Jack The Giant Slayer (2013)

Jack The Giant SlayerWhile trading in the Kingdom Of Cloisters, Jack (Nicholas Hoult) sells his uncle’s horse to a monk in exchange for a small bag of beans, having been assured that should he transports them to a particular monastery he will be rewarded handsomely. Jack returns home, unaware that the beans had been stolen from Lord Roderick (Stanley Tucci), the king’s favourite advisor. During a heavy storm, Jack receives a visit from the princess (Eleanor Tomlinson), who has flown the kingdom as she doesn’t wish to marry Roderick. When a bean becomes wet, however, it produces an enormous beanstalk which knocks Jack unconscious and carries Isabelle into the clouds, to a distant world ruled by giants. Aided by elite guardsmen Elmont (Ewan McGregor) and Crawe (Eddie Marsan), he heads up in pursuit. Read more of this post


Star Wars Episode I: The Phantom Menace 3D (2012)

Sent to resolve a taxation dispute with the Trade Federation, Jedi Master Qui-Gon Jinn (Liam Neeson) and his apprentice Obi-Wan Kenobi (Ewan McGregor) instead find themselves under attack as Viceroy Nute Gunray (Silas Carson) orders an illegal invasion of the planet Naboo. The Jedi – along with exiled native Jar Jar Binks (Ahmed Best) – escape with The Queen (Natalie Portman) and depart for Coruscant in order to find favour with the Galactic Senate. Forced to stop on Tatooine for repairs, the Jedi happen across a young boy named Anakin Skywalker (Jake Lloyd) with whom The Force is unusually strong. Their discovery does not go unnoticed by Senator Palpatine (Ian McDiarmid), however, the political alias of a burgeoning Sith power.

Thirteen years ago, in a galaxy uncomfortably close to the bone, a loyal fan-base snorted in derision at a movie so apparently terrible that it not only made a mockery of their decades of devotion, but tarnished the memory of their once-hallowed original trilogy as well. Betrayed by the man to whom they had given years of their lives, a considerable sum of money and their first cinematic love, a generation found themselves sorely disenfranchised by the infamous phantom menace.

Except, they didn’t really. In the subsequent years, these individuals have upgraded their collection first onto DVD and then onto Blu-ray, continued to invest in expanded universe games and novels, and returned to watch the film’s two sequels, Attack of the Clones and Revenge of the Sith. There is still great affection for George Lucas’ brain child, and where a generation was once inspired by the original trilogy, so too has a generation been enchanted by the new series of films. The franchise has endured, despite the continued resistance of a select few.

With Star Wars Episode I: The Phantom Menace returning to cinema screens following a 3D overhaul, old wounds might once again begin to itch, however, as those once slighted by the film’s 1999 release question why they would ever wish to see the film again. After all, it is the same film, riddled with the same flaws, simply retrofitted in 3D. This is true, but with over a decade to let the old scars heal, I urge you to revisit The Phantom Menace and make peace with a film mired in unjustified contempt.

It’s ridiculous, after all, to think that George Lucas has somehow done his fans wrong by not making the movie that they wanted to see. It’s a shame to think that the man himself has been worn down to the point of retiring having been unfairly vilified by a group of people who just happen to have grown old and cynical faster than he can make movies. The Star Wars films have never belonged on a pedestal, their iconic status ultimately bestowed on them by misguided audiences determined to adopt the franchise as their own, resulting in a sense of entitlement that would see them become their beloved franchise’s own worst enemy.

Don’t get me wrong, I’m not trying to say the film is perfect, or even particularly great. Indeed, the problems with The Phantom Menace – and the prequel trilogy as a whole – have been well documented: the overly exclamatory dialogue that is rife with exposition, the embarrassingly wooden acting as actors grapple with excessive green-screen and a plot that gets too bogged down in pseudo politics to allow for any real momentum or character development. The truth is, however, that many of these criticisms can be just as easily levelled at the other films, and if we can overcome clunky dialogue and awkward plotting for them – anyone who denies there’s political jargon in A New Hope simply isn’t listening hard enough – then what’s stopping us here? Surely it can’t just be nostalgia alone?

