| Junior's Film Corner (2009) -
Critique and Collection
†
October
2009
Doomsday
Finally picked up this from Dog Soldiers
director Neill Marshall. Both my mate and my little brother told
me it was a cracker. Too right. And now I can tell you, if Trails
is to become a movie, I want this guy at the helm. It is as if we
have been inspired by the same histories of filmmaking and storytelling,
right down to that which we would pay homage to. In this one in
the beginnings you get quotes from Aliens, just like you
did in Dog Soldiers. Great. Mad Max is so much
an influence and thoroughly welcomed and well done.
The mixture of the medieval, the SF, the apocalyptic
is executed expertly. The narrative is classic and refreshingly
simple as a carriage for the action, which is far from dumb.
Sure enough, with the CR21 rifles, and the native
Neostead shotgun, plenty of the work was done in South Africa. A
huge number of the crew hailed from SA, and the rawness of the scenes
gives a fresh feel to the genre. The real dirt, the real grit, combined
with the struggle to build up society again is solid stuff.
Not to be egotistical, but it reminds me a great
deal of the vision of my own work. I see the PC games of both S.T.A.L.K.E.R.
and the Fallout series here, primal savagery mixing it
up with high-tech in just the right proportions.
It is the story though, the vehicle of spectacle,
not trying to make a point, lay claim to any deeper meaning, which
reminds you it is all about the entertainment here. This is in no
way Threads. In saying that, it still makes enough noises
about the world we live in, the attitudes to be of value if you
so desire to take notice - but only after the first half dozen viewings
for the visceral carnage and the high tech vs. low tech warfare.
You can't really loose with a classic goal driven
narrative, blood-curdling encounters and an ever-dwindling team
of heroes facing increasingly intense confrontations to reach their
objective, which of course is to save humanity. But even after all
the effort, sometimes things don't turn out quite as you planned
or expected. Maybe that's a good thing - or maybe its just a clever
opening for a sequel.
The rain comes down, billions of fine droplets in
a fresh cascade, healthy, life-giving. I am sheltered, forgetting
the gift of it and the cleansing hardships of nature, if for a moment
or two. The Tui outside calls to its mate and I remember where I
am. The sensations I feel in this world, at least in this particular
moment, are everything Doomsday is not.
Top ^
August
2009
Dark Angel
Sometimes a film sticks with you for years, sometimes
for unknown reasons. And so I rock into Real
Groovy and check out my favourite section, SF. After sussing
out the Horror section for skool. What is there but two old favourites
which I didn't expect to see: Dark Angel, and the BBC classic
Day of the Triffids (more on this soon). Hope I can do
some cross over work with this Genre paper I'm doing. We'll see.
Otherwise its all valuable stuff for going on and doing Honours
next year.
Big hair for the ladies, sideburns for the lads
and a soundtrack by Jan Hammer. A big unoccupied industrial complex
is just about always the stage for the finale, and hard inflections
on dialogue are typical of the time - either the result of bad acting
or a generational thing for emphasis or drama. Yes, 1990 equals
coming off the back of the 80s. Oh yeah, a time when the Uzi was
cool. Its simple, it works, and for that reason alone it still is
in my opinion. Particularly the micro. Something to be said for
a cyclic rate of 1250 rpm. Big outrageous explosions, extremely
simple plot lines made out to be ingenious and complex, and unlikely
pairings of partners are all part of this, almost classic, since
it only has a year or so to hit the 20 year's old mark.
You can't go wrong with an alien drug dealer coming
to earth, pursued of course, by a alien cop. Injecting human victims
with huge doses of the white stuff is quite ingenious, in order
to extract endorphins. Much combat, mystery and problem solving
takes place in Texas.
Probably the best quote of the entire flick is:
"I think we're dealing with aliens, and not from Mexico."
