Friday, 28 January 2011

Tangled

Old is new...

Stuck in a secret tower for almost 18 years of her life, Rapunzel has been lead to believe that her special hair is a treasure which should be guarded from the world. She has never left the tower ever since being locked away, but this changes when Flynn, a thief, enters her life.

The classic tale of Rapunzel has many variations and Disney has decided to add their take to the tale by imbuing Rapunzel's hair with the ability to grant health and youth. It is through this very change that allows Disney to retread a narrative formula they used so effectively during their golden age of animation: the young princess at odds against an older, yet wicked, woman. This is introduced early in the story and constant interaction between Rapunzel and Mother Gothel ensures the audience never forgets the tyranny that has taken place. Tangled is, without a doubt, a story of self-discovery, and both Rapunzel and Flynn are evident of this growth. Naturally, this is more obvious through Rapunzel, and it comes as a breath of fresh air that Disney has allowed one of their princesses to act her age. Gone are the mature thinking and acting lead women of older stories as Rapunzel is childish, but ultimately charming. The self-discovery story arc does feel undeveloped as the credits roll, but thankfully the narrative is filled with symbolic gestures, such as the visual connection between lanterns and Rapunzel's hair, and life lessons for both children and adults alike. This is all bolstered by some strong humour that is never overused resulting in the narrative being a highlight of the film.

The voice actors do not disappoint as each is convincing as their respective character. Moore is delightful in displaying Rapunzel as a teenage girl who learns to be independent; Levi brings charisma to Flynn; while Donna Murphy ensures that Gothel is villainous but one who can manipulate that very label.

For the most part, the computer imagery achieves the desired goal of 3D variation of Disney 2D animation. Colour is rich, characters and animals are enjoyable to watch, and the complete sense of wonder is indeed present. If watched in the 3D perspective, the animation does slightly come to life but it never overly used and feels minimally underdeveloped. If there is a slight flaw to be found in the animation it would the occurrence of what appears to be unfinished textures. Many boulders, for instance, look rough at times, but this is thankfully uncommon.

This is a Disney animation through and through so the lack of sex, nudity and language is expected. Violence is tame and at times even comical, ensuring the usual Disney animation that kids can enjoy.

Tangled is a true gem for Disney and animation in general. While it lacks the overall appeal that has made Pixar animations such a treat, it is nevertheless a step forward for Disney as they retread the type of animation that made them so famous. There a few graphical niggles and the story never quite reaches the promising depth suggested by the material, but these are minor problems in what is largely an entertaining and pleasing animated venture.

9/10


Screen date: 28 January 2011
Release date: 28 January 2011

Friday, 31 December 2010

Tron: Legacy

More than just binary....

20 years after the disappearance of his father, Sam Flynn (Garrett Hedlund) receives a message from his father's rundown arcade. Upon investigating, Sam stumbles upon a secret room in which he is transported to the virtual domain of The Grid.

It has been many years since the original Tron was released and the sequel plays on this by having a narrative that addresses the very absence of a followup to Tron ,very much like the protagonist Sam has to deal with the mysterious disappearance of his father. In this sense, the audience is very much like Sam as Tron Legacy is clearly designed to appeal to a new generation of moviegoers. This does come with its own set of problem, namely that the story fails to utilize the computer programing jargon which made the original so interesting. Programming is touched upon at times, but it almost feels as if the writer's felt it may complicate the story unnecessarily. While this may be possible, it does not stop the fact that specified jargon would have created a far more convincing context for the plot, as well as create some needed depth to the themes which are presented. It is a pity because Tron Legacy has the potential for deeper discussion but it rarely presents the opportunity for such an endeavour.

Thankfully, the linear narrative is helped by an enthusiastic cast. Oscar potential is not on the agenda, but the actors are definitely watchable. The respective characters portrayed by Hedlund, Jeff Bridges and Olivia Wilde, who which the story revolves, are is likable in their ambition. Sam is a rebel who is wayward by his father's absence while Flynn yearns for nothing more but to see his son again. It is a compelling side story which brings about emotional response from both character, but unfortunately never ever convincing enough. Bridges also sports the chance to play Clu, the digital representation of Flynn. This is intriguing as ti allows Bridge's to also play a smug villain who is very different to that of Flynn. It is, however, disappointing to find Tron himself pretty much absent from the film considering how important he was in aiding against the MCP of the original film. Bruce Boxleitner gets some screen-time but it would have been nice for him to get some more.

