short 74 minute course of the film. Each one adding a new personal angle to the piece as a whole.
Whether this personal feel is enough to completely connect with the audience is a different matter. While there’s certainly a level of interest in what’s happening on-screen it’s not always the most involving as the viewer often doesn’t have the same amount of connection to the project as those who are actually a part of it; and lived through it the first time round. This is particularly the case when the filming of the recreations is occurring, as the piece travels along one generally direct line for much of this time. It’s during such moments that it’s likely a good thing that the film is as short as it is, risking feeling somewhat lengthy if it were much longer.
Yet, there’s still something engaging about the personal angles that are brought to the film and the differing memories and perceptions of what Firth sees as such big events in not just her own life but those of her family as a whole. It’s a key point of engagement for the viewer as they observe the various different stages of the process of physically remembering. While you might not quite feel the same level of involvement as those actually present in the unfolding moments there’s still an interesting enough piece here, especially when looking at differing memory-based perspective, that spans the short 74 minute run-time rather well.
Clearly a very personal film for those involved, this feeling doesn’t always echo to the viewers of The Wolf Suit. While memory recreations generally travel across one line there’s plenty of interest to be found in the differing views and perspectives of life events.
Teenager Suzu (Kaho Nakamura) enters the virtual reality world of U, where she quickly becomes a world famous singer, however her interest lies in a dark and destructive figure known as The Dragon (Takeru Satoh).
“You can’t start over in reality, but you can start over in U” – it’s this core tagline which acts as a core turning point for quiet, anxious teenager Suzu (Kaho Nakamura). She dons the technology to transport her body to that of a virtual reality figure designed after herself and her personality and is plunged into U; a world of towering buildings and thousands of floating figures, apparently a population of two billion overall. While initially unsure of what to do in this detailed, seemingly endless, landscape she eventually does the thing which comes most naturally to her, sing. It’s something she hasn’t done for years, having not done so since her mother passed away a number of years ago, ever since her relationship with her father (Kōji Yakusho) has been distant, the same going for those she has, or rather doesn’t have, at school – aside from her tech-minded best friend Hiroka (Lilas Ikuta).
While initially her singing appears to be a disturbance to other players in the VR realm Suzu becomes an overnight sensation, her avatar Bell gaining millions of followers within a matter of hours. Gradually the film, the latest from writer-director Mamoru Hosoda, begins to look at the various effects of Bell’s impact on both the online sphere, and Suzu’s life in reality. Brief moments look at the masses of comments that pour in showing potential overload and Suzu’s increased stresses in life. However, none of that takes priority over her and Hiroka’s quest into discovering who the mysterious player known as The Dragon (Takeru Satoh) is. A dark, towering figure who disrupts the peace and harmony within U. The search is conducted both worlds and takes a different form within each. While based in reality there’s a more direct line of research and potential ‘suspects’, however when actually facing the labelled beast herself there’s something of an acknowledged Beauty And The Beast narrative unfolding.
Amongst all of this there are still elements of Suzu’s personal life to be glimpsed. The way she interacts with classmates, leading to one or two particularly humorous instances, also comes to the fore at certain points. There aren’t exactly beats and narrative strands fighting for prominence throughout the film. It feels more the case that as one thing comes forward everything else is almost put on pause, taking turns to develop, rarely all happening at the same time. With the story/ stories unfolding in this way the effect is that of a slightly lengthier run-time than perhaps the film should have. While clocking in at only just over two hours the third act begins to feel as if it tails off from the film and you begin to feel a sense of distance from the film as a whole. Moments that should have more impact don’t fully click after the various patches and changes over the developing course of the piece.
While the animation is still wonderful and truly comes to life on the big screen, the mixture of traditional anime and CG for the world of U is excellently done and adds to the vibrant colour of the worlds at play, especially when Suzu/ Bell is performing (the songs throughout are pretty great), it’s not quite enough to distract from the nearly sprawling narrative. The beauty and the beast elements feel the most pushed back and certainly feel rushed when it finally comes to them, as if a minor detail there to progress things elsewhere/ It’s inclusion causes the second half overall to feel somewhat drawn out, despite the interesting unfolding of events and details in the real world.
There’s certainly a cleverness to the film as a whole and the way it goes about certain elements and strands, both in terms of representing the online, virtual reality world and also some well-handled points within Suzu’s reality, and some of the people around her. However. as it goes on the feeling that the film is slipping into convention increases and it becomes rather familiar as it travels along its various paths. It’s a shame for something which starts out as something so unique and with plenty of potential. What we get is something visually brilliant, and with plenty of good music too, but requiring a stronger narrative structure to properly pull it through to the end of the piece and the viewer along with it.
