The Battle of the Five Armies and Beyond

Over the course of 24 hours, you can now watch the entirety of the Middle Earth canon. Now, that’s no small order, indeed the resulting lack of sunlight from being cooped up in doors may give you the same complexion as Gollum. However, in six films, Peter Jackson et al have left a huge imprint on the world of cinema; influencing TV and film immeasurably. So how does the final instalment measure up? Well, The Battle of the Five Armies, all in all, is a resounding piece of fan service that captures all that you love about the Middle Earth saga. It’s far from perfect, at times feeling rushed and stylistic to a fault, yet overall it is a satisfying end to the trilogy.    

To set the scene, Smaug has been awoken and has Lake Town firmly in his sights. Whilst he char grills the town, the dwarves watch on anxiously, with Bilbo’s final, desperate monologue of “What have we done?” from The Desolation of Smaug becoming a visible nightmare. The Dragon is dealt with (I refuse to call that a spoiler) and all eyes turn to the mountain. The Dwarves, led by Thorin, seek to hold onto their newly claimed home, yet every man and his proverbial dog, horse, warg, ludicrous Elk (King Thranduil), or even more ridiculous Pig (King Dain) want a share of the gold. Thus tensions bubble up to explosion on the battlefield as Men, Dwarves and Elves take on the Orc and Warg ridden armies of Sauron.  

As we can expect, the action scenes are sprawling and magnificent to behold, but it is much more than a bombastic war movie, and here’s where I think the strengths lie. The power of Jackson is that amidst the whole scale destruction there is always a humanity present, a sense of helplessness and the feeling that the stories are more to do with character arcs and development than just meaningless blood-shed.

We all love the action scenes, and they’re the ones we wax lyrical about when we come out of the cinema, yet in this film in particular, the anchor to the plot is the story of Thorin. Richard Armitage simply plays a blinder in this film, stealing the lime light from the once again excellent Bilbo and the thoroughly impressive Bard. This is an arc within a arc; the descent into madness then the redemption of a dwarf who will not fall to the same dragon sickness as his grandfather. But this isn’t some hammy Shakespearean actor reeling off their best Richard III impression, this is much more persuasive and powerful stuff.

Further positives include the desolation of Smaug in full force. Cumberbatch’s serpentine tones leave you transfixed and wanting more. Indeed, it’s a shame that he’s dispatched so quickly, yet the reality is that there wasn’t any way that they could have conceivably stretched it out anymore, so it becomes a hollow criticism. As I mentioned, Bard is brilliant as the reluctant King of Lake Town and the arrival of King Dain – a ridiculously CGI-ed Billy Connolly – offers genuine comedic rest bite from what can be a pretty grim two and a half hours.

      

On the point of CGI, here’s where my gripes start. The tone of the film is meant to be different to LOTR, this I appreciate; the source material is lighter so it makes sense to make the baddies more mythic. But I think that this tonal shift at times undercuts the peril of the action. For example, Bard gets a pretty epic, legolas-worthy spate of badassery where he kills a troll, yet the Troll looks more like Wayne Rooney than a terrifying creature meant to strike fear into your hearts. Moreover I think that the decision to make Azog and Bolg mo-capped as opposed to genuine physical presences undermines their on screen presence. The most visceral battle scenes, in my opinion, are in Dale when Bard leads the beleaguered men of the Lake against blokes dressed up as Orcs, not coming from an admittedly very impressive computer.

A point of both praise and criticism is that the film seems acutely aware that it needs to give nods to, and in some ways emulate, LOTR. In some ways it’s really good to see, such as the size of the battles and the cinematic deaths of some characters instantly creating a stylistic flashback to Boromir in the Fellowship. Finally Bard is a pseudo Aragorn in the sense that he is the reluctant leader of men. These are subtle cinematic nods. But I think the plot strands can be slightly shoe-horned in. For example, the forbidden love of Tauriel and Kili smacks of the relationship between Aragorn and Arwen. Also, the final dialogue between Thranduil and Legolas tries to create a tangible link between the trilogies, but just feels a bit forced.  