Either way, the visual and audio of the film are an absolute treat. There are some stunning uses of CGI and special effects that create an impressive visual design, such as the modeling of a younger Bridges and the stark contrast between dark and light create an almost monochromatic feel. It should also be said that the use of 3D is amazingly effective, especially when helping differentiating the real world to that of The Grid. The musical score was composed by Daft Punk: their upbeat characteristic really aids the film's overall tempo allowing action sequences to feel more intense and any slow moments to be almost forgotten.

There are some sexualised women represented with tight bodysuits and profanity is hardly even mild. The film is action orientated but death sequences result in character deconstructing considering they are computer coding rather then physical beings.

Tron Legacy ends 2010 on a high note. While it lacks the ambitious nature of the original story and with acting that is not always entirely effective, Tron Legacy is nevertheless an absolute feast for the eyes and ears. The film's minor shortcomings are just that as Tron Legacy overclocks itself in presenting an entertaining experience.

8/10

Screen date: 31 December 2010
Release date: 31 December 2010

Tuesday, 23 November 2010

Liefling, die Movie

Bottled ambition...

December vacation proves a bounteous time for students as they leave all the worries of work and education in favour of relaxation. One such student, Jan (Bobby van Jaarsveld0 discovers that this holiday period is a life changing event when he meets Liefling Marais (Like Berning), the daughter of his professor. Jan is instantly intrigued by Liefling and begins to court her, unaware that Melanie (Marlee van der Merwe) has her eyes on him.

Modern Afrikaans cinema is generally divided into two categories: the more conservative dramas that provide an expose on Afrikaans culture and the liberal comedies that are fairly risque in nature. Liefling, die Movie tries a different approach as a musical, as it attempts to balance both traditional Afrikanerdom while appealing to the youth. The story is lighthearted and easy to follow, but it wavers with poor development, both in terms of the narrative and characters. Characters are never built up beyond stereotypes, though they are given an alternate perspective to help build some depth, and any development they do have is entirely rushed. This impacts on the story as it becomes difficult to appreciate the relationship between Jan and Liefling as ti is glazed over: the film tries to imbue the characters with a Romeo and Juliet sense of intellectual and instantaneous love but it never really clicks until much further in the film. Their are secondary love stories taking place simultaneously, though they are predictable and unnecessarily take away screentime from the couple that matters.

The acting is, on a whole, a stronger quality of the film, but not by much. Primary characters have enough zest for you to care about them while secondary characters merely enjoy themselves instead of really gelling with the material. This is not entirely problematic as the casual nature of the acting does go hand-in-hand with the carefree atmosphere provided. It is difficult to pick out individuals as no one really outshines anyone else. That said, where Bobby and Lika lack in experience, they make up for in energy.

As expected of a South African film of this kind the film quality is lacking. It is factor that can be overlooked but this does not stop some strange choreography choices. There is the odd scene among every few songs which comes across as downright silly in comparison with the rest due to lazy editing and poor choreography. Thankfully, this occurs only occasionally as the remainder of the film is filled with musical segments, though they are lacking in passion when compared to the likes of High School Musical or Phantom of the Opera.

While this may seem strange to say, there is just too many musical numbers and very little downtime between them. At many intervals a handful of songs will be packed right next to one another with little context connecting them. In fact, there is such an urgency to cramming the film with songs many scenes which should include basic dialogue become musical. One such scene revolves around Liefling being awaken by her mother just for her to break into song about how she wishes to have a husband and that only an Afrikaner man will do. Yes, it ends on a humourous note, but it shows the inability of the filmmakers to strengthen the music with some normative dialogue sequences.

While more conservative than liberal, Liefling, die Movie is pretty much void of any objectionable content.

Liefling, die Movie is an intriguing avenue of exploration for Afrikaans films in a commercial sense for the entire South African audiences. One need not be Afrikaans to appreciate the simple story and music presented, but the film is not without some glaring issues which hold it back. The accumulation of too much music is the biggest culprit which effects the rest of the issues: characters are underdeveloped fail to accompany the lighthearted story into something more. That said, Liefling, die Movie is by no means a poor film, but one which is drowned in the overzealous enthusiasm of its creators.


