Frankenweenie

 

Minor spoiler!

 

Frankenweenie is Tim Burtons second feature this year, following Dark Shadows.
With Dark Shadows the some of it's parts were greater than the whole. Ironically Frankenweenie is made up of many great (body) parts and set-pieces - yet the whole has not been forgotten (and is evidently more satisfying)!

 

Frankenweenie sees Burton return to a (live-action) short he made at the start of his career.
It tells the story of a young boy named Victor, a resident of New Holland who lives with his parents and dog, Sparky.

After an unfortunate incident, Victor decides to put his interest in science to the best use possible - and bring his dog back to the world of the living!

The New Holland Science Fair is just 'round the corner and the competition is high!
It's not long before Victors secret experiment is running 'round town again. Once news of Sparkys revival hits the school, Victors classmates see the success as a sure-fire winner for the science prize. A handful of the more dastardly kids go about replicating Victors experiment - with breathtaking results!

 

Anyone who has seen The Nightmare Before Christmas or Corpse Bride, will be familiar with Burtons specific style of animation. Burtons characters have a distinct aesthetic which rarely changes from film to film. His characters are weird-looking and somewhat vulgar, yet they retain a certain warmth and are always sympathetic.

The voice cast must be given credit for imbuing such hideous characters with said humanity.
Catherine O'Hara and Martin Short head the voice cast, playing Mrs and Mr Frankenstein respectively. They also lend their talents to a handful of other characters from the cast - a task perfectly suited to these two comedians.
The stand-out for me is Martin Landau as Mr Rzykruski - Victors science teacher. It could be argued that Mr Rzykruski is one of the more scary-looking characters from the film - and as an adult teaching kids, that would stand to reason.
Mr Rzykruski is incredibly passionate about science however and his love for teaching and telling children the truth is infectious. As an older man, Mr Rzykruski has wisdom in abundance and is more than willing to pass on what he's learnt to pupils such as Victor. Many morals are learnt through this character alone and Landaus Vincent Price-like delivery is charming!

 

Frankenweenie is shot in black and white rather than colour (undoubtedly echoing the era of film and television Burton grew up on).

Ed Wood is my favourite Tim Burton movie and I welcome the return to black and white. As with Ed Wood it honours film-making from the 1940's/50's, with particular references to that period of time.
It would be interesting to know whether the black and white element of Frankenweenie affected it's box office in any way. I'm guessing the 3D version (unseen) may have gone some way to compensate for anyone insisting on technicolour?!

My main criticism of Dark Shadows was that it was another adaptation for Burton. Frankenweenie may be an adaptation of his own work, but it's a welcome return to original material for a man with such creative vision.

4/5
 



 

Poster image courtesy: http://www.empireonline.com/

Seven Psychopaths

Minor spoiler alert!

Seven Psychopaths is the new film by In Bruge writer/director, Martin McDonagh.
Much has been said of how Psychopaths echoes early Tarantino and the films that followed (Two Days in the Valley and Things to do in Denver When You're Dead, to name a few). These films and more played against audience expectation, mixing thriller with comedy to pitch-black effect.

In Bruge felt different upon release. Ten years had passed since the popularity of these films had peaked. Directors such as Tarantino and Guy Ritchie had moved on from gangsters and overly familiar locales, leaving a new spin on the genre to emerge. The Gothic environment of Bruge and the peculiarity of the city perfectly complimented the off-beat story.
McDonaghs brother John Michael, followed suit with a tale from Ireland entitled, The Guard (arguably better than In Bruge). Key to the success of both films were the locations they were set in. The peculiar customs and inaudible dialects of the inhabitants were essential ingredients for comedy to ensue.

With Seven Psychopaths McDonagh has chosen to set his story in Los Angeles - which feels comparatively over-familiar. Despite some snappy dialogue and memorable performances by the eclectic cast, Psychopaths feels dated - as if a relic from the early nineties. To compound this, many of the stronger moments appeared in the trailer (a frustrating trend that doesn't appear to be disappearing any time soon - quick answer of course is to avoid trailers at all costs)!

Seven Psychopaths is a movie about movies. The film follows screenwriter Marty (Colin Farrell) on his quest to finally complete a long gestating screenplay. The larger than life characters he meets along the way inform his new opus. Before long art is imitating life and life is imitating art.

At one point in the film Marty hits upon an idea for his characters to discuss and reflect upon proceedings in the desert. This is met with boredom and disdain by his companions.
The film follows suit - and we get a good long moment of reflection by the principle characters (in the desert). Unlike the similarly playful Adaptation (Spike Jonze), Psychopaths feels laboured as it switches tone. The afore-mentioned segment does indeed feel boring, but perhaps not as is it should?

The performances certainly save what's lacking in the execution of this tale. Each actor is given their moment to shine - with Christopher Walken and Sam Rockwell the stand-outs!

As entertaining as Psychopaths is, it doesn't quite deliver on the tease of the first act.
The brothers McDonagh represent a relatively new voice in cinema and Seven Psychopaths has certainly not gone unheard. Here's hoping the conversation's more stimulating next time!

3/5


Poster image courtesy: http://www.imdb.com

Sebastian Hawks: Creature Hunter!

Sebastian Hawks is a new comic-book project from writer, Tristan Jones and artist, Christian DeBari. Together with partners Greg Mclean (Diezel Punk) and Wolfgang Bylsma (Gestalt), the hope is to deliver this opus to the reader directly, via the crowd-funding platform of Pozible.

The afore-mentioned team have some spectacular incentives for anyone willing to support their project - not least is the finished book delivered straight to your door! 

This is an international campaign, so comic-fans from across the globe are encouraged to get involved (with guaranteed free shipping worldwide)! 

As with other crowd-funding sites, ones card/account will not be charged, unless the target is met and the book gets the go-ahead. 

The deadline for pledges is looming (11th January 2013), so head on over to Pozible and check out the pitch: http://www.pozible.com/index.php/archive/index/11289/description/0/0

The creative team alone should convince anyone to get involved. If you're not immediately sold by the few images on this page, then prepare to be swayed!

The above preview page comes courtesy of Tristan Jones' Deviant Art page. Undoubtedly there'll be more previews from this talented team, so keep a look out at:
http://tristjones.deviantart.com/art/Sebastian-Hawks-prologue-page-1-340478893

Excision

Excision is the debut feature from writer/director Richard Bates Jr. Adapted from his short film of the same name, Excision tells the story of Pauline - a troubled teenager with delusions of grandeur.

Pauline is the black sheep of her family and the outcast at school. During the day she smart-mouths her way through school and her home life, before her surgical aspirations are brought vividly to life as she sleeps!

AnnaLynne McCord is a revelation as Pauline! I was unfamiliar with McCord prior to Excision and new little of the transformation she made in preparation for the role. 