All of this aside, and I think that it is triumphant. Both characters old and new come together to create a rousing couple of hours of entertainment. The old band is given their curtain call – Saruman, Galadriel, Elrond etc. Whilst the new characters deservedly become an appreciated part of the canon. Thranduil is chilling, Tauriel is moving (and I fell in love with her again), Bard is bold, the dwarves are given more to say and Bilbo and Thorin steer the ship. It is imperfect, but every film is. When you put it amongst the other 5 films it doesn’t stand out in a negative way, indeed the battle scenes rival the Return of the King in terms of scope. This is as shining an endorsement as any. 

I remember my first experience with the works of Tolkien clearly. I’ve had a comic book of the Hobbit for years now and I remembering pouring over every detail, loving every expressive picture. Later, I read the book proper, and was once again whisked away. To my nerdy shame, I’ve never read the Lord of the Rings Books, yet watching those films recaptured the pleasure I took from reading that comic book when I was a young, podgy child. The Lord of the Rings was a trend-setter, a definer of the fantasy genre. Without Jackson et al, there would be no Game of Thrones as we know it. Indeed, all fantasy films and TV in the last decade have their roots firmly in Jackson’s epics.  Though the Hobbit would never conceivably break free from its predecessor’s shadow, it at times emulates it. It has spawned renewed interest in the fantasy genre, in the works of Tolkien and has pushed film-making into new territories, thanks to the use of High frame rate and pushing the limits of CGI.

So, all that remains to be said is thank you to Jackson and everyone else who made these 6 films. Coming out of that cinema was reminiscent of seeing the Hogwarts Express rolling out of the station for the last time, yet with the Battle of the Five Armies Jackson makes sure that we leave Middle Earth with memories of the epic battles and epic characters, not cynically lamenting the way that the Hobbit was stretched into three films. In a few years time, many rainy weekends will be able to be filled binging on these six films. Drinking games will be created and the spin-off computer games and memorabilia will be sold in their droves. I for one will miss the anticipation of waiting for another instalment to come out, as well as the homeliness you feel when you hear Howard Shore’s Fellowship theme. In short, this is the end of a cinematic era. But Jackson made Tolkien’s Middle Earth tangible, visceral, epic yet human and for this we can only doff our nerdy caps in appreciation.

Autumn & Winter Preview

After what has been a sluggish summertime period at the box office, the Hollywood juggernaut finds its way lumbering towards the typically congested Autumn and Winter period. So what’s coming up in the next few months…

Fans of blockbusters will have a busy time of things this Winter as one saga comes to a close, with the epic conclusion to the Hobbit Trilogy in the form of the ‘Battle of Five Armies’ and Katniss and Co return in ‘Mockingjay: Part 1’. Peter Jackson’s final soiree into the world of Middle Earth is sure to be crammed full of action and despair as Smaug char-grills Laketown and the mother of all battles erupts under the doors of Erebor. As for The Hunger Games, this is likely to be a much more large scale saga than the previous two instalments as the Districts descend into revolution. What else? Well keep an eye out for another duplicitous turn from the late, great Phillip Seymour-Hoffman as Plutarch, and Jennifer Lawrence to ramp up the levels of badassery as the lead.

If crime and thrillers are more your bag, then the next few weeks could be for you, as three big titles come to the big screen. Liam Neeson’s returns in a new role that looks like it may combine the action of Taken with a bit more character depth with the release of ‘A Walk Amongst the Tombstones’. ‘Gone Girl’ follows the story of English actress Rosamund Pike, who is finally getting some well deserved attention from Hollywood, and newly-caped Batman Ben Affleck as Pike’s character goes missing in suspicious circumstances. The film received a warm reception at the Toronto Film Festival recently, so may be an Awards season dark horse. Finally, Denzel Washington returns as a former Black Ops Commando gone rogue in ‘The Equalizer’, a film that reunites the lead with Antoine Fuqua, director of the excellent ‘Training Day’ back in 2002.