Not to say it is an intended analogy of the film but you get the
idea. Film as social commentary. Things might be a bit sensitive
so you just make some fantastic weapon, some alien or some system
stand in for what you're really talking about. Horror films are
classic for this, particularly the classic ones :) This issue is
xenophobia - and let's face it, south of the border, illegal immigration,
drugs and what have you is as much a problem as it has ever being
for the US.
The Mongolian guy who was in Hans's gang in Die
Hard, who took the chocolate bar, he's in there. Dolph is a
big boy, so whoever played the alien drug dealer is absolutely huge.
I just clicked too, the coroner, Dolph's lady in the film, she was
the sarge's (Terrence Knox) girlfriend in the TV series Tour
of Duty. So long ago can't remember what she did - think she
was in the green, and a psychologist?
Calico SMG alien special. Serious firepower, take
out half an apartment block on a bad day. Pretty much the classic
idea of that generation when it comes to "space guns",
take a real world weapon, usually a novelty example of the time,
and turn it into something else; much like the Barrett, as a Cobra
Assault Cannon of Robocop fame (also the rather rare Colt
SCAMP pistol used by Murphy as Robocop or the ARES folding SMG used
by the kid in Robocop 2). One of the suits in the boardroom
had a real nice Colt Commander, speaking of things that go bang.
This one reminds me much of Split Second,
starring Rutger Hauer, the world's most famous Dutchman, best known
for his role as the replicant Roy Batty in Blade Runner.
Another one of note in the era, and well worth a look is Alien Nation.
Ah, rotten milk... Just don't go swimming in the sea.
Right, its midnight and I have to get up early to
read more on the Brit Hammer Horrors.
Top ^
July
2009
Screamers 2
Very enjoyable sequel of one of my most favourite
films of all time. So called B grade can be so rewarding, do so
much on a budget, and even in the pure fantasy of classic science
fiction, give a feeling of authenticity which big blockbusters often
miss. The rough, unkempt appearance of survivors on Sirus 6B are
a classic example, next to those that arrive on the planet after
the events of the original film. The effects are far better than
most would expect, and, again, put the big budget films to shame
when considering what they have to work with.
Very nice collection of bang bang happiness - the
G36C features, the fully chopped 36 with a sight rail rather than
the standard issue sight / handrail arrangement. The operator has
a decent telescopic sight on board which is a bit off-putting for
those frequent close range shots needed against screamers, and doesn't
go well with a short barrel for the longer shots a scope enables.
The IMI Tavor is there too. The bullpup Israeli
rifle is a quality system of weapons from the super compact model
to the light sniper version, it looks the part and is perhaps an
unfortunate sideline to the financial reality of being able to get
a far cheaper deal for M4s from the US than they can pump out their
own weapons.
While I enjoyed the combat philosophy of the original
film, long range sniping and stand-off tactics of the Alliance,
close up firepower of the NEBs, even with modern day recognisable
firearms here, it somehow worked. Not as pleasing, or originally
satisfying, but okay.
And with combat, and in the Screamers world,
thanks to PKD, its pretty bloody place to be. If you don't like
blood, best look the other way, while the buzz saws do their thing
once more in such metallic style, the way only the autonomous mobile
sword can hope to achieve.
Nice to see actors who you didn't recognise too,
that are therefore, more their character's than the star, had it
been a big Hollywood job. Lance Henriksen was really the only exception.
Considering his role as Bishop, the android in Aliens,
an apt role for him in this one.
If you enjoyed the original, you shouldn't be disappointed.
No complex story-line (as if you'd expect it) just pure entertainment
in the SF horror (or should that just be terror?) genre. A worthy
companion to a film based on Philip K. Dick's short story Second
Variety.
And yes, definately an opener for a further film.
Coming soon...
May
2009
Defiance
http://www.defiancemovie.com
Sadly, the date above, compared to the one below,
signifies just how long it has been. Well, this is close to showing
the drought. It has been a long few months since I have been to
the big screen. Though the last visit was, alas not to see Blade
Runner.
Top ^
October 2008
Blade Runner - The
Final Cut
http://minadream.com/bladerunner/
Art inspiring art - what am I on about? Blade
Runner. I picked up the Final Cut two-disc SE version on Friday
for my very last assignment in the BA part of my Film degree.
