hollywood mania
Piranha 3DD Trailer Land
Alexandre Aja’s PIRANHA 3D split audiences down the middle, with some finding it dumb while others found it bloody (literally) brilliant. I myself was in both camps and thought it was a blast, an opinion I think some viewers missed as a result. It was a tongue-in-cheek horror film that mixed ridiculous gory scenes with an inspired cast of cameos and the great Adam Scott (PARTY DOWN) as its lead.
The trailer for its sequel looks to be carrying on the same great traditions as the prehistoric flesh eating fish head for a teenage packed water-slide park for blood, boobs and David Hasselhoff! Check it out.
PIRANHA 3DD is directed by John Gulager (FEAST) and stars Danielle Panabaker, Ving Rhames, David Koechner, Christopher Lloyd and Gary Busey.
Trailer For Flowers Of War
Here’s the trailer for the new Christian Bale movie FLOWERS OF WAR. The film has been chosen by China as its submission for the 2012 Academy Awards.
The film tells the true story of the Nanjing Massacre, an event which took place over six weeks in 1937. Following the second Sino-Japanese war, Japanese soldiers captured the city of Nanjing, murdered thousands of Chinese citizens and raped and killed over 20,000 women. FLOWERS OF WAR focuses on 13 prostitutes who acted as escorts for the Japanese soldiers during this period. Christian Bale plays an American priest who aids the shelter and escape of the victims. FLOWERS OF WAR.
FLOWERS OF WAR is directed by Yimou Zhang and co-stars Shigeo Kobayashi. It arrives in Chinese cinemas 16th December.
Trailer For Take Shelter Hits The UK
It was a prize winner in Cannes and a hit at Sundance and now the trailer of new film TAKE SHELTER has made its way across the pond.
The sci-fi thriller sees Michael Shannon star as a young father from a small town in Ohio who suffers from a series of apocalyptic dreams. His mission to build a shelter and increasingly strange behaviour puts strain on his relationship with his family. He is put through turmoil as he must decide whether his visions foresee genuine trouble or whether they are purely symptoms of his imagination.
TAKE SHELTER is directed by Jeff Nichols and also stars Jessica Chastain. It will be released in the UK on 25th November 2011. Let the madness begin!
Spike Jonze Has A New Short Film: Mourir Auprès De Toi
Director Spike Jonze is known for a lot of things. Whether it’s very well thought out and executed skateboarding videos, his work on JACKASS or more recently his feature WHERE THE WILD THINGS ARE, Jonze always manages to deliver an exceptional quality of work.
Spike is back with an outstanding short film; MOURIR AUPRES DE TOI (TO DIE BEFORE YOUR SIDE) which was created with director Simon Cahn. If you are fan of literature, French themes, animation and love stories, then this short film will be right up your alley.
The short begins in a delightful Parisian bookstore ‘Shakespeare and Company.’ The building’s interior is romantically lit and as a shopkeeper tidies up for the day, only the books are left in light. A magical adventure ensues.
The film really is a showcase of how perfectly executed sound design can make a good film, a great film. The animation has such charm and the story is delightful too!
Spider-Man Reboot Has Started Shooting, Using The Brand New Epic 3D Digital Cameras From RED!
We heard a couple of weeks ago that the two films based on THE HOBBITwere all set to shoot in 2011 using the brand new EPIC Digital Cameras, and now it seems that a film has already started production using the brand new technology from the folks at RED. That movie belongs to Sony Pictures, and that movie is the brand new SPIDER-MAN reboot, which is being shot by cinematopgrapher John Schwartzman.
Schwartman revealed all on RedUser.net as production on the Marc Webb film kicked off shooting on Monday (December 6th).
