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Skyfall Blu-ray Review (Kirk Haviland)

Skyfall Blu-ray (2013)

Starring: Daniel Craig, Javier Bardem, Naomie Harris, Ralph Fiennes, Bérénice Marlohe, Ben Whishaw with Albert Finney and Judi Dench

Written by Neal Purvis, Robert Wade and John Logan based on characters created by Ian Fleming

Directed by Sam Mendes

Now available on DVD and Blu-ray from Fox Home Entertainment is the latest entry in the James Bond saga, Skyfall. Ian Fleming’s iconic creation celebrates its 50^th year in film with this new entry. Starring the enigmatic and some argue best bond of the series, Daniel Craig, Skyfall doesn’t just serve to continue the series as much as reboot the franchise around Craig in order to establish Bond for another 50 year run, or so Fox and MGM studios hope.

In Skyfall, James Bond’s (Craig) loyalty to M (Dench) is tested as her past returns to haunt her. We open in the middle of an important lifesaving operation that goes drastically wrong. As a result, MI6 is compromised from both inside and out, leaving M to turn to the only ally she can trust, Bond. After emerging back in England 007, aided only by field agent Eve (Harris) and against the wishes of new supervisor Gareth Mallory (Fiennes), immediately starts on the trail of the mysterious Silva (Bardem). But the closer to Silva Bond gets the more Bond realizes Silva has been one step ahead the whole time and his lethal and hidden motives could end up destroying not only MI6, but M herself.

Skyfall, when it was released in theaters in November 2012, quickly became the most financially successful Bond of all time. The film proved Mendes could direct an action film and infuse it with the dramatic sensibilities he has been lauded for ever since his feature debut with American Beauty. The script is written with homage and reverence to the past while keeping a steady and focused eye on ramping up Bond for the future. Skyfall may actually have the most nods to prior Bond films that we have seen in one Bond outing, while completely dismantling and rebooting every aspect of the story at the same time. Talking cues from JJ Abrams’ Star Trek reboot, Skyfall allows for Craig and company to take Bond in a new yet familiar way.

Craig is excellent as the ‘old dog’ Bond here, allowing Bond to be vulnerable at parts while not losing the swagger that is always inherit with the world’s coolest spy. Dench does most of the heavy dramatic lifting here and as usual she is more than up to the challenge. Her M takes on more complexities and gravitas than in any other of her Bond outings as the story features a “sins of the mother” style payout that drags all of M’s decisions into the harsh light of day. Naomie Harris is a pleasant addition to the cast and her playful banter with Bond is sparkling due to an obvious chemistry between her and Craig. Ralph Fiennes seems almost giddy under the gruff exterior of Mallory, clearly excited to be a part of Bond history. And Bardem shines as one of the strongest bond villains in years.

Of course there has to be action and the film delivers there as well. The opening chase is a nail bitter and really kick-starts the film in the right way. Bond’s pursuit of Bardem’s Silva through the underground of London finishes with an impressive bang and the finale on the moors of Scotland delivers as well. Overall it certainly isn’t the action that lets the film down in any way.

Of the disappointments with the film comes the weakest “Bond Girl” in recent history with Bérénice Marlohe’s Severine. Though the role is small and by the end another character emerges as the true “Bond Girl” of the film, her performance is lacking any impact and in fact her departure is handled as unceremoniously her introduction is. Her almost wooden performance could be overlooked if it wasn’t front and center in the weakest segment of the film that takes place in an ‘exotic’ gambling house complete with killer komodo dragons.

The Blu-ray comes with over 3 hours of special features including an excellent comprehensive segmented production diary “Shooting Bond”. The documentary covers all the aspects of the production from the Intro to the fallout of the film through to the future of Bond. Also included is footage from the Red Carpet premiere and two separate audio commentaries featuring director Mendes and the producers.

For Bond fans this should be a no-brainer, Skyfall is the best of the Daniel Craig led Bond films and the best Bond film since Sean Connery held the mantle. For non-Bond aficionados the film works as well. The homages and some context may be lost to the uninitiated, but the smart script and excellently paced story will drag them in none the less. Skyfall on Blu-ray is a solid buy.

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Oz the Great and Powerful Review (Kirk Haviland)

Oz the Great and Powerful 3D (2013)

Starring: James Franco, Mila Kunis, Michelle Williams, Rachel Weisz, Zack Braff, Bill Cobbs, Joey King and Tony Cox

Written by Mitchell Kapner and David Lindsay-Abaire based on the works of L. Frank Baum

Directed by Sam Raimi

New in theaters this week from Disney Studios comes the prequel tale based on the legendary Wizard of Oz book and film: Oz the Great and Powerful. The story of how the actual Wizard of Oz ends up in Oz and how he comes to rule is brought to screen by Spider-Man director Sam Raimi complete with his flair for stories grand in scale. So how does Oz the Great and Powerful stack up to the original Wizard of Oz?

