*NEW* ARRIVAL REVIEW *NEW*

_90843681_890a8bd8-6501-11e6-aefa-e8609c477948_486x

The next Interstellar. Brilliant . . . if you liked that movie.

Unfortunately, I didn’t. You can see where I’m heading with this.

A linguist (Amy Adams) is recruited by the military to assist in translating alien communications.

The endless Twitter trends, the crazy hype train. I was actually excited to see what the man who brought us Prisoners could deliver.

I’m not going to lie. By the time the credits rolled, I was left feeling a little disappointed.

An emotionally charged opening sequence (that rivalled Up) plucked on the heartstrings as we followed Louise’s (Adams – Nocturnal Animals) relationship with her daughter over the blossoming years. Right up to her swift and tragic illness.

Bleak, heartbreaking and we hadn’t even got to the aliens yet. The pace was left to simmer away and I was happy to allow the bubbling tension and theorising develop as Louise was recruited by Weber (Forest Whitaker – The Last King of Scotland) after 12 strange objects descended from the sky.

Adams was superb and delivered a sterling turn. She really carried the film for me.

I wish more was made out of the supporting cast. Whitaker disappeared into the background far too much and Michael Stuhlbarg (Boardwalk Empire) was completely wasted in his role as the shady Agent Halpern. Just another generic government agent.

The only other actor to make a memorable impression was Jeremy Renner (The Hurt Locker). His quips and chemistry with Adams was a much needed presence as the pair worked together to assess whether our new visitors were friend or foe.

I was actually quite impressed by how writers Eric Heisserer and Ted Chiang thought up such a situation. It was almost believable in a way if a superior race were to suddenly appear and try to communicate in an indecipherable and unknown language.

The special effects and CGI on the strange tentacly guests were fantastic. The motion capture methods to create their movements was impressive. They reminded me a little of the jellyfish things from Monsters.

The cryptography and puzzle solving as Louise and co. tried to form a dialogue was intriguing enough BUT by the 60 minute marker, I could feel my patience wading. My interest lost. I didn’t even mind that we hadn’t received any answers or real questions to ask the sinister looking squid things.

BUT the pace really did drag and it was like pulling teeth out to get anywhere. The constant flashbacks to Louise’s daughter and bizarre dream sequences (at first haunting and hypnotic) soon irritated and numbed me into a mini-coma.

Thankfully as the growing tension and civil unrest across the world forced the UN to make a (predictable) decision, I was soon pulled back in.

The paranoia and suspense finally going somewhere with the military desperate to scratch those itchy trigger fingers.

The rising insurgence among the ranks. The hidden agendas from the international compatriots. The world in arrears. If anything, this was all too realistic with China and Russia refusing to share information and desperate to cut ties and eradicate this unknown presence.

All spurned on from one word (Finally deciphered) as “WEAPON”. A reference? A threat? A simple misinterpretation from the linguistic team?

The final 20 minutes was frantic, thrilling and . . . unexpected BUT rewarding?

I won’t say too much about the ending. BUT I will admit that I’m NOT the biggest sci-fi fan. Blade Runner, Alien, Twelve Monkeys, Looper; sign me up. Anything else . . . meh. Once I heard the phrase, “non-linear time difference”, the wind had been knocked out of my sails.

Like Interstellar, Arrival delivered a cleverly woven ending with time paradoxes and hidden meanings galore.

I was afraid that I missed something. I checked the forums and discussed theories and realised I had it sussed the first time. BUT for all the hype and twists and turns, it just didn’t grab me. I wasn’t caught up in it as much as I hoped.

It was good BUT . . . a defining science fiction film? 5/5? Film of the year? I don’t think I’ll remember this by next month.

Maybe it was a case of hype hindering rather than helping. I felt the same for Sicario. Wondering if people had never seen a movie about the underbelly of the Mexican border before.

If Adams wasn’t at the helm, I don’t think my interest would have been grabbed at all. I felt for her character, shared in her grief and frustration as the ever-impending deadline pressed on.

I didn’t hate it. There were genuine moments of suspense and tension. I don’t know how Bradford Young’s grainy cinematography could make a scene look so bleak and beautiful at the same time.

Johann Johannsson’s musical score was sublime. It was perfectly composed and really heightened the mood and emotion of the scenes. Especially in the closing moments.

A clever, well acted, if muddled and drawn out affair for me. It certainly left for food for thought BUT one to remember?

I’ll leave that to you.

3/5

Advertisements

INSIDE OUT REVIEW

Disney-Pixar-Inside-Out-Movie-Poster

It’s time for me to examine this piece inside out. Get ready for Pixar to play with your emotions again!

Funny, endearing, it looks like another winner on the cards.