Here’s the skinny, as they say:
Today was Epic, Monday December 6 marks the first day the Red Epic camera was used to shoot a major studio motion picture. I can say for certainty the camera does exist and boy is it ready for primetime, as a matter of fact it’s a true game changer. We shot in 3D with 4 Epics mounted on 2 3ality TS-5 rigs today, we did 22 set ups, including running high speed and the images look stunning! I do believe the sensor is iso 800 minus 1 stop for the mirror in daylight and iso 640 in tungsten light but that is really for every dp to determine for themselves, Brook Willard and I figured 640 tungsten but that’s just a number. For the first time in digital cinematography, small size doesn’t come with a resolution penalty, as a matter of fact there isn’t a higher resolution camera available other than IMAX, and this one weighs 5lbs with an ultra prime on it, suddenly 3D isn’t a 100lb beast! We had the cameras on dollies and a libra head today and we flew the 3D rig like it was an Arri 435. You guys told me you could do it in September and here we are today, Congratulations.
I am lighting by eye except that I’ve had to re-train myself to work at lower light levels because the camera is so sensitive. The images we made today were stunning, rich beautiful color and the resolution of a vistavision camera all in a package the size of a Hasselblad 501. We are shooting 2.40 at 5K, there wasn’t a hiccup from the cameras all day, the data was flawless, and there was a lot of it. I can tell you without these cameras it would be impossible to move a 3D rig in the ways that THIS story demands, if Jim and the crew hadn’t made these cameras available to us I don’t think we could have shot this movie the way our director envisioned it in 3D. Guys you’ve trusted me to take these out on their maiden voyage and I can tell you that after today I won’t let you down.
Explosive New Trailer For Sherlock Holmes: A Game Of Shadows
There has been a lot of expectation for the new SHERLOCK HOLMES film and today sees the release of a brand new, explosive, revealing and intriguing trailer. We see quick clips of a new mystery involving red string laid out like a web , exploding walls, buildings and more. We also have a snap shot of…Rachel McAdams who played the beautiful thief Irene Adler in the first film impressively directed by Guy Ritchie.
Although there are no shots of Stephen Fry as Mycroft Holmes yet, we do have a little bit more of arch-enemy Moriarty who’s being played by Jared Harris.
There’s going to be a lot of banter, fierce action and clever twists, we’re sure of this and oh! We get to see more of Downey Jr in drag, which seems entertaining enough in itself. As Watson (Jude Law) says to Holmes (Robert Downey Jr) in this trailer “Oh, how I’ve missed you, Holmes.”
SHERLOCK HOLMES: A GAME OF SHADOWS arrives in cinemas 16th December 2011, bring on the escapism!
London Film Festival: Martha Marcy May Marlene Review
Director: Sean Durkin
Cast: Elizabeth Olsen, John Hawkes, Sarah Paulson, Hugh Dancy
Running Time: 120 minutes
Certificate: 15
Synopsis: After running away from an isolated cult-like community, Martha (Olsen) returns to her sister (Paulson). But Martha begins to have difficulty integrating back the ‘real world’ after living to a different moral code for so long…
The collective names MARTHA MARCY MAY MARLENE refer to those used by Elizabeth Olsen’s character at various points in this story. Whether she goes by Martha for her actual kin, Marcy May for her adopted family, or Marlene when addressing those outside her cult-like environment, her ever-changing moniker brings an ambiguity to the character, an ambiguity that underpins the entire film.
Coming from writer-director Sean Durkin (making his feature length debut), MARTHA MARCY MAY MARLENE is a troublesome thing, much like its main character. Durkin does a stellar job of pulling viewers in opposing directions: whilst we applaud Martha’s (to use her birth name) efforts to escape the cult with which she has become disillusioned, once she returns to the arms of her family she is never comfortable. Durkin – along with the impressive Olsen – amp up the cringe factor as Martha displays inappropriate and bizarre behaviour, symptomatic of her time away from ‘normality’.
The true strength of Durkin’s storytelling comes in his decision to run parallel narratives, one past story of Martha’s introduction and assimilation into the cult, and one present in which she struggles to readapt to her old life and true family. Both story trajectories prove disturbing in their own right, be it the slow reveal of the cult’s sinister practices or Martha’s increasing detachment from her sister Lucy.
It is the connection between these stories that brings about the film’s inherent ambiguity: despite the things Martha endures and witnesses whilst in the cult, is it possible that she is still more comfortable in that atmosphere than back with her blood relations? Durkin’s presentation of this central question is well handled, posing questions through contrasting story threads whilst refusing to answer them.
