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Film Review: Machete

In Comment, Film, Multifarious, Review on November 28, 2010 at 4:50 pm

www.kimfrancis.co.uk

She knows lots about films.

If you saw Robert Rodriguez’s Planet Terror, released in the US as a double feature with Quentin Tarantino’s Death Proof and entitled Grindhouse in homage to the genre to which it belongs, you might remember the ‘trailers’ that appeared between the two features. One of those ‘trailers’ was for a film called Machete.

Well, that ‘trailer’ in particular stuck in people’s minds – not least Rodriguez’s – and now the maverick director has turned his germ of an idea into a full length feature film in its own right.

Starring the swarthy, craggy-faced, instantly recognisable Danny Trejo in his first lead role as the eponymous Mexican ex-cop who flees to the US after he is betrayed, Machete soon finds himself on the run again. When he is crossed for a second time by the boss of an organisation that hires him to assassinate racist Senator John McLaughlin (Robert De Niro), the tough renegade (named after his weapon of choice for dispatching bad guys) vows revenge. Getting himself mixed up with a militant group headed up by tough Mexican cookie Luz (Michelle Rodriguez), as well as glamorous immigration investigator Sartana Rivera (Jessica Alba), he secures the assistance of his religious brother Padre Cortez (Cheech Marin) and uncovers some nefarious dealings, shining a light on socio-political issues and marking himself out as a proper ladies man and kick-ass tough guy along the way.

Co-directed by Robert Rodriguez and Ethan Maniquis, Machete is stuffed with subtle dark humour played out with typical Rodriguez relish. And though in part Machete is a send-up of the 1970s Exploitation flick – it’s largely tongue-in-cheek – it’s also endlessly affectionate. Robert Rodriguez clearly has a nostalgic passion for the genre.

The Texas-born director revels in gore and there’s plenty of it here – most notably in the inventive scene where Machete uses a man’s entrails to swing from a window after disembowelling the guy in a never-before-seen treat for fellow gore fans. Much of the rest of the violence and bloodletting in the film, however, is far less graphic. Scenes are cut carefully so as not to show too much, with the camera frequently cutting away at the key moment, despite its 18-certificate. This helps to keep the humorous tone that runs throughout intact and gives violent scenes a stylised, comic book feel.

One of the most impressive – and perhaps surprising – aspects of the film is its astonishing cast. With meaty roles for Robert De Niro, Jessica Alba, Michelle Rodriguez, Steven Seagal, Jeff Fahey, Lindsay Lohan and Don Johnson (yes, Don Johnson), it’s a cinematic wonder. All make compelling viewing, especially Seagal who plays the wickedly delicious bad guy like no other.

A grossly uninspired script and too much emphasis on the political message leaves the film sagging in the middle – it cries out for some sparkling Tarantino-esque dialogue to really set it alight. Nevertheless, Machete is an intriguing and worthwhile piece of cinema.

There aren’t many auteurs working in Hollywood today and it’s great to see a filmmaker like Rodriguez given free rein to break free and do his own thing. This alone makes Machete worth the admission.

Film Review: Harry Potter and the Deathly Hallows part 1

In Film, Multifarious, Review on November 28, 2010 at 4:15 pm

The first of two reviews from the lovely Kim this evening.  www. kimfrancis.co.uk

This is the latest installment of the adventures of the geeky wizard, now battling puberty as well as evil.

Here’s her review. She HATES it. Ha ha ha.

The penultimate film in the wizarding saga hit cinema screens at the weekend – seemingly without an almighty fanfare. And despite taking a whopping $61 million on its opening day in the US, the cinema I was in on opening night in Reading was nigh on deserted: a stark contrast to the crowds that queued round the block for previous instalments. Presumably they’re saving the big noise for the very last one – out next year – confident that fans will inevitably flock before it finishes its run to lap up this (frankly low-key) opener.

