Lé Results

Released 22nd March 2002, Ice Age follows Manny the Mammoth as he meets other creatures who must aid him in delivering a human baby back to his family. Being an early 2000s animated film, there are two things to note; Firstly, whilst a product of its time, the CG animation is hit or miss. Secondly, this film is very similar to 2001’s Shrek with its characterisation and narrative. So does the film manage to stand on its own two feet or does it succumb to the Shrekoning of most 2000s animated films? Despite its copied elements, the film is actually rather enjoyable. Similarly, to Shrek it opts to be very laid back in its comedy and just lets the actors deliver it comically. The film generally sticks to two comic-relief characters; Scrat and Sid (the latter being voiced by John Leguizamo). Whereas Sid is the very talkative comic-relief, similar to Donkey, Scrat is a mute character meaning that his gags are all based in slapstick; a solid writing choice which diversifies the comedy. Besides these two the other main characters are surprisingly compelling. Denis Leary provides a sly yet genuine voice to Diego the Sabretooth Tiger who goes through a natural and satisfying character arc as he travels with Manny and Sid. As for Manny, brought to life by Ray Romano, his character is very similar to Shrek in his jaded, antisocial nature. One key difference however is that the film often opts to visually indicate Manny’s intent and reactions to scenarios; that said the dialogue he does deliver is done with a great charm. The soundtrack is also rather good as well, even if it chooses to use licensed music at infrequent intervals. Despite my prior jab at the animation quality, the character models look unique and definitely emits a unique identity. There is also a particularly powerful use of 2d animation in a cave-painting sequence; further enhancing what is already a powerful moment. And that’s a good note to leave on; Ice Age manages to, just about, stand apart from its inspiration with interesting characters and animation points. However, I would definitely choose to watch Shrek if given the choice.

Released 7th November 2014, Interstellar follows astronaut / engineer Cooper as he joins NASA to enact humanity’s last hope of finding a hospitable planet for human life. The hardest thing about collecting my thoughts about this film is that there is such an array of things being shown to the audience that it is hard to summarise the film, whilst still doing it justice. The film instantly establishes a dystopian future which suffers from humanity’s use of the Earth; usage which has clearly thrown the planet’s systems off balance resulting in prominent sandstorms, crop failure, etc. Every character takes a different perspective on facing this crisis and subsequent survival instincts; some embodying a sense of humanity and compassion, others making hard choices in the name of survival. Within the varied cast there are no bad performances; everyone gives it their all. Michael Caine brings his regular charisma and grandpa tone to Professor Brand whilst also providing an appropriate edge. On the inverse we see Jessica Chastain provide a very jaded personality which generally engulfs her loving intentions and wishes. Anne Hathaway, Wes Bentley and David Gyasi each give enough expression to Cooper’s fellow astronauts; Hathaway being the better of the three as Brand. The ultimate standout however is Matthew McConaughey as Cooper. McConaughey is comical with timing, serious with intent and is exasperating in key moments of emotion; his performance moved me to tears with his dedicated vocal strain and physicalised outbursts. Another part of the film which induced great emotion was the soundtrack. In one of Hans Zimmer’s best scores, he utilises fresh motifs to underscore grand scale, deep emotions whilst also knowing when to hold back and let the realism and visuals speak for themselves. There is a reason that the VFX in this film won an Oscar; they are completely flawless in their quality and the establishment of realism. In typical Nolan fashion, the film manages to border fiction with such a devotion to naturalism by encompassing the sound and visual design to maintain the realism i.e., the quietness of space. Overall, this film strives for excellence in every technical category and excels in purely cosmic proportions.