She may look typically nonchalant as the adolescent Pauline, but beneath her grimy exterior lies a degree of intellect and a biting sense of humour. Her main weapon against the masses is her dry wit - the only serviceable weapon to most misunderstood teenagers! 

McCord is surrounded by an eclectic supporting cast. Traci Lords excels as Paulines over-bearing mother, Phyllis. As mother and daughter, Lords and McCord spend much of the movie on screen together - often hissing at one another in disgust! Genre favourites Malcolm McDowell and Ray Wise appear as teacher and headmaster, respectively. Even John Waters shows up to give Pauline counselling, as the local priest!

For a horror movie, Excision is very funny! Much of the humour comes from any and all altercations this particular no-name town and it's people have to offer. 

As funny as the humour is, one can often find themselves quickly silenced by the horror on display! 

Excision is a triumph in this regard. Pauline is hard to like in some respects, but you can't help but root for her - particularly when she gets the upper hand. It's easy to forget how disturbed Pauline is however - and one finds themselves replacing warmth with worry for the character.

In a world of remakes and reboots, Excision is breathtakingly original. It successfully manipulates the audience in to believing they're watching a certain kind of film - Excision is something else entirely! Like any original tale, it stays with you long after the credits roll. You'll be hard-pressed to shake Pauline from your mind!

5/5

Poster image courtesy: http://www.imdb.com

Dredd

I had been looking forward to seeing Dredd for some time. Acclaimed screenwriter Alex Garland (The Beach/28 Days Later) had written the screenplay and the stills and trailers were showcasing an awesome-looking production, with an overall aesthetic closer to that of our own world.

I'm happy to report that Garland and director, Pete Travis have delivered a stunning film!
With the creator of Dredd (John Wagner) on board as creative consultant, Garland and his team have stayed true to the character and produced a visceral, yet respectful thrill-ride!
Undoubtedly inspired by District 9, the film was made in Johannesburg (doubling for Mega City 1). With the addition of giant-sized tower blocks in place, Jo-burg looks suitably sun-drenched and smog-filled - and completely over-populated. A perfect setting for chaos to ensue!

Much has been said of the plot and how it mirrors that of The Raid. This is an unfortunate coincidence. Despite their similarities, Dredd has much to offer - particularly to fans of the comic, who'll finally see their hero brought faithfully to life!
Karl Urban excels as Dredd (keeping the helmet on thankfully). He successfully channels Clint Eastwoods voice and gruff exterior for the character - and is physically imposing, despite the lack of gargantuan eagle atop his shoulder!
Olivia Thirlby is very good as Psi-Judge, Anderson. Introduced as a rookie, she is assigned to Dredd who puts her through her paces during one hell of a first day!

The plot sees Dredd and Anderson enter one of the aforementioned tower blocks in search of a drug dealer. Little do they know, gang leader Ma-Ma (Lena Headey) has been slowly taking over this particular tower block in an effort to gain a monopoly on new drug Slo-Mo.
Slo-Mo allows users to perceive time at one percent it's normal speed.

The sequences which emphasis the use of Slo-Mo are something to behold - particularly in 3D!
Dredd is one of the few 3D films I've enjoyed, since it's recent re-emergence. The film is quite violent and bloody and the 3D element goes some way to expand and even improve upon the action. Particularly with the slow-motion sequences, the use of 3D is a necessary addition.

Despite Dredds relatively low budget, it looks spectacular. It cements Dredd and Anderson as memorable characters within the sub-genre of comic-book adaptations - and hints at a larger world.
Bring on the sequel!

4/5

Poster image courtesy: http://www.mondoarchive.com/

This image is by artist, Jock - a famed comic-book artist and chief conceptual artist on Dredd!

Poster image courtesy: www.filmofilia.com

I believe this image was used to help promote the film by way of the comic-books. I'm curious to know who illustrated it - no further information was available at time of going to blog?!

Argo

Argo is the third film by writer/director Ben Affleck. 

Proving that his contribution to Good Will Hunting was no fluke, Affleck has gone on to make three very fine films within the space of six years - beginning with Gone Baby Gone (5/5) in 2007, followed by The Town (4/5) in 2010.

His new film tells the incredible true story of the extraction of six American diplomats from Iran, who took refuge at the Canadian Ambassadors home, after escaping a siege on their embassy by Iranian revolutionaries.

As a member of the CIA, Tony Mendez (Ben Affleck) is tasked with devising a plan to rescue the six escapees. 

His plan is to create a fake movie, fly to Iran and leave with the six Americans in tow - all under the guise of a production crew, scouting for locations.

Despite the efforts of the American captives (52 in all) to shred and burn any and all sensitive materiels, the Iranians set about piecing (literally) the secrets of the embassy back together - in order to discover the names and faces of the people they hold captive.

Mendez and his team race to formulate their plan before the six Americans are discovered to be missing. 

By employing the help of movie producer Lester Siegel (Alan Arkin) and special effects expert John Chambers (John Goodman), Mendez successfully dupes Hollywood in to thinking science fiction extravaganza, Argo is headed for the screen - all he needs now is to convince the people of Iran!

Affleck gets more competent with each film he makes, both in front of and behind the camera. 

With Argo, Affleck has recreated the 80's to stunning effect. There are changes in film stock throughout - almost to simulate news coverage. Whether this is pre-existing footage I don't know, but it's edited together seamlessly. The retro Warner Bros. logo is a nice touch and the authenticity throughout is highlighted by some fascinating photos and sound-bites, as the end credits roll. 

He is supported by a terrific cast, from the aforementioned Arkin and Goodman (both hilarious) to Bryan Cranston, as Medez's trusted boss at the CIA. The American diplomats are all excellent too - fearful of their task at hand and doubtful, as to the success of Mendez's plan.

Having only recently been declassified (in 1997), the Argo mission proves once again that truth is stranger than fiction. Liberties have been taken here and there, in an effort to ratchet up the tension (almost to breaking point)! However as true-life thrillers go, one would be hard-pressed to imagine something more bizarre or more exciting!

Argo is a great film, cementing Afflecks status as a director to watch. It's a fantastic story which educates as well as thrills. There's also many a laugh to be had - which comes as welcome relief when Mendez and his team are surrounded by people who would just as soon see them strung up!

4/5

Poster image courtesy: http://www.empireonline.com.au

To Rome with Love

Since 1969 Woody Allen has made close to a movie a year. I've seen almost all of his films and can say with some certainty that I've enjoyed each one! A great many are classics and the rest I would happily recommend - especially to any film fan or lover of the written word.
Seeing a new Woody Allen film is not unlike seeing a new Bond. There is a familiarity to each one - from the typeface used for each credit sequence (Windsor Elongated/Light Condensed) to the similarly scored soundtracks (Jazz or Classical inspired). Like any good series of films, you know there'll be similarities, but you keep watching for the surprises!
Midnight in Paris (5/5) was a favourite of mine last year - and Allens new film continues with a European flavour, evident in much of his recent output.