It is an truly gratifying experience every time
I take in that film. This version doesn't have those irritating
voice overs. If you don't like to think too much this isn't the
version for you. It doesn't have the happy ending - it ends at the
lift where it always should have ended. Give something to the audience,
don't give the game away. If you like happy endings this isn't the
version for you either.
This release has an extras disk that is worthwhile,
unlike most films which give you footage or docos that are there
for a flash and gone again before you get a chance to even contemplate
their content. Over three and a half hours of additional footage
detailing the film's production and eventual re-release versions.
Real art takes a while to be truly appreciated and Blade Runner
was no exception. Many simply didn't get it, and now, well, in parts
of the world - how different is the smog and the crowded streets?
Dystopia, about the only thing that doesn't exist is the spinners.
The Bonus disk, the collective documentaries known
as Dangerous Days includes:
* Incept Date – 1980: Screenwriting and Dealmaking
– 30:26
* Blush Response: Assembling the Cast – 22:46
* A Good Start: Designing the Future – 26:34
* Eye of the Storm: Production Begins – 28:48
* Living in Fear: Tension on the Set – 29:23
* Beyond the Window: Visual effects – 28:49
* In Need of Magic: Post-Production Problems – 23:05
* To Hades and Back: Release and Resurrection – 24:12
There are not many films that do it, but Blade
Runner is one... that is, to inspire me further in my own creative
visions, but perhaps more importantly, remind me that what I do
each day is worthwhile - that the road has been worthwhile, even
if some people don't get it... much like that very film. A lack
of patience, a lack of time, or concentration, more pressing concerns,
or a singular mindset... whatever it maybe. The irony is, that is
what the film is about too, not having enough time. Both literal
narrative and one of its many messages - a warning to humanity.
Dick was well ahead of his time. So much so it threw him off the
rails, while demonstrating that most people weren't, for many different
reasons, on the rails in the first place.
I don't need the voice over narrative. And I'm
glad.
The modern world thinks its so smart and yet its
set to implode in on itself. We are all so clever in our high speed
lifestyles our brains are frying and we don't even need the drugs
we feed ourselves to keep up to do it. Hearing is not the same as
listening. Talking is not the same thing as speaking. Breathing
is not the same thing as living. In totality we have forgotten all
of these things to the point of recklessness.
Half the time I write here there is some example
embedded in the hypertext. So, in truth, supposed misfortune has
been fortuitous for me, giving me the time to slow down, to see
with a fresh clarity. One can only hope that a freedom to express,
here and elsewhere opens the floodgates and benefits others. I certainly
don't pretend to, or even want to know how the world works. But
I will attest to knowing a few ways that it fails to work.
It may seem cynical, but that's one of the reasons
I write, and continue to write. I've put several million words to
paper, and thought substantially more. We shall see if it makes
a difference. Well, maybe I have. Who knows? Does it really matter?
Perhaps not. What does matter is that I discovered my medium, made
a conscious decision, and wrote.
Blade Runner
Cult Science Fiction at its best...
Top ^
February 2008
Transformers
This film, based off the Hasbro toys
of the same name, and the cult TV series, has its roots in Japanese
Anime, and has done a good job considering the fan base and staying
true to the universe. If you're not familiar, things centre around
two opposing sides of an alien race, of a bio-mechanical make up.
They can "transform" from humanoid-like form of robotic
nature to a given machine, specific to each character. Trucks, cars,
planes... you get the idea. My favourite is the bad guy tank named
Devastator. There was another of the bad guys based off the new
anti-mine truck which further down the line is a South African vehicle.
Needless to say it is being put to good use in Iraq, and the troops
can't get near enough of them. SNAFU.
Basically, we have the bad guys, the Deceptacons,
their leader, Megatron, voice played by Hugo Weaving(who is known
for The Matrix and V for Vendetta) having been on
earth for sometime now, originally discovered by young Sam's (Shia
LaBeouf) great grandfather Captain Archibald Witwicky way back when.
