ZChrisJ1995
Joined Jul 2011
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ZChrisJ1995's rating
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ZChrisJ1995's rating
"The Force Awakens" does a fantastic job of recapturing the light-hearted, adventurous tone of the original Star Wars trilogy. While the prequels were bombarded with hammy, melodramatic dialogue and dull and stilted performances, this new instalment features rapid-fire, witty lines and more grounded and likable characters that helped make the originals great.
The plot at some points is way too reminiscent of "A New Hope" (Did we really need another Death Star?), but this was, I suppose, necessary to bring new fans to the fold. There are other points where the film's use of humour overplays its serious elements, but this only happens sporadically. And the film certainly doesn't lack in its hard-hitting, emotional content, particularly towards the end.
The new leads do a terrific job of taking up the mantle previously held by Luke, Han and Leia. Rey (Daisy Ridley) is basically a female Luke, but is still able to inject enough originality and believability into her role to not be a cut-and-paste. John Boyega as Finn likewise bears a lot of similarities to Han Solo, through his initial desire to ensure his own survival, yet once again brings plenty of charm and individuality to his role. Oscar Isaac's Poe Dameron doesn't get too much screen time in comparison, which is a bit of a shame considering his acting credentials, but this will likely change in the sequel. Kylo Ren (Adam Driver) makes a pretty solid villain, but nothing will ever really beat Vader. Unlike the original Dark Lord of the Sith, who remains largely cold and emotionless (at least in the original trilogy), Ren is much more erratic and driven by his emotions, making him a much more unpredictable antagonist. Unlike Luke and Leia, Han gets quite a lot of screen time, taking the form of a sort of mentor figure in the vein of Obi-Wan for Rey and Finn, and at more than 70 years of age, Harrison Ford proves that he's still got it.
The set design, visual effects, score and action sequences are all top-notch, with an emphasis on practical backdrops over the heavily green- screened prequels.
Regardless of how good "The Force Awakens" was going to be, I doubt anything would ever top "A New Hope" or "The Empire Strikes Back", just based on the sheer cultural impact these earlier films had. It's much better than the prequels, but the film's plot similarities with episode 4 (and to a degree 5) leave a little bit to be desired, as it seems at times like a reboot of the franchise rather than a continuation. Nevertheless, "The Force Awakens" ends at a point that suggests that the sequels will move off in a new direction. The film's emphasis on likable characters, dialogue-driven humour and old-school thrills ultimately makes it a worthy instalment in the Star Wars saga, and I'm definitely looking forward to what they come up with next.
The plot at some points is way too reminiscent of "A New Hope" (Did we really need another Death Star?), but this was, I suppose, necessary to bring new fans to the fold. There are other points where the film's use of humour overplays its serious elements, but this only happens sporadically. And the film certainly doesn't lack in its hard-hitting, emotional content, particularly towards the end.
The new leads do a terrific job of taking up the mantle previously held by Luke, Han and Leia. Rey (Daisy Ridley) is basically a female Luke, but is still able to inject enough originality and believability into her role to not be a cut-and-paste. John Boyega as Finn likewise bears a lot of similarities to Han Solo, through his initial desire to ensure his own survival, yet once again brings plenty of charm and individuality to his role. Oscar Isaac's Poe Dameron doesn't get too much screen time in comparison, which is a bit of a shame considering his acting credentials, but this will likely change in the sequel. Kylo Ren (Adam Driver) makes a pretty solid villain, but nothing will ever really beat Vader. Unlike the original Dark Lord of the Sith, who remains largely cold and emotionless (at least in the original trilogy), Ren is much more erratic and driven by his emotions, making him a much more unpredictable antagonist. Unlike Luke and Leia, Han gets quite a lot of screen time, taking the form of a sort of mentor figure in the vein of Obi-Wan for Rey and Finn, and at more than 70 years of age, Harrison Ford proves that he's still got it.