Keep an eye open for two British stars that may just be getting Award nominations come the New Year. Benedict Cumberbatch plays tortured genius Alan Turing in ‘The Imitation Game’ (Which, being based on a fascinating true story, is a must see) and Eddie Redmayne emerges from his Marius shaped shadow to play Professor Stephen Hawking in ‘The Theory of Everything’. Talking of male leads, this autumn sees the opportunity to see how Luke Evans fares as a leading light in ‘Dracula Untold’. The story follows the demise of Vlad Tepes from loving father to Vampire and promises a smorgasbord of special affects and could be the anti-hero version of ‘Batman Begins’. Alternatively it could be a rather expensive flop, which would be a shame. However if there is bound to be at least one Turkey this Christmas, it has to be the re-vamped ‘Teenage Mutant Ninja Turtles’ – I’ve got the feeling the gang should’ve stayed in their shells. Nevertheless on the flip side of the coin, the surprise Christmas cracker may just be ‘Foxcatcher’, the real-life story of the Schultzes, the pair of wrestling brothers played by Mark Ruffalo and Channing Tatum, and their relationship with Du Pont, a super-rich benefactor played by Steve Carrell. Expect surprisingly powerful performances as well as an unusually straight-laced Carrell receiving plaudits from across the board.

Ok, so there’s some of the big titles, but here’s my 3 to watch (Er, literally and metaphorically). ‘Fury’ is a WW2 epic fronted by Brad Pitt that could reach the heights of ‘Saving Private Ryan’. ‘The Drop’ is a slightly more indie gangster piece that sees Tom Hardy dabble in the shady world of money laundering which should give him ample opportunity to showcase his gritty talent. However, the stand-out film to watch this Winter has to be the return of Christopher Nolan with ‘Interstellar’. A film that combines the brilliance of Nolan behind the camera with the excellence of Hollywood’s Man-of-the-hour Mathew Mcounaughey and the always brilliant Anne Hathaway could just create a classic piece of sci-fi.  

So there we have it, a brief, superficial look at what will be gracing the screens in the months to come. 2014 may not have been a vintage year so far, but with title after title coming off the production line it could just turn stellar; in more ways than one.

RIP Robin Williams

It seems perhaps apt that whilst celebrating an actor which was so gifted with the English language that I find myself bumbling in the prosaic. Put simply, Robin Williams was a maverick; one of those once in a generation actors that brings their own unique nuances to both comedy and drama. Few can boast a back catalogue like his but perhaps more importantly few can profess to lighting up so many lives across the world.

It would be lazy to just sit here and arbitrarily rank which of his films was the best, so instead, here's a few of my favourites and how he brought the roles to life. For many of people my age he will be the genius Genie from 'Aladin', a role which showcased his ability to bring a character to life solely through his voice. His rendition of 'Prince Ali' is one of those Disney songs that holds an intrinsic place in a lot of our minds - one line and we're all singing away. He was the mad scientist behind 'Flubber', the leading man in 'Jumanji', as well as countless other family orientated films that hooked all ages. However there are three which I believe show his incredible capacity to entertain and pull at the heartstrings. 'Good Will Hunting' did indeed win him that most deserved of Oscars, and goes down as one of his greatest performances. However both 'Good Morning Vietnam' and 'Dead Poets Society' become almost one-men shows in themselves, as he is utterly captivating in both. Whether that be the irreverent and zany humour from 'Vietnam' or the perfectly judged and inspirational Mr Keating from 'Dead Poets', this was an actor who had it all.

What can we take from an event as sad as this? Well combine this with the untimely demise of Phillip Seymour-Hoffman earlier this year and it creates a cautionary tale. Perhaps those who lust fame and fortune may begin to realise that the glitz and glamour of Tinsel Town isn't a miracle cure for all of your problems. Both men had their demons, and despite being loved and admired they perhaps tragically felt they had no one to turn to. However if this helps to remove the tabboo around Depression then perhaps Williams can achieve as much in Death as he did in life; however hollow that sentiment is.



I'll never meet Robin Williams, which is something I am incredibly sad about. Yet we can all still revel in his brilliance for years to come. Forthright, open and honest, Williams own statement that "Words and ideas can change the world" is one that must resonate with all of us. However perhaps the final word should go to a child at my work today who simply stated "He made the whole world laugh" - now that's not a bad legacy at all is it?