To Rome with Love tells a multitude of stories, as foreigners and residents alike live out there day-to-day in the Italian capital.
We have two Italian newly-weds from the country, in town to meet the grooms parents. A love-sick American student, who's invited her own parents over to meet the man she's going to marry. Another American traveller revisits his old stamping ground. While a native every-man is suddenly and without reason, blessed with celebrity!
Woody Allen has told many a different tale throughout his career and rather than have the stories in this film cross-pollinate, they act instead as snapshots in to the lives of these alluring characters. Each adventure is different, yet the potential is there for each protagonist to experience the same fate.

Of the four stories, the only one that didn't really work for me was that of the American traveller (Alec Baldwin) returning to his old stamping ground. One assumes he's living vicariously through his younger self (Jesse Eisenberg), but this isn't clear. The three remaining stories are more engaging - providing many an amusing scenario. There is certainly no shortage of laughs in this film!
To Rome with Love has a great cast, with Allen himself on fine form and Roberto Benigni the stand out! Having worked with Allen before, Judy Davis and Penelope Cruz make things look effortless. Davis is great as Allens long suffering wife, while Cruz smoulders as a hooker with a heart!

The stories here are quite charming, but they do seem somewhat fleeting. The only real connection to each tale is that of the human condition - a main staple of Allens movies. This is a film for anyone who's ever thought about what all those thousands of people do each day - the ones you see on your way to and from work, or even abroad or on the TV. Despite one's curiosity there's a disconnect, because you don't know them intimately.
When it comes to film, it's hard to invest in a large ensemble - even harder when said cast is split between four stories. I think I would've preferred it if there was some connection between the stories in, To Rome with Love. Even if the exchanges were small, it would have created a larger world.

In the end this is a story about a city and the people that inhabit it - be they native or foreign, they're all just visiting!

3/5


Poster image courtesy: http://www.heyuguys.co.uk

Fireside Tales: Update!

As promised, I have a couple more panels for you from my recently published Speedtrap story (free of lettering I might add)!

For anyone wanting to check out my Speedtrap tale digitally, the good people at FEC recently made it available as a high-resolution PDF. For only 99c you can purchase the anthology in full at the FEC store: http://www.feccomics.com/products/

During the launch of Fireside Tales, Dean Arcuri of Guyfi interviewed each creator for his podcast. The episode is available here: http://guyfi.podomatic.com/entry/2012-10-06T22_26_04-07_00
Each creator gives an in-depth and candid interview - essential listening for any comic-book fan!

Looper

This review has been a long time coming - ironically!
I'd like to start by commenting on the poster I chose to accompany this review. Mondo have triumphed once again, with this fantastic design by Martin Ansin. Ansin has truly captured the film within this complex design - I am somewhat in awe!

I saw Looper soon after it's release, having already garnered many a glowing review. Hopes were high for what was already being touted as a classic of it's genre. I was a big fan of Rian Johnsons first feature, Brick - and was looking forward to a return to form after the disappointing, The Brothers Bloom.

The year is 2044 and Loopers are part of the criminal underworld. Their particular purpose is to murder people from the future (as it's impossible to get away with murder in the year 2074). The man responsible for this criminal enterprise is known as The Rainmaker and he orchestrates proceedings from the future.
Head of his organisation in the past is Abe (Jeff Daniels), who has a team of Loopers under his command - one such Looper is Joe (Joseph Gordon-Levitt).
Things get tricky when Loopers (since retired) are sent back from the future to be killed - often by their younger selves. This happens occasionally to begin with - and is known to Joe and his team as, 'closing ones loop'. More loops are closed and it's not long before Joe is face to face (literally) with his future self (Bruce Willis)!

Looper is complex and intriguing - and like the best time-travel stories, plays with destiny and fate to thrilling effect. With a smart script, Johnson puts what I imagine was only a moderate budget up on the screen. The future setting is not unlike our own, thus grounding his characters in a feasible reality. There is plenty of style to be had with some fabulously choreographed sequences and camera work - however this never overwhelms the core story.

Joseph Gordon-Levitt reunites with his Brick director here and convinces (thanks in no small part to some unusual prosthetics) as a young Bruce Willis. Willis himself is very good, walking a thin line between hero and villain. The standout for me was Emily Blunt (almost as unrecognisable as Levitt) as single parent, Sara.

Despite my enjoyment I did have a few reservations. I didn't quite understand the purpose behind sending older Loopers back in time in the first place. The character of Joe poses no threat to The Rainmaker, until he is sent back. There's a bit of 'the chicken or the egg' thing going on here which leaves the film open to speculation and conjecture - not always a good thing.
Also, there are a couple of sequences with hover-bikes that didn't quite work for me - they spoil an otherwise slick-looking production.

I look forward to seeing it again. This is certainly a very intelligent and entertaining film which will undoubtedly reward with multiple viewings.

4/5


Poster image courtesy: www.mondoarchive.com
Artist: Martin Ansin

Moonrise Kingdom

Moonrise Kingdom is Wes Andersons seventh feature and I've seen all but one. In the past I've made little effort to see his films on the big screen, opting instead to catch them on DVD.

Anderson has a very distinctive style and approach to making movies - and there are similarities with each feature. 

Anderson shoots things very specifically, as if shooting a stage play - all be it forever in flux. His characters (like his colour pallet) are bold and playful. When looking at Andersons body of work the lasting impression is that of innocence - a bygone era of intrepid adventure and unconditional love. 

Assuming each Wes Anderson film is going to be the same is a trap I've fallen in to once too often!

Moonrise Kingdom is gorgeous and intoxicating! There is a familiarity to this world, yet the tale is wholly original.

Set in the 1960's, Moonrise Kingdom tells of the inhabitants of a New England island, specifically two young lovers named Suzy and Sam - played by Kara Hayward and Jared Gilman, respectively. 

Suzy and Sam live at opposite ends of the island but keep in touch via hand-written correspondence. They soon conspire to run away together - meeting half-way between their homes, before setting off on an adventure of their own.

Meanwhile, their families and friends set out in search for them - pooling their efforts before the big storm hits!

I found myself smiling and laughing a great deal throughout this movie. The two young leads are charming and the supporting cast excel in their smaller roles. Bill Murray (a main staple of Andersons movies) is a little more unlikable here, yet still essential. Frances McDormand IS the quintessential mother. Edward Norton plays sensitive Scout Master Ward, while Bruce Willis upholds the law, as Police Captain Sharp.

Charming as they are, the two leads have more to do than play love-struck adolescents. Each character is quite troubled. Not in a Michael Myers/Carrie type of way, of course - more of a realistic/deeply affected by circumstance kind of way.

This is the films biggest surprise. Despite it's whimsy, Moonrise Kingdom tackles some interesting issues. It reminds us all how we used to feel - how we still feel. In this particular context, it makes us wish how we too shouldv'e camped out at the local beach with our first love - as only the movies can do! 

