ROBOCOP; Full-Tilt Review

"Nice shootin', son. What's your name?"

The 'Old Man'

  "...Murphy"

Robocop

Dead or alive, Robocop gets his man...

Synopsis:

In a near-future dystopia, Alex Murphy is a cop and family-man ruthlessly blown to pieces by a gang of armored thugs, led by the vile Clarence Bodicker. However, unethical mega-coporation OCP uses Murphey's untimely death as a way of completing their flagship Ropocop program. Murphy, now in the guise of the aforementioned Robocop becomes a hero and media darling as the unstoppable law enforcement officer, single-handedly turning the tide against the criminal underworld. But when memories of his past life as Murphy, which OCP thought had been permanently erased, come flooding back, Robocop sets out to bring Bodicker and his gang to justice- a mission that brings Robocop in direct confrontation with senior OCP officials...

Script: 2/2 - Subversive, cynical, dark and exciting.

Pace: 2/2 - a slick rollacoaster

Acting: 2/2 - believable across the board, frighteningly so

Asthetic: 2/2 - slick, shiny and bold, despite a meager budget

Intention: 2/2 - easily surpassed its genre limitations, breathtaking cinema

Final Word: 10/10

Not sure this comes across, but I absolutely love this film!  Not entirely sure what I can say that I haven't up above.
Robocop works on almost every level; it's visceral, it's darkly funny, it's thought provoking, it's thrilling, it's surprisingly moving- so much more than just sci-fi action. Robocop marked irreverent Dutch film director Paul Verhovan's first English-language film, and this is him at his subversive, witty best- casting an outsider's eye on subjects ranging from privatisation, capitalism, the media to human identity. But, putting aside lofty intentions, Robocop is equally enjoyable as a simple, balls-to-the-wall action film- if that's your pleasure. For me, it's got everything you could want, all wrpaed up in one breathtaking package. Such a shame the franchise lurched into the abyss, I felt like this world had so much more to offer. Still, Robocop has more than stood the test of time, even predicting some of America's present-day turmoils...
It's near impossible to pick a stand-out performance. Relative unknown Peter Weller takes center stage as Murphy aka Robocop, bringing a mythic amount of pathos and depth to what could have so easily been a nothing-role. Kurtwood Smith swaggers and swears throughout as the sadistic Bodicker (easily one of the most scary screen criminals in cinema history), and Nancy Allen, playing against type, makes for a plucky sidekick as Robocop's partner Officer Lewis. Miguel Ferrer shines brightly as Morton, the charismatic and ambitious yuppie responsible for Robocop's creation, turning what was probably intended to be a minor villain into an (oddly) likeable character. And lastly, Ronny Cox (who till this point in his career had only ever played 'nice guys') stands-out as Dick Jones, a villainous and corrupt OCP boss-man.
But be warned, even by today's bloody standards, Robocop can be pretty violent, despite it's comic-book leanings.

CHILDREN OF MEN; Full-Tilt Review

"Julian? I haven't seen you in twenty years. You look good. The picture the police have of you doesn't do you justice" 

Theo 

 

"What do the police know about justice?" 

Julian 

Clive's bedroom won't be winning any design awards.

Synopsis:

In the future humanity finds itself doomed when it becomes clear that women can no longer conceive. Unable to find any explanation for this catastrophe, and resigned to inevitable extinction, society finds itself on the brink of collapse amidst political upheaval and anarchy. Activist turned office-nobody Theo finds his hum-drum existence dragged into turmoil when he's forced to act as guardian to an illegal immigrant who also happens to be the first pregnant woman in almost two decades.

Script: 2/2- perfectly judged, weighty but never preachy

Pace: 2/2- thrilling without ever feeling rushed

Acting: 2/2- everybody brings their A-game

Aesthetic: 2/2- so gritty that it feels like a news-story

Intention: 2/2- a mature science fiction which asks important questions

Final Word: 10/10

Directed by Alfonso Cuaron (a man who can claim a creative credit in such films as Pan's Labrynth and Harry Potter, and who also went on to direct the critically acclaimed blockbuster Gravity), based on a book by P.D James, and written for the screen by no less than 5 separate writers (including star Clive Owen having some input), you could be forgiven for believing that too many cooks would surely spoil the broth? On this occasion you'd be very wrong. Children of Men is not only a perfect science fiction adventure, but also a perfectly judged exploration of themes including faith, hope and redemption. Cuaron brings his European outsider's eye to bare on the state of English politics and where we could be headed. Clive Owen plays the role of his career as the every-man sucked into this Earth-shattering conspiracy, while the standard sci-fi trappings are put to one side in favor of a gritty and frighteningly accurate portrayal of future-Britain- the unique set-pieces are no less exciting for the lack of explosions and flying cars. Children of Men is not only science fiction done right, but a triumph in direction, storytelling, cinematography and creative process. Julianne Moore, Chiwetel Ejiofor and Michael Caine also shine as Owen's co-stars. If you haven't already, watch it!

LABYRINTH; Full-Tilt Review

"So, the Labyrinth is a piece of cake, is it? Well, let's see how you deal with this little slice.."

Jareth 

Dance, magic dance.

Synopsis: 

Spoiled 15 year-old Sarah accidentally causes