While strong in terms of visuals and music Belle begins to slip into convention with its stop-start set of narrative strands. It’s certainly interesting and you can feel the creativity, the story could just do with some tightening up.
Cert – 12, Run-time – 2 hours 10 minutes, Director – Roland Emmerich
When the Moon is revealed to have gone out of orbit, getting closer to the Earth, a disgraced astronaut (Patrick Wilson), the deputy director of NASA (Halle Berry) and a conspiracy theorist (John Bradley) are sent to discover the force behind this planet-threatening occurrence.
Moonfall. The Moon is falling. Out of orbit it’s threatening to crash into the Earth’s atmosphere, breaking to pieces and destroying the planet along with it. It’s a rather ridiculous disaster movie idea, one that fits the title Moonfall rather well. And yet, co-writer (alongside Harold Kloser and Spenser Cohen) and director Roland Emmerich manages to walk a line away from direct silliness through most of the two hour and ten minute run-time of his latest disaster flick. It’s not that the entire film is thoroughly serious, it acknowledges just what its tone is and there’s a fair deal of comic relief to be found within the effective figure of conspiracy theorist KC Houseman (John Bradley). It’s he who makes one of the initial discoveries, altering the world to the fact, that the moon is rapidly getting closer to the Earth.
However, when nobody is prepared to listen to the man who not only owns a cat called Fuzz Aldrin (an excellent joke!) but believes that the Moon is actually an alien megastructure he attempts to enlist the help of disgraced former astronaut Brian Harper (Patrick Wilson). Trying to deal with his own personal problems; amidst the likely end of the world, including his teenage son (Charlie Plummer) potentially facing prison time for car theft and speeding in a highway chase with the police. However, the two eventually find themselves recruited by NASA, and Brian’s former colleague Jocinda Fowler (Halle Berry); who was on the same mission that led the world to be told that Brian led to the death of another astronaut at the time, and not a mysterious space force, to find out just what is happening to the moon.
It’s of course an unlikely team that manages to click rather well within the confines of the space shuttle and the disaster film as a whole. There’s plenty of build-up but generally things move along rather well before we actually reach the point where the trio meet fully for the first time. Throughout tidal waves and increasing disasters there’s plenty of thrills to be found within the action that Emmerich’s latest produces. Amongst the general silliness of the base narrative the film manages to find an effective disaster tone during the escalating action and drama – even during a point where a space shuttle is trying to take off before it’s wiped out by a tsunami-level wave. This all, of course before the inevitable CGI destruction of recognisable city landscapes.
Such elements are perhaps what make the scenes in space the most interesting elements of the third act. While the film flicks back and forth between the shuttle crew and the unfolding events on Earth, looking at the character’s various family members and what’s happening to them, the stuff on our home planet is never as interesting as what’s happening up front with the Moon. While it might be because we don’t have as much connection with these figures – despite little screen-time the film appears to think most of Michael Peña’s late stage scenes have more effect than they actually do – it’s also because they simply feel like a distraction from the more exciting stuff that’s happening at the same time.
By continuously looking back to the families on Earth trying to survive the end of the world the film almost appears to put the brakes on every so often before jumping back into the main course of interest and action. It’s also the point where the most silliness comes through and the film almost appears to lose itself. Becoming something different in letting go of the more direct edge and allowing for the sprawling ridiculousness to almost get out of hand. It’s at a clear turning point in terms of character and explanation of events that things truly begin to unwind. The film certainly doesn’t drop so dramatically that it becomes bad; there are still a handful of chuckles to be had at the stretches the narrative leaps towards, but it does feel as if there’s something of a dip as the tone clearly changes before things wrap up. As if feeling like it needs to make up for not being as ridiculous as the trailers and core events would suggest. However, where Moonfall works best is when simply letting its base create disaster and seeing the race to save the world unfold. It’s when the intentional humour works and, most importantly, you’re able to get on board with the idea of the moon falling.
When focusing on its three central figures Moonfall manages to create some effective action within its drama, not forgetting to include humour to match the silliness of the general idea. However, there’s a clear dip as the silliness is heightened in third act shifts to less engaging events and side characters.
If there’s one thing that Jackass proves it’s that pretty much anything can be perfectly demonstrated in the form of a musical number. After their second feature outing of pranks, stunts, pratfalls and pain the core cast gleefully provide a rendition of The Best Of Times, from La Cage aux Folles. While not quite being able to hit the same (or any) notes as the backing singers the group are also still being put through a succession of their standard stunts. Against the backdrop of building sites and saloons the familiar faces’ tunes-cum-groans are subject to falling off rotating cement mixer lorries and being dragged away by a horse, attached by a rope around the ankle.
