• The Secret World of Arrietty
     
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  • Ghost Rider: Spirit of Vengeance
     
     http://bartybooks.com/ghost-rider-spirit-of-vengeance.htm
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Posts Tagged ‘Jamie Bell’

Man on a Ledge Review

As you’d expect, “Man on a Ledge” is a Swiss-cheese plotted heist and “prove his innocence” movie but taken as just that, it’s quite an enjoyable movie. I suppose after having seen enough of these kinds of movies, I shouldn’t expect perfection in how every plot thread is tied up since very few movies manage it. However, what the movie does excellently is setup the plot and build up the situation perfectly. Just starting as a literal man on a ledge, we see subtle layers added until we get this full on crescendo of diamond heists, negotiators, cops, convicts, bad guys, good guys all happening on in a single block in New York. So, given that you’re willing to suppress your tingling plot-hole sense, it can be an enjoyable movie.

The cast is quite good and the acting and tension is par for the course. The leads Sam Worthington and Elizabeth Banks do a great job. Seeing Worthington as an ex-NY cop, ex-convict and Banks as a negotiator/psychologist with a past is surprising on paper but they manage to pull it off very well. However, Jamie Bell is one of the heist-team but his opposite who plays Angie make for some cringe-worthy comedy, like some Sofia Vergara slapstick in the middle of a tense situation. Ed Harris looks emaciated but equally sinister as the villain and there are a host other minor NY characters.

I can hear the Hollywood pitch for the movie in my head, “it’s like The Negotiator combined with The Italian Job but happens in NY and instead of a hostage situation we have a jumper.” And, essentially it’s just that – a movie that heavily recalls other movies from the past except perhaps for the man on ledge. On a side note, it seems that every NY movie nowadays has a reference to the OWS movement and what a typical OWS protester might look like.

The movie is at its best when it clamors for our hero who desperate and is fighting all odds to clear his name as he shouts from his ledge, “I am innocent and this is my retrial.” The movie is at its worst when it’s ungainly roping in all the plot threads it cast out but can’t seem to put it together. Overall, it’s a good enough movie for people who like these kinds of movies. If you’ve caught yourself bitterly berating the many plot holes in heist movies, maybe this isn’t for you.


Fast Tube by Casper

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The Adventures of Tintin Movies Reviews

First off, this is the first time I ever write a review in here. For once, I felt compelled to do it because… Well… because I’m Belgian and grew up on a steady Tintin diet, like most Belgians my age and older. The comics… not the cartoons. Needless to say I’m a old fan.

I also happen to be a fan of Spielberg’s, probably since seeing E.T. when I was about 5 years old. The two could be mutually exclusive. I could take the role of the harcore comics fan who despises the adaptation, or the rabid Spielby fan forgiving everything.

Thankfully, after having the chance to see it before most people out here in Belgium and everywhere else thanks to a journalist buddy, I found out I can to be none of the above. Spielberg and Jackson and all the team behind the adaptation obviously gave the original material the love and respect it deserved, while making it their own.

To clarify the origins of the story itself, you have to know that it isn’t the adaptation of one, but three Tintin comics. Its beginning takes root in “Le Crabe aux Pinces D’or”, while the rest of the movie revolves around the two-albums story of the hunt for Rakham the Red’s treasure, “Le Secret de la Licorne” and “Le Trésor de Rakham le Rouge”. While it could seem like a lot of material for a whole movie, the choice of blending those three (two and a half) stories together turns out giving the movie a rather perfect pacing.

To kill a double controversy in the making, and like I’ve already read in a couple critics: Tintin has always been a “bland” character in the comics. He has no asperities. He is brave, always gets out of the tangles he gets in, he is a good guy, he doesn’t know doubts… Tintin as a character has his limits, dramatically speaking, and even Hergé knew that… It is actually the reason for the appearance of Captain Haddock after a few albums. Haddock is the dark side of Tintin, prone to anger and shouting insults, hard drinker, natural born loser… Far from a being just a comical sidekick, Haddock is the human counterpart to the flawless hero that Tintin is (remember, this is a comic, originally aimed at kids and older kids). The movie has the intelligence of starting off the big screen adventures of Tintin with the two meeting up and becoming friends, a real turning point in the continued adventures of Tintin.

The movie also deftly skips what could have been a typically Hollywoodish mistake of giving Tintin exposition. But none of that nonsense here. Tintin is a reporter, that’s all you need to know. That’s all the comics ever told us about him. None of them ever showed Tintin doing actual reporter work. I don’t think he ever used a typewriter, he has no boss, no workplace. Tintin just finds himself where adventure is. Because he’s a reporter. Hergé never needed more, kudos for the guys behind this movie for keeping true to that. It will be held against them, but that will be coming from people who don’t know the original material.