Anyway, the deal is, this thing called the cube, the centre of all
life for the species is now on earth along with Megatron. Conflict
stems around the need to find this cube, of which Captain Witwicky's
surviving glasses hold an imprinted map of its location on the lenses.
One of the Autobots, the good guys, is here to look after Sam. Bumblebee
is cool as and you just want him as your new best buddy.
Anyway, as things develop, the new battleground
becomes earth as both sides have reinforcements arrive in quick
succession. The US military is at odds with the technology, but
soon get to using A-10's and AC-130 gunships to good effect. 105mm
light guns in a plane is a fun idea... yeah. Good for dealing to
drug cartels' crops south of the border... and dealing to roving
deceptacons. The military soon finds an edge after sussing that
sabot (pronounced"sa-boo") rounds are good for the MGL
grenade launchers and bad for nasty robots with bad attitudes. Evidently
the DU (Depleted Uranium) firing 30mm gatlings on the warthogs had
the desired effect. That's what you get from spent reactor fuel...
hot as the sun, real hot...
"There's more to you than meets the eye."
Well, of course the line had to come at some point. Here it's Sam
putting in the final word as he drops off Mikaela, played by Megan
Fox, after a somewhat complicated initial meeting with Bumblebee
playing around and making Sam's life more difficult than a teenage
boy's life needs to be. Of course you know that these two are going
to get together in true Hollywood style. The relationship is really
well handled. All the aspects of a typical youthful encounter...
just with robots added in for something a little different.
The Rock is a great flick, and Michael Bay
was behind that one too, but all told he's not my favourite director
by a long shot. Basically, I am a firm believer that there is far
too much attention given to actors and directors. Actors, by the
way I mean big name actors who you no longer see their characters
but them, the actor. Directors, big name directors of whom you think
their name and not the movies they've made and, perhaps, why they
are good. The reason they are good is because of a team effort.
Otherwise a film of excellent potential ends up mediocre.
So, in that regard, Transformers did transform,
with the help of a huge array of talent. Not an overstated director
on any count, or any big names. Though I am a Jon Voight fan. You
know this man if you know him. Heat is my pic film with him in it.
In Transformers he plays the Secretary of Defence.
Actors and actresses are all talent here, and it
is as if their natural leanings have been drawn out to full potential.
Kevin Dunn plays Sam's father Ron and is convincing as the father
figure, which, you may have seen him do before in Small Soldiers.
Threatening punishment on one turn, then proud as punch when he
discovers a girl hiding in the lad's room, knocking the knuckles
in congratulations.
You have the wee girl, played by Sophie Bobal,
and all she says to the Autobot as he walks over top of her after
landing is... "Are you the tooth fairy?". So cute. The
cutest of the cute. Man... shucks.
Rachael Taylor was good as the token foreigner,
computer expert, young Aussie girl helping out on the side of good
and true. Nice, as here we have another example of Hollywood's move
away from forcing everyone to be American. Like weapon's needing
to be reloaded, these days, its good to have characters from other
countries, talking like they talk, behaving like they do. The world
is a big place. It's full of real human flavour and its top marks
for any production who wants to show it that way.
Special effects and animation was a big part of
this film and done to perfection. The complexities of the transformations
is quite a sight to behold. How these artists managed it I do not
know. In some ways, it made the film. With painstaking countless
hours at the keyboard, sucking up the radiation of their computer
screens, they brought an old toy to life in real style to the big
screens of Hollywood. Perhaps, like Lord of the Rings, it
couldn't have been done properly until now, technology finally having
closed the gap for the visual realisation.
Editing must have been such a core and came off
really well. I can see the cutting floor now. Like so many other
aspects of film making, this one is underrated big time. Just look
at the USAF guys during the second attack after escaping the massacre
at the base as Captain Lennox [ and his mates
take on the scorpion decepticon - a totally awesome sequence which
includes a AC-130 spectre gunship and a couple of warthogs.]