When Oscar Diggs (Franco), a travelling circus magician with dubious ethics and results, is hurled away from dusty Kansas to the vibrant Land of Oz, he thinks he’s found his path to fame and fortune. Aboard a hot air balloon Oscar is whisked away in a tornado the same way as Dorothy is after him. After landing in Oz, Oscar meets three witches, Theodora (Kunis), Evanora (Weisz) and Glinda (Williams) who are not convinced he is the great wizard everyone’s been expecting. Reluctantly drawn into the epic problems facing the Land of Oz and its inhabitants, Oscar must find out who is good and who is evil before it is too late. Putting his magical arts to use through illusion, ingenuity and even a bit of wizardry, Oscar transforms himself not only into the great wizard but into a better man as well.

Oz the Great and Powerful certainly opens brilliantly. As a direct homage to the original Wizard of Oz film, Oz the Great and Powerful opens in a black and white 1:33 format ratio square in the middle of the theater screen (think an old square television that does not feature a widescreen display). The 3D comes into play very nicely here as effects fly off the barriers of the screen and towards the crowd. The opening credit sequence is matched in beauty by the closing sequence, both using and old fashioned puppet show style setting to tread out the names in a brilliant throwback style. Once the film lands in Oz it goes widescreen and color with wondrous results. The effects work is brilliant, the setting gorgeous and the film as a whole features some the best use of the 3D likely to be seen this year.

Franco eases into the role of a sleazy con-man/womanizer way too easily, and he seems to be the perfect fit here. His performance marks Oscar as a charming enough rogue that he manages to redeem himself by the end of the film. Mila Kunis is also very good here as Theodora, the younger naive witch sister to Weisz’s Evanora who falls for Oscar’s charms but when things do not work out the way she hopes she is manipulated and molded into something she is not by her sister. Weisz infuses her character with camp and is clearly acting tongue-in-cheek throughout. Her Evanora comes dangerously close to going too far over the top here as she skates between menacing and laughable. Williams is stuck playing the traditional Glinda the good, and in trying to stay true to the original character’s modest and reserved charm seems to be acting as if she has been constantly slipped a Valium. The majority of the comic relief is left to the very able Zack Braff and newcomer Joey King who both prove to be up to the task.

The major issue for families, who the film is clearly targeted at, may be the length. At a running time over 2 hours long and with many slower parts to the film devoted to background and character development, the younger set may have a hard time keeping their attention on the screen. Some of the subject matter may be beyond them as well when it comes to the more adult themes presented. The winged henchmen used in the first film are much more menacing and scary this time around as well. That said, older children, especially fans of the Wizard of Oz, should revel in this “Star Wars” prequel trilogy story as the script meticulously sets up all the aspects of the film they have grown up loving.

Filled with brilliant special effects and some effective performances, Oz the Great and Powerful will delight most audiences with its visual excellence. And despite its length being a little overblown with some side stories that can be shortened/excised, the film is a fun trip down the yellow brick road. Oz the Great and Powerful is a recommend.

Till Next Time

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Oz: The Great and Powerful Video Soundbites Series 1 – Rachel Weisz, Danny Elfman and Sam Raimi (dreadcentral.com)
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Producer Joe Roth Talks OZ THE GREAT AND POWERFUL, Sam Raimi, MALEFICENT, the ALICE IN WONDERLAND Sequel, and More (collider.com)

Stoker Review (Kirk Haviland)

Stoker (2013)

Starring Mia Wasikowska, Matthew Goode, Nicole Kidman, Lucas Till, Dermot Mulroney and Jackie Weaver

Written by Wentworth Miller

Directed by Park Chan-wook

New in theaters this week from Fox Searchlight Pictures is Stoker, the English language debut film from Korean master filmmaker Park Chan-wook (Oldboy, Sympathy for Lady Vengeance). The intense horror/thriller written by Prison Break star Wentworth Miller packs a stellar cast with Mia Wasikowska heading up the center of the story. With Chan-wook delving into the English market, the question remains, is his unique style and vision compatible and adaptable for an English audience?

