sdillon-1
A rejoint le juil. 2003
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Brad Bird directed my all-time-favourite animated feature The Iron Giant; one of the most criminally underrated films ever. So for me expectation was extremely high for this, his second feature. Opting for computer animation over hand drawings and working with Pixar studios for the first time, I wondered if he could repeat the magic. He has. As far as I'm concerned, Brad Bird is now the Steven Spielberg of animation. It may be premature to say this after one viewing, but I think its Pixar's greatest picture to date, better even than Toy Story 2.
The story is far too good to spoil but I will reveal this much. Superheroes have become outlawed through a series of lawsuits. Mr Incredible and his superhero wife Elastigirl had to enter a witness protection programme to hide their secret identities. Mr Incredible now holds down a boring office job in an insurance company and has three children, all of whom have powers but are forbidden to use them. Suffice to say this leads to a hilarious and poignant home life full of domestic difficulties and Mr Incredible begins to long for the good old days of superhero exploits.
The bittersweet early scenes soon give way to a full-on action adventure, and this is the point where I redundantly mention how staggering the animation is, because no amount of description can do it justice. It is beautifully rendered making tremendous use of widescreen space. The witty, sophisticated screenplay has an informed knowledge of comic book lore without once resorting to the cheap, self conscious spoof so common in similar works. Instead, it has the courage to play it fairly straight, which gives the story great emotional resonance. That's not to say it isn't funny. It's frequently hilarious; one inspired gag involving capes is especially amusing and a vocal cameo from Brad Bird himself as a luvvie fashion designer is guaranteed to bring the house down. The most knowing line comes from the villain, who having captured Mr Incredible starts explaining his master plan before realising what he's doing: 'I can't believe you've got me monologuing!'
One of Bird's favourite films is obviously the 1950's version of The War of the Worlds, as both The Iron Giant and The Incredibles feature huge robots which are an obvious homage to said film. It also has the coolest 'baddies base' I've ever seen, even outstripping You Only Live Twice. Speaking of James Bond, Michael Giacchino's John Barryesque music score is outstanding, and very reminiscent of the classic 1960's Bond films. The vocal talents are all excellent; Craig T Nelson as Mr Incredible, Holly Hunter as Elastigirl and especially Samuel L Jackson as friend of the family superhero Frozone. Even the end credits are wonderfully stylish. Above all, this is one film that must be seen on a big screen. Even the most 'stay-at-home-and-wait-for-the-video' among you should make an exception (you know who you are!).
Some critics have carped that the mega-action climax is overkill and that the film is too long. Personally, I thought the finale appropriately loud and exciting and whilst it is longer than normal (120 minutes is unusual for a cartoon feature), it never outstays its welcome. In short, this is the best animated film of the year, the best family film of the year and the most out and out fun film of the year.
Oh, and for those poor unfortunates among you who haven't seen The Iron Giant yet, buy or rent the DVD and watch that too!
The story is far too good to spoil but I will reveal this much. Superheroes have become outlawed through a series of lawsuits. Mr Incredible and his superhero wife Elastigirl had to enter a witness protection programme to hide their secret identities. Mr Incredible now holds down a boring office job in an insurance company and has three children, all of whom have powers but are forbidden to use them. Suffice to say this leads to a hilarious and poignant home life full of domestic difficulties and Mr Incredible begins to long for the good old days of superhero exploits.
The bittersweet early scenes soon give way to a full-on action adventure, and this is the point where I redundantly mention how staggering the animation is, because no amount of description can do it justice. It is beautifully rendered making tremendous use of widescreen space. The witty, sophisticated screenplay has an informed knowledge of comic book lore without once resorting to the cheap, self conscious spoof so common in similar works. Instead, it has the courage to play it fairly straight, which gives the story great emotional resonance. That's not to say it isn't funny. It's frequently hilarious; one inspired gag involving capes is especially amusing and a vocal cameo from Brad Bird himself as a luvvie fashion designer is guaranteed to bring the house down. The most knowing line comes from the villain, who having captured Mr Incredible starts explaining his master plan before realising what he's doing: 'I can't believe you've got me monologuing!'
One of Bird's favourite films is obviously the 1950's version of The War of the Worlds, as both The Iron Giant and The Incredibles feature huge robots which are an obvious homage to said film. It also has the coolest 'baddies base' I've ever seen, even outstripping You Only Live Twice. Speaking of James Bond, Michael Giacchino's John Barryesque music score is outstanding, and very reminiscent of the classic 1960's Bond films. The vocal talents are all excellent; Craig T Nelson as Mr Incredible, Holly Hunter as Elastigirl and especially Samuel L Jackson as friend of the family superhero Frozone. Even the end credits are wonderfully stylish. Above all, this is one film that must be seen on a big screen. Even the most 'stay-at-home-and-wait-for-the-video' among you should make an exception (you know who you are!).