This one sees Harry (Daniel Radcliffe), Ron (Rupert Grint) and Hermione (Emma Watson) head off on a treacherous journey to recover the remaining horcruxes – objects that contain pieces of the soul of evil Lord Voldemort (Ralph Fiennes) – which they must destroy if they are to prevent Voldemort coming to power and have any chance of defeating his Dark Lordness. It’s a hazardous task but with their strong bond of friendship, a large dose of determination and a little bit of magic, they resolve to do what they have to, evading Death Eaters, dastardly traps, evil henchmen and the Dark Lord himself along the way.

At two and a half hours long and with ultimately little to say, the seventh film in the Harry Potter franchise is a bum-numbing bore-fest with lazily-shot, disorientating action sequences and some laughably bad dialogue, spoken by a trio of young actors whose skills have improved only slightly across the series.

Although this instalment is dark – and therefore potentially unsettling for some children – it still suffers like its predecessors from being not very good. While the series is clearly extremely popular, there is much about all seven films to date that really let them down and the same elements that disappoint in the previous movies are all magnified here.

One of which is the feeling you can’t shake that plagiarism abounds. There is plenty reminiscent of The Lord of the Rings, such as the characters of Dobby the house elf and his elf friend, both of whom are a lot like Gollum. There’s even a locket horcrux with Ring-like powers. There are also times when you are left scratching your head because of the film’s curious logic and its inability to explain certain actions and consequences; we are frequently left to ponder why A equals B.

Reduced screen time for the cast of talented British thespians also has a damaging impact on the film – fleeting appearances from the likes of Alan Rickman and Julie Walters serve only to highlight their side-lined roles and make you yearn for a greater focus on the adult characters. Bill Nighy here in particular is funny and engaging and brings so much quality to the film, as does Helena Bonham Carter with her delicious pantomime-esque performance as the evil Bellatrix Lestrange. “If only they were in it more,” you’ll probably find yourself saying.

Its setting outside of Hogwarts, however, makes a refreshing change and the scenes set in the Ministry of Magic, as well as a wonderful non-diegetic animated sequence are enjoyable, well-crafted highlights.

Despite its failings, Harry Potter is essentially critic-proof and kids in particular will no doubt adore this precursor to the grand finale, regardless of what critics write. But whether you love or loathe Harry Potter, you’d have to have a heart of stone not to be moved by the film’s denouement…

Skyline review

In Film, Multifarious, Review on November 14, 2010 at 7:02 pm

Celebrity schmoozer and film reviewer extraordinaire Kim gives her thoughts on Skyline, and lo and behold, she likes it.

More of her stuff on http://kimfrancis.co.uk/

Having been turfed out of the cinema (Showcase) because the film wasn’t working only to have a row with the girl behind the counter over the unfairness of their ‘compensation’ policy before battling my way through town centre traffic to get to Vue for a screening of the same film, I was certainly in no mood for a turkey. Thankfully, Skyline provided some light relief.

There have been plenty of end-of-the-world science fiction spectaculars in recent years and their prevalence isn’t only because of advances in technology that allow filmmakers to create jaw-dropping special effects on a massive scale. While the ability to digitally wipe out entire cities in front of our eyes is a large part of it, it’s also true to say that this burgeoning sub-genre has also grown in response to our feelings in a post-9/11 world.

Of course, the majority of these end-is-nigh effects-fests exist to entertain and amaze with their impressive computer-generated images, and Skyline is no different.

Directed by Colin and Greg Strause (or The Brothers Strause as they are credited), Skyline is more about the creation of bigger, better, crowd-pleasing, headline-grabbing effects than anything else. And the brothers’ effects background (the sibling duo have a special effects company called Hydraulx, a leader in the field) is very apparent. It stands out because in every other area the movie is lacking. But not detrimentally so – in some respects, its weak areas actually add to its entertainment value…

But first, the plot. An assembled throng of self-obsessed party-people are rudely awoken with the hangover from hell following the indulgences of the night before. When a super-bright light floods through the blinds of the scene of the party – a penthouse apartment in LA – something doesn’t seem right. It could be the fact that one of their number has just been compelled to walk out through the balcony doors, only to disappear. They soon discover that the blue-white glow is emitted by organic-mechanical alien hybrids intent on luring their human prey towards a fate they don’t yet know. With the city crumbling around them, is there anything they can do to get out alive?

