Chappie (Review) - A Disappointing Waste

I really wanted to like Chappie. The third movie by sci-fi director Neill Blomkamp, Chappie tries to tell a story of human corruption and deal with issues such as the ethics of robotics, as well as grand ideas such as humanity itself. Instead, it presents you with a group of detestable characters and expects you to empathise with them, or at the very least, put up with their abhorrent personalities until the mundane climax and inevitable ending. 

The film begins with at least a certain degree of promise. Set in a futuristic South Africa, the film opens with an introduction to the new mechanised police force, who lack the ability to be corrupt or ineffective. After one robot is rendered useless from an explosion, engineer Deon Wilson (Dev Patel) decides to repair it and test out his recently created artificial intelligence, in hopes of creating the first fully-conscious machine. However, Deon is kidnapped by a group of desperate criminals who demand that he hands over the robot in order to use it as an accomplice to their crimes. Held at gunpoint, Deon agrees, but only if he can visit frequently in order to teach Chappie's child-like mind how to think. 

However, rather than showing the development of Chappie and allowing you to marvel in how similar robots could be to humans, Chappie then decides to show two hours of the criminals (played by South African rap-rave group 'Die Antwoord') corrupting Chappie and turning him into one of their own. This wouldn't be so bad if the criminals had any sort of on-screen presence, but they're as cliché as they come. The decision to cast real-life musicians in roles which have them literally playing themselves was a terrible one, as neither of these miscreants have any kind of acting talent, and neither are particularly endearing. Also, many of the scenes in which they feature are accompanied by a selection of their music, which is frankly appalling. The biggest problem, however, is that towards the end, the film then portrays supposedly 'dramatic' scenes in which you're meant to feel sadness towards the violence depicted, but this simply isn't the case. 

In fact, Hugh Jackman plays a rival to Deon who is meant to be seen as the villain, but you're left hoping that he will succeed in wiping the scum off of the Earth. This is definitely not a good sign, and leads to you not caring about anyone in the film whatsoever. If I had to pick one character I warmed to, it would probably be Chappie himself, but even he is let down by poor character development and a lack of good supporting roles. Sure, there's some early scenes where it seems like Chappie may be going a certain path and truly questioning what is right and wrong, but then this is squandered by some terrible acting, dialogue, characterisation, and just general issues. 

If it seems like I completely resent Chappie, that's not quite the case. It is indeed a bad movie, but is far from the worst I've seen. I'm just bitterly disappointed, because it had such a good concept that was thrown aside in favour of a mundane, predictable story delivered by dreadful individuals. There's plenty of films which have the antagonist in a central role, so this isn't why I disliked the film so much. Movies such as No Country for Old Men, for example, have a bitterly evil character at their core, and yet still succeed based upon the performance of said character being excellent. Chappie fails this, and then some. 

Verdict
I honestly couldn't recommend you go and see Chappie, even if you're a huge fan of District 9 or even 2013's Elysium. It strives to tell a meaningful story about humanity and how easily a child-like mind could be influenced, but does it through such inane means that it just comes off as boring and lifeless. After about an hour I was already waiting for the film to end so that I could leave, which should speak far more than anything else. If you're craving some artificial intelligence sci-fi, go and watch the brilliant Ex Machina instead. 

"People are always fearful of something

they don't understand"

House of Cards: Season 3 (TV Review) - Frank's Back...Again

If you had told me that House of Cards would be one of my favourite TV shows back when the first season aired, I probably would have laughed in your face. Sure, it was good, but it was far from spectacular. Now, two seasons later, and I can firmly stand behind this statement. Not only is season 3 of this incredible show the best yet, but it ends on a cliffhanger which is shockingly unfair in the excitement it creates. 

Francis & Claire Underwood
(Kevin Spacey / Robin Wright)

Elevated from merely Mr. Underwood to Mr. President, Francis Underwood is a scarily powerful man. Not everybody agrees with him, and in fact most of this season shows just how controversial of a figure he is, but he's a powerful entity nonetheless. The season begins with Francis (Kevin Spacey) striving to nationalise his 'America Works' programme - a system which plans to raise employment exponentially across the United States. Early on however, Frank is driven to withdraw from the presidential vote in 2016...though this is only a minor setback in the Underwood's grand scheme. Meanwhile, Frank's wife Claire Underwood (Robin Wright) is determined to achieve power of her own, and hopes to do this by becoming head of the U.N. If season 1 was about uprising and 2 concerned treachery, then this instalment most certainly revolves around the absolute corruption of power. 