6/10

Screen date: 21 November 2010
Release date: 19 November 2010

(Movie poster provided by iGeek)

Thursday, 16 September 2010

TGS 2010: Sony Conference Overview

Playstation3

Software
3D support:
-Disaster 4: Summer Memories, Everybody's Golf, Final Fantasy 14, Gran Turismo 5, Metal Gear Solid Rising

Ape Escape Fury! Fury!:
- anime cutscenes.

Dynasty Warriors 7
- Developed only for PS3.

Firmware 3.5:
-3D bluray support.
-21 September.

Gran Turismo 5:
-My Home service: accessible from web and a hub for accessing messages, albums, friends list.
-Weather effects: rain and snow shown.
-Night time racing.
-X1 Prototype vehicle in game.

Gundam Musou 3:
-Cel shaded art style.
-December release for Japan.

Ico/ Shadow of the Colossus:
-HD Port for PS3.

Ni no Kuni:
-2011 release in Japan.
-No assets used from DS version of game.

Project Dark:
-Developed by From Software.
-Design philosophy similar to Demon's Souls.
-2011 release.
-PS3 exclusive.

The Last Guardian:
-2011 release.

Yakuza: Of the End:
-Fight Zombies.

Hardware
320gb:
-21 October release in Japan.



-------------------------------------


Playstation Portable

Software
3rd Birthday:
-Possible vehicle and turret sequences included

Cardboard Warmachines:
-Anime sequences, cross media with an anime version.

Dissidia 012 Final Fantasy:
-Spring 2011 in Japan.

Kingdom Hearts: Birth By Sleep Final Mix:
-January release in Japan.

Hardware
AKB48:
23 December release in Japan.

Monster Hunter:
-Special bundle for release of Monster Hunter 3rd.




Saturday, 28 August 2010

The King of Fighters

Ready? Not quite...

The King of Fighters tournament is one in which participating members are transported to an alternate dimension to engage in a fight. This is made possible due to three ancient artifacts that allow this dimension to exist. The members come under threat when Rugal (Ray Park), a previous member of the tournament, steals the artifacts and begins to manipulate the other dimension to his own liking so as to kill anyone who enters it. It is left to Mai (Maggie Q) and Iori (Will Yun Lee) must enlist the help of Kyo (Sean Farris) to defeat Rugal before too many lives are lost.

The film adaptation of The King of Fighters loosely follows that of the original King of Fighters '94, with some elements from '95, in which Rugal starts the tournament so as to get some excitement into his life. The most notable difference in the adaptation is that the tournament is already established and also that the fighters need to be in an alternate dimension in order to fight in a way which resemble the original game. The science fiction-esque twist on the narrative makes for an intriguing story but the films never really explores the concept. The story is fashioned in a linear manner, with the odd reference to past sequences to help explain certain information. Unfortunately, the plot is fairly thin: it presents opportunities for further development but these avenues are never fully explored.

The acting quality is not exactly great but this is somewhat understandable considering the cast. That said, no actor ever falls prey to evidently poor acting and with more depth to the script a better acting prowess could have been shown. Actors generally take their roles seriously: Park seems to enjoy the eccentric nature of being a villain while the likes of Maggie Q, Lee and Faris portray the motives of their respective characters adequately enough.

The overall filming quality suggests that the film-makers had a low budget to work with. The King of Fighters appears to be filmed more like a television show then an actual movie but that does not stop some fairly enjoyable action sequences, yet these only become common in the latter half. CG becomes present mainly towards the end and looks low-key but nonetheless workable.

Beyond the makings of a possible girl-on-girl scene, there is no nudity or sexual content present. Language is tame and infrequent while violence is frequent throughout the film without ever being gory or bloody.

There is no doubt that The King of Fighters is a missed opportunity. With some obvious reworking to the script and story, and a better budget, the film could easily have been a more commendable entry for videogame-to-cinema adaptations. What really needed to happen was the fleshing out of the characters and the overall narrative to create a more cohesive product. That said the story, actors, and some decent action scenes, are adequate enough to carry The King of Fighters to its conclusion and miss a definitive K.O.