(Josh Duhamel) tries to call home in the middle
of a firefight. Rolling action, tension and humour together in a
bundle like that as he tries to sort out comms with the Indian bloke
in the land of outsource. Taking the stereotype and running with
it was good, but the editing made it all class.
Humour comes from quality scripts and writers,
they make the characters come alive. No, its not the actors who
decide on what's said, people. Writers create the stories and bring
them to life with solid characters and situations. It makes them
human, not just one dimensional... errr... robots? This film is
a crack up, from Sam's "special time", to our oil changing
Autobot on the Special Agent of Sector 7 played by John Turturro,
and the earlier moment of Sam's wee dog Mojo, doing the business
and our friendly, if slightly agitated Autobot, being quite concerned
about going rusty. Now that's how you make a robot come alive, have
feelings and emotions, giving them human traits. Speaking of John
Turturro he plays these sorts of fellows brilliantly. Real cocky
and upstart went he's on a roll, but a frustrated blithering mess
when it goes all wrong.
The coolest, most outstanding thing about the credits
was to see thanks go out to all the members of the US Armed Forces.
Top notch. After all the assistance of individuals, units and bases,
they went beyond it and thanked the combined institution for their
service to a fine country. Top marks.
It was nice to see Kiwi Mike Hopkins in the credits
for his Oscar nominated work on the sound. Rock on. Kiwis are everywhere
and highly sought after. The sound track has some oldies, some new
stuff, and its all good stuff. From Marvin Gaye to Linkin Park,
suits so well. You have Bumblebee playin' the tunes right on cue.
Ah, ain't young love grand? Yip, I might just search out the soundtrack
as well.
It is a shame the version I got, though the tin
box was the key, it only had the director's voice over on the special
features, nothing else. Will have to, eventually, get the other
version with the full range of special features - the "making
of" and all that jazz. But that's for another day and will
probably write up something extra when I do.
The film makes some political statements,
but they don't interfere with the film in any way. And reference
to "duck and cover" is pretty clever. Retro, like the
toys, has its place. Our current world is certainly an interesting
one, and a direct reflection of where we have come from, and often
not so far back either. There is an unexpected charm that such a
film can produce a certain quality from this sort of thing.
As the box says on one side "protect",
and on the other "destroy", such is the examination of
ourselves. Sure, its an action movie, based off a kid's toy, but
there is far more to it than that... far more than meets the eye.
Captain Lennox
USAF - more than meets the eye...
[ Initially I thought the entire unit
was United States Air Force, but later in the film, you see Captain
Lennox in a ACU uniform, with Army tapes and SF insignia. Such is
the anonymity of special operators when all are wearing Multicam.
The initial appraisal was due to the USAF guy in the tee, who is
the unit's USAF Combat Controller. They are responsible for coordinating
air support with the deployed ground force. ]
Top ^
January 2008
Screamers
http://www.sonypictures.com/movies/screamers/
This film does a good job of examining
Philip K. Dick's classic theme of what it is to be human. Paranoia
is central. It is based off his short story, Second Variety.
There has been some severe modifications but the themes remain constant,
as does the central concept behind the screamers, known as "crabs"
in the author's story, essentially a self-directed defence network
of miniature robots which protect the underdogs, the Alliance, against
their much more substantially financed and equipped New Economic
Block rivals. A mobile mine field if you will.
There has been no contact of consequence between
the two factions for sometime, then a sole NEB soldier enters the
Alliance base, risking life and limb to bring a message to the enemy
for a peace negotiation. This sets off a chain of events worthy
of any classic SF tale.
The short story was written in the Cold War era
and in a much earlier time in Science Fiction, thus the setting
for it was on the Moon, and the UN served as what is now the Alliance,
with the Russians predictably the bad guys, now the dominating power
of the NEB. Quite clever modernisations, changing with the times
and a climate of political correctness. It pays to keep the history
of the original adaptive material in mind when looking at a film
like Screamers. It also reminds us how relevant such work remains
today.