But I somehow had little worries about that, honestly. It was only obvious they wouldn’t touch the spirit of what’s considered a classic worldwide. Well, not those guys. I had more doubts about the transition from Hergé’s “Ligne Claire” type of drawing to CGI’s and even more so to the use of 3D. And that’s where I was truly impressed. Not that I’m adverse to CGIs, mind. In fact it’s the cartoons that bred those doubts in me. The varied 2D, celluloid adventures of Tintin always bugged me, because of that transition from the seemingly simple but incredibly dynamic looks of the books, looking so wrong when brought to animated life. Yet the movie did a great job of shutting up the Tintin geek. It simply looks stunning, and your mind easily jumps back and forth between forgetting these are cartoon characters and appreciating their transition to a 3D environment, respectful of the original designs but literally bringing them to life.

In short, all these elements drew me to the same conclusion, Spielby and co. managed to deal a great adaptation. One that has true respect for the original material, and the great ambition of adding something to it. Yes, not everything of it. “Le Crabe aux Pinces D’or” could have deserved a whole movie. Shortcuts are taken, and as true to their originals as they are, the characters have been redesigned. But in the end you have a movie that can be appreciated both by fans of the comics as well as people who have “just heard about them”. It is fun, packed with adventure and action, enjoyable at all ages. And most of all, you can go see it without having to worry about seeing another piece of Hollywood-flavoured perversion, a fast-foodified betrayal. If that’s what you like, note, there’s been that Smurf thing, recently (another childhood favourite). You know, that other Belgian comics adaptation that took the little blue dudes from their tiny corner of European medieval forest to… Modern New York? But if you have more gourmet tastes, better bet your money on Jackson and Spielberg. Trust this true childhood Tintin fan.

[http://www.youtube.com/watch?v=op3w_ICK4us]

i dont understand the ending to the movie atm, i dont understand the movie atm

Jane Eyre (2011)

Charlotte Brontë’s “Jane Eyre” has been my favorite book since I was 11 years old. The tale of a feisty orphan-girl-turned-governess who finds true love in a spooky mansion and ultimately redeems a tormented hero has made it to the top of every “Best Love Stories” list since it was first published in 1847, and with good reason. It’s the perfect Gothic novel, melding mystery, horror, and the classic medieval castle setting with heart-stopping romance.

There have been at least 18 film versions of “Jane Eyre” and 9 made-for-television movies–27 in all! I have seen most of them, some multiple times–-both out of my deep love for the tale, and as part of the research for my novel “The Secret Diaries of Charlotte Brontë,” the true story of Charlotte’s remarkable life, her inspiration behind “Jane Eyre,” and her turbulent, real-life romance.

Every screen version of JANE EYRE has its merits. I especially loved Timothy Dalton’s portrayal of Mr. Rochester in the 1983 mini-series, and the 2006 Masterpiece Theatre mini-series starring Ruth Wilson and Toby Stephens. I was very curious to see how the new JANE EYRE adaptation from Focus Films would measure up. I am happy to report that the film, which I saw last night at an advance screening, is very good indeed, with marvelous visuals, terrific performances, and enough unique elements to make it a worthy new addition.

The most notable distinction that sets this film apart from the rest is its structure. Rather than telling the tale in a linear fashion, it begins at a crisis moment later in the story, and tells the majority of the tale in flashback–-which works wonderfully well, enabling screenwriter Moira Buffini to effectively compress a long novel into a two-hour time span.

The movie opens as Jane is fleeing Thornfield after having discovered Mr. Rochester’s dark and heartbreaking secret. We fear for her as she becomes lost on the stormy moor. The mystery continues as St. John Rivers (well-played by a sympathetic yet appropriately stern Jamie Bell) and his sisters take her in. As Jane ruminates about the past events that led to her escape, we are treated to the story in flashback.

The casting of Mia Wasikowska as Jane Eyre also sets this production apart, since she is closer in age than most actresses who’ve played the role to the character in the novel, who was about 18 years old in the Thornfield section. Although I wish Mia’s Jane was a bit more “swoony” over Mr. Rochester earlier on (yes, she is supposed to be stoic, but I missed that phase where we get to see her blossom as she falls in love with him, and then is utterly crushed when she believes him to be in love with Miss Ingram), Mia truly inhabits the role, beautifully portraying Jane’s sense of self-respect, integrity, and restraint, as well as her passion and vulnerability.

Michael Fassbender embodies Mr. Rochester with the ideal blend of charisma and sinister brooding, while at the same time allowing glimpses of his underlying desperation and the wounded depths of his soul. Sally Hawkins as Mrs. Reed effectively portrays the icy ogre who menaces the young Jane (a spirited and appealing Amelia Clarkson.) And Judi Dench, as always, gives a superb performance as housekeeper Mrs. Fairfax.

The film’s locations do justice to the novel’s often gloomy, atmospheric tone. Director Cary Fukunaga makes excellent use of Haddon Hall in Derbyshire, one of the oldest houses in England, as Thornfield Hall, emphasizing its dark, Gothic, masculine feel. The exterior locations–gardens, cliffs, craggy rocks, stone walls, and seemingly endless fields–make an arresting, dramatic backdrop for the story. You truly feel as though you are in the middle of nowhere.

My only minor gripes are that when Mr. Rochester’s secret is revealed, it feels a little too prettified, and the ending was too abrupt for me. But that aside, the filmmakers have done a masterful job translating the novel to the screen.

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