The set design, visual effects, score and action sequences are all top-notch, with an emphasis on practical backdrops over the heavily green- screened prequels.
Regardless of how good "The Force Awakens" was going to be, I doubt anything would ever top "A New Hope" or "The Empire Strikes Back", just based on the sheer cultural impact these earlier films had. It's much better than the prequels, but the film's plot similarities with episode 4 (and to a degree 5) leave a little bit to be desired, as it seems at times like a reboot of the franchise rather than a continuation. Nevertheless, "The Force Awakens" ends at a point that suggests that the sequels will move off in a new direction. The film's emphasis on likable characters, dialogue-driven humour and old-school thrills ultimately makes it a worthy instalment in the Star Wars saga, and I'm definitely looking forward to what they come up with next.
The second film directed by Matthew Vaughn to be based on a Mark Millar-penned graphic novel series after 2010's insanely brilliant 'Kick-Ass', 'Kingsman: The Secret Service' maintains the former film's stylish mix of pitch black comedy, ultra-violence and creative narrative twists.
Essentially a send-up of many classic British spy franchises (most prominently 007), 'Kingsman' focuses on a veteran secret agent (Colin Firth) taking on an inexperienced apprentice (Taron Egerton), with both individuals coming up against a diabolical billionaire (Samuel L. Jackson). The plot's been done to death thousands of times before, but 'Kingsman's' unique self-referential humor and willingness to cross narrative boundaries and defy genre clichés makes it stand out amid a sea of mediocre espionage films.
I was initially worried that Eggsy, the apprentice and the film's main protagonist, was going to be unlikable due to his somewhat arrogant nature, however ultimately Egeton is able to make him a worthy hero by providing the right amount of charm and vulnerability. Colin Firth fits right in as the old-fashioned, gentlemanly Harry Hart, but in some places leaps out of this familiar territory to become a ruthlessly brutal action juggernaut. Samuel L. Jackson is also a terrific watch, with his prominent lisp and aversion to the sight of blood making him a highly unconventional but highly watchable and entertaining villain.
As mentioned earlier, like in 'Kick-Ass' before it, 'Kingsman' is genuinely shocking and brutal in certain stages. At other points, over-the-top, ridiculously well-choreographed violence is fused with the film's morbid sense of humor, providing yet another unique viewing experience from Matthew Vaughn. Like his other productions, the success of 'Kingsman' lies largely in its ability to not take itself too seriously, as well as its tendency to both pay homage to and make fun of the other films that have inspired it's creation.
Even though it's still relatively early to tell, 'Kingsman' will easily be considered one of the best action films of the year.
Essentially a send-up of many classic British spy franchises (most prominently 007), 'Kingsman' focuses on a veteran secret agent (Colin Firth) taking on an inexperienced apprentice (Taron Egerton), with both individuals coming up against a diabolical billionaire (Samuel L. Jackson). The plot's been done to death thousands of times before, but 'Kingsman's' unique self-referential humor and willingness to cross narrative boundaries and defy genre clichés makes it stand out amid a sea of mediocre espionage films.
I was initially worried that Eggsy, the apprentice and the film's main protagonist, was going to be unlikable due to his somewhat arrogant nature, however ultimately Egeton is able to make him a worthy hero by providing the right amount of charm and vulnerability. Colin Firth fits right in as the old-fashioned, gentlemanly Harry Hart, but in some places leaps out of this familiar territory to become a ruthlessly brutal action juggernaut. Samuel L. Jackson is also a terrific watch, with his prominent lisp and aversion to the sight of blood making him a highly unconventional but highly watchable and entertaining villain.
As mentioned earlier, like in 'Kick-Ass' before it, 'Kingsman' is genuinely shocking and brutal in certain stages. At other points, over-the-top, ridiculously well-choreographed violence is fused with the film's morbid sense of humor, providing yet another unique viewing experience from Matthew Vaughn. Like his other productions, the success of 'Kingsman' lies largely in its ability to not take itself too seriously, as well as its tendency to both pay homage to and make fun of the other films that have inspired it's creation.