Guardians of the Galaxy

When Marvel announced the release of Guardians of the Galaxy, there were some concerned looks. People were indeed anxious with the lack of star quality in the Guardians own line up, and that the source material that the story is derived from was limited and little known. However, the reality is that Guardians showcases Marvel’s versatility, their ability to create instantly likeable characters and their capacity to create a fun, humorous story to add to their back catalogue.

When petty thief Peter Quill (Chris Pratt) steals a mysterious orb, events are set in motion which pits the empires of Kree and Xandar on the warpath, in spite of a recent peace treaty.  Quill’s subsequent imprisonment in a high security prison sees him draw an uneasy alliance with super assassin Gamora (Zoe Saldana), the titular Drax (Dave Bautista) and the unique double act of Rocket (Bradley Cooper) and Groot (Vin Diesel). From here these ‘heroes’ soon discover that they could be the only people who save the universe from the nefarious Ronan (Lee Pace).

Looking at the Guardians themselves and it is abundantly clear that Marvel still has the ability to introduce new, interesting characters to the fold. Chris Pratt’s ‘Star Lord’ is the studios’ most instantly likeable and charismatic lead since Tony Stark back in Iron Man I, and the rest are just as captivating. Gamora acts as the perfect foil to Quill’s flamboyance whilst the fact that Drax can only take things literally is a fountain of comedy throughout as well as showcasing an excellently subtle amount of character progression as the film progresses. However it is the almost Han Solo-Chewbacca axis with Groot and Rocket that provides the most laughs as well as emotional depth. Groot is incredibly lovable, if challenged linguistically, and Rocket is the pessimistic, criminal genius that proves that this band of heroes isn’t quite as squeaky clean as Marvel’s earlier characters.

The whole film almost feels like an open love letter to the most famous space-based sagas of the last 40 years. The cavalier attitude of the Guardians feels very Star Wars, whilst even the guns that Quill uses could have come from the arsenal of the U.S.S. Enterprise. This is a gentle nod to the pioneering sci-fi of the late 70s and 80s and the way fact that most of the films’ most serious moments are undercut with humour is also so refreshing. There has been a tendency in recent years to make superhero films go darker and darker a la Christopher Nolan’s Dark Knight Trilogy. Now, I loved that trilogy, but it’s so good to see a film that puts sheer enjoyment first. Indeed, the bad guys in the piece don’t have a great deal of light to their considerable shade, with Ronan, as well as his sidekick Nebula (A shockingly de-gingered Karen Gillan) staying firmly in the Nasty Bastard category throughout. But all of this doesn’t really matter, as they both do this to great effect. Moreover the stunning visuals as well as excellent sound track keeps the pace bouncy and fun. 

Is it perfect? Well no, but there are only a few minor things. As I’ve said, you could ask for a bit more depth to the bad guys’ characters, but that isn’t too distracting. Benicio Del Torro’s ‘The Collector’ however was a small point of annoyance for me though, as he and his servants seemed to be a rushed plot device to try and add a bit of context to the film. Finally, (minor spoiler warning) the aerial finale is one that is strikingly similar to The Avengers, as well as this year’s excellent The Winter Soldier. Does that make it less enjoyable? No not really, but this repetition could just be the only side note of caution from what is otherwise a brilliant couple of hours of entertainment. 

Therefore Marvel’s biggest risk could just turn into its biggest success. Guardians is the fun ‘heads’ to The Winter Soldier’s serious ‘tails’ on the Marvel coin of films, with both showcasing the remarkable ability for the studio to reinvent itself and not to stagnate. Stick with the sombre 10 or so opening minutes of the film and you’ll be rewarded with two hours of unadulterated entertainment that flies by. The presence of ‘big bad’ Thanos, who we saw at the end of The Avengers, in this film further suggests that this rag tag group of unpolished heroes is here for the long haul, with this film acting a the near perfect meet and greet for them and the audience.  

90/100

Dawn of the Planet of the Apes

When ‘Rise of the Planet of the Apes’ (Mercifully known hereafter as ‘Rise’) hit the cinemas in 2011, it was a certainly a surprise critical and public hit. What ‘Dawn of the Planet of the Apes’ (Dawn) does so well is that it takes the poignant, human side of the first film and expands it, whilst also creating a sprawling action thriller that keeps you on the edge of your seat.

