Showing posts with label Combo. Show all posts
Showing posts with label Combo. Show all posts

Tuesday, June 11, 2013

Epic (Blu-ray 3D Combo Pack) (Blu-ray)

This review is based on going to see "Epic" in the cinema with my family.
"Epic" is a beautifully created animated family film based on William Joyce's book "The Leaf Men and the Brave Good Bugs (Harper Trophy Books). It is rather like a better execution of the same basic idea as "Arthur & The Invisibles" except that in this case the whole film is animated where "Arthur and the invisibles" had the human-size portions played by real actors and the miniature sections animated. Ironically that means that, this film having a star studded voice cast, several of whom are extremely easy on the eye, the film does not show them as they usually appear: but the characters are so beautifully drawn that you don't really mind.
Case in point: the heroine and central character, Mary Katherine (who prefers to be known as MK) is voiced by actress Amanda Seyfried and the queen of the forest, Queen Tara, is voiced by Beyonce Knowles. I imagine one or two dads would much prefer to have seen the ladies concerned rather than animated images for which they provided the voices. But that reaction won't have lasted more than a few seconds after seeing how well their characters were voiced and drawn. Christian Kaplan who did the casting for this film obviously did pick the cast for their voices rather than their appearance, they more than justify the choice.
MK is a teenage girl whose mother has recently died. At the start of the film she arrives at the semi-derelict house, on the edge of a forest, where her father, mad scientist Professor Bomba (Jason Sudeikis) lives and studies the fauna of the forest. Bomba had wrecked both his career and his marriage through his obsessive attempts to prove that an "advanced civilisation" of tiny people exists in the forest.
It probably won't be a spoiler to anyone thinking of going to see this film - certainly not to anyone who has seen the trailer - that Bomba's apparently preposterous theory, which no other human takes seriously, is in fact correct. Nor that his daughter finds herself magically shrunk to the same size as the tiny denizens of the forest - and caught up in the constant war between two factions of forest creatures.
Although some of the less intelligent promotional material for this film presents that conflict as a battle between good and evil - and I have seen it wrongly suggested that the battle in the forest might also affect our world as well - the actual presentation in the film is a lot more nuanced than this. One side, led by Queen Tara (Beyonce Knowles) and her "leaf men" soldiers, represents growth, the other led by Mandrake (Christoph Waltz) and his "boggan" troops represent decay. Children or anyone else who wants to take a simple moral from the film will see Queen Tara's side as representing good while Mandrake is evil, but adults will realise that the life of the forest would actually depend on a balance between the two.
Indeed, one of the best things about the film is that the "bad guy," Mandrake, is not cartoonishly and two-dimensionally evil. Like the most dangerous villains in the real world or the best literature Mandrake is all the more formidable as an opponent because he has characteristics which in a "good guy" would be recognised as virtues. Instead of going down the all-too-familiar route of presenting the villain as being pathetic, cowardly, and full of hatred even to those closest to him, the film gives Mandrake a lot of the best lines, shows both him and his son and general Dagda (Blake Anderson) leading from the front at various stages of the film, and doesn't show them constantly plotting to betray each other.
Other strong and well voiced characters which enrich the film include Ronin (Colin Farrell) the general of the Leaf men, Nod (Josh Hutcherson), an independent minded young leafman whose dead father had been Ronin's friend, a pair of sometimes charming and sometimes aggravating molluscs, Mub the slug (Aziz Ansari) and Grub the snail (Chris O'Dowd), and a glow-worm impresario called Nim Galuu (Steven Tyler) who is also the keeper of the magic scrolls which record everything which goes on in the forest. The film also features the rapper Armando Pérez, better known by his stage name Pitbull, voicing a frog mafia boss.
Every time I go to see a new animated film I think the depiction of the characters, scenery and events could not get any more beautifully done, and every time you get to the next one you realise you were wrong, and this film is yet another visual feast. The plotting is also reasonably tight, keeping your attention, there are plenty of simple jokes for the kids and more sophisticated ones for the adults. It had me laughing at the jokes quite a few times.
Not everyone will like this film - some people will see it as far too similar to "Arthur and the Invisibles" and others will consider it a bit twee and childish. But I would consider it a very good film for children up to the age of about thirteen - my eleven-year-old daughter certainly loved it - and which adults can enjoy with their kids.