The slick script is also notable for a cast of three-dimensional characters, such as brother-in-law Ted (Hugh Dancy), well meaning but stiff and conservative, and cult leader Patrick (John Hawkes), charming but manipulative, and as frightening as any horror villain you’re likely to witness this year. The finest performance, of course, comes from Olsen as the titular fragmented character, flipping between sweet and sympathetic to borderline psychotic. Such excellent performances on all counts give flesh to these characters, and the more believable they are, the more disturbing the story becomes.
From this feature, some things seem certain: both Sean Durkin and Elizabeth Olsen have promising careers ahead. But these are perhaps the only certainties to come from MARTHA MARCY MAY MARLENE, which leaves so much open that viewers will be forced to interact with the film. The real strength of such ambiguity can only serve to provoke thought and consideration, and whether you want it to or not, this dark story is sure to the linger in the mind for a while.
New Woman In Black Trailer Appears
Lord Voldemort’s body is barely in the ground and Daniel Radcliffe is already off galavanting on to a new feature. This time it’s THE WOMAN IN BLACK, the latest adaptation of the famous theatre production.
Having been produced before in 1989, this version has a lot to live to, and we’ll be hoping that Radcliffe has the acting to chops to pull it off. The former-Harry Potter stars as a lawyer who travels to a remote village to sort the affairs of a recently deceased estate owner. Whilst there he is threatened by the mysterious and vengeful woman in black, a dangerous spectre who is said to haunt the village.
THE WOMAN IN BLACK is directed by James Watkins, and co-stars Janet McTeer and Ciaran Hinds.
Real Steel Review
Real Steel is out 14/10/11
Director: Shaun Levy
Cast: Hugh Jackman, Evangeline Lilly, Dakota Goyo
Certification: 12A
Synopsis: Charlie Kenton (Jackman) is an ex-boxer who had a chance to be the next champ until the game changed. RC Robots now rule the ring and Charlie is a low-level operator cruising circuses and side-shows to make money with his rickety robots. Things can’t get any worse when Charlie is forced to take care of his estrange son Max (Goyo). After finding a mysterious robot in a junk yard the two bond over the sport and attempt to take their plucky robot to the top.
REAL STEEL piqued THN’s interest way back when we saw an early pre-production, promo image of Jackman in the ring and heard the premise; robot boxing set in the near future you say? Ticket bought we say! That was well over a year ago and since then our enthusiasm has fizzled out some – gradually our robot related chubby shrunk and left THN with just a mild curiosity as to what this film would be exactly.
Boxing films are traditionally about the under-dog contender and their physical and emotional journey to becoming the champ; cue humble beginnings, introduce the evil adversary, add a training montage and finish with an against-all-odds fight complete with emotionally uplifting soundtrack – roll credits. What really cooked our noodle was wondering how this would translate if your boxing protagonist wasn’t human – how would the audience relate/react? The answer to this quandary is simple – this movie ain’t really about Robots boxing! Sure it’s got plenty of that going on and the bot on bot action is genuinely rousing and adrenaline pumping action that keep you on the edge of your seat, but that’s not the meat of the story. The meat of this story is a hammy tale of how a man learns what it means to be a dad. Yes despite the bells and whistles of mechanised mayhem – REAL STEEL is actually a soppy as hell father/son story that is so overt and sickly sweet, it ruins what could’ve been a pretty cool movie.
What’s wrong with REAL STEEL is that Hugh Jackman simply can’t pull off the low-life shyster character he is at the start of the movie. Charlie Kenton is a dirty dealing, sell his own grandmother type character, but we’re SO used to seeing Jackman as the disgruntled but ultimately kind-hearted Wolverine, that’s his performance seems like a ridiculous charade. Type-casting together with an overly obvious and sentimental story means you spend the whole film waiting for him to do the right thing.
He's no Fanning - Dakoto Goyo is just annoying
The right thing of course is ‘be a father’ and take care of his son Max, played by Dakota Goyo (Thor). Now one of the first lessons we learn in life is ‘nobody likes a smart arse’ and this kid is definitely one of em’. Both Goyo and the onscreen relationship with Jackman are annoying and cringe worthy. Goyo’s routine is the wise-beyond his year’s kid – giving a tough as nails guy a run for his money and it’s so trite that it detracts from the smashing and bashing. Every negative nuance (e.g. ‘I don’t like burgers’) of their early relationship is an obvious set up for how much they’ll change by the end of the film and its Hallmark dirge.