Released 24th November 2016, 1898, Our Last Men in the Philippines is a Spanish film based upon the 337 day ‘Siege of Baler’ in the Philippines. Entering the 20th Century, the Spanish Empire had practically collapsed in the wake of a war with America which subsequently meant that many settlements within the Spanish colonies were not only cut off from gaining much-needed imports, but some were deserted by Spain entirely. This betrayal in the wake of the collapse is poignantly illustrated through this film from the perspective of a large cast. Luis Tosar and Javier Gutiérrez as Teniente Martin Cerezo and Sargento Jimeno Costa help to highlight the blind nationalism of soldiers who remain loyal til desolation. We also receive Álvaro Cervantes as protagonist Soldado Carlos; your standard soldier who has dreams and respects his fellow soldiers. Álvaro’s performance brilliantly conveys the harrowing effects of war and the fears from every angle in such a scenario. The theme of religion is also strongly presented throughout the film with Álex Catalán’s purposeful cinematography and the character of Fray Carmelo; performed by Karra Elejalde. The film constantly confronts the flaws and contradictions of religion and nationalism between each of the characters; these social components are flawed and yet the film also makes a great effort to reflect the positive features of these components. The only real problem with tackling so many ideas from differing perspectives is that the pacing sometimes slows down from time to time, it doesn’t hinder the experience too bad, however. The soundtrack, when infrequently utilised, wasn’t overtly memorable or unique; simply serving the film in a basic manner. That said, the film makes up for its basic soundscape in its visualisation of a warzone from appropriate gore to wide shots to desolated areas. Overall this film could be improved in some technical areas but the writing and performances really manage to elevate the film as a harrowing yet hopeful war film.

Released 14th December 2007, Bee Movie follows newly graduated bee Barry B Benson as he sues the human race. Yes, you read that correctly. No, I’m not smoking. Yes, the writers definitely were. I think its suffice to say this film was definitely not made to be remembered as art; yet there is a good chance that this film will outlast any legacies we ever provide. Before I continue, I wish to quote the Oxford Dictionary [Tenth Edition] to say that pieces of ‘art’ are: “subjects of study primarily concerned with human creativity and social life”. Whilst this film doesn’t really tackle anything topical in society seriously, I feel this film is the best expression of modern humour and I believe this film was the dawn of internet humour as we know it today. The film constantly makes a joke out of everything from mundane tasks and simple wordplay. That said, we also receive slavery jokes, , suicide jokes, incest jokes and frequent sexual innuendo; in a film promoted to anyone in the ‘U’ (Universal) rating. We can still see this in modern memes that make fun of topical, serious issues of any kind in our desensitised society. The most profound impact on modern humour however is what is known as ‘s***posting’; essentially when a ‘joke’ is made without a punchline and manages to be hysterical i.e. “You like jazz?”. If you watched enough memes on YouTube, you will be guaranteed to be recommended ‘s***post status’ videos with such bizarre setups that the bizarre nature of the setups crack you up. Being targeted towards such a young audience, this had a staggering impact on (what is subsequently) my generation who grew up with this element of comedy which has seeped into everyday life now. Besides that, I can’t seriously comment on anything else. The characters are all stock characters with fantastic delivery from the likes of Jerry Seinfeld, Renee Zellweger, Patrick Warburton and John Goodman. The soundtrack doesn’t really matter, the animation doesn’t really matter; if anything, the animation lower quality actually enhances the experience. Ironically, the film feels lower quality when it ‘tackles’ the idea of climate change; it relates to bees and their importance in the global ecosystem but, in this kind of film, no one cares! Overall, this film is just a fever dream which seems laughably terrible at face value, but as a work of art, this film is somehow one of the most influential in human history…

Released 13th January 2021, The White Tiger follows Balram Halwai, a member of the Indian low caste, as he works his way out of poverty. The ideas and prejudices of class are at the forefront of this film and embedded into every character naturally; each character confronts a different angle of class thus making every character unique and intriguing. There is also a great engrossment in Indian culture throughout the film which really helps the audience to believe what they are watching; it also makes the moments of abuse and manipulation all the more appalling. Adarsh Gourav is superb as Balram Halwai; his range is brilliant, and he sells every high and low in his particularly varied life. Rajkummar Rao is also stellar as Ashok, Balram’s easily led ‘master’, in conveying the desire to live equally to his peers whilst also succumbing to the standards set by his fellow higher caste. Priyanka Chopra provides an interesting performance as Pinky; he frequently represents the exogenous views of other nations upon India; preaching its need for reform to aid its lower caste whilst she herself often juxtaposes herself. Kamlesh Gill as Granny and Mahesh Manjrekar as The Stork act as effective antagonists to Balram rising above the lower caste. Danny Bensi and Saunder Jurriaans manage to craft a memorable soundtrack that isn’t cliché Bollywood whilst still retaining India-based sound scaping. The cinematography manages to illustrate Balram’s scale in his social standings throughout the film; from wide-scaping shots with him in a field to an elevating shot presenting him above the lower caste. Overall, this film has consistent ideas, consistent acting and a satisfying story where the audience are constantly engaged.