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Sunday, June 2, 2013

Cloud Atlas (Blu-ray/DVD + UltraViolet Digital Copy Combo Pack)

Have you ever felt hammered by a movie? Has it ever taken you days, weeks,
to integrate a movie, in your head and heart? Read on ...
If you see this movie, you'll probably see why some people don't like it. In
fact you may see different reasons for different people. A great movie allows
the individual to bring their own positive interpretation. Cloud Atlas also
allows the individual to bring their own negatives.
My own personal bitterness was "How come my heros always die, but your heros
always live happily ever after?" This hit me hardest as I was walking out of
the theater, but it still galls me to think about it.
You see, its like this: Cloud Atlas goes for power and effect. If they hit
something positive in you, you rave about it. If they hit something negative,
you hurt big time. This movie isn't about entertainment, its about achieving
enough kinetic force to shake you up. Its wrenching. And some people do not
like being shaken like a rag doll. More so, because as people have said,
Cloud Atlas is unlike any other movie ever made.
In a broader sense, I think almost everyone has at least one scene where you
ask yourself "Do I really wanna sit here and watch this?" The whole diversity
thing, not just diversity of people, but diversity of fates, gets close to the
point of overload with Cloud Atlas, and anyone who feels pushed over the redline
will walk out, having better things to do.
Again, its like this: If you can hold the movie at arms length, you're ok, but
if you step inside it, then its really disturbing. And I'm not talking about
the sex and violence either. Its the ideas, plural. There are so many ideas in
this movie, at so many different levels, its like a living fractal. Not ideas
just for the sake of ideas, not ideas just to shake you up, but ideas that
speak to you as a unique individual.
For me, Cloud Atlas is the most disturbing movie since Donnie Darko, although
they are radically different movies. But then again, some of it is funny, and
parts of it are exhilarating too. It has a mix of light and dark, it isn't all
dark. And it isn't "comic relief" either. Somehow, the lighter parts of the
movie are woven directly into the fabric of the story. It works amazingly well.
In technique, Cloud Atlas takes the concept of an ensemble movie, and re-invents
the entire purpose and effect of having an ensemble. And it isn't just in how
the actors are related, and who plays what role. One of the foundations of a
conventional movie is to build an association in our minds, between 1 actor and
the 1 role they play. Cloud Atlas demolishes that foundation and replaces it
with its own unique creation. Its disorienting, to such a degree that you can't
grasp it from other people's words. You have to experience it for yourself to
appreciate the *power* of it.
Cloud Atlas is also a film that has a voice, in particular on the subject of
artificial life. This topic has been around for many decades in science fiction
books and movies. But as technology seems to get closer to actually creating
it, fiction has gotten more sophisticated in how it expresses its message about
artificial life. That message is the most disturbing part of Cloud Atlas for me.
The writers see a storm coming, a new kind of storm that no one has ever seen
before.
I'm not talking about things like the Terminater and SkyNet. Cloud Atlas doesn't
deal with machines, it deals with souls. Sure, Cloud Atlas is fiction. But our
past is not fiction. We have an ugly history of repeating our mistakes. And some
mistakes only become fatal after they've been repeated over and over and over
again.
Regarding the "everyone's connected" philosophy, I thought this works great
as a narrative device, without me feeling (today at least) that I personally
subscribe to that philosophy. I would hope this philosophy doesn't deter
anyone from seeing the movie, because I think they turn it into a positive
thing, even for people who don't agree with it. Its part of how the story
is built, and built very well.
Another area where Cloud Atlas pushes the envelope is in taking all the actors
and doing radical, (sometimes humorous) make-overs to fit them into a character.
This itself has offended some people, because Cloud Atlas doesn't apply any
limitations at all, and it has dozens of makeovers. This is very different than,
for instance, Looper, where the make-up and acting are all focused with
overwhelming skill into changing 1 single person into another single person,
with absolute conviction. In Cloud Atlas, the transformations are beautiful,
striking, uncanny, other-worldly. It becomes another way in which this movie
hammers at you.
If you decide, like me, that Cloud Atlas is indeed a masterpiece, you will
probably have one moment, one scene, which pushes you over the edge and into
the realization that it *is* a masterpiece. Not necessarily the most powerful
scene in the movie, but the scene where the sum of it all finally overloads
your doubts.
For me, that scene was where we first see Doona Bae as Tilda. I've never seen
anything like that in a movie, and it took me about 15 seconds to just begin
to parse what I was seeing. The sheer creativity, the imaginative beauty of
the character, connecting outwards into 2 hours of the vast scope of the movie,
just blew me away. Truly, a masterpiece.

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