For anybody who has seen the show before, you'll know what I mean when I say that the previous season began with a fairly brutal episode. It dived head-first into the deep-end, and didn't pull any punches. Now, while this chapter of the Underwood story is definitely anything but slow, it doesn't feature quite the same level of intense suspense found previously. What this does contain, are countless moments of gripping conversation and subtleties which rival any number of scenes depicting high-octane action. Yes, this fuse is a slower burn than before; but it's one which leads to an extremely satisfying explosion at its climax. 

In terms of a television series replicating the same cinematic flair of a movie, House of Cards is easily miles ahead of most other content available right now. The cinematography is beautiful and aptly sinister, the acting is beyond entertaining, and the multiple, intricately linked story lines are as engaging as ever. Obviously, Kevin Spacey's performance as President Underwood is the stand-out for the series, but Robin Wright as Claire has more of a presence this time around than ever before. For every action by Frank, there's an equally interesting reaction from Claire, all of which bubbles to a shocking conclusion setting up season 4 - no doubt to be released this time next year. 

In terms of things I didn't like with this season, they're small but still worth mentioning. Some plot-lines which flow seamlessly in the earlier half of the season eventually dry-out and disappear later on, which is a little disappointing, as they are as interesting as anything else - such as the rivalry borne between Frank and the Russian President, Victor Petrov (Lars Mikkelsen). Also, particular moments which are intended to shock and surprise fail to do so because they're so apparent early on, but the truly sinister twists hit their mark where intended. 

Verdict

Season 3 of House of Cards is an interesting predicament: It's book-ended by episodes which aren't quite as thrilling as the previous instalment's, and yet the chapters within these manage to escalate it beyond anything that has came before. Yes, I believe it to be the best season yet and some of the finest television I've seen, but that's because I have such an investment in these characters after two prior seasons building their characters. For an outsider, the plot of season 3 may seem comparatively weaker to at least the second season, but the brilliant monologues delivered by Frank and the insidious tone maintained throughout still mean that it is well-worth a watch. 

"You wanna know what takes real courage? 

Holding it all together, when the stakes are this high."

It Follows (Review) - Subtle Indie Horror

Another Screen Unseen; another great movie. I've talked about it previously, but Odeon holds an event (usually monthly) at which they show an upcoming, unknown film to an audience who pay a discounted price per ticket. This time, I had the pleasure of seeing a relatively small, low-budget horror movie which looked incredibly original and interesting: It Follows. 

Jay (Maika Monroe)

The film takes place in a non-specified time period - which adds to a feeling of mystery and a sense of urban myth - and tells the story of adolescent girl Jay (Maika Monroe). Jay's infatuated by the romanticised idea of going on a date with a boy, taking a long drive, and inevitably consummating their relationship. What Jay doesn't know however, is that her boyfriend Hugh (Jake Weary) is plagued by visions of horrific figures stalking him at all times, and by having sex with Jay, he has passed this curse onto her. In a frantic explanation near the start of the movie, Hugh explains how 'it' will follow Jay unendingly at all times, but only at a walking pace. If 'it' reaches Jay, 'it' will violently murder her - starting a truly frightening story with an almost eerily simple premise. 

It Follows takes the tired genre of 'teen-horror' and adds a new flair to it, and is all presented in a refreshingly subtle manner. It would have been cheap and easy to have constant screaming girls running away from the camera and demonic forces follow their every move, but this movie just gets it right. There's many occasions when a shot will remain on-screen for an extended duration of time, which will have you scanning every inch of the screen to try and spot an impending figure...but nothing actually happens. Where most movies immediately remove all fear with an abrupt jump-scare, It Follows leaves out these mindless frights in order to sustain a sense of dread for the entire run-time. And it's brilliant. 