Some critics have carped that the mega-action climax is overkill and that the film is too long. Personally, I thought the finale appropriately loud and exciting and whilst it is longer than normal (120 minutes is unusual for a cartoon feature), it never outstays its welcome. In short, this is the best animated film of the year, the best family film of the year and the most out and out fun film of the year.
Oh, and for those poor unfortunates among you who haven't seen The Iron Giant yet, buy or rent the DVD and watch that too!
Spider-Man 2 has received the best reviews of any film so far this year. I'm not about to buck that trend; it is indeed a triumph.
Equal in every way to its predecessor, the movie kicks off with a brilliant title sequence incorporating paintings depicting scenes from the original film. The story picks up two years after part one with Peter Parker trying to attend college, hold down jobs (from which he keeps getting fired) and be Spiderman all at the same time. The pressure is really getting to him, and worse, his spider powers seem to be suddenly failing at inopportune moments.
Mary-Jane, with whom Peter is still secretly in love with, has become a successful actress and model. Meanwhile, Harry Osbourn still swears revenge against Spiderman for killing his father (aka the Green Goblin in part one). He has inherited his father's company and is funding the dangerous fusion research of one Dr Octavius. In the tradition of all movie and comic book scientists, something goes horribly wrong in the experiment, and Octavius finds himself possessed by four AI mechanical arms which take over his mind and turn him into classic Spiderman villain Dr Octopus.
The entire cast acquit themselves superbly. We really care about what happens with not just Peter Parker (Tobey Maguire) and Mary Jane (Kirsten Dunst) but everyone else from tormented villain Dr Octopus (Alfred Molina on top form) trying to regain his sanity to Peter's Aunt May (Rosemary Harris), who is about to lose her house because she's behind on mortgage payments. Best of all, Harry Osbourne (the brilliant James Franco) is evolving into a fascinating character; a young man spoilt by riches yet tormented by his dead father from beyond the grave. His obsession with killing Spider-Man not realising his true identity is brilliantly handled and has a splendid pay-off/set-up for part three.
Speaking of sequels, those among you familiar with the comics will spot not one but three characters available to become super villains in future instalments. The producers are wisely keeping their options open, and if the success of this film is anything to go by, the franchise could run and run.
What really sets Spider-Man 2 apart from the usual mindless summer blockbuster fare is its dedication to character and plot. Director Sam Raimi wisely keeps the human drama at the centre, with the stunning action scenes advancing rather than holding up the plot. There are several amazing set pieces, particularly one involving a runaway train. Comedy plays a big part too. There are many hilarious moments, such as a scene where Parker washes his Spiderman costume in a laundrette. Another moment with Spiderman in a lift is a hoot. Skinflint Bugle editor Jameson (JK Simmons) provides loads more laughs here than he did in the first film. Also, there are amusing in jokes for film buffs and fans of Raimi's earlier horror films (including a very funny Evil Dead reference). There is even a hilarious and highly effective homage to Butch Cassidy and the Sundance Kid.
The special effects, needless to say, are amazing. The film looks bright, vibrant and colourful, and Danny Elfman's dynamic and emotive music score underscores the drama wonderfully.
Spider-Man 2 is at its heart a hugely poignant coming-of-age story, as Peter Parker comes to terms with his destiny as a superhero. I could greatly expound on the endless positive moral and spiritual messages in the film, but I can't be bothered to. Instead, stop reading this and go and see it!
Equal in every way to its predecessor, the movie kicks off with a brilliant title sequence incorporating paintings depicting scenes from the original film. The story picks up two years after part one with Peter Parker trying to attend college, hold down jobs (from which he keeps getting fired) and be Spiderman all at the same time. The pressure is really getting to him, and worse, his spider powers seem to be suddenly failing at inopportune moments.
Mary-Jane, with whom Peter is still secretly in love with, has become a successful actress and model. Meanwhile, Harry Osbourn still swears revenge against Spiderman for killing his father (aka the Green Goblin in part one). He has inherited his father's company and is funding the dangerous fusion research of one Dr Octavius. In the tradition of all movie and comic book scientists, something goes horribly wrong in the experiment, and Octavius finds himself possessed by four AI mechanical arms which take over his mind and turn him into classic Spiderman villain Dr Octopus.
The entire cast acquit themselves superbly. We really care about what happens with not just Peter Parker (Tobey Maguire) and Mary Jane (Kirsten Dunst) but everyone else from tormented villain Dr Octopus (Alfred Molina on top form) trying to regain his sanity to Peter's Aunt May (Rosemary Harris), who is about to lose her house because she's behind on mortgage payments. Best of all, Harry Osbourne (the brilliant James Franco) is evolving into a fascinating character; a young man spoilt by riches yet tormented by his dead father from beyond the grave. His obsession with killing Spider-Man not realising his true identity is brilliantly handled and has a splendid pay-off/set-up for part three.