It seems to me everyone has an opinion about when it's appropriate for others to grow, yet never an idea themselves. Essentially this film is about growing up - growing together, growing apart, growing old.

Surprise, surprise, there was more to this movie than initially met the eye. I'll be making a bee-line for his next, comforted by the fact I'll be seeing something familiar, yet new - not unlike hearing the latest from an old friend!

4/5

Poster image courtesy: www.collider.com

FEC Extravaganza!

I was proud to be a part of the FEC Extravaganza on saturday, as three new books were launched under the FEC umbrella.

Kranburn #4, Seven and Fireside Tales were collectively released, as All Star Comics once again played host to Melbourne's prolific comic scene.

The evening was a huge success, with all involved going above and beyond to create an entertaining and memorable night.

Fireside Tales is the title to feature my own short strip, Speedtrap (written by Rik Hoskin). Other tales in the anthology include, A Second Chance by Billy Tournas and Michael Wszelaki and The Ballad of Danny Flash by Andrew Shaw and Will Pleydon. This is all wrapped in stunning cover by Sacha Bryning (see below).

For those of you who couldn't make the launch, particularly my over-seas constituents, the Q AND A section of the evening was recorded by the good people over at Dark Matter. Check out the video here: http://www.darkmatterfanzine.com/dmf/fec-horror-graphic-novels-launched/

The fine folk at All Star did a great job of photographing the event as well - here be some very cool pics: http://www.facebook.com/media/set/?set=a.493968223946931.119584.195249770485446&type=1

All three titles are now available for purchase at the FEC Facebook store: http://www.facebook.com/forevilchildren/app_112817928751673

There's a host of other great titles to choose from, including the first three issues of Kranburn (highly recommended)!

Cheers for now!

Photos courtesy: http://www.facebook.com/forevilchildren

Blue Spear and Com.x

Blue Spear was published by Com.x in December of 2011. Unfortunately it wasn't until recently that I was able to get my hands on a copy - via the good people at Amazon (not forgetting a little help from my constituents in the UK)!

I had been looking forward to it for two reasons. Firstly, it was published by Com.x and secondly, it was illustrated by Cosmo White.

Com.x have been publishing comics and graphic novels for twelve years now. The UK company was founded in 2000 by Eddie Deighton, Russell Uttley and Neil Googe. They soon established themselves as publishers of note, releasing such comics as; Bazooka Jules, Puncture and Razorjack.

The quality of each book was considerably high - both in content and design. One can always tell a Com.x book from the print quality alone!

Each book was printed in the American format, resulting in the Com.x name being revered over-seas. The talent in particular made US publishers sit up and take notice - so much so that Googe and Puncture artist, Ben Oliver soon went to work for DC on such titles as Majestic and The Losers, respectively.

Next for Com.x was Cla$$war. A hugely popular title in the vein of The Authority. This time, Trevor Hairsine (artist on Ultimate Six and Ultimate Galactus) was the one to make the move over-seas - Cla$$war was consequently delayed, then completed by up and comer, Travel Foreman (you can see where this is going)!

Ongoing series' were being delayed and cut short and creators were being replaced left and right - Com.x had to rethink their strategy.

They did just that and relaunched with the objective to publish completed story-arcs, in the graphic novel format. Recent titles of note include; Path by Gregory Baldwin, Seeds by Ross Mackintosh and Forty-Five by Andi Ewington.

Forty-Five was an interesting title - and a milestone for the company. 

This is a story taken from the perspective of a journalist (and expectant father, James Stanley), as he interviews forty-five people about their existence with the Super-S gene. 

Stanley discusses everything - from the development of their powers to their place in society and beyond - in an effort to better prepare the journalist, should his own offspring carry the gene. 

It approached the subject of super-powered beings as if they were real and set about introducing a host of colourful new characters to the world of comics - and effectively created a new universe for Com.x to source from.

Which leads us to Blue Spear, who was one such character. A hero of Tokyo who plays guardian to both his city and the marine life of it's surrounding waters.

As custodian to the characters he created with Forty-Five, Andi Ewington writes - this time with co-writer, Eddie Deighton. While the artwork is stunningly supplied by Cosmo White!

Having set the stage with Forty-Five, this tale starts with a further glimpse in to Blue Spears origin.
The beginning cuts between Yuji Tomikawa reawakening as the titular hero - to present day, as an older Yuji dispenses with some local thugs. Yuji has estranged himself from his brother Akira, who lives and works in Tokyo. From time to time Yuji checks in with him, all be it from a distance (Akira being Yuji's achilles heel).
Loved and revered by his people, Blue Spear has unwittingly caught the attention of the outside world. This would be manageable, were it not for the interest Xodos has in him.
Throughout Forty-Five, Xodos were the organisation most were happy to have little to no affiliation with. They are the government-like body invested in those with the Super-S gene for reasons of global power and influence.
Three agents under the Xodos guise travel to Tokyo with the purpose of finding Blue Spear and taking from him the source of his power - namely that of his spear.

Blue Spear is effectively an action story, featuring a spiritual yet distant hero trapped between worlds. Essentially Yuji is forever changed, fully embracing the role of Blue Spear, yet part of him clings to his lost humanity. He is a fighter and a lover with boundless compassion for that of his people - particularly his brother.
The design and over-all approach to Forty-Five was closer to that of a magazine than a comic, so it's nice to see Ewington's world explode in to a full-blown sequential tale here. This forty-page one-shot is nicely written by Ewington and Deighton - but it's Cosmo White's artwork that makes the book shine (quite literally)! Not content with just pencilling and inking, White also colours his own work. He's a good fit for this book - a great fit for bringing the neon-lit world of Tokyo to life!

Cosmo White heralds from Brighton in the UK - a town I was never very far from growing up. Just after the inception of Com.x comics in 2000, a small-press publishers in Brighton emerged, named Underfire comics (Colin J. Dinnie, publisher).
White was an integral cog in the machine at Underfire, contributing covers and interior work to their anthology series, Rapid Fire. His crowning achievement at that time was Operation Black Jet -  a three issue mini-series he wrote and illustrated (issue #2 eludes me to this day)!
In 2005 Underfire relaunched the renowned 2000AD fanzine, Zarjaz - issue #1 came with an impressive Dredd cover by White (see below)!

Intermittently, White continued to pursue a career in illustration. Before long he was working for Titan publishing, on such revered titles as Transformers!

Having collected a lot of his early work, it's been great to see White emerge as a fully-fledged professional. As a comic-book creator myself, it's inspiring to see contemporaries such as White rewarded for their efforts and perseverance.
At this point I'd like to point you in the direction of ifanboy.com and the following link: http://ifanboy.com/articles/ifanboy-upstarts-cosmo-white/ Here you'll find some of White's Transformers work - and lots more besides!

Over-all, Blue Spear is a very fine package. I believe there are plans a-foot to produce similar books, featuring a selection of other characters from the Forty-Five 'verse. I would certainly welcome this - and am hopeful for a Blue Spear follow-up!