Of course, there are a few occasions at which the movie will feature a 'false' jump-scare - such as a ball hitting a window for no reason - but these are rare enough to not burden the film. For the majority of the time, the simple image of a regular-looking person slowly, purposely approaching Jay will have you gritting your teeth in anticipation. It Follows also opts for less gore, which is a nice change from a lot of modern horror movies, and by doing this, it never feels abundantly exploitative; the opening scene ends with a violent, gory conclusion, but this is just one moment in a sea of many.

It would be a crime to talk about It Follows without making reference to the amazing soundtrack which runs throughout the film. Sounding often like a creepily synthesised ode to classic horror themes, the music within the movie is an entire character of itself. Building dramatically at moments and then insidiously waiting in the background, it's probably one of the best horror accompaniments I've heard. 

But despite all its praises, It Follows does still feature a few pitfalls which prevent it from true brilliance. The majority of the characters do their job, but Jay's friends all feel slightly clichéd and expendable; a trope which burdens countless films within the genre. Also, and arguably less important: the film has been criticised by some for its preachy, glaring messages about how sex is wholly negative and will, quite literally, result in your death. I don't agree with this in the slightest (though the nature of the 'curse' is a little odd), and think that this is a claim which doesn't really have any true ground. It's something to bear in mind.

Verdict

While It Follows is no horror masterpiece, it's still a truly unsettling movie which never really gives you time to relax. Some of the characters are forgettable and it unfortunately still retains the stereotypical features of modern horror, but it does manage to present an original idea in an entertaining package. Even if you're only going to hear the mesmerising soundtrack - it's still a movie which is well-worth your time. 

"This thing...it's gonna follow you. 

Somebody gave it to me, and I passed it to you."

Kingsman: The Secret Service (Review) - James Bond With An ASBO

Well that was certainly a nice surprise, wasn't it? It's very rare that you'd go into a film expecting a 5, and come out with a solid 10. Quite unexpectedly, Kingsman: The Secret Service manages to accomplish just that. 

Harry Hart / Gallahad (Colin Firth)

The film begins by introducing us to your typical, chavvy adolescent. Gary 'Eggsy' Unwin (Taron Egerton) had so much potential growing up, only to be squandered by a life of substance abuse and crime. After the death of his father however, Eggsy is introduced to the enigmatic Harry Hart - a mysterious figure operating under the alias 'Galahad' (Colin Firth). Harry's a member of the elite, eponymous spy group The Kingsman, and soon begins training Eggsy up in order to welcome him into their prestigious team. 

Gary 'Eggsy' Unvin (Taron Egerton)

Predictable? Kingsman wrote the book. But the film wholly embraces this, and is one of the most fun, self-aware movies I have seen in years. If you cross Kick-Ass with James Bond and crank up the swearing and violence, you're halfway there. At no point, however, does this become even remotely close to a problem; not even when the characters openly discuss the preposterous nature of the movie before your very eyes. In an interaction between Galahad and the villainous Valentine (played spectacularly by Samuel L. Jackson), the two characters reminisce over the classic spy movies of their golden age, and how they're "too serious for my liking". This should give you a pretty good idea as to what you're in for: a blisteringly-fast action film with comedy to rival even the funniest of movies. 

And talking of action: Kingsman: The Secret Service has it in spades. A particular stand-out segment takes place in a church which erupts into one of the best action-scenes I've ever seen in a film - all accompanied by the pacey song 'Free Bird'. It's utterly ridiculous and if you stop to think about it - which you won't - it may even seem a little too absurd, but the film flies along at such speed that you just enjoy it for what it is and forget about silly little things like realism. 

Valentine (Samuel L. Jackson)

As far as faults are concerned, Kingsman's are few and far between. Eggsy's potential love-interest Roxy (Sophie Cookson) seems to exist only to amp up the tension for certain parts of the movie, and Samuel L. Jackon's lisp is occasionally a little unbelievable, but the minuscule size of these criticisms should tell you all you need to know: this is a seriously good movie. 

Verdict
I sincerely wish that all future films that I go and see with so-so expectations end up being half as good as Kingsman: The Secret Service. The 15 certificate allows for some fairly brutal violence and frequent swearing, which only adds to the brilliantly juvenile tone the film tries to - and most certainly does - achieve. If you were on the fence about seeing this due to the trailers not seeming quite that good, I urge you to reconsider. If you're desperate for a fun time in the cinema, this movie most certainly has you covered. 