5/10


Screen date: 13 August 2010
Release date: 13 August 2010

Tuesday, 17 August 2010

GC 2010: Sony Conference Overview

Playstation3

Software
Gran Turismo 5:
- November 3 official launch date for SCEE region.

Infamous 2:
-Cole model revised back to original.

Killzone 3:
-Mech suits.

LittleBigPlanet 2:
- Story trailer revealed.

MAG:
-PS Move support.

Medal of Honor:
-MOH Frontline exclusive to PS3.

Mortal Kombat 9:
-3D support.

Play TV Live:
- Community features such as chat, text chat during programmes, and programme recommendations.

Ratchet and Clank All 4 One
-Fall 2011 release; 4 player drop-in-drop-out co-op.

Resistance 3
-2011 release.

R.U.S.E:
- Supports PS move.

Virtua Tennis 4:
- Supports PS move; 3D support.


Hardware
New SKUs:
- 320 gb PS3 with Move starter pack (349 euro), and 160gb (299).



-------------------------------------


PSN

Catch up TV:
-6 new channels, including ITV, Animax and Yahoo.

Mubi:
-Film streaming; PPV and subscription options; 18 countries availability on launch.



-------------------------------------


Miscellaneous

PS3 Sales:
- 38 million.

Tuesday, 27 July 2010

Nothing Personal

Too detached ...

After finding herself alone and detached from society, an unnamed woman (Lotte Verbeek), backpacks through Ireland seemingly wanting to lead a solitary existence. With no more than the clothes she has on her back and some utensils like a small tent, the woman discovers an isolated house belonging to Martin (Stephen Rea) who also appears to be living his life alone.

Nothing Personal tells an intriguing story of loneliness and this becomes quite apparent due to the less than normal use of dialogue, minimal use of accompanying music, controlled camera shots and the muted colour scheme which fills every scene. All of these traits slowly increase as the film continues, and from a visual and audio manner it is great to see the relationship between the woman and Martin develops. The narrative uses a linear flow but it becomes quite a shame that it is broken into noticeable chapters: each chapter begins with a black screen and a word, such as 'marriage'. Beyond hurting the flow of the film these wordings do not exactly portray the tangible events about to occur, but rather abstractly feel as if the director needed to guide the viewer into a particular point of thought in regards to the events about to take place. This guidance erodes at the loneliness theme of the narrative and inevitably makes it more difficult for the viewer to truly appreciate the resonance of story and the characters. An aspect which could have gotten a little extra information for story purposes is in regards to the history of both main characters. By the conclusion, the plot ultimately retains an element of uncertainty as it is difficult to truly gauge the strength of the conclusion on characters who the audience knows almost nothing about.

While neither Verbeek nor Rea provide strong acting performances both are adequate in depicting the different means by which people approach a feeling of isolation. Rea's character takes a more traditional approach to the experience whereas Verbeek seems somewhat off-the-wall. This is not a bad thing as this helps to differentiate the characters and make them more unique, but some of her actions can seem rather odd in an almost overly poetic manner.

Nothing Personal marks the full-length feature debut for Urszula Antoniak. Her control on scenes really does allow for some lovely landscape imagery, if muted by the colour scheme and harsh weather that surrounds the film, for the viewer to gaze up. It all works in enhancing the reclusiveness of the characters and the visual aids thus synch nicely with the thematic elements being explored. This naturalness is barred by some odd editing problems which occur infrequently.

The film contains no violence while language is strong but used rarely. One scene could constitute as sexual in nature but otherwise there is none to speak of, yet breast nudity does feature in two or three scenes.

There is an emotionally powerful story to be told within Nothing Personal and this is noted by a wonderful use of minimal music and colour variety, however it never really succeeds as expected. The narrative does a decent job on impressing the experience of loneliness onto the viewer but, it is unfortunate that Verbeek and Rea are unable to find the connection between their respective character and the narrative material, and the story can feel thin when the credits roll. Still, Nothing Personal is not a film which should be easily dismissed.

7/10

Screen date: 24 July 2010
Release date: N/A (Durban International Film Festival)