Released 16th July 2004, Spider-Man 2 follows Peter Parker as he tries to balance his busy life with the gruelling task of being New York’s hero; Spider-Man. The first thing to note with this film is that the narrative is far tighter than the original with how it juggles it themes and characters. Despite being the most iconic line from Spider-Man, “With great power comes great responsibility” is the core of this film with Peter desperately trying to find time for himself whilst being constrained by his duty to New York. The film also delivers New York’s outlook on Spider-Man far more subtly than its predecessor whilst also remaining constant throughout; a decision which makes Spider-Man’s heroic recognition feel much more deserved at the points he receives it. I can gladly report that the visual effects are far better than its predecessor with some of its effects being fabulous for the time. It is also a relief to say that Tobey Maguire is better in homing his performance as Peter Parker this time around. He may still be the weakest of the cast but he always shows some emotion, albeit too little or too much at times. JK Simmons still steals every scene he is in as the comedy gold that is J Jonah Jameson. James Franco and Alfred Molina are good as Harry Osborn and Otto Octavius respectively; Franco delivers an understandably jaded Harry while Molina portrays Otto with good charisma and subtly. Despite this Otto doesn’t work as well as he should have; his character ends on a satisfying note but until the last 20 minutes he is just a watered down Norman Osborn from the film’s predecessor. My biggest character problem however is with Mary Jane Watson; Kirsten Dunst gives a great performance, and she is less of a plot device than in the last film, but her attitude really starts to frustrate the viewer after her third fight with Peter (in this film alone) and so begins the trend of most other superhero films post-Raimi which hyperbolise the ‘We can’t be together’ trope. On top of this she is once again used in the finale as the damsel in distress; can we have one film where Mary Jane isn’t in need of saving*? Well at least the score is still as bold and brilliant as before with Elfman’s motifs remaining as iconic as ever. Overall this film has some solid highs but it also drops the ball in some crucial character areas where they could’ve been avoided.

Released 14th June 2002, Spider-Man is often regarded as one of the most influential comic book movies of all time; not only for embracing its comic roots but also for putting so much focus of it’s characters. The plot follows Peter Parker as he copes with new spider-powers and the subsequent responsibilities of them. The characters are all written with defining flaws whilst still maintaining likeable personalities to keep you engaged. There are numerous notable performances in this film. Rosemary Harris & James Franco are good as Aunt May & Harry Osborn respectively with JK Simmons stealing every scene he is in (which is not many) as J Jonah Jameson. In my opinion however, Willem Dafoe gives the best performance of the film; he takes some often cliché dialogue and manages to make it enthralling and in line with his character. There is also some brilliant duality with Peter Parker throughout the narrative with various editing and costume decisions to back up the writing. So, what about the other leads; Tobey Maguire and Kirsten Dunst as Peter Parker and Mary Jane Watson? Whilst Dunst gives a solid enough performance, she is frequently, and frustratingly, put into peril through the narrative and it is rather unnecessary 2/3 times. Then there is Tobey Maguire; the worst Spider-Man actor (yes I just said that). Again, the character of Peter Parker is written brilliantly but Maguire often misses many crucial performance beats which subsequently suck you out of the film. To an extent however, his weak performance helps to contribute to the comic book tone of the film. This tone is further enhanced by what are now, aged visual effects which adds to the corniness of the film. With that being said, Danney Elfman’s score is nothing short of iconic and adrenaline-pumping; its motifs are built upon and re-imagined throughout the course of the narrative. Overall, the film is greatly flawed yet you can’t help but notice, and appreciate, Spider-Man as a cornerstone of what is now Hollywood’s most bankable genre.