Although Skyline is derivative – with plots and sequences from War of the Worlds, Cloverfield, Independence Day and District 9 all rolled into one – it’s fun and rolls along at a decent pace. With a cast of unknowns and names you might recognise from US television (including Scrubs’s Donald Faison and Dexter’s David Zayas), Skyline clearly relies on CGI to sell it. And though it feels like it belongs on a satellite channel rather than the big screen, this is part of its appeal.

A C-list cast, dodgy dialogue and extreme campness make this alien-invasion feature a not un-enjoyable romp. And if you bear in mind that the brothers previously directed Aliens vs Predator: Requiem, you can prepare yourself for the sort of film you’re going to get.

So, what of the CGI? While on the whole it’s convincing, the film is let down by its inability to convey the utter devastation caused by the alien attack. Most of the carnage is shown from afar, substantially lessening the emotional impact.

You’ll have an inescapable sense of déjà vu watching Skyline, which means it doesn’t pack quite the punch it could have but that doesn’t mean it isn’t entertaining. As well as a stunning scene involving an aerial attack on the invaders by stealth bombers and fighter planes, it also has plenty of humour – even if it is unintentional.

Film Review: Burke and Hare

In Comment, Film, Review on November 1, 2010 at 9:52 pm
The lovely Kim gives us her thoughts on the new Simon Pegg flick, more to be found at http://kimfrancis.co.uk/

Every time a new Simon Pegg film comes along, a gaggle of geeks get all excited. Fans of cult sitcom Spaced, which is generally credited as the vehicle that brought Pegg to the attention of the majority of the country’s nerd population (Spaced was not only funny in an offbeat way, it was also peppered with enough movie quotes and references to make fan boys salivate) wait with eager anticipation for the next Shaun of the Dead or Hot Fuzz.

Sadly, Pegg’s output since reaching the dizzying heights of Hollywood stardom has been laced with a far greater number of misses than hits. After damp squibs like Run Fatboy Run, How To Lose Friends and Influence People and now the lame (yes, lame) Burke and Hare, he dilutes his value as a commodity and, importantly, his credibility even further.

In Burke and Hare, Pegg plays Irishman William Burke, one half of the notorious real-life 19th century body-snatching duo who not only sold deceased bodies to Edinburgh-based anatomical scientist Dr Robert Knox (Tom Wilkinson) but also resorted to murder as a method of purloining cadavers to offload for a handsome profit.

As the death toll rises and the money starts to roll in, eyebrows are raised, not least because Burke has taken up with a local floozy named Ginny (Isla Fisher), an aspiring actress whose all-female production of Macbeth he’s promised to fund. Surely it’s just a matter of time before the long arm of the law, led by the short arm of Ronnie Corbett as militia man Captain McLintock, catches up with him and partner-in-crime William Hare (Andy Serkis)…?

Although director John Landis is more than adept at artfully blending comedy with horror – think Innocent Blood and classic comic horror masterpiece An American Werewolf in London – the balance here is off.

But it isn’t his fault. Burke and Hare is disappointing and it’s largely because of its uninspired screenplay. Humour is frequently obvious, with bursts of broad slapstick mixed with moments of uncomfortable comedy. You’re often not sure whether to laugh, cringe or recoil. The ‘comedy’ sex scenes between Andy Serkis and Jessica Hynes, who plays Hare’s wife, are particularly awkward and disconcerting.