The one liners are classic and well scripted, quite
skilled in reflection of military humour and the psychological survival
necessary of battlefields, even in the future out in space somewhere.
On top of that the conflict is perhaps even better
displayed with some good, sometimes excellent, acting skills. Hendricksson's
argument with his XO early on is thoroughly convincing, played by
Peter Weller of Robocop fame.
For those not in the know, the shades are not for
essence of cool, but rather, for the rather critical role of preventing
snow blindness. There are also contemporary military kit, like ET
pouches and mini-crock neck torches. The details include unit badges
and distinctive uniforms of the two opposing forces. The standard
issue weapons of the Alliance and NEB present differing tactical
methodologies which demonstrates some forethought rarely seen, even
in big budget features.
This work, done on a shoe-string, filmed in Canada,
I believe is worthy of a sequel, or as is popular today, a prequel,
perhaps dealing with the war. If the quality editing and scriptwriting,
along with comparable levels of acting can be brought about from
this feature, then it would be well worth it. These talent bases
alone outstripped any sense of the visual limitations witnessed
which might have handicapped the product. But, as can be said of
any determined crew, it only presents challenges to be overcome.
This is certainly the case with Screamers.
Give this one a look, even if SF isn't your thing.
Certainly get it for the DVD shelf if it is. If you like a thinking
person's film its worthwhile, but it also works for simple action
when you want to turn the brain off for the better part of two hours.
If you can, get hold of the short story by Philip K. Dick for a
bit of a walk down memory lane and some comparative. Most likely
it is found as the title for one of several collections of short
stories and a testament to the trails and tribulations of the author.
Commander Hendricksson
A leader against the common, man-made
enemy...
Top ^
September 2007
Pans Labyrinth and Children
of Men
It is very unusual to be able to say
that, in the matter of a few days, I've seen two films for the first
time and they are both really quality pieces of cinema which I would
unreservedly recommend to almost anyone. So without further ado,
here we go...
Pans Labyrinth
This film is the best film I've seen
in a while - and since I am currently studying film and have been
for two years, that's saying a lot. Perhaps I've never watch another
Hollywood film again... Nope, not possible. But this one from Spain
is just amazing. See it, even if you hate subtitles. There are so
many reasons to see it... even if you want a very special way to
spend two hours. Know how sometimes you watch a movie and go...
"that was two hours I'll never get back". This is on the
opposite end of the scale. The quality, the acting, the detail,
the special effects, the sets... everything was just quality. A
precious piece of cinema.
The father and son hunters - don't
waste my time says the Captain - do a proper search - pounding in
the son's nose in furious anger. Very graphic. This sort of thing
throughout the film makes it unsuitable for kids. But older teenagers,
with guidance and maturity would be no problem. Put it this way
- the messages in this film would teach most adults a thing or two.
Lessons that should not need to be learned, but today... well, its
getting critical. And that is why these films are made. Real messages.
They are not simply there for entertainment.
The fine details are precise, impressive,
like the two tests upon Mercedes from the Captain - the key - you
forgot the key... Concluded by his warning to her to be very careful.
Also, something you are seeing more commonly these days in films,
even in Hollywood (when of the appropriate genre) is the depiction
of violence, the direct and practical nature of death in the war
setting. The making sure that an enemy is dead, and the wounded
are indeed dead. Head shots - and often more than one from a pistol.
This is done not in a graphic way to glorify the violence, but for
realism. A few days after seeing Pans, I also saw this sort of thing
in Children of Men.
Towards the end, the bullet that kills
the Captain isn't "between the eyes" or in the forehead
- its through the cheek. Again, a detraction from classic Hollywood
cinema which is also a nice touch in detail. Real life is often
not so precise.
In conclusion there is a very nice
twist combining the ultimate message. And it is not one so easily
explained. Here, in a very fine example of what collaboration of
a multitude of talents can do in producing such a piece of cinema,
love and compassion in the most dreadful circumstances of war, oppression
and idealistic hatred is passionately created. Magical, both literally
and figuratively this film is a must see.
