Up until now I have had serious problems understanding the draw behind a character like Captain America. I understand his origins in the popular culture as a spin-off from the blatant patriotic propaganda, but looking at him simply in comic book superhero terms, I couldn’t understand why he’s such an important figure within the Marvel Universe. He’s not a god, he doesn’t really wield a weapon granting him superhuman powers, he can’t fly, he’s not immortal, he doesn’t own a cool suit of armor… He doesn’t really carry a weapon for the most part, but a shield, which from a logical standpoint is just absurd. All he can do is run, fight and throw his shield around… In the company of folks like Thor, The Hulk, or Iron-Man, he looks – well – puny and unimportant, at least in terms of the actual combat, which challenges the notion of Captain America being perceived as a superhero in the first place. Now, having seen “Captain America – The Winter Soldier” (and having re-watched for the third time “Captain America – The First Avenger”) I think I understand his place within this universe of gods, aliens, superheroes and monsters. Continue reading
Admittedly, I had a very limited understanding prior to seeing “Starred Up” yesterday, as I had only seen one trailer before. I knew it was supposed to be a gritty prison drama, which it was… And I had no idea what the title actually meant. Well, now I know and knowing is half the battle.
As of 2014, there is definitely something to be said about the gimmick of ‘found footage’, especially in relation to the horror genre, which is well known for indulging the band-wagon mentality among the film makers. I don’t know exactly when and where the trend started, but it might be safe to assume that the first successful film in that sub-genre was “The Blair Witch Project”. Sure, one can argue “Cannibal Holocaust” doing that way earlier, but nevertheless it was the ‘noughties’ that brought the true onslaught of the found footage variety. Continue reading
The film opens with a long shot of space with some kind of black hole swallowing a galaxy in the very centre of the frame. The camera then slowly zooms out to reveal that what we’re looking at is a computer screen, in front of which sits naked and hairless Christoph Waltz. He’s not moving nor is he doing anything other than gripping a wireless controller, which looks like a re-appropriated toy. Having quickly scanned the background of that wide-angle take, I notice he’s sitting in a rundown church surrounded by a mess of steampunk-esque knick-knacks. And he just sits there looking at stars being eaten by darkness. And by that time, my suspicions as to what was to come were at an all-time high. Continue reading
Weirdly enough, my relationship with the entire “Paranormal Activity” series has been rather sparse… or I should say, inexistent. Somehow, due to some strange coincidences throughout the years, all of the now five instalments have come and gone well below my radar. Now, I’m not going to get bogged down in explaining my circumstances as a (at the time) young aspiring scientist with zero time on his hands, but the time has finally come for me to make amends and see what the hoopla was all about. Continue reading
Back in 2007, when Zack Snyder dazzled the entire world with his ground-breaking ultra-stylized adaptation of Frank Miller’s graphic novel “300”, I think it was already set in stone there would come a time a sequel of sorts would see the light of day. After all, film-making in Hollywood is a business and any successful original idea has to be milked until dryness before being ultimately discarded… for a while, and then rebooted with hopes that the audiences, like hamsters, would have already forgotten. But then, how does one recreate a lightning in a bottle? Continue reading
I believe the most common adjective employed to describe the film-making style of Wes Anderson’s would be quirky, or idiosyncratic. And it’s all fine with me, but I personally would go a step further and call it for what it is – mildly autistic. It’s not necessarily an indictment on my part, but rather a simple observation. Now, I am definitely not a world-renowned expert in Wes Anderson’s work, as only recently I have started colouring in the blank spot that was his filmography, but I am most assuredly a fan of his approach toward comedy. Contrary to what you’d usually see on the big screen nowadays, Wes Anderson’s films are always intellectually stimulating, visually rich, stylistically sound, meticulously shot and executed, (maybe not quite laugh-out-loud) funny, but subversive and filled with unforgettable dialogue. In that, “The Grand Budapest Hotel” – Anderson’s newest creation – is no different and quite cohesively positions itself within his entire body of work. Continue reading