The subject matter – a real story about actual grisly killings – is also odd material for a comedy such as this and adds to our discomfort. Landis indulges his penchant for gore which elicits a degree of repulsion from the audience and sits uncomfortably with the film’s broad humour. Had they utilised the writing skills of League of Gentlemen alumnus Reece Shearsmith, who has a role in the film, Burke and Hare may well have had the right blend of off-the-wall humour, horror and way-out weirdness to make this work.

Cameos from an array of British talent including Christopher Lee, Stephen Merchant, Bill Bailey, Hugh Bonneville, Jenny Agutter and Tim Curry – not forgetting Paul Whitehouse who is responsible for the film’s standout moment – are a strong draw. But you’ll most likely leave the cinema willing for Simon Pegg to make a return to his successful partnership with Edgar Wright and Nick Frost for something to really get your laughing gear around.

Film Review: Red.

In Comment, Film, News, Review on October 27, 2010 at 3:22 pm

This is our first review from our new, real-life genuine film reviewer – Kim Francis.

This her blog, bursting with cool celeb stuff.

http://kimfrancis.co.uk/

In an age when A-listers are unable to command the fees they once did, the ensemble cast is king; as proved recently with Sylvester Stallone’s The Expendables, which resurrected a host of 80s and 90s action heroes and brought them together for a retro-style shoot-em-up.

Assembling a cast like that in RED wouldn’t have been possible 20 years ago with the astronomical pay packets stars like John Malkovich, Bruce Willis, Richard Dreyfuss and Morgan Freeman were able to command. In today’s cinematic landscape, however, the power of the A-lister is arguably diminished – as directors, 3D and CGI become the bigger draws. So a covers-all-bases cast is swiftly becoming the norm as fees fall and film studios attempt to supply the right formula to assure a return on their investment.

The ensemble cast packs an unparalleled punch in the trailer, all but guaranteeing the film a bumper opening weekend. As face after famous face pops up on screen, your breath draws in progressively until your chest will expand no more – it’s a massive pull. And this is certainly the case with RED. This graphic novel adaptation puts Bruce Willis together with Morgan Freeman, John Malkovich, Richard Dreyfuss, Brian Cox and Helen Mirren and stuns viewers with its star power.

Playing out in a similar manner to this year’s The Losers, which also started life as a comic book, RED (it stands for Retired, Extremely Dangerous) isn’t as sharp, funny, fast-paced or fresh but is made passable by its stellar cast, which also includes Karl Urban and Ernest Borgnine, who individually inject the quality necessary to lift it from one-star dross to two-star quasi-credibility.

Willis is Frank Moses, a retired black- ops agent now living a low-key suburban lifestyle. When his life comes under threat, he goes on the run with Sarah Ross (Mary-Louise Parker), a woman he’s only ever spoken to on the telephone previously. Their fledgling relationship goes from bad to worse then back to good as he pieces his old team together one by one in an effort to help him get to the bottom of the attempt on his life and some deeply buried secrets.

As experience meets youthful exuberance in this age-focused comic book adaptation, Willis and co strike a blow not only for the old CIA guard but also for Hollywood oldies. In a youth-centric industry where older actors are frequently put out to pasture, Willis et al show that there’s life in the old dogs yet. And judging by the success of The Expendables, audiences are certainly keen to see the likes of Stallone, Lundgren and Willis continue to kick butt.

In particular, it’s great to see Helen Mirren beating up baddies with the best of them and looking seriously sexy into the bargain. A bona fide Hollywood hottie well into her 60s, Mirren simply sizzles, so much so that in real life she made Bruce Willis blush on announcing her crush on him.

But her crush is easy to understand. Willis’s charisma always makes him watchable and with able support from Mary-Louise Parker, he takes the plaudits for holding the film together. In her sidekick role, Parker defies the rule that usually paints her character type as an annoying, helpless, whining female and instead she is warm, funny, likeable and capable.

With plenty of action, RED is exhilarating in parts and isn’t as embarrassing as the trailer would have you believe. Sure, it makes you cringe at times as you question just what John Malkovich and Richard Dreyfuss are doing but the end result is – whisper it – actually okay.

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