Right. Enough with the negativity – to be honest THN is just over exaggerating to make our point, although it is true that the kid is annoying and it’s SO corny – REAL STEEL is actually pretty enjoyable – it’s definitely no strain on the brain and very forgettable – but the robots look great and the fights are engaging and surely that’s all you’d want from a film like this. It really doesn’t elaborate or create a very big universe – even when it seems like there might be a more interesting origin story to the mysterious robot protagonist ‘Atom’ – it stops short and fails to make a link that you thought it was going to. Also – despite the fact it’s set in the near future, don’t be expecting any flying cars etc. apparently the only technological advances are that Hewlett Packard make everything and that we’ve perfected fighting robots.
REAL STEEL is out 14th October. Go and see it if you want to switch off for a few hours – but be prepared for the kid to irritate the hell out of you and watch Jackman acting like he’s the bad guy in a pantomime….the robots are cool though!
Albatross Review
Director: Niall MacCormick
Cast: Jessica Brown Findlay, Sebastien Koch, Julia Ormond, Felicity Jones, Peter Vaughan, Harry Treadaway, Thomas Brodie Sangster, Katie Overd
Running Time: 90 mins
Certificate: 15
Synopsis: Seventeen-year-old Emelia (Brown Findlay) is a free spirit with a dark past. She is drifting through life until she starts her new job at The Cliff House, a small hotel on the South Coast of England, run by the dysfunctional and idiosyncratic Fischer family.
Jonathan Fischer (Koch) is an author, working on his notoriously difficult second book, and his daughter, Beth (Jones) is cramming for her exams; desperately seeking to escape to University. Emelia strikes up a friendship with Beth, and becomes Jonathan’s student because she is an aspiring writer. However, both Emelia and the Fischer family are brought to their knees when her burgeoning affair with Jonathan comes to light.
Tamzin Rafn’s first feature screenplay is a joy to behold at times. Its eclectic mix of characters and comical moments induces
frequent chortling and charms the viewer. Conversely, the plot leaves multiple unanswered questions, which, of course, could be intentional. However, intentional or not, the fact remains that these unresolved arcs do not correlate with the context of the film or the genre it inhabits. It is a comedy-drama, and it follows the classic formulaic structure in numerous ways. Thematically, stylistically, and even structurally, ALBATROSS plays by the book, until it makes an unexpected deviation from the ‘resolution’ aspect of the formula, which makes the experience potentially jarring for the viewer. Emelia’s story runs its course in an often predictable fashion, but much more thought could have been put into the culmination of the Fischer family’s denouement, or lack thereof (especially with Joa and Posy).
frequent chortling and charms the viewer. Conversely, the plot leaves multiple unanswered questions, which, of course, could be intentional. However, intentional or not, the fact remains that these unresolved arcs do not correlate with the context of the film or the genre it inhabits. It is a comedy-drama, and it follows the classic formulaic structure in numerous ways. Thematically, stylistically, and even structurally, ALBATROSS plays by the book, until it makes an unexpected deviation from the ‘resolution’ aspect of the formula, which makes the experience potentially jarring for the viewer. Emelia’s story runs its course in an often predictable fashion, but much more thought could have been put into the culmination of the Fischer family’s denouement, or lack thereof (especially with Joa and Posy).
The Fischer family are endearing and hilarious. Koch is oddly sympathetic as Jonathan; the inept and desperate father, who is going through a midlife crisis. Whereas Ormond is terrifying as the deeply dissatisfied Joa, whose razor sharp wit pervades the film. Her frank and bitter insults and observations, which are primarily directed at Jonathan, make for many awkward, captivating and highly entertaining moments. Brown Findlay’s performance is almost flawless, suggesting that she has a bright future ahead of her. She portrays Emelia in such a natural and compelling way that this, along with her impeccable comedy timing, makes it is easy to forget this is her first role in a feature film. Despite her numerous charms, Emelia does become slightly irritating after a while, as the story frequently insists on showing how much of a wild and free spirit she is. However, when it does delve further into her past, we see why she acts the way she does and, subsequently, her character evolves during the latter stages of the narrative.