I wait in anticipation for White's next project -  and will continue to keep a watchful eye on future Com.x publications (www.comxcomics.com). Any comic-book fan would do well to do the same!

Com.x logo courtesy: www.hollywoodreporter.com
Forty-Five image courtesy: www.comicbookresources.com
Zarjaz #1 cover courtesy: www.zarjaz.blogspot.com

Your Sister's Sister

Upon watching Your Sister's Sister, I falsely mistook director Lynn Shelton for Lynne Ramsay. Unfortunately, I had another turgid cinematic experience with this film - courtesy of a very dim projector bulb. This made any scenes shot at night incredibly hard to make out. No disrespect to Ramsay - visually speaking, one could be forgiven for thinking the mood and tone of Morvern Callar had spilled over in to this film. Ramsay of course has the good sense to light her films correctly, despite her subject matter!

I have it on good authority that what I saw at the theatre was not what was intended, so until I revisit this film on DVD, I'll assume the same!

So to clarify, Your Sister's Sister is the new film by Lynn Shelton! It stars Emily Blunt, Mark Duplass and Rosemarie DeWitt. 

Blunt and DeWitt play half-sister's, Iris and Hannah. Duplass plays, Jack - Iris' best friend and brother to Tom (who Iris dated for a time).

Jack is emotionally distraught over the passing of his brother a year ago. After an anniversary party to mark Toms passing, Iris convinces Jack to take some time out for himself - and offers her fathers empty cottage as refuge.

Jack takes Iris up on her offer, but to his surprise finds the cottage occupied. Hannah is there when Jack arrives, taking solace herself, after the break-down of a lengthy relationship.

We're given the impression that Jack and Hannah know one another, but perhaps not well. They soon rectify that fact however, with a long night sharing stories and drinking tequila. 

The inevitable happens of course and the two end up in bed together. When they wake the next morning, they discover Iris pulling in to the driveway - formerly snowed-under with work, it would seem she's managed to free-up some time to accompany her friend.

Jack is inclined to keep the events of the previous night a secret from Iris - and ultimately convinces Hannah to do the same. 

This would be easy enough, were it not for the groups conflicting agendas - and their love and respect for one another.

Apparently improvised for the most part, Your Sister's Sister is a comedy/drama about three people bound tightly together through blood and circumstance.

The three principle actors are superb and thoroughly engaging. Each character is at a particularly vulnerable point in their lives and their human frailties are subtly exposed, with each passing scene.

Along with his own brother Jay, Mark Duplass is a noteworthy director (Cyrus, Jeff who lives at home). This is the first film where I've seen him in front of the camera and he's a lot of fun - garnering the biggest laughs! 

Rosemary DeWitt is gorgeous and the chemistry between her and Blunt is indicative of two loving siblings who've grown up together.

As far as the american independent scene is concerned, Lynn Shelton and the Duplass brothers would undoubtedly be on the minds of many. They make similarly human dramas with a healthy dose of comedy. I doubt they would consider themselves competitors - rather contemporaries. With Your Sister's Sister (and Humpday before it), Duplass and Shelton have shown that collectively, they are quite a formidable force.

Interestingly, the themes of Your Sister's Sister mirror the above to some degree - with a suggestion to all who're independent (but wish for more). Ask for help, go looking for love - and more importantly, seize them both, when they're offered you!

4/5

Poster image courtesy: www.joblo.com

The Expendables 2

With the first Expendables movie, Stallone made an entertaining, visceral action film - influenced by the movies both Stallone and his co-stars made popular throughout the 80's and 90's.

In my opinion, The Expendables represented the last in Stallone's trilogy of re-emergence, beginning with Rocky Balboa and Rambo. These three films (all written and directed by Stallone) reaffirmed his status as a major talent.

For The Expendables sequel, directing duties have fallen to Simon West, director of Con Air - an action extravaganza with another notable ensemble.
For me Con Air represented 90's excess in all it's explosive glory! Hot on the heels of The Rock, Con Air aimed to replicate that films earlier success (and may well have surpassed it in box office receipts), but failed to deliver an engaging story.

With the first Expendables movie, Stallone went some way to achieving the impossible - and created memorable characters, despite his larger than life cast. The most obvious example being Dolph Lundgren's, Gunner Jensen. Gunner went on a noteworthy journey from good to bad and back again (even cheating death along the way)! Gunner's arc represented the darker side of life as a mercenary - resulting in Lundgren's best ever performance!
Unfortunately Gunner is given less to do in the sequel. In fact, all are given less screen time - undoubtedly due to it's expanded cast of characters.

Character traits have spilled over from the first film - the signature fighting style of each principle character remains intact. These traits aren't really utilised beyond the opening skirmish however - with many an automatic weapon instead taking precedence.
When we do get a close-quarters/beat-em-up scene, it's shot mostly in darkness - West opting instead for silhouettes and a lot of smoke (in an effort to make things more stylish perhaps)?!
Stallone's previous showcase may have been blunt (and brutal), but at least you could see what was going on!
The Expendables 2 relies heavily on it's cast, but fails to deliver an engaging (or even cohesive) story. Character development is replaced by a barrage of one-liners, while audiences are left to figure out where certain characters have disappeared off to?!

Despite my disappointment, there is fun to be had. The cast are very watchable - with the film coasting along on their presence alone.
I've got a lot of time for Stallone and fans will feel his influence in an otherwise cringe-worthy script (he takes a co-writing credit here).
A third film is apparently being developed with Nicholas Gage and Wesley Snipes as possible additions to the series. Here's hoping Stallone returns to take charge of his platoon of Expendables - both in front of the camera and behind it!

3/5

Poster image courtesy: www.traileraddict.com

Speedtrap and Fireside Tales!

Thought I'd give you kids a treat and post a single panel from my forth-coming Speedtrap strip, which I recently completed for new FEC anthology, Fireside Tales.

Speedtrap is written by Rik Hoskin with artwork by yours truly. We've gone for a cinematic approach this time, utilising many a widescreen panel. I thoroughly enjoyed working on it and can't wait to see it in all it's printed glory!

Fireside Tales should be available to the general public by the end of September. I will post again with more details, as and when I receive them - will make sure to post another couple of panels for your viewing pleasure also!

Be sure to check out the FEC website (www.feccomics.com), as they will undoubtedly be posting further information regarding this book. Their other books are well worth a look also!

The Bourne Legacy

With the success of the Bourne trilogy behind them, it was inevitable that talk would turn to a forth entry to the series - be it sequel, prequel or remake. Thankfully writer/director Tony Gilroy (writer of the previous three Bourne movies) opted for something different. A sequel of sorts, The Bourne legacy does exactly as it's title suggests - and honors that which came before.