Yet, amongst the worry and the pain the smiles remain. There’s a sense of laughter and amusement from all involved at the friendships formed within the various spectacles on display. It’s the case throughout the films, from the gross to the just plain silly. In fact, the film almost opens in this way. As members of the team read what they think is a Valentines message from a fan they find themselves smacked in the face by a spring-loaded boxing glove hidden behind the note and wall. Those in the know emerge in fits of laughter, and often that makes its way onto the face of the punch’s subject. With each new film Jackass has managed to bring the audience in to the environment of people who are simply having a good time in each other’s company and, most importantly, at the end of the day, being able to laugh with (and occasionally at) each other. Truly having the best of times in that very moment.
Up until the build up to latest feature in the franchise, Jackass Forever, I had never personally seen any of the Jackass films. I’d seen one or two clips, but couldn’t really remember anything about them. Even fan favourite moments such as the Poo Cocktail Supreme weren’t overly known to me. My general, cynical, perception was that it would just be a group of people doing stupid things that were either sick, painful or both – although definitely not anything harmful to the viewer. I didn’t quite have the stereotypical parental viewpoint that it was horrible stupidity degrading the youth of today (instead of blaming Canada the finger would likely be pointed towards California), but I certainly didn’t have any overall interest in the franchise, or the TV series from which it spawns from.
However, having delved into the films (including hidden-camera loose narrative Bad Grandpa) it’s clear that I was just ignorantly wrong. While not being a fan of the first entry – finding a fair few of the segments to be somewhat cruel – there’s a fair share of amusement to be found within the other features. As the laughter increases and the stars become the focus over the stunts, their reactions and responses to what they are performing add to those of the viewers. By the time Forever arrives the crew, and indeed director Jeff Tremaine, feel much more present; than the usual cut to cameraman Lance Bangs throwing up, and as much a part of what is being produced as lead faces such as Johnny Knoxville (who, while prominent, certainly isn’t as much of a primary focus as I at least thought he might be, Jackass truly is a set of team efforts) and Steve-O. And yet the feeling of a group of friends hanging out in a(n occasionally expansive) back garden with a budget, a snake/ animal expert, plenty of health and safety personnel and a number of cameras just to muck around is still present.
Their bond is shown in their moments of concern, even before things go wrong, even when they don’t. It’s in any stunt involving a bull. Any moment when unsuspecting victims are trying to help each other out of a situation, knowing how bad a shock from a – or rather multiple – stun gun can be. Duo or team segments where there are multiple people going through the same pain. There are clear bonds and pairings throughout the series – plenty feature Jason ‘Wee Man’ Acuña and Preston Lacy – it adds to the nature of certain stunts and the impact that some of them have. You see the concern and reluctance on Dave England’s face as he’s hesitantly about to take a pogo stick to ‘Danger’ Ehren McGhehey’s testicles; as if he’s about to go through the same nether region located trauma. Even Bam Margera’s mum, April; largely a victim, alongside her husband Phil, in the first two films, is more into the joking and finds herself laughing as chest hair is ripped off those around her with superglue in Jackass 3’s Super Mighty Glue.
It says something that amongst everything that happens the figures that have become synonymous with Jackass over 20+ years still have less trust for animals than they do their co-stars. It’s a recurring point that Margera is terrified of snakes. Whenever in a situation involving then, even rubber ones, he trusts those around him to get him out of the space he’s in (partially there as an act of revenge after having pranked various people on set during filming with glasses of water and boxing gloves). Each figure knows their friend’s weaknesses and fears, the things that truly cross a line for them. The fact that they’re used in stunts, for example a number that involve heights for Lacy, and certain members still go ahead with them says something about the levels of trust on set and in each other, not to mention the confidence of the cast.
Confidence is clearly something that has grown and spawned amongst the group. There may be mistrust about certain events but it’s certainly in place with each respective member, and the crew as a whole. It’s perhaps best demonstrated in the general body confidence that’s on display – none more so than Chris Pontius and his frequently displayed, painted and punished, penis. Jackass, particularly with the newest entry in the series, has always featured a range of body types. It’s lightly pointed out in the stunts, although never with an air of hurt or mockery. The cast are accepted within the group and while sometimes used in the stunts, for example Wee Man being part of a hidden camera bar fight with other people with dwarfism, namely the Half Pint Brawlers, playing bikers, policemen, paramedics, etc, the figure at the centre of the moment always appears to be in on, and supportive of the unfolding point. As if an equal part of the creative drive behind the stunt, prank or simple attempt to make everyone else laugh. You can almost link each figure to a certain type of stunt fit to their identity and overall style, making them fit into their own part of the overall Jackass mould even more.