Because – as I have already argued – there is so much to love in The Phantom Menace, particularly now that it has been spread over an extra dimension. The pod race, the lightsaber battles and the space dogfights are on a par with anything the series has to offer, and with the benefit of stereoscopy this is clearer than ever. This is one of the best conversions I have ever scene, the screen opening up to a degree reminiscent of the finest 3D experiences. Coruscant is quite simply breath-taking, while the underwater world inhabited by Naboo’s Gungan quotient dazzles as it looms into view. There is a size and scope to Lucas’ creation that is utterly cinematic – from Darth Maul to Sebulba, Mos Espa to the Galactic Senate – it’s pure genre entertainment.

But as ever, The Phantom Menace‘s biggest asset has never been the films admittedly stunning visuals. The film’s score is arguably one of John Williams’ finest; as the Star Wars theme blasts out over the opening crawl, it is impossible not to feel time rewind and yourself regress back to childhood once more. But unlike the film’s narrative – which riffs quite obviously (and unfortunately) on Return of the Jedi – this is no rehash. The usual leitmotifs are blended with a more diverse soundtrack, as the true operatics of this space opera come into play, crescendoing with the film’s piece-de-resistance: Dual of the Fates. Throw in Ben Burtt’s characteristically impeccable sound design and you have a film that is tantalisingly close to being note-perfect.

Revisiting Star Wars Episode I you will quickly realise that Jar Jar Binks is nowhere near as annoying as you remember him to be, that the midichlorians do little to demystify The Force and that the laughable Yoda puppet has been mercifully replaced with a decidedly more palatable special effect. Of course it could have been improved; the opening could be more exciting, the dialogue written by literally anyone else and Jake Lloyd replaced with someone who could actually act – if only Max Records or Dakota Goya had been around in 1999 – but even as it stands, The Phantom Menace is far from the mess your unfounded prejudices would have you believe.

Imagined as the cinematic equivalent of a Saturday morning serial, The Phantom Menace serves its purpose completely. While the film may be juvenile, flawed and inconsistent, it is nevertheless a beautifully crafted, ruthlessly imagined and wildly entertaining piece of children’s entertainment. Not a travesty or a betrayal, just a perfectly serviceable slice of science fiction. Nothing more, nothing less.

Haywire (2012)

Having arranged to meet her employer at a lonely diner in Upstate New York, Mallory Kane (Gina Carano) is instead attacked by Aaron (Channing Tatum), a fellow contract operative with whom she worked on an assignment in Barcelona. Escaping with a young civilian named Scott (Michael Angarano) Mallory seeks revenge on Kenneth (Ewan McGregor), the man who set her up. Along the way, Mallory explains the circumstances that led to her situation, detailing the job in Barcelona and the repercussions it had on a later trip to Dublin, during which she was betrayed by British agent Paul (Michael Fassbender).

Steven Soderbergh’s latest step towards retirement, Haywire, is not an easy film to like. Opening with loaded glances galore and vague references to various European capital cities, an almighty slab of backstory is then dropped on Angarano’s Scott as the audience tries desperately to catch up. Many have attributed the film’s failings to newcomer Carano, a mixed martial artist plucked from the ring and tasked with carrying her own movie, but in my eyes it is Soderbergh’s direction that is the film’s biggest weakness. A convoluted and confused plot, a series of pencil sketched antagonists and a poorly integrated non-linear structure results in a film which ticks along with no real tension or pace.

Considering her lack of experience, Carano actually fares rather well. While she mightn’t offer a particularly emotional performance, you’d be misremembering if you were to claim that other genre stalwarts such as Boure or Bond were particularly prone to public displays of affection themselves. Kane carries herself with confidence and authority, holding her own against the likes of Fassbender’s man behind the donkey punch, government agent Michael Douglas and Puss In Beards himself, while also managing to compel the narrative on her own terms. Where she might pass admirably through the film’s quieter moments, she truly excels during the film’s numerous action beats. The walls shake with every punch, you feel every fall and when a deer jumps out in front of Kane’s speeding car, you may as well be behind the wheel.

Despite the best efforts of all involved, then, Haywire is plagued by a slapdash attitude towards plot, a strangely incongruous soundtrack and a beach-set denoument which seems desperately low on the air-punching glee of similar revenge-driven movies. Next time you decide to have tumble-weed blow across the runway during a third-act scene-setter, Soderbergh, try at least to make it ironic.