So, 10 years have passed since the Simian Flu that we saw at the end of ‘Rise’ was first leaked into public domain and in that time it has destroyed civilisation as we know it. Only a pocket of survivors, led by Dreyfus (Oldman) and Malcolm (Clarke), exist in what is left of San Francisco, and they’re running out of oil. Meanwhile, a Utopian Ape paradise is thriving under the leadership of Caesar (Serkis) yet when a stray group of humans reach this paradise, high tensions and an energy crisis put these two sides on an unavoidable collision course. 

The star of this show is without a shadow of a doubt Andy Serkis’ Caesar. The character himself is a much more complex ape than we saw in ‘Rise’. He has to balance Vito Corleone-esque family duties with an at times burdening leadership, whilst also having to contend with the mesmerisingly malevolent Koba (Kebbell). The range of emotions that Serkis is able to portray through the magic that is Mo-Cap is incredible. After a while you forget that each of the Monkeys that we see are all men clad in green morph suits and laden with small sensors. This could be the film that makes Mo-Cap relevant in the same way that the superlative Avatar made 3D a serious concept in Hollywood. Fortified by Caesar’s brilliance, I don’t think it’s too far a stretch to say that this form of production is the future of special affects, as it’s allowing acting to make a comeback after over a decade of computer generated monopoly. That being said, the actual action sequences are stunningly executed and are rich with tension from beginning to end and there are times when this feels more like an action thriller than a sci-fi.

Less convincing are the humans in the piece, as well as a slightly predictable main story. Malcolm, played by the ever dependable Jason Clarke, is perhaps the only human who is allowed a back story and enough time on screen to grow and show some depth. His chemistry with Caesar really drives the story onwards, but the rest of the human cast seem somewhat underused. The epitome of this is the brilliant Gary Oldman, who is only afforded a small amount of back story and time on screen and I feel like that’s a waste. Moreover, Clarke’s new family just seems like a very blatant attempt to force the viewer to see the overriding similarities, not differences, between the apes and the humans. However none of this ever really annoys to any great extent as the mixture of the Apes and the action remedies any minor problems.

Therefore when you look at this as a whole it is simply fantastic. It’s a sprawling action epic laced with heart, tension and deceit and builds upon ‘Rise’s’ positives. Towards the end of the film the sun does indeed rise and the light of dawn floods through San Francisco. Of course when you look at the film trilogy (with a third installment expected in 2016) this does represent the birth of a new Earth and the start of a war but it may just signify the latest evolution to sci-fi and visual effects. Hail Caesar!

89/100

100 Word Reviews: Captain Phillips, Pain & Gain, We're the Millers

Captain Phillips

Plot – Captain Phillips (Hanks) tries to prevent the capture of his ship by Somali pirates.

100 Word Review – Those with a nervous disposition should maybe stay clear of this film. There are layers upon layers of anticipation and tension, yet this is the film’s greatest asset and is what makes it so good. Cinematically it is shot almost like a documentary which adds to the real-life feel which is integral to the movie. Barkhad Abdi is a revelation in his first major film role as Muse. His steely determination is sometimes expressed by a single stare or look. However Hanks is the star of the show in a role that showcases what a diversely talented actor he is. 91/100

Pain and Gain

Plot – Body builders Lugo (Walberg), Doyle (Johnson) and Doorball (Mackie) use the American Dream as inspiration for a kidnapping.

100 Word Review – Forget roids, it feels like the film itself has taken Speed. The pace is frenetic, the range of shots is diverse and the tricky job in balancing a crime caper with a comedy is frequently mastered. There are laughs throughout, which perhaps comes from the ludicrous nature of the TRUE story that this film was inspired by. The Rock steals it for me, as he fleets from the forgiving nature of a born again Christian to Tony Montana-ian levels of cocaine addiction. At times messy but a thoroughly enjoyable film nonetheless. P.S. It’s also a gold mine for inspirational quotes. 79/100

We’re the Millers

Plot – Small time pot dealer David (Sudeikis) gathers a rag tag group, including a stripper, runaway and loser, to pose as a family in order to smuggle drugs from Mexico.