It would've been a mistake to ignore the previous trilogy. In an intelligent move, Gilroy has chosen to dive back in to the world of TREADSTONE/BLACK BRIAR et al and show the consequences of Jason Bournes actions from Identity and Supremacy.
As he did with The Bourne Ultimatum, Gilroy again shows how quickly things can move - with events in Legacy running parallel to that of Ultimatum. Both films have a palpable immediateness to them, with time always a factor for their protagonists.

Legacy focuses on a different agent and a different programme - all be it, still within the halls of American Intelligence. Jeremy Renner plays Aaron Cross, an agent of OUTCAST - a development programme looking to breed super-soldiers for the United States.
Cross is suitably athletic, intelligent and has a grounded yet worldly quality about him - not unlike Bourne. Cross is not without his memory though and consequently the audience is taken on a different journey this time.
From the opening scene we know that Cross is on medication. As soon as he is targeted for extermination, gaining access to his 'CHEMS' proves problematic. Cross finds help in the form of Dr. Marta Shearing (Rachel Weisz) - a developer and student of this new science, not to mention a target herself.
Coming off these particular drugs cold turkey is an unpleasant and dangerous exercise - which leads Cross and Shearing to locate the manufacturing house and keep Cross in the lifestyle to which he's become accustomed.

Renner and Weisz are great together - and for my money, are always very watchable. Along with new-comer Edward Norton, they are supported by many a familiar face - peppered throughout proceedings. Scott Glenn, Albert Finney, David Strathairn and Joan Allen all make appearances - cementing their status as integral cogs in the Bourne machine.

I think this is a great way to approach a sequel. The Bourne Legacy is it's own animal, but feels a part of something larger.
Like Bond before it, I believe the Bourne films could run and run - yet having this linear connection throughout sets it apart and allows the audience to invest in a series of films, rather than just one at a time. In order to successfully do this, it's important that key-players return - from creators to cast and crew.
Having already established himself as a director of note with Michael Clayton, Gilroy again proves he can write and stage dialogue and character-driven moments with ease. With The Bourne Legacy he proves he's no slouch in the action department either.
From time to time Gilroy and his team were nudging the curb of believability for me, but over-all they did succeeded in making the action inventive and visceral. Here's hoping they don't jump the curb and send the franchise flying with any possible follow-up!

Jason Bourne was not forgotten with The Bourne Legacy - and nor should current successor Aaron Cross. Those leaving the theatre with a smile will undoubtedly be thinking, 'TEAM-UP'!

4/5

Poster image courtesy: www.shortlist.com

The Last Boy 'Scott'!

I was shocked and saddened to hear that director Tony Scott had died last weekend. As a tribute to a very talented individual (and inspiration to many), I wanted to take a look at three of my favourite Tony Scott films - from what was a prolific and illustrious career.

Being a self-professed movie fanatic, I tend to revisit movies many times over. In most cases and particularly with more adult fair, there's the opportunity see a movie a fresh (and not as you may have remembered it growing up).
I revisited the Beverly Hills Cop trilogy not long ago. I hadn't seen the third entry (disappointing) and was keen to revisit the first two again.
Tony Scott's sequel is by far the best of the series. One must give props to the original for introducing us to Axel Foley and co - and the film does boast some classic scenes. As an action film however, it's comparatively geriatric!
Having crafted one of the best adrenaline-fuelled classics with Top Gun, Scott injected the series with much needed gusto. Scott was known for his expertise with pacing and generating tension and this is clearly felt.

Interestingly, Scott was somewhat intimidated by Eddie Murphy and the prospect of making a comedy. Coincidentally, the comedy elements serve to keep the tension taught - something Scott would go on to master with the two other films on my list.
Scott's signature visual style is evident, making the movie undeniably his. Too often, slow motion, lens filters and a bombastic editing style are used as a stylistic quick fix. Scott used these techniques to service his movies - putting the emphasis on story and creating mood for his characters to pass through.
The result is a fresh and vibrant action comedy - putting current examples of the genre to shame!

4/5

Literally a day or two before I heard the news of Scott's passing I was quoting the, 'Your wife's so fat...' lines from this classic!
Admittedly it's Shane Blacks script that elevates this particular film, but as Scott would go on to prove time and again, he was the ring-leader that repeatedly gave life to that which was on the page.
The Last Boy Scout was another action-comedy which united Bruce Willis with Damon Wayans as an ex-secret service agent, turned private detective and an ex-football player, respectively. Both wondering where it all went wrong in life, the pair unite to avenge fallen friends and lovers - finding redemption for themselves along the way.

The script was smart and hilarious - and the action came thick and fast! All of Scott's aforementioned techniques were utilised. Again, one needn't see the credits to know who was directing!
Interestingly, both this and the final movie on my list paired Scott with two of the best screenwriters in the business - certainly the two most steeped in popular culture and filmic lore.
Ultimately this made Scott one of the great collaborators. He would go on to help many a young film-maker put their projects out in to the world - with producing partner and brother, Ridley Scott.
The Last Boy Scout stands as a benchmark for action-comedies. If you're one of the few who haven't seen it yet, I must implore you to seek it out. It's endlessly entertaining - and then some!

5/5

True Romance is my favourite Tony Scott film - it's a classic which would certainly be in my top 15!

From beginning to end it's whip-smart, entertaining and creative - and never once veers from it's simple plot. 

Christian Slater and Patricia Arquette (never better) fall instantaneously in love, after one night together. From there, they seek to better their lot in order to remain together forever.

Their get-rich-quick scheme sees them stumble upon a suitcase full of cocaine, which they plan to sell in order to live out their collective dream.

However, the owner of the drugs and his boss (plus a number of other affiliates) have other plans - and intercept the lovers on their quest.

Slater and Arquette carry the film incredibly well - especially considering their support. The film boasts a who's-who of magnificent supporting talent including; Christopher Walken, Gary Oldman and Dennis Hopper.

As with The Last Boy Scout, Scott had another terrific script to work from, this time by Quentin Tarantino. Shane Black may have the edge on wit, but there's no denying Tarantino's superior knowledge of film traits and popular culture.

The scene which stands out for me (and one which has been heralded time and again as a classic) is the interrogation scene between Christopher Walken and Dennis Hopper. This scene is so compelling, one could be forgiven for thinking they're actually in the movie - hiding in that caravan somewhere! The dialogue is great, the actors, pitch-perfect and the mood, chilling. 

It's been said that Walken and Hopper bought more to the scene than what was on the page, finding themselves improvising throughout rehearsal - and bringing more maniacal laughter to the scene. Again, Scott shows what a great collaborator he was here, allowing two master craftsmen to do their thing, immersed in a world he so lovingly created.

5/5

Tony Scott was involved in several projects at the time of his death, with a sequel to Top Gun a likely prospect - which would've been fun! 

There was talk of Scott bringing Nemesis to the screen (the Mark Millar comic, where the villain takes centre stage). This was an obvious pairing - and a project I was hoping would come to fruition. 