Even though it's still relatively early to tell, 'Kingsman' will easily be considered one of the best action films of the year.
Though it's heavily marketed as a crime thriller, it would be best to approach Rupert Wyatt's remake of 'The Gambler' as a character study. A study of at times a confusing and unlikable protagonist, but an engaging one nonetheless.
Jim Bennett (Mark Wahlberg), the grandson of one of the richest men in California, is a failed writer/literature professor who gambles recklessly. It seems that he is deliberately trying to lose and propel himself deeper and deeper into debt. Perhaps this is a means of punishing himself for his failed dreams, or maybe he just gets a buzz from the risk involved. I've never counted myself as a huge Wahlberg fan, generally due to his constant portrayal of aggressive alpha-male types in action films, but I'm going to have to say that this is one of his best roles, up there with his performances in 'Boogie Nights' and 'The Departed'. The actor's radical weight loss, as well as his perpetually shabby and unhealthy state all contribute to the impression of a very emotionally troubled man, one who attempts to hide behind a confident exterior. He may not have been the best choice for the role, but he does do a very good job nonetheless.
Even though they receive only about two to three scenes each, John Goodman and Jessica Lange give standout performances, as a somewhat sympathetic loan shark and Bennett's worried yet preoccupied mother, respectively.
At times the screenplay doesn't clearly lay out why Bennett acts in such a self-destructive manner, thereby making him quite an alienating figure to the audience. We're really left with hints to piece together what comprises the professor's troubled psyche. He comes across as someone who has lost direction in his life, as a result embracing any sort of intense thrill he can get, as well as the suffering resulting from it. Through his interactions with other characters, it seems that he gradually gets some of that direction back.
Though I haven't seen the original 1974 film starring James Caan (which I've heard is a far superior production), the contemporary remake I still found to be a worthwhile experience. Maybe people were expecting a more action-oriented crime film due to the casting of Wahlberg, or were just plain confused and put off by the somewhat unlikable nature of his character, but I was able to relate to him to a degree, and found the film's ending to be oddly uplifting.
Jim Bennett (Mark Wahlberg), the grandson of one of the richest men in California, is a failed writer/literature professor who gambles recklessly. It seems that he is deliberately trying to lose and propel himself deeper and deeper into debt. Perhaps this is a means of punishing himself for his failed dreams, or maybe he just gets a buzz from the risk involved. I've never counted myself as a huge Wahlberg fan, generally due to his constant portrayal of aggressive alpha-male types in action films, but I'm going to have to say that this is one of his best roles, up there with his performances in 'Boogie Nights' and 'The Departed'. The actor's radical weight loss, as well as his perpetually shabby and unhealthy state all contribute to the impression of a very emotionally troubled man, one who attempts to hide behind a confident exterior. He may not have been the best choice for the role, but he does do a very good job nonetheless.
Even though they receive only about two to three scenes each, John Goodman and Jessica Lange give standout performances, as a somewhat sympathetic loan shark and Bennett's worried yet preoccupied mother, respectively.
At times the screenplay doesn't clearly lay out why Bennett acts in such a self-destructive manner, thereby making him quite an alienating figure to the audience. We're really left with hints to piece together what comprises the professor's troubled psyche. He comes across as someone who has lost direction in his life, as a result embracing any sort of intense thrill he can get, as well as the suffering resulting from it. Through his interactions with other characters, it seems that he gradually gets some of that direction back.
Though I haven't seen the original 1974 film starring James Caan (which I've heard is a far superior production), the contemporary remake I still found to be a worthwhile experience. Maybe people were expecting a more action-oriented crime film due to the casting of Wahlberg, or were just plain confused and put off by the somewhat unlikable nature of his character, but I was able to relate to him to a degree, and found the film's ending to be oddly uplifting.