Released 25th December 2018, Vice follows the political career of Dick Cheney; the Vice President to George W. Bush (43rd President of the USA). Director / writer Adam McKay enables the story and its, naturally, political points to be accessible to its audience by utilising simplistic activities to represent executive decisions. Despite this often lofty tone however the film does not shy away from the eventual pitfalls during Bush’s presidency; notably 9/11 and the subsequent ‘War on Terror’. These events are frequently grounded through real world footage, established connection to civilian characters and the actors reacting far more seriously than the rest of the film would let on. And the actors in this film deserve to be noted. Steve Carrell is great as Cheney’s friend Donald Rumsfeld and the character of George W. Bush enables Sam Rockwell to bring his usual charm whilst also conveying Bush’s renowned inexperience in his field. Amy Adams is also fantastic as Lynne Cheney, Dick’s husband, alongside the very genuine performances from Alison Pill & Lily Rabe as Mary & Liz Cheney, Dick’s daughters. As for Dick, he is brought to life by the phenomenal Christian Bale. Whilst greatly helped by the makeup department’s prosthetic body mass, Bale is unrecognisable as he transforms on screen into Dick Cheney. The film opts not to use much music or soundtrack which, whilst unable to talk about it, never detracts from the film. You are always engaged through the character’s natural interactions, witty writing and fresh directorial choices by McKay. Much in the same ilk of McKay’s other real-life inspired film, The Big Short, McKay adopts several visual strategies to convey ideas and plot-points. A notable example is when Cheney explains his strategic placement of loyal politicians across Washington with Papier-Mache backdrops and ‘Guess-Who’-like picture frames. Overall the film manages to keep its audience engaged despite its complicated, and sometimes dark, source material.

Released 23rd April 2004, Kill Bill Vol.2 is a direct follow up to 2003’s Kill Bill VoL.1. Whilst it makes sense, given the use of Volumes in the titles, it does mean that you can’t really watch Vol.2 without Vol.1; to the point that Vol.2 outright continues from ‘Chapter 5’ where Vol.1 left off by opening with ‘Chapter 6’. With that out of the way, this film manages to feel like its own film with a different approach to the grindhouse genre applied in Vol.1. The film continues to follow the Bride as she seeks out Bill to kill him (hence the name) however, whereas Bill was much more of a potentate in Vol.1, he is far more fleshed out this time around. You know this film is different when we see David Carradine as Bill in the very first scene; a stark contrast to Vol.1 where Tarantino opted to not show his face at all. This is a stroke of genius however as it subverts the audience’s expectations by enabling you to become more familiar with Bill across the narrative. David manages to emulate a sense of wisdom whilst still conveying his sadistic nature through his distinguished voice and calm demeanour. Uma Thurman is better here than she was in Vol.1; an understandable feat given how much more personal the conflict gets in the final chapter. Michael Madsen & Daryl Hannah do well as Budd & Elle Driver, respectively. Although I must also give credit to Gordon Liu as Pai Mei; he truly excels in his exaggerated performance as a kung fu master. Whilst not quite as iconic as Vol.1, the sound design and soundtrack still encapsulate the themes and energy of their respective scenes very well. The action here is still very engaging but it is also a lot more toned down and personal. Both to the characters individually and also to the relationships they have with one another. Also, the final chapter is so well done and may be one of the best endings to a Tarantino film. Overall whilst it comes to the expense of toned down action and sound scaping, Kill Bill Vol.2 earns this by using the extra leg room to build upon its enjoyable characters to create a sequel which, in my humble opinion, surpasses the quality of the original.