Last I heard, directing chores had fallen to Joe Carnahan. Interestingly Scott was producer on Carnahan's last picture, The Grey. 

Whether the ball stays in Carnahan's court is uncertain, however as an obvious successor to Scott (a director of action with his own signature style), he would certainly be at the top of my list.

I could go on and talk about numerous other films Scott directed (Crimson Tide and Man on Fire stand out). Instead I'm going to pop down to my local video shop and sit and enjoy the hell out of his back catalogue!

Illustrated images courtesy: www.sketchesnatched.blogspot.com.au

It's not clear who this guy or girl is, but do check out the site for more of the same - incredible images (yes, I wish I'd done them)!

The Dark Knight Rises

Marginal spoiler alert!

Of the three must-see movies I had on my list for 2012, The Dark Knight Rises had me the most excited. Once the tickets were booked, it was all I could think about! 

Finally the 8:30pm screening came around. The trailers had been and gone (no Superman trailer, unfortunately) - then, in sweet unison, the screen expanded and the lights came down - this was it!

Two hours, forty-five minutes later (I would've happily sat there longer), we were transported back to reality. Applause and cheers filled the theatre - a great time was had by all!

The Dark Knight Rises begins eight years after the events of The Dark Knight. It sees Gotham at peace, having bought in to the story that Harvey Dent was in fact killed by the Batman. As a hunted vigilante, Batman is no longer wanted, nor needed - it seems the police department are handling the criminal element of Gotham just fine.

The city has yet to learn from it's mistakes however. Like many cities the world over, no time or thought has been given to the equality of it's people. The rich are getting richer, with minimal regard given to those on the breadline.

What writers Christopher and Jonathan Nolan, and David S. Goyer have done here (as they did with the previous two films), is to comment on the state of our world at present - giving Batman real-world issues to deal with (fronted by some of the most villainous characters ever). 

We've seen Gotham at threat from both terrorist and economic attack in the past and these same threats spill over in to The Dark Knight Rises. These themes wouldn't look out of place on the 6 o'clock news - and consequently, much of the audience are already invested in the film before they've sat down in the theatre. 

New villain Bane takes centre-stage this time. Those familiar with the comics will know he's not to be trifled with. Those unfamiliar with the comics will, in short shrift, learn the same! Tom Hardy fills the role of Bane, a mercenary with muscles in his spit - with a plan to finish what Ra's Al Ghul started in Batman Begins.

The Dark Knight Rises harks back to Batman Begins more so than The Dark Knight in fact. As is the case with many a trilogy, the protagonist is often inclined to look back at their beginnings in order to see the distance they've travelled. This is a true trilogy in that regard (not in name only, like many a superhero franchise). There was already evidence of Nolans plans for a linear story throughout, when he picked up immediately after Batman Begins with the sequel. Despite the gap in years with this new film, story threads continue, with the likes of Harvey Dents death etc (not a single mention of the Joker, disappointingly).

Everyone else is present and correct of course, from Christian Bale as Bruce Wayne/Batman to Gary Oldman as Commissioner Gordon. There are new faces too, with the likes of Anne Hathaway as Selina Kyle/Catwoman and Joseph Gordon-Levitt as police officer, Blake. All the actors are pitch-perfect in their roles - and despite the expanded cast (there's many a co-star to boot), each character is given an arc, each playing a pivotal role in proceedings.

Nolans approach to the Batman trilogy was to ground his character and supporting cast in reality, asking the question, how would things play out if Batman were real?
Nolan and his team follow this mandate with The Dark Knight Rises and for fans of the comic, there'll be the odd disappointment.
Despite it's comic book beginnings, Nolan isn't prepared to break his own rules, such as life after death (a main staple of the comic-book world), and nor should he.
The (heightened) reality Nolan has created here is the secret to the success of these films. The result has meant a broader audience beyond mere fans of the comic-book - a devoted audience willing to accompany this particular incarnation of Batman through to conclusion.

As is the case with many a Hollywood sequel, there's always the emphasis on bigger and better. Many a sequel goes bigger, but always at the expense of a quality story. Nolans sequel is truly epic, in both story and scale - playing like a western from the 60's.
The Dark Knight Rises never stops moving and is rich with detail. Whether it's one of numerous action sequences or a quieter character moment, each piece builds upon the last to create something truly grandiose.

The Dark Knight Rises proves to be a fitting end to Bruce Wayne's legacy as Batman (or is that Batman's legacy as Bruce Wayne?) - guaranteed there'll be tears and applause at any screening you attend!

It's been said that this is Nolan's last Batman film (I for one would be happy to see him make more). There'll undoubtedly be other Batman films, irrespective of Nolan's involvement. Whether they'll come close to his original and thrilling take on the character remains to be seen?!

5/5

Poster image #1 courtesy: www.empireonline.com
The teaser - and the best use of the Batman logo for this particular campaign.

Poster image #2 courtesy: www.comicbookmovie.com
This is a fan-made poster (my favourite I think). Be sure and check out the artist at: www.ryanluckoo.deviantart.com

Poster image #3 courtesy: www.empireonline.com
By the time this poster was released, I felt the Batman logo had been somewhat over-used. This was one of the few posters to surprise me however - take a closer look at the lipstick mark!

Ted

Finally, 2012 delivers a full-blown comedy to shout about!
It's been a dry year for comedy so far, with two notable exceptions; The Muppets and The Five-year Engagement.
Interestingly Ted shares a great deal with both films. There's the turbulent relationship between boy and girl (a four-year courtship) - and the bizarre, yet touching bromance of boy and fuzzy friend (Ted even boasts a musical number)!
Admittedly, these were the selling points of The Five-year Engagement and The Muppets, respectively - and the demographic they were squarely aimed at lapped them up.
Ted combines these elements, but with a greater focus on laughs (something many comedies have been sorely missing of late)!

Ted is aimed at another audience altogether - particularly any male born in the late 70's/early 80's! Those with a questionable interest in popular culture and a fondness for nostalgia. Not unlike creator Seth MacFarlane, or Ted's hetero life-mate John Bennett, played by Mark Wahlberg.
Fans of Family Guy will be familiar with MacFarlane and his particular brand of comedy (foul-mouthed in the extreme)! Ted shares similar traits to Family Guy, both in it's profanity-driven script and in it's use of cut-aways as punchline to many a joke. Referencing all manner of media, particularly that of the 80's and 90's, it's a fabulous technique that MacFarlane has made his own.

During the Christmas of 1985, a young John Bennett makes a wish that his newly acquired teddy bear (Ted) be real - and miracle of miracles, his wish comes true! Cut to present day and John (Wahlberg) and Ted are still living together, but have yet to shed their adolescent mannerisms.