"If you're prepared to adapt, you can transform" 

Ex Machina (Review) - Smart, Thought-Provoking Sci-Fi

Ava (Alicia Vikander)

The Turing test is an examination given to a computer in order to determine whether or not it can be considered true artificial intelligence. The test is based entirely upon a candidate communicating with two individuals - one being a computer, the other being a human - and through a series of questions, the candidate must decide which of the two other entities is human. In the actual test, the human candidate is given no visual suggestion as to which other participant is human, and must make their decision solely on textual responses. Ex Machina puts a genius spin on this idea, and has computer programmer Caleb (Domhnall Gleeson) speak directly to Ava (Alicia Vikander)...the difference being that Ava is psychically an android standing in front of Caleb, therefore adding an immediate, visual contradiction to the test. 

Caleb is given this incredible opportunity because he won the lottery at the search-engine at which he works, resulting in him being flown to his estranged boss' home. Caleb's boss Nathan (Oscar Isaac) is an intimidatingly intelligent man who has an air of mystery to him; resulting in a man whose emotions are just as difficult to read as any cyborg, if not more so. Gradually over the course of the film, you're given small glimpses into why exactly Caleb was flown to this isolated location, and things soon take a much more insidious turn. 

Caleb & Nathan (Domhnall Gleeson & Oscar Isaac)

To call Ex Machina a sci-fi movie doesn't do it nearly enough justice, the same way that calling Fight Club a thriller barely scrapes the surface. It's a film which never panders to its audience, and as a result, it is a vastly intelligent film which - at the risk of sounding pretentious - works on so many levels. Of course, there's the basic story about a man testing the humanity of a machine. However, this conjures questions of humanity itself and some rarely touched-on issues such as ethics concerning robotics. Naturally, it isn't really something we've had to consider with modern day technology, but Ex Machina presents issues such as these in a very interesting manner. All of this wouldn't be possible if it weren't for the three central roles being played so perfectly. 

This is a movie which is, essentially, a whole bunch of conversations happening as a result of eachother. Nathan befriends Caleb; Caleb talks to Ava; Ava talks about Nathan, and so on and so forth. But it's the ways in which these conversations impact others so dramatically that keeps the movie going at an ever-speeding pace. What initially seemed harmless inevitably becomes a major plot point, and this is what makes Ex Machina such a joy to watch. Some aspects towards the end are predictable, but the conclusion itself most certainly isn't - and in that lies the only point of contention I think the movie may have created for itself. 

Once the credits begin to roll, some may be disappointed by the frankly bleak ending the film goes for. Personally, I thought it was a perfect end to a great movie, because it leaves you to make some of your own interpretations. It's far from wholly open-ended, but the motives each character possess aren't made entirely clear. 

Verdict
Ex Machina is the best kind of sci-fi: it provides interesting perspectives into what the future of technology holds, and then goes on to raise deep, philosophical questions about that exact technology. If you prefer your films grounded in complete reality, then maybe it won't be for you, but there wasn't a moment during the film which I wished had ended sooner. 

"One day the A.Is are going to look back on us

the same way we look at fossils." 

Whiplash: Review

Go and see this movie. Right now. I say this, because I don't imagine many people will, especially with action extravaganzas like Taken 3 currently being in cinemas. But if you happen to choose Liam Neeson's latest shoot-em-up instead of this incredible movie, you will be doing yourself an immense disservice. 

We've all dreamed of being the very best at something, haven't we? In Whiplash, Andrew (Miles Teller) wants to be great. Not just 'great', mind you, but one of the Greats. Andrew's chosen profession is drumming, and he will play and play until blood oozes from his hands and scars form, just so that he can be the very best. One day while turning the note pages for a sub-par peer, Andrew's talent is recognised by the frighteningly intense Fletcher - the infamously aggressive conductor of New York's best jazz students. From here onwards, Andrew is subjected to Fletcher's frankly murderous tendencies, and always appears mere moments away from snapping. 

