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.
Wonder Woman is the movie fans of DC comics have been waiting for since Christopher Nolan departed from the Batman Franchise in 2012. It also feels different enough from other superhero films to feel enjoyable without being truly refreshing. Logan has been and gone, and if you wan’t a superhero movie that actually has something new to offer, then see that. Wonder Woman works as a welcome refinement of tropes we know and sometimes love, and the addition of a female lead for the first time on the big screen from DC or Marvel is very much welcome, though rather than feeling revolutionary feels like a natural progression. That said, it is hard to not revel in sheer joy that someone finally had the balls to take the helm and show that Women can be just as heroic as men (and in this case, significantly more so).
I left “The Fast and the Furious” eager for more, which surprised me enough. I now leave “2 Fast 2 Furious”, the sequel to that brainless gem, with remorse and indignation. My wrongdoing was apparently to allow myself to be filled with optimism again which I haven’t done since I saw “Godzilla” and “The Amazing Spider-Man 2” over a year ago. The indignation spawns from how unfair it is that John Singleton, the director of “Boyz n the Hood” which bought him an Oscar nod for best director and best screenplay, fails so spectacularly at a formula that seems so simple. It is mind numbing to think that a movie so similar to its predecessor could be so much worse. Fast cars I can find anywhere, the job of the Director is to convince me that cars smaller than my hand travelling from one end of my screen to another are really going very, very fast. The cars are fake and so they feel fake and any sense of speed that would be derived from the use of an actual real life vehicle (shock! horror!) is left in the CGI dust.
“The Fast and the Furious” is a whirlwind of simplistic virtues. With the release of the seventh movie of the franchise I decided to undertake the task of watching the previous six movies. I am a longtime sufferer of sequel syndrome and refuse to watch a movie without having seen the previous, it’s an incurable affliction. So here I am, starting at first base and just now realising that this analogy will only apply to a quadrilogy, but I digress. As simple as it is, “The Fast and the Furious” is sufficiently stylish and vibrant enough that it becomes easy to appreciate how Rob Cohen brings these elements together. There is nothing new here of course, but these cars go really, really fast.
I’ve watched the previews; seen the trailers and read the reviews. Many of them say the same thing in their own unique order: ‘I had absolutely no desire to see “Cinderella” when it first came to my attention’. Who can blame them? There’s an inescapable cast iron ball of assumption attached to the ankle of “Cinderella” that can be directly attributed to recent attempts such as like “Hansel and Gretel: Witch Hunters”, “Mirror Mirror” and “Alice in Wonderland”. My opinions aside, the general reception of the modern movie adaptation of the classic Disney fairy tale is fairly mute. Then comes “Cinderella”, somewhat unannounced in the years first quarter, to show those movies how its done. Buy your ticket online so that you aren’t dissuaded by the “G” rating, the glitter and — In what will be your most trying test — the little girls dressed in frilly blue dresses that threaten to make you think better of yourself. “Cinderella” is a light but nonetheless enjoyable film that may be somewhat forgettable for playing it safe but is a great deal of fun without a talking rat in sight.
“Cast Away” is in some ways a pseudo-bottleneck movie, it removes something that would usually be considered crucial to the smooth operation of any movie, characters. Or at least for the most part, before our protagonist washes up on the unnamed island we see him propose to his fiancé whilst furiously trying to rearrange work schedules to be there for her. It is the island though, that is the soul of “Cast Away” and I have huge respect for Robert Zemeckis who has managed to create a lengthy and consistently engaging movie using almost just the dedication to acting demonstrated by Tom Hanks and his heartfelt method of film making.
The Mafia is the most interesting crime organisation out there, and Martin Scorsese understands this as well as the Mafia itself all too well. He knows that the inner workings of the Italian crime family is fascinating to those who avidly pursue the knowledge of what goes on under the surface and even more so to those who blissfully ignore its ethereal presence. It is completely inappropriate that I am reminded of the vampire council in “Blade”, but regardless, I am. An organisation that is everywhere but never seen, and have their blood soaked tendrils in everything. The vampire council requires money to get blood, but the Mafia require blood to get money.