Having already earnt his comic stripes with the likes of I Heart Huckabees and The Other Guys, Wahlberg proves a smart choice for John. His timing and delivery is spot on - especially with some of the more outrageous dialogue. He exudes charm as the romantic lead (a no-brainer for the ladies)! He's also the very best at displaying adolescent heartache and panic - sympathising with this man is certainly no reach for the audience.
As a main staple of That 70's Show and Family Guy, Mila Kunis could be considered a veteran of comedy. Obviously her age and looks would contradict that statement! She is delightful and gorgeous as Johns romantic interest, Lori (a no-brainer for the guys)!


Seth MacFarlane plays Ted, using motion capture techniques - similar to that of Gollum and the aliens of Avatar. In order to create a fluidity to the piece, where by all three actors could improvise and react accordingly, MacFarlane was on set riffing with his co-stars, using specially designed equipment. Witnessing this seamless effect, it's still hard to fully comprehend how it was achieved (was MacFarlane sitting cross-legged the whole time, or were his movements miniaturised)? 
The fact that it keeps the audience guessing is what makes it a great effect. The creation of Ted is one of the best visual effects of this year (or any) - who would have thought this of a comedy, by a first-time feature director?!


Ted is a hilarious film and a significant achievement. There is a story of course. Some nonsense about men having to grow up and put childish things away! But who needs that when you can, 'kick back, drink some beers and smoke some weed!'


4/5


Poster image courtesy: www.screenrant.com

The Amazing Spider-man

As readers of my blog will know, anything comic-related will more often than not get the thumbs up from me! The Amazing Spider-man is no exception!
I'm a big fan of the previous Spider-man films and believe the first two to be amongst the very best comic-book adaptations. The third film didn't quite live up to expectation, but as is the case with many a comic-book property, should a further feature be given the green light, there'll always be a rich history to mine from.

For a while, there was talk of a forth and fifth Spider-man movie, to follow Sam Raimis trilogy - to be made back-to-back. James Vanderbilt was attached to write this opus - and interestingly he receives a story and screenplay credit here (along with Alvin Sargent and Steve Cloves).
What was originally conceived as a sequel is undoubtedly what we're getting here. What we also get is a somewhat redundant re-telling of the Spider-man origin!

For whatever reason, the studio behind Spider-man decided to return Peter Parker to high-school and consequently, retell the story of his transformation in to Spider-man. Skewing younger, they recast their principle characters with the likes of Andrew Garfield (as Peter) and Emma Stone (as Gwen Stacy). They even went with a new director in the appropriately named, Marc Webb!
Along with his superhero origin, we also get a glimpse at Peters early childhood. We're introduced to his parents and learn of their mysterious disappearance.
Dr Curt Connors, who we first saw lecture Peter in Spider-man 2, is given a meatier part to play here. Rhys Ifans fills the role this time and he holds many answers for Peter - concerning both the disappearance of his parents and that of his new-found arachnid abilities.

Along with a great supporting cast and crew, this team have made a very fine film!
Andrew Garfield is superb as Peter, approaching the duel roles of adolescent and hero very differently to that of Toby Maguire. Garfields approach is that of a Modern-age character, grounded in reality - a world away from Maguires Golden-age incarnation. It's a wise decision and it pays off magnificently.
Emma Stone is charming as Gwen and it's refreshing to see her character take centre-stage, this time.
Consequently Gwen's dad, Captain Stacy, is given an integral part to play also. Denis Leary balances the act of disapproving dad and responsible police Captain amicably.
The roles of Aunt May and Uncle Ben are filled by Sally Field and Martin Sheen. Two luminaries of the silver-screen, who portray their respective characters with warmth and humility - and do so effortlessly!
The visual effects are very impressive also. No doubt advances have been made since the previous films, however the success of that trilogy would've resulted in a clearer understanding of what was required to create such imagery - not to mention the box office returns, which would've made any such advances possible. Suffice it to say, Spider-man looks suitably elegant, as he swings through his home town of New York!

Yet despite their best efforts, we're only really given half of the 'untold story' here. No doubt the sequel will take steps to deliver on this promise. It certainly feels like the beginnings of a larger story - one can only hope!
The Amazing Spider-man is a good film I would happily recommend - particularly to those that missed the original!

4/5

Poster image courtesy: www.empireonline.com

The Cabin in the Woods

Initially due for release in 2010, The Cabin in the Woods finally gets a release in Melbourne - all be it, an exclusive run at the Nova cinema in Carlton(seemingly one of the few cinemas willing to give lesser films a shot at a theatrical run)?!
The Cabin in the Woods is no indie/art-house film however, and would in fact be ripe for a general release. It's been made by two genre giants in Joss Whedon and Drew Goddard. It's a horror/comedy(with meta infused DNA). And it stars current god of thunder, Chris Hemsworth. All the ingredients are there for profitable box office returns - and what's more, it delivers!!
The reason for the films long trip to 'theatre' is a consequence of MGM's bankruptcy problems in 2010. Many films suffered, including the new Bond and Hobbit productions, which have all since recovered. Lionsgate were the ones to throw 'Cabin' the proverbial rope and they're currently distributing the movie(on these shores at least).

The film tells the age-old story of five promiscuous teenagers, who venture to a secluded getaway one weekend(the cabin from the title). All the clichés are present and correct, but not without reason. Like 'Scream' before it, 'Cabin' plays on the expectations of it's audience. While some characters follow one another blindly into the clutches of evil, others are more astute - fluent in their genre surroundings.
We soon discover we're not the only voyeurs on this journey. A team of every-man scientists are hard at work, recording and monitoring each cabin resident, as they set about enjoying their weekend away.
It's quite unusual witnessing these scientists go about their daily routine, while they in turn study the teenagers in the cabin. It works magnificently - adding yet another dynamic to the horror genre.
It's a simple yet effective technique which comes as no surprise, when you consider the talent both in front and behind the camera.

The cast are all very convincing(as teenagers in their twenties), with Hemsworth the most recognizable. The stand-out performances however, must fall to the two lead scientists. Bradley Whitford and Richard Jenkins are absolutely superb in the roles of Hadley and Sitterson, respectively. They joke and jibe with one another, treating the most outrageous scenarios of their day-to-day with casual abandon.
Having recently broken box office records with The Avengers, Joss Whedon was already widely known as the creator behind television shows; Buffy, Angel and Firefly(not forgetting Firefly's big brother, Serenity).
Interestingly Drew Goddard worked alongside Whedon on both Buffy and Angel, before graduating to Alias and Lost. Formerly a writer and producer on these shows, Goddard made the move to features, writing Cloverfield. The Cabin in the Woods is his first film as both co-writer and director.

To say any more about the film would be to spoil it, however those familiar with these creators will have a good idea what to expect. Never sure which direction their ride will take you, you'll be shocked, surprised and giddy with laughter by the time the end credits roll. The Cabin in the Woods is a wholly original take on the horror genre. It's endlessly entertaining, witty and engaging - leaving the audience to ponder on previous cabin occupants?!

4/5

Poster image courtesy: www.mondoarchive.com