Andrew (Miles Teller)

It should come as no surprise that Whiplash is an intense movie. What may surprise you, however, is that it is possibly one of the most intense, edge-of-your-seat, thrilling films I've ever seen. And that's coming from somebody who has lacked the musical ability to play an instrument for the entirety of his life. The film instantly makes you fascinated by the talent that goes into becoming a legendary musician, and leaves you wanting to perfect at least one thing in your life. Littered with mesmerising pieces of jazz music, Whiplash is also a joy to simply listen to, even if this music is split up with terrifying screams and insults from the mouth of Fletcher. 

The character of Fletcher is immediately comparable to Full Metal Jacket's Sgt. Hartman. Vicious, toxic obscenities come from him for much of the movie, and at times it's so excessive that it borders on being darkly comical. But gradually, things drift very far from humorous, and soon you're fearing for Andrew's very life. He doesn't seem to care though, as it's soon very apparent that Andrew's willing to give up literally everything in pursuit of his seemingly unreachable goal. Of course, once you give up everything, you're left with very little indeed. 

Fletcher (J.K Simmons)

I cannot think of a single thing which detracted from the movie. The music throughout was immersive, the acting was phenomenal (and has earned J.K Simmons an Oscar nomination), and the directing and cinematography were always suitably fast-paced and in time with the music...it's just an incredible movie. The only way in which you may not find this film extraordinary, is if you absolutely hate the drums as an instrument. That's it. 

Verdict
Whiplash is an incredible achievement: it manages to tell a spectacular story about drums which will appeal to people, like myself, who have never picked up a pair of drumsticks. But it isn't just about drumming, it's also about the pursuit of perfection, and what somebody might go through to in order to try and achieve this. By the time the credits roll, you'll probably forget how long you've been holding your breath, and let out a final sigh before taking in everything you've just seen. 

"There are no two words more harmful in the

English language than 'good job'"

Foxcatcher: Review

Do not google 'John du Pont' or anything related to Foxcatcher if you plan on watching it in the cinema. I say this, because I looked into the true story behind the movie beforehand, and it slightly ruins the shock meant to be achieved by the ending of the film. Considering the movie itself is a very slow-burn up until this moment in particular, finding out in advance may ruin the film for you. Thankfully, I still enjoyed it for what it was: a dark, insidious telling of an American sports tragedy. 

John E. du Pont (Steve Carell)

Foxcatcher tells the story of team Foxcatcher - a team of American wrestlers who are formed by wealthy millionaire John E. du Pont. Du Pont begins Foxcatcher after meeting with wrestler Mark Schultz, and convinces him to move to his estate in order to train for the Olympics. However, it's gradually revealed that Mr. du Pont may not be quite the coach he has claimed to be, and is actually a lonely man wanting nothing more than to see his great country shine once more. It's a rather bleak story, but one which is interesting all the same. Also, Steve Carell practically steals the entire movie as the sinister John du Pont. 

When trailers were first released for the film, many could not believe the startling transformation Steve Carell went under in order to become this infamous figure. It's truly mesmerising to merely watch him on screen when first introduced, but his incredible acting manages to keep you engaged long after. It definitely wouldn't be a stretch to say that this is Carell's best performance to date, and a stark departure from the U.S Office's Michael Scott. Carell isn't the only actor out of his comfort zone, however, as both Channing Tatum and Mark Ruffalo also deliver outstanding performances for the entirety of the film. 

Mark Schultz (Channing Tatum)

One thing that truly surprised me before seeing the film was the polarising opinions I had heard. Some people claimed that it was a "masterpiece", while others slated it for being boring and monotonous. While I can understand the latter opinion, and I'm not quite of the former, I still thought that Foxcatcher was a great movie. Of course, a lot of the film lacks even a soundtrack, and there are long periods of silence which may make some viewers uncomfortable. In my opinion though, this only engrossed me more; similar to how 2013's 12 Years a Slave utilised silences for intense effect. 

Verdict

While it didn't quite reach my high expectations, Foxcatcher was still a film well worth watching. I can completely understand those who left the cinema wholly disappointed, but I'm happy to say I am not one of them. It's far from one of my favourite movies, but I wouldn't be surprised to see it win multiple awards in the coming months. 

"Coach is the father. Coach is a mentor. 

Coach has great power on athlete's life."