Fairy tales do exist... but indeed
we do need to be truly alive to experience them. The magic is out
there, we just have to close our eyes to our own blindness.
Children
of Men
http://www.imdb.com/title/tt0206634/
I wrote a wee bit on this one on my
Diary page but it certainly deserves a more substantial dolloping
of grammar. I've watched it twice now, at the time of writing, and
that is a testament to its quality right there. Even the best, I
would typically wait out for a week or so after an initial viewing.
Am guessing this has something to do with the fact it is somewhat
in the nature of my own work: science fiction which is near-future,
gritty and about disturbingly real and contemporary issues. A possible
future, a way for the artists involved to get a message out. And
for each there will be a different mode, or courier, view. Its a
very personal thing.
The very original concept for the film
is the eventual death of humanity because, amongst other things,
there hasn't been a baby born for eighteen odd years. Things have
been looking very bleak ever since and are rapidly going down hill.
The UK seems to be the only similarity to prior civilization left.
Amongst all this, many themes emerge, quite pertinent of the day,
including terrorism (of course - which the masses seem to have forgotten
has been going on for centuries) immigration and other social challenges
of the modern age. Entwined in it all is, of course, a little bit
of hope. A solid bit of reflection on our own humanity is shiningly
depicted in the birth scene, in the middle of the death and destruction
of a war zone. This was impressively done, very well handled I thought.
One striking thing about this film
is the nature of character purpose. People serve their purpose,
and, when they are redundant, like the harshness of war, their time
is up, they are somehow eliminated. And someone else picks up the
baton and carries the plot forward. And there are plenty of them
too, each unique. Some, like Jasper and Syd, even entertaining at
times. You even get attached to them, which is a challenging thing
to do when its not someone who is there from start to finish.
The sets are amazing. As man bleeds,
so does society, so does the streets themselves. Gaping holes are
wounds bared to the polluted skies. The old school, which, since
the premise is that there hasn't been a child born for eighteen
years, is worthless and left to rot amongst creeping vines. A metaphor
for learning. Man will never learn, and even in this crisis of infertility,
the species insists on fighting, killing and dying. Thoroughly impressed
with the closing set, the street battles are brutal, the running
gun battles are reminiscent of any quality war film which depicts
it as a decay of the human mind, a horrifically personal process.
Bloody conflict where heroes are few and far between when pure survival
is the key, and when they appear they are often not who we think
they are, and they too perish. Wounds and the dead litter the stairwells.
Careless shots lead to overwhelming counter fire, and those who
you think will survive do not.
Uniforms are modern, vehicles are modern
but worn out as time and industry has broken down. Digital patterns.
SA80s and PLCE webbing, British Army helmets make the British British.
Humvees and XM8s suggest what remains of the US stocks have filtered
through as the UK struggles away on its own. Hey, and if the project
for this rifle didn't make it as a replacement for the M16, at least
Hollywood has something cool to play with. Real soldiers' lives
aren't worth it obviously, so far as the penny pinchers are concerned,
to have a decent rifle. Enough on that. G36 variants of all sorts
including C's, denote quality, but are no assurance the user is
going to make it. All of this adds to excellent sense of authenticity
and immersion. Right down to modern night vision on the soldiers'
helmets.
This one stars Clive Owen as Theo,
the central character who is just an everyday guy who is having
a really bad day. He's no soldier, certainly not a killer, but he
is a heck of a survivor. You feel for the guy right throughout and
it seems the only really comfort he has is his mate Jasper and that
whiskey bottle of his. Michael Caine as Jasper is the local hippy.
The original form, not one of these modern day wannabes.
There are some great one-liners and
some very powerful ones as well. The feel and grit of the atmosphere
throughout the film really works and keeps you there. It is based
off a book, the credits didn't give a title, by P.D. James. See
this film, its quality stuff, no doubt about it.
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