Speaking of sequels, those among you familiar with the comics will spot not one but three characters available to become super villains in future instalments. The producers are wisely keeping their options open, and if the success of this film is anything to go by, the franchise could run and run.
What really sets Spider-Man 2 apart from the usual mindless summer blockbuster fare is its dedication to character and plot. Director Sam Raimi wisely keeps the human drama at the centre, with the stunning action scenes advancing rather than holding up the plot. There are several amazing set pieces, particularly one involving a runaway train. Comedy plays a big part too. There are many hilarious moments, such as a scene where Parker washes his Spiderman costume in a laundrette. Another moment with Spiderman in a lift is a hoot. Skinflint Bugle editor Jameson (JK Simmons) provides loads more laughs here than he did in the first film. Also, there are amusing in jokes for film buffs and fans of Raimi's earlier horror films (including a very funny Evil Dead reference). There is even a hilarious and highly effective homage to Butch Cassidy and the Sundance Kid.
The special effects, needless to say, are amazing. The film looks bright, vibrant and colourful, and Danny Elfman's dynamic and emotive music score underscores the drama wonderfully.
Spider-Man 2 is at its heart a hugely poignant coming-of-age story, as Peter Parker comes to terms with his destiny as a superhero. I could greatly expound on the endless positive moral and spiritual messages in the film, but I can't be bothered to. Instead, stop reading this and go and see it!
Widely considered the best book in the series, Harry Potter part three is cracking read. A darker addition to the Potter canon, it deals with the escape of murderer Sirius Black from Azkaban (not a middle eastern country but a wizard prison). Apparently responsible for betraying Harry's parents to Lord Voldemort, Black is now after Harry too. His friends and teachers all want to protect him, but Harry has something else on his mind: revenge.
It's therefore a great shame to report that this instalment, despite a visual makeover, a new director, and better performances from the lead actors, remains depressingly pedestrian in comparison to the novel. All the keystone events of the book are present, yet the screenplay shows undue reverence to the source material, again forgetting the adage `Show, don't tell'. For example, just as the first film ought to have opened with the murder of Harry's parents, this one ought to have opened with Black's dramatic arrest after his apparent murder of Peter Pettigrew.
The Dementors, Ringwraith-like guardians of Azkaban prison, are initially frightening but fail to remain menacing as the film progresses. Not enough effort is made to make us afraid of Black. Key moments of emotional weight from the book are skimmed over, especially in the finale. The performances are OK, especially from Daniel Radcliffe who has improved tremendously, and Gary Oldman is well cast as Sirius Black, but one expects better from Michael Gambon, Maggie Smith and Alan Rickman. The only really memorable turn comes from David Thewlis' Professor Lupin.
On the plus side, John Williams' music score is very good; building nicely on his outstanding score for the first film he contributes some fine new themes here. Special effects look great too, especially Buckbeak the Hippogriff, a bizarre cross between an eagle and a horse. The cinematography is fine, with the Glen Coe locations looking very beautiful. And director Alfonso Cuaron gives the whole piece a stylish makeover, clearly taking a leaf out of Peter Jackson's book.
That said, this is not a huge improvement on films one and two, and given the source material should have been far better. The real problem with the Harry Potter films is they still feel like a franchise following a formula, which is remarkable considering their unpredictable plots. The old cliché is once again true; it's not as good as the book.
It's therefore a great shame to report that this instalment, despite a visual makeover, a new director, and better performances from the lead actors, remains depressingly pedestrian in comparison to the novel. All the keystone events of the book are present, yet the screenplay shows undue reverence to the source material, again forgetting the adage `Show, don't tell'. For example, just as the first film ought to have opened with the murder of Harry's parents, this one ought to have opened with Black's dramatic arrest after his apparent murder of Peter Pettigrew.
The Dementors, Ringwraith-like guardians of Azkaban prison, are initially frightening but fail to remain menacing as the film progresses. Not enough effort is made to make us afraid of Black. Key moments of emotional weight from the book are skimmed over, especially in the finale. The performances are OK, especially from Daniel Radcliffe who has improved tremendously, and Gary Oldman is well cast as Sirius Black, but one expects better from Michael Gambon, Maggie Smith and Alan Rickman. The only really memorable turn comes from David Thewlis' Professor Lupin.
On the plus side, John Williams' music score is very good; building nicely on his outstanding score for the first film he contributes some fine new themes here. Special effects look great too, especially Buckbeak the Hippogriff, a bizarre cross between an eagle and a horse. The cinematography is fine, with the Glen Coe locations looking very beautiful. And director Alfonso Cuaron gives the whole piece a stylish makeover, clearly taking a leaf out of Peter Jackson's book.
That said, this is not a huge improvement on films one and two, and given the source material should have been far better. The real problem with the Harry Potter films is they still feel like a franchise following a formula, which is remarkable considering their unpredictable plots. The old cliché is once again true; it's not as good as the book.