The setting on the South Coast of England delicately mirrors the emotions of the characters. It is beautiful but isolated which corresponds to, and represents, the different aspects of loneliness that reside in the characters themselves. The themes touched upon in the film are – quite refreshingly – subversive, especially when certain circumstances show the more academically gifted characters as ignorant and moronic. This is evident in Jonathan carrying on an extremely risky affair with his daughter’s friend, and during Emelia and Beth’s visit to Oxford University, when some of the students underestimate Emelia because of the way she looks, resulting in their own humiliation. Emelia’s binary opposite is Beth (wild and free versus sheltered and naive), which helps to keep their relationship thematically and emotionally engaging. Nonetheless, the climax of the film does disappoint to a certain extent, because it is frustratingly bereft of originality.
Although the conclusion of the film is logical, it is clichéd. There is nothing to surprise or excite because a host of films – produced long before ALBATROSS was conceived – have adopted it, and with more distinctive results. Furthermore, Emelia explains the metaphor of the albatross in relation to the characters’ lives which is rather patronizing. It is a conclusion that discerning viewers would surmise, and did not need to be explained in such clear and concise terms. It should be latent; a hidden gem reserved for those who have engaged with the story.
Although Rafn’s script is a little rough around the edges and stock at times, there is still definitely potential, and on the whole, ALBATROSS is an enjoyable affair. Nevertheless, its banal conclusion and unfinished story arcs render it less gratifying than it could and should have been.
The Three Musketeers Review
Director: Paul W.S. Anderson
Cast: Matthew Macfadyen, Logan Lerman, Milla Jovovich, Ray Stevenson, Christoph Waltz, Orlando Bloom, Luke Evans, Juno Temple, Mads Mikkelsen, James Corden.
Running Time: 110 Minutes
Certificate: 12A
Synopsis: The hot-headed young D’Artagnan and three legendary but down-on-their-luck Musketeers must unite and defeat a beautiful double agent and her villainous employer from seizing the French throne and engulfing Europe in war.
Alexandre Dumas’ classic tale of THE THREE MUSKETEERS has gone through many incarnations over the decades. The first high-profile effort was the Douglas Fairbanks silent classic from 1921 and the last was the forgettable Charlie Sheen and Kiefer Sutherland feature from 1994 , most notable for a Rod Stewart, Bryan Adams and Sting musical collaboration. Along with those films there have been many sequels, prequels and spin-off’s, including a terrible 2001 film entitled THE MUSKETEER, which tried to implement THE MATRIX kung-fu style elements to the 17th century setting.
With several years having passed since the last feature film, someone has decided to dust off the cobwebs and give Paul W.S. Anderson a shot at directing the famous plot. So how does Anderson fair in converting one of literatures beloved all-time classics when he is more accustomed to transferring video-games like MORTAL KOMBAT and RESIDENT EVIL to the big-screen? Not bad as it happens.
Opening in Venice, Italy with an action set-piece that wouldn’t look out of place in one of his RESIDENT EVIL movies. Aramis (Luke Evans), Athos (Matthew Macfadyen) and Porthos (Ray Stevenson) along with Milla Jovovich’s Milady De Winter are on a mission to steal Leonardo DiVinci’s legendary plans for a flying ‘war machine’. Why? I have no idea but it’s a gaping plot-hole that is only used to explain Milla Jovovich’s character’s later intentions as well as set in motion the ridiculous action-packed finale. After Milady betrays her lover Athos and the other Musketeers, double-crossing them with the cackling villain Buckingham (Orlando Bloom), the skilled swordsmen head back to Paris with their tails between their legs.
The introduction to D’artagnan sees the young wannabe’s final sword lesson from his father before setting off for Paris to fulfil a dream to serve his country as a Musketeeer. The american accent of Logan Lerman (and more bizarrely Brit Dexter Fletcher as his father) is obvious but that never stopped us enjoying Kevin Costner’s turn in ROBIN HOOD: PRINCE OF THIEVES.