Released 21st January 2021, Get Gone follows Aaron Walker as he returns to his drug-run neighbourhood in the wake of his brother’s death. Despite seeming like another English crime drama at first glance, this film actually provides some much needed freshness to the genre. One particular thing which you notice about the film is that there is some particularly experimental camerawork through the film and the way its shot. Whilst it can sometimes be a bit jarring, it creates a unique viewing experience. Also, being a small scale film, its soundtrack does its purpose but isn’t much more memorable than that. The cast do a superb job throughout; notable standouts being Alex Guilford, Natalie Martins and Jorden Myrie. Alex Guilford provides a nuanced performance of Aaron Walker; he is able to convey the jaded sense of compassion and determination you would believe from an ex-drug dealer. Natalie Martins also hits every character beat (of which there are quite a few) as Aaron’s partner Danielle Stevens. However, the side character of Martin Johnson, performed by Jorden Myrie, is one that really stood out to me. Martin is a beleaguered police constable who operates in Aaron’s neighbourhood despite the disdain from everyone; bar Aaron. As the story develops we see Aaron showing Martin an appreciation for what he’s doing. Jorden is able to sufficiently present the confidence gained from having people believe in you. And that feels like the heart of the film; no matter your circumstance, any act of kindness will be remembered. We see Aaron interact with numerous characters throughout the story and, more often than not, he manages to leave a good impression on them. His interactions pay off as the story reaches its end; an ending with a surprising yet logical twist. Overall, what had the makings of being just another gang film with some early plot points ended up providing enough modulation with its characters to step above its peers in the genre.

Released 8th October 2005, Wallace & Gromit: Curse of the Were-Rabbit followed the British icons as a pest control duo trying to catch a rampant rabbit *ahem* Were-Rabbit. This film acts both as a pleasant, mindless entertainment flick whilst also being a horror parody. Whilst parody (especially horror) can often fall-flat, the innate charm of Wallace & Gromit’s universe just makes the film so much fun; mostly due to its likeable leads. Peter Sallis provides his ever present charm of Wallace through all of the obscure scenarios this inquisitive, yet awkward inventor finds himself in. Helena Bonham Carter & Ralph Fiennes both give the elite Lady Tottington & Victor Quartermain so much life a personality; notably Carter who is completely unrecognisable with her vocal talents. The film also has a unique, iconic soundtrack from Hans Zimmer. Whilst Zimmer is often known for his bombastic, adrenaline-pumping scores (watch any Christopher Nolan film), this score is far quirkier and calmer which is appropriate for characters like Wallace & Gromit. And of course, my best compliments are reserved for Aardman’s pioneering stop-motion which is, in my opinion, the timeless animation style. The set design look fantastic, the characters move extremely naturally, and you don’t see any noticeable imprinting where the clay has been moved. If I had to nit-pick though, as a critic, the film doesn’t have any particular depth, but it doesn’t really need it. Overall, Wallace & Gromit has always been a whimsical duo to provide solid laughs and innocent, optimistic fun.

Released 17th October 2003, Kill Bill Vol.1 is part one of Quinten Tarintino’s two part revenge flick. The film is made in the style of samurai and grindhouse cinema with frequent bloody set pieces and unnamed goons swinging at the protagonist, the Bride. As put by Geoffrey O’Brian of the Film of Lincoln Centre: “The air of flagrant artifice must be sustained, in the first place, to prevent any apprehension that the violence is real.” Played by Uma Thurman, the Bride is motivated purely by revenge and yet she given great depth and vulnerability from Thurman’s performance. Lucy Liu & Vivica A Fox give great performances as O-Ren & Vernita respectively, although one particularly fascinating performance is David Carradine as the illusive Bill. This character is a key example, and testament, of Tarintino’s directorial skill. Throughout the entire film we never see Bill’s face, and yet we often receive lengthy dialogue scenes with him where you feel his presence. Tarintino also pays further homage to Japanese visual media through an extended animated sequence crafted in the style of ‘Manga’. The application of the animation helps to establish the character the sequence focuses on whilst also broadening the film’s already diverse use of different visual technicality. There is frequent use of a noir palette to embody the Bride’s connection, physical and psychologically, to her past life. Further paying homage to older action flicks, the film’s sound editing often uses hyperbolic motifs such as the ‘Ironhide Siren’ or even the ‘Wilhelm Scream’. This effect is further enhanced by licensed music to hype up the scenes, the most famous example being ‘Battle Without Honor Or Humanity’; a song that everyone has likely heard at some point in their life (most likely Shrek The Third or Team America). Despite the insurmountable tropes the film abides by, the film surprisingly displays much in regard to female empowerment. From O-Ren’s rise through the predominantly male Crazy 88 to the Bride’s frequent self-assertion over patronising men in her way. Overall, this film is more of a retrospective love letter to international cinema’s history, albeit with a Hollywood budget.