After India’s (Wasikowska) father, Richard Stoker (Mulroney), dies in an auto accident her Uncle Charlie (Goode), who she never knew existed, comes to live with her and her emotionally unstable mother (Kidman). But there is something not quite on the level with Uncle Charlie, something from the past has kept him from being a part of the family for India’s entire life, and that is not lost on the house matron and India’s Auntie Gin (Weaver). But instead of feeling outrage or horror the tormented and bullied high school girl becomes increasingly infatuated with her Uncle, and begins to feel urges and actions that she never knew she had come bubbling to the surface.

Stoker is one hell of a debut from Park Chan-wook. Continuing to press forward with his trademark brooding atmosphere, pierced periodically with jarring violence, Chan-wook has crafted an unconventional yet beautiful looking story. The script provides a solid base for Chan-wook to jump off from, staging even the most mundane and generic dialogue in subtly dramatic tones that increase the ominous feel that permeates the film. The script does pack a sexually charged coming of age story that Wasikowska grabs with gusto. Her India goes from dour and reclusive, a girl whose best friend is her father and would rather go hunting with him than shopping with her mother, to a confident and determined young woman set upon a different path. Chan-wook does nothing to subtly connect this other ‘awakening’ to her sexual awakening, he smashes his audience over the head with it like a cast iron frying pan. Matthew Goode delivers the fully formed silent menace that was only touched upon in his Ozymandias performance from the Watchmen back in 2009. And Nicole Kidman chews scenery in a deliciously camp performance.

On top of the heaps of violence there is a lot of stunning imagery on display here. The transitions are gorgeous and some of the most beautiful put to lens this year or last. Some of Chan-wook’s favorite imagery does creep into the film as well; his spider motif does show up here as does his fascination with unconventional weaponry, but this helps to add to the visual flair. The Stoker house is a visually compelling estate with lush grounds, including stones and large boulders that may have more than decorative purposes, old style French doors and all the creaks that come with a house of age. The Plantation type feel is lost once you enter the dungeonesque basement, complete with iffy lighting that India swats as she walks like low hanging school decorations.

The film will not go without controversy though – it will not be universally loved. Chan-wook does not dilute his vision to appeal to North American audiences. His audacious and bombastic connections between female sexuality and violence, culminating in a shower sequence that very well may disturb quite a few, and may have some screaming misogynist and sexist charges his way, and they may not even be wrong. But ultimately it is the same girl who ends up aware, and even gaining the upper hand, by the end of the film. Of course means to an end is hardly a defense but the seeds of India’s behavior are sown from the very beginning of the film, through another classic Chan-wook piece of imagery in a gift box. Seeing these exploited and maneuvered by Goode’s Charlie through the film you can see how the malleable India could be formed and shaped by his deeds into something more sinister than she may have if her father had lived and was around.

In the end Stoker may not be a film for the masses. The unflinching portrait of a girl discovering the true meaning of her family and their dark secret, as well as discovering herself along the way, will be unsettling for some and possibly offensive to others. But for fans of Park Chan-wook, this is the film they have been praying his English debut would be. For fans of experimental and ground breaking cinema, who aren’t afraid of some violence mixed in, or fans of Park Chan-wook’s previous works, Stoker is a must see.

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21 & Over Review (Kirk Haviland)

21 & Over (2013)

Starring Miles Teller, Skylar Astin, Justin Chon, Sarah Wright, Jonathan Keltz and Francois Chau

Written and Directed by Jon Lucas and Scott Moore

From the writers of the original Hangover, Jon Lucas and Scott Moore, comes their debut directorial effort, the raunchy and lewd 21 & Over. The collage based comedy stars some of the biggest young names out there right now, including Pitch Perfect’s Skylar Astin, Project X’s Miles Teller and the Twilight Saga’s Justin Chon. The comedy looks to follow in the footsteps of Lucas and Moore’s Hangover and last year’s surprise hit Project X, but does it manage to succeed?

College student Jeff Chang (Chon) has always done what’s expected of him, but when his two best friends Casey (Astin) and Miller (Teller) surprise him with a visit for his 21st birthday, he decides to do what’s unexpected for a change. But when what was supposed to be one beer becomes a night of chaos, over indulgence and utter debauchery, Jeff Chang starts blacking out. Knowing it’s time to take Jeff home, Casey and Miller stumble out of the final bar of the evening, one issue though, they have no idea where Jeff Chang lives. To make matters worse Jeff Chang’s overbearing Doctor-father (Chau) has a Med School interview scheduled for 8AM the next morning, and he’s determined his son follows in his footsteps as a physician. With the hours until Jeff Chang’s crucial interview ticking away, Casey and Miller embark on an epic quest to put their drunken friend to bed. Along their journey, they draw the ire of a Latina sorority, an angry buffalo, and Randy (Keltz), the boyfriend of Nicole (Wright), the girl who Casey has been after all night.