The weakest link comes from the comedic elements, James Corden’s Planchet comes across as annoying running joke, while Logan Lerman is a tepid D’artagnan compared his spirited fellow actors. Milla Jovovich continues the work made famous for her husband (director Anderson) in his RESIDENT EVIL franchise – looking stunning whilst kicking butt. Matthew Macfadyen especially looks to be having the most fun; the British thespian is usually seen treading the boards or featuring in more serious acting projects.
The villains of the story, played by Christoph Waltz (Cardinal Richelieu) and Madds Mikkelsen (Rochefort) are great support. Orlando Bloom’s Duke of Buckingham goes the over-the-top route that actually works for his scheming character. Juno Temple and Freddie Fox deserve some credit also as the French King and Queen whose arranged marriage is a touch awkward with their playful scenes becoming a highlight whenever they are on screen.
THE THREE MUSKETEERS is arguably Paul W. S. Anderson’s most accomplished work to date even if he does rip up the classic story and rewrite it to his own unique style. The period setting looks fantastic with the help of the costumes and special effects work. Some sweeping camera shots working a treat to create the size and scale of it’s location. The plot is preposterous of course, the script only sticking to the major points of the source material. The actors seem to be having a ball and all play their part with enough conviction for you to enjoy the ride with an ending that hopes to continue the adventure even further.
Adventures Of Tintin Review
Director: Steven Spielberg
Cast: Jamie Bell, Daniel Craig, Andy Serkis, Nick Frost, Simon Pegg, Toby Jones,
Running Time: 107mins
Certificate: PG
Synopsis: An adventurous journalist, Tintin (Jamie Bell), with his trusty dog, Snowy, are sucked into a mystery involving sunken treasure, pirates, opera singers and a generations-old vendetta. Along the way he meets Captain Haddock (Andy Serkis), a drunk who holds the key to uncovering the treasure…
It’s surprising that a such a hugely-popular character like Tintin has only been adapted a handful of times over his 82 years, including two odd films in the 1960s, a couple of stage plays and the infamous 1990s cartoon. But with the help of motion capture animation techniques and the combined efforts of Steven Spielberg and Peter Jackson Tintin is thrown squarely into the 3D limelight for this fun adaptation of ‘The Secret of the Unicorn’.
After growing up reading the books and watching the great Channel 4 cartoon, this film had some big boots to fill and it doesn’t disappoint. THE ADVENTURES OF TINTIN starts slowly, with Tintin buying a model ship, an act that leads to a Hitchcock-type story in which everyyone who’s anyone tries to get their hands on the ship, and in doing so attracting the attention of the curious Tintin. It takes ten minutes or so to really grab your attention with the introduction of the Thompson Twins, perfectly voiced by Simon Pegg and Nick Frost. This is the first comedy success in the film, but the laughs continue when Captain Haddock drunkenly staggers into the story. Haddock is the heart of the story which sees him and Tintin try to stop Daniel Craig’s Ivanovich Sakharine from uncovering a sunken treasure captained by Haddock’s ancestor. Haddock also tries to battle his family’s curse – which sees to all of his bloodline become no-hopers – and his alcohol dependency.
Spielberg seems to have great fun in the animation department, using a number of swooping and craning shots which would have been improbable on a live set. Serkis, as the drunken sea captain, is where the majority of comedy comes from, although upon first hearing his accent you may wonder if he attended the Mike Myers Academy of Scottish Accents. Daniel Craig is convincing as the slimy and conniving villain, but there is nothing hugely memorable about the character and that too can be said about the lead, Tintin, who at times is lost amongst the adventures. Where Haddock has an inner struggle with alcohol and his lineage, Tintin has little substance to help him stand out to the audience. However this issue isn’t a major issue as the high points of the film (Haddock, the Thompson Twins, the chases etc) outweigh the problem of the principle character. It is a wonder though as the writers behind THE ADVENTURES OF TINTIN, Steven Moffat, Edgar Wright and Joe Cornish are known for their defining characters.
