This did not turn out anything like I thought it would, and I came at this movie with two entirely different ways of thinking. One side of me retained the cynicism I had developed from the trailers, none of which managed to convince me this was going to be anything other than a standard haunted house extravaganza lacking in any real substance or coherency. Another side was coming from a place of optimism, having heard that reviews were actually calling this one a masterful Stephen King adaptation as well as a great horror movie in it’s own right. It’s never ideal to come into a movie with any preconceived notion of quality, but in this case what I saw conformed to neither. It is a movie of highs and lows competently thrown together in a manner that works, fleetingly.
I don’t think anyone is actually trying to convince me that Stephen Sommer’s The Mummy, a soft reboot of the 1932 flick with Boris Karloff as the titular Mummy, is a tightly crafted high-quality production. In fact I doubt many people even went into this expecting that, the trailer’s from back in the day evoke the tone of the film well, minus the constant banter between the cast. Growing up I was never a fan because I took a childish dislike to Brendan Fraser that meant I denounced these movies before I even took a peak. I don’t know why — I think it was his hair — God I hated him.
If “The Fault in Our Stars” and “Paper Towns” have taught me anything, it is not to sneer at young adult fiction. There is some genuinely sappy and seemingly toe-curling stuff written every day and it is indeed eaten up by teenage girls. Though if John Greene’s novel adaptations are anything to go by, maybe that is a fault on the boys.
“Thrilling horror… One to make the reader dread to turn around… To curdle the blood… And quicken the beatings of the heart.”
This is what is spoken during the opening credits of “Frankenstein”. A quote from Mary Shelley herself, the author of what is perhaps the most famous of novels. Never before have I considered how disturbing a tale “Frankenstein” really was until I began to read the novel recently. We are filled with images of the square headed lug’s bolted head, and this image is forever engrained, but this version of the novel brings the creature back to its roots. Kenneth Branagh stars and directs this new adaptation of one of the greatest Gothic novels to surface since the genres inception, and he does so faithfully. Much of the imagery is carried over and so are the themes and motifs, but the inconsistent narrative holds “Frankenstein” back from greatness.
It’s been a long time, and James Bond has evolved yet stayed recognisably Bond even to this day. “Dr. No” holds the distinction of being the first James Bond film ever brought to the big screen. Any journey starts with turbulence and it ends with it too. Fortunately James Bond doesn’t look to be ending any time soon, but it had to start somewhere, and I found “Dr. No” to be slightly rocky but a promising effort nonetheless.
What can I say? People know by this point that “The Hobbit” trilogy isn’t my cup of tea. Yeah they’re OK, but people want more than that, and they get upset when I have less to give them — which I most certainly do. “The Hobbit: The Battle of the Five Armies” is the end of the cinematic universe of Tolkien for the foreseeable future due to issues with the Tolkien estate in securing rights to Tolkien’s other works (Christopher Tolkien, J.R.R.’s son, hates these films unequivocally). I’ll say this to accommodate Hobbit lovers as well as people more akin to my taste. “The Battle of the Five Armies” is again over padded — even though it is the shortest of the six Peter Jackson films — and it still oozes CGI where it isn’t always need, even more so actually. However, it is the best of the Hobbit trilogy so if you enjoyed those, best start emptying your wallets.
It is good to be back, I’ll say that much. The opening scenes of Peter Jackson’s first entry into the prequel trilogy of “The Lord of the Rings” — “The Hobbit: An Unexpected Journey” — evokes that now decade old trilogy. It is a welcoming feeling, but “The Hobbit” novel released in 1937 was never as dark as “The Lord of the Rings” and was intended for an entirely different audience, namely children. This adaptation isn’t bad by any means, but it loses steam in the latter half due to its overlong run time and evident padding.
It’s incredible how easy it would be to just cash in on this review. I suppose it’ll be quite popular, in relation to my other reviews so far, because people expect to hear me rant and get annoyed at “Twilight” because of all of its heavy handedness and unbelievable amounts of angst. That alongside its ridiculous amounts of success that have made it into a phenomenon, it’s definitely fun to hate. I fully expect to really find myself despising the series soon, and you’ll hear me get angry then. For now though, the “Twilight Saga” has begun relatively strong footed as far as these things go. Saying that, only in the tween romance genre would I ever be able to say that this is a strong foot… but there you go.
“Beneath the Planet of the Apes” was the first sequel to “Planet of the Apes” and my opinion of it was that of utter indifference. My biggest problem with it was the knowledge that the series had continued and that, as is usually the case, things could only get worse from here. I’m so genuinely happy to report that that’s not the case, “Escape from the Planet of the Apes” is no masterpiece, but it isn’t bad and is certainly above average with a suitable amount of new ideas resulting from it’s obvious attempt to genuinely shake up the franchise in an effort to make it fresh, and in some respects, they succeeded.
I don’t understand what happened, for a while I was loving every second of “The Graduate”. Then things changed, I began to tire and see everything differently. Ben (Dustin Hoffman) was no longer humorous in his awkwardness but more flat out annoying, he’s a creep and everyone should know it. Elaine (Katharine Ross) is an idiot with no direction in life who falls in love with people instantaneously. Even after it turns out that this person had an affair with her mother. This is how I felt in the end and it annoyed me severely, earlier on however, I was quite enjoying the way Ben interacted with the world around him, and it was actually sometimes funny to watch. It’s incredibly sad when a film’s first and second half are reminiscent of a magnet with opposite poles. “The Graduate” begins as a pleasure but descends into drudgery which holds the film back from real greatness.