21 & Over starts well. The setup is pretty basic, opening with Teller and Astin walking along campus wearing only a cock sock then flashing to a “24 hours earlier” scenario, so we are already told where the film is going. And of course we start with the setup of the overbearing father and Chon, the son afraid to rebel. After a slew of racist verbiage from Teller, yes he gets the annoying character here (more on that later), the trio heads out for an epic night on the town. Even at this point you are still with the story, it’s not bad and already has been slightly un-PC with some hits and misses. The turning point hits with a terribly cliche and awful invasion of a sorority house and the film spirals out of control and gets worse from there. The pranks become predictable and even lazy up to an ending that is awful and will have you leaving the theater shaking your head. And the running gag of always calling Chon’s character by his full name Jeff Chang, instead of just Jeff, gets old quick and is overused to death.

Astin and Chon are actually pretty likable as they manage to bring enough goofy charm to keep you engaged with their characters throughout the film. Wright plays the gorgeous girl that for some reason falls for one of these goofs and has the textbook “bad guy” boyfriend that “has a really sweet side” though he is never played as anything other than a prick until the very end. But even she manages to perform above the script provided here. The main issue is Teller. While his work in Project X and 2010’s Rabbit Hole is quite admirable, somewhere along the line he decided that he was going to play Miller as the most unlikable prick, but without any charm or shred of likability The character gets to be very grating and the audience ends up hoping for the next sequence when we get only Nicole and Casey, or to see more of Chon’s antics without Miller taking the lead.

The film does manage to pack in a few laughs along the way, one sequence involving a co-ed (Samantha Futerman) living in Jeff’s old dorm room stands out as particularly funny, but spends more time on cliched and overused scenarios and punch lines. Animal House or Van Wilder this is not. Ultimately the film does not hit the mark, but rather falls well short of it. 21 & Over is a non-recommend.

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Dark Skies Review (Robert Harding)

Dark Skies (2013)

Starring Keri Russell, Jake Brennan, Josh Hamilton

Directed by Scott Stewart

It is often said that what you can’t see is scarier than that which you can. That thinking something might be lurking in the shadows brings about more fear than actually seeing the monster itself. Dark Skies takes this concept in hand and much like a ghost story attempts to craft a sci-fi film with horror elements.

The film revolves around the Barret family. They seem like your everyday normal suburban family. They aren’t without their problems but like most families, they’re dealing with them. Unfortunately, as life becomes more and more stressful a series of disturbing events begins to escalate the tension. Are they the brunt of some juvenile pranks and a few coincidental events or is there something more to what’s going on?

Because the film concentrates on creating fear in order to entertain it’s unfortunate that it doesn’t do the best of jobs. Either the filmmakers weren’t skilled in creating tension and delivering scares or they were trying to make a film for a younger audience and toned down the horror on purpose. Unfortunately I don’t think the later is the case as all the advertisements seem to point to a genuinely scary movie (which Dark Skies truly isn’t). Between the editing, music, directing, writing and camera work, the film has the right ideas but constantly fails to deliver. Sometimes the shot is ended too early or lasts too long. Other times it is framed improperly so as to fail to create the necessary tension. And it’s clear that they didn’t know how to create false scares or use them properly. Luckily the look of the aliens themselves is rather spooky so the CG work managed to succeed where the regular tricks of the trade failed.

On the plus side, the film excels in creating a sense of lack of control. Thanks to some great performances from the actors you truly get a sense that they’ve lost all control of the situation. In fact, it is so well portrayed that the audience can easily emphasize and feel a little antsy themselves. There was more than a few times that I wanted to lash out at someone on screen for one reason or another. At first, the characters are at a loss to explain what is happening to them and will latch on to any plausible explanation possible. When the plausibles don’t add up, they can’t bring themselves to believe in the unthinkable. Then, when they’ve finally come to terms with the implausible, they realise they are practically helpless. It is this constant sense of the unknown combined with the regular mysterious events and the film’s use of sound that help drive home this unnerving sense of helplessness.

Dark Skies puts a lot of effort into building a frightening tale of alien abduction but doesn’t quite manage to create the scares necessary to elevate it beyond a mere encounter of the dull kind. Younger audiences might find that they manage to get something from the film as a good portion of the horror tropes used and the alien back stories might seem fresh and new to them. Hardcore horror fans would be better off steering clear as not only will they not likely get anything new from the film’s story but they’ll likely find the attempts at creating fear ineffective and possibly even boring.

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