Spielberg has really hit something with his debut animated feature, doing all the things it seems he has always wanted to do but has been held back due to real sets/environment (and George Lucas if you’ve seen the last Indiana Jones film). Spielberg has repeatedly stated that the best ever car chase in cinema history is in Hayao Miyazaki’s LUPIN THE 3RD: THE CASTLE OF CAGLISTRO, and you can see the influence in the film’s best scene, which involves a massive cat and mouse chase down a mountain side.
Already counting their chickens, Spielberg and Jackson have already announced, while filming SECRET OF THE UNICORN, that there will be at least two sequels (which might have already been filmed and making their way through the lengthy post-production process), with PRISONERS OF THE SUN and a yet-to-be titled film to round it off. Thank god they did though as THE ADVENTURES OF TINTIN is Spielberg’s best film in a decade and it being a great film for all ages even if it does contain a large amount of violence and death for a PG.
Shark Night 3D Review
Director: David R. Ellis.
Starring: Sara Paxton, Dustin Milligan, Joel David Moore, Donal Logue, Joshua Leonard, Katherine McPhee and Chris Carmack
Certificate: 15
Running Time: 91 minutes.
Synopsis: A weekend at a lake house in the Louisiana Gulf turns into a nightmare for seven vacationers as they are subjected to shark attacks…
Since Steven Spielberg unleashed the magnificent JAWS on the the world in 1975, many imitators have tried to cash in on similar ideas. Whether it’s a great white shark or hundreds of small piranha, the world of cinema has had many sequels and rip-offs, bit none have come close to Spielberg’s masterpiece. Now with the release of director David R. Ellis’ new killer shark movie, does he fair any better than those before him with his effort SHARK NIGHT 3D? The short answer is: absolutely not!
The movie follows Sarah and six of her friends who decide to visit the Louisiana coast during a weekend vacation. The place was once home to Sarah, who has not returned in three years following a traumatic event from her past. Upon their arrival, a chance meeting with her ex Dennis and his hillbilly partner Red set in motion the terrifying events that are to follow.
Ellis’ previous movies CELLULAR, FINAL DESTINATION 2 and SNAKES ON A PLANE had their tongues firmly in cheek, and were a guilty pleasure whilst not testing your logic too much. Here he looks to be going down the serious route, which is not a wise choice considering the writing, as well as the cast he has assembled.
Plot points are signposted well ahead, with the audience being treated like idiots. Sara Paxton is actually given a line reminding characters (and the audience) that ‘don’t forget guys once we get there you wont be able to get a cellphone signal’. Seriously, in today’s world of technological advancements the audience is expected to buy that. Ellis also sets up many establishing shots lingering on a number of female anatomy parts before panning away to follow the main actors. Why? Well, we all know the answer to that but what does it have to with the plot? Nothing of course.
The acting on show here is laughable at best, even from seasoned performers Donal Logue (BLADE) and Joel David Moore (AVATAR). In fact, the film’s performances are more reminiscent of a primary school nativity. Lines that are so embarrassing the writer should pack in all in now. Characters that are so stereotypical after 10 seconds of the meeting them you know exactly who will be left fighting for their lives in the finale. This means that any build up of suspense is rendered useless. Tender moments (I write that trying to keep a straight face) in scenes between leads Sarah (Sara Paxton) and Nick (Dustin Milligan) are so awkward and emotionless, that you almost feel for the actors. The only member of the cast that comes out with any credit is THE BLAIR WITCH PROJECT’s Joshua Leonard. His ‘hillbilly hick’ being the the movie’s only saving grace and the only one capable delivering his lines with any sort of wicked relish.
Alexandre Aja’s PIRANHA 3D (its own sequel due 23rd November) tried a similar approach to SHARK NIGHT 3D last year with far greater success. That movie provided some superb gore mixed with gross-out laughs and showed that you can have fun with such material. Having talent like the great Adam Scott (PARTY DOWN), Elizabeth Shue (LEAVING LAS VEGAS) and the reliable Ving Rhames (PULP FICTION) moves that film up quite a few notches from similar fare. PIRANHA 3D was a blast and not to be taken seriously. Do yourself a favour guys, do not waste your time with SHARK NIGHT 3D, consider renting or buying PIRANHA 3D instead. Better still, stick with JAWS.74news.blogspot.com