100 Word Review – A fresh and original comedy that doesn’t overly rely on cliché. Although perhaps the ending is a bit predictable, the main bulk of the film feels different. Each member of the ‘family’ offers something new. David is cuttingly sarcastic whilst Rose (Aniston) is equally feisty (as well as proving that Aniston still has it). Casey (Roberts) is perhaps underdeveloped as a character but is still the epitome of an angsty teen, whereas Kenny (Poulter) is a brilliantly awkward addition who creates the most humour. Yes, the concept is utterly ridiculous but it tries to be different and supplies consistent laughs. 83/100

New to DVD: Dallas Buyers Club

It’s very easy to idly assume that any film that features the men who took the ‘Best Actor’ and ‘Best Supporting Actor’ awards respectively at the Oscars must be a good film. Thankfully though, Dallas proves this mantra correct once more, as the performances of Mathew McConaughey and Jared Leto prove to be funny, deeply moving and perfectly acted, which in turn makes this film a triumph.

To set the scene, McConaughey plays Ron Woodroof; a drug injecting, money squandering, lothario of a Cowboy in Texas. Ron’s a typical man from a conservative state that happily still abhors gays and disregards the growing storm of HIV-AIDS that rocked the world in the 1980s. But when Ron is found to be HIV positive and told he has only days to live, the protagonist gallantly decides that there “ain’t nothing that can kill Ron Woodroof in 30 days” and delves into the shady world of untested drug treatments in order to survive. He flies all over the world to do so as well as becoming a de facto dealer for fellow AIDS sufferers, including Leto’s transvestite character Rayon. Thus, the Dallas Buyers Club is born. The main plot strand of the film is Ron’s fight against not just the illness but also his fight against the doctors and corporations that were giving the drug AZT to existing patients. As a result, it casts light on the callous nature of the big bad corporations who seemed to only want money from their part in fighting the epidemic – with the patients becoming collateral damage. All of this makes you appreciate the film on a grander scale, as you can see that it isn’t just the story of one man’s fight.

However let’s start with the two leading men. Both underwent huge physical changes to make the parts look authentic, with Leto donning some garish woman’s clothing and McConaughey losing sufficient weight to look gaunt and frankly ill. However, more than the aesthetics, the two actors cover the whole emotional spectrum with their parts. Woodroof is a man whose bigoted views are turned on their head as he becomes ostracised by his friends yet he still has that casual cockiness that we see at the onset. Then there’s Leto; for all of Rayon’s (real name Raymond) outlandish bravado there are some gut-wrenching scenes that capture the deep despair that the illness must have brought to hundreds of thousands of people. The chemistry between the two creates both humour and a sense of camaraderie in the face of long odds.

Beat for beat the film never gets bogged down in detail which is, in the main, a good thing. It fleets from day to day, sometimes with whole months left out, but all of this makes the film flow. There’s a beautiful irony in the fact that the film never wastes time nor takes it for granted, as this is exactly how Ron himself acts. He’s a man who lives in the present, as the future bears no security for him. But that’s not to say that there isn’t humour present. Dressing up as a priest in order to smuggle drugs across the border may not be moral, but it’s certainly entertaining. The only problem is that besides these two, and the amicable doctor Eve, there’s not a lot of meaty support cast to carry the plot onwards or give it another angle. Moreover, there are times when you almost need a little more explanation and depth to the story, as otherwise you have to join up the dots and come to the one sided conclusion that all doctors and pharmaceutical agencies must be horrible bastards.  

That being said, there is so much to admire here. Ranging from the brilliant acting to the stylistic way in which the film is put together. It’s the crowning glory of the ‘McConaissance’ and is yet another brave piece of film making. When you look at three of last year’s most successful films – This, 12 Years a Slave and The Wolf of Wall Street – the common denominator is that they’re tackling voodoo subjects that have previously been swept under the rug. That alone deserves credit, yet they would mean nothing if they weren’t excellently put together. This is a film bristling with hope, despair, comedy and drama and is certainly worth a watch if your revision schedule allows.

90/100