After young Riley (Kaitlyn Dias) is uprooted from her Midwest life and moved to San Francisco, her emotions – Joy (Amy Poehler), Fear (Bill Hader), Anger (Lewis Black), Disgust (Mindy Kaling) and Sadness (Phyllis Smith) – conflict on how best to navigate a new city, house, and school.

I will confess. I am a huge Pixar fan. I love how they are always able to make films that have something for every one. Telling simple and predictable stories in such complex and wonderful ways with humour, heart and fantastic animation.

BUT that isn’t to say they’re perfect. Cars may have been watchable but it was certainly one of Pixar’s weakest entries. I still haven’t bothered to view the sequel. Unlike Toy Story and Monsters Inc.

Of course when going to the cinema, you don’t just get a Pixar movie. Oh no! You have a delightful animated short first. Their latest offering? A Hawaiian sing song volcano short called Lava.

BUT this time, it didn’t do much to get things going. This musical interlude nearly put me into a lull before Inside Out had even begun. I can’t believe I’m saying this but Lava was actually quite a drab affair.

The animation and visual design may have been beautiful BUT it was literally five to ten minutes of ukulele and two volcanoes falling in love. Awww. Nope. Funny enough, did anyone else notice that the male volcano bared a striking resemblance to Jabba the Hutt.

BUT after the hilarious Geri’s Game, the origins of Lupo the leaping lamp and hell even that Blue Umbrella with that annoyingly catchy tune; I felt Lava just didn’t quite hit those levels. Regurgitating the same predictable tripe. Not a good start. My fears rising.

BUT finally Inside Out started and . . . Not bad, not bad at all.

The opening act may have been a little slow burning but it was wonderful watching baby Riley develop over the years and most importantly her emotions. Her first emotion being Joy. Poehler (Parks and Recreation) played her with aplomb. Her enthusiasm and sheer bonkers personality really brought the character to life.

Before we know it, the other emotions are not far behind. I don’t think there was one character that didn’t steal the show at some point throughout the film. They were all perfectly cast. BUT Phyllis Smith (The American Office) certainly made a memorable impression voicing the appropriately coloured blue emotion Sadness.

What I love about Pixar is the detail that they put into every project. I won’t say too much
(If I can help it). BUT the little things. Riley’s train of thought being an actual train. The islands of personality. The memory balls. The forgetters that deal with the faded memories. The long term memory servers. Brilliant.

The mind workers. Oh the mind workers. Ever wonder why your mind will suddenly think of a jingle or a song out of nowhere? Blame these little devils. A recurring joke involving a gum commercial jingle delivered the laughs throughout.

I loved how the world of Riley’s mind and her own world tied in. The impact of her move affecting every emotion. An unfortunate sorting incident with the memory balls and Joy and Sadness are sucked into the back of Riley’s mind. Without their presence, the poor girl will not be able to express those two emotions. Cue one crazy journey.

Smith and Poehler worked well together. I loved how Joy always questioned the purpose of Sadness and did everything to make sure she didn’t ruin anything. “Why does anyone need such an emotion?” The debate has handled with the right balance. After all, this is still a kid’s film. Of course, on the positiveness of having such an emotion. In other hands, who knows?

The animation was superb. The abstract thought sequence in which the emotions were forming into all sorts of shapes and two dimensional objects was brilliantly done. The 3D was hardly a must. It certainly made things more prominent on screen but the animation was good enough anyway.

BUT for all the praise, there were still little niggles. The middle act did meander in places and although Pixar has the ability to take us on these fantastic journeys. These journeys are starting to get a little predictable. You could almost time when the bickering would begin. That moment when a character would experience a revelation. And of course, it ends oh so cornily.

I loved Richard Kind as the fluffy and affable imaginary friend Bing Bong who helped Joy and Sadness on their quest. And also . . . could anyone else believe that Flea from the Red Hot Chili Peppers was in this?!

I wish there was more of the mind stuff between other people. A scene in which Mum and Dad try to deal with a frustrated Riley was fantastic. The closing credits certainly offered an insight into all sorts of people and animals with hilarious results.

Speaking of closing moments. Words . . . . Escape me. Pixar still have the ability to reduce a man to tears. I’m not afraid to admit it. The opening of Up, the finale of Toy Story 3 and now this. These films should come with a warning. Contains mild threat and scenes that will turn you into a blubbering wreck.

It’s great to see an original take on a film. Not a rehash, remake, regurgitation or sequel. A breath of fresh air (Even if it did bear a striking resemblance to Osmosis Jones).

A fun, entertaining and charming family movie that will keep the little ‘uns and the big kids occupied over the holidays for a couple of hours. Go see it.

3.5/5

With room to change to a 4