There could be more said on the point of body positivity and confidence, each figure within the recurring group of men accepted by the others regardless of shape or size, but it can lead back to boiling down to the central idea of friendship that creates the laughter within Jackass (the title said that this whole piece was going to simply state the obvious). It’s clear the fun that the group are having, particularly in the more unexpected ‘behind-the-scenes’ style stunts, such as paint-bomb laden portaloos; where everyone ends up laughing, sometimes just in disbelief at what they fell for, in the end. It’s a welcoming environment of natural humour and acceptance – a group who can build up to stunts with links to Greek myth and still laugh at a quick moment involving what they’ve titled a Poocano.
Over time you too notice that you’re wanting the cast to come out of each segment still intact, and not just as a basic human response, but because their banter, which increases with each film, helps bring you in to the humour that bit more. There’s genuine impression when they manage to land a stunt – perfectly riding a minibike around a loop-the-loop gains a rather amazed response from both cast and audience – and a level of celebration from those on-screen. Of course people know not to go out and copy what they’re seeing on screen; and not just because it’s said at the very start and end of each film (Bad Grandpa aside), or because you can’t exactly just go down the road full speed on a mobility scooter as if the brakes have broken, more for the sake of pricing and availability than anything else. A Toro Totter is an even more difficult amusement to create, and then you have to find a bull.
It’s also perhaps the case that a fair few people just don’t want to copy what they’re seeing happening on screen. It’s very clear the pain and injuries that are caused to these mostly professional stuntmen, and the team that surround them. And amongst the set ups and health and safety precautions the extent to which some of these injuries go is obvious, and likely not anything people would want to recreate for themselves. There’s a reason it’s called Jackass and they claim that even after 20 years they’re “still doing the same old stupid sh!t”, just with a few more missing teeth (some more knowingly caused than others).
Everyone assembles to have a good time. A good laugh in each other’s company, and, of course, to some extent pain. The team is brought in and assembled each time with a confidence in each other, and to an extent themselves, to get them through each prank and stunt. It’s a close grouping that has clearly lasted years for both the Jackasses at the heart of the films themselves and the audiences who go to spectate their daring, and, as they would perhaps also admit, stupidity. Amongst the general content there’s an understandable nature as to why the franchise, and original series, continues to be such a success amongst teens in what’s branded as their coming-of-age years. An almost open, unspoken, invitation into the group. To laugh with them and have a good time for 90 minutes or so (at least when it comes to the film) no matter who you are or what you look like. With no real sense of malice. Whether for the kid who feels alone and needs a friendly pick up or the group of friends watching and laughing with each other (it should be pointed out that all Jackass films, apart from Bad Grandpa which has a 15 rating, are very rightfully rated 18 in the UK).
The films have slightly developed to feature more laughter and slight behind-the-scenes moments amongst the cast and crew. Featured in slightly lengthier segments that focus more on the prank format between the stars, or simply other people coming in and having a go themselves at sitting on an electrified seat. They’re all in it together and it shows through the ensemble nature that has always been present within Jackass. It’s shown in the opening sequences whether it’s everyone crammed into a giant shopping trolley or having their own near specialist style of stunt shown in slow-motion glory against a bright rainbow backdrop. And, of course in a musical number. Celebrating the friendships that make up Jackass, the fun and laughter to be found amongst the pain that the stunts create. The feeling that what’s unfolding at that moment in time is indeed the best of times.
In Jackass 3.5, one of the additional films in the franchise made up of bonus and behind-the-scenes material, Ryan Dunn and Bam Margera detail The Flying Nut High Five. Footage plays of various fails of the stunt, performed to the amusement of the rest of the cast. “The Flying Nut High Five is the attempt to jump up in the air, running at another dude. Spread your legs and then knock your nuts together” explains Dunn just before Margera falls backwards on his standard movie production chair with long, thin, wooden legs. “Did I get sabotaged or am I just stupid?” he questions as Dunn cackles. It’s the first of multiple times the chair will fall over as it begins to gradually break at the base. It seems Margera just simply isn’t made to sit on one of these seats. As it flattens and the pair find themselves increasingly distanced in height from each other their giggles turn to wheezes. As if forgetting the camera, the interview and attempting to smash (still clothed) testicles together Margera tries to hold onto the chair of his friend for both support in case the chair collapses under him, and to hold himself up for laughter. Dunn looks down and continues to laugh. It spreads between the two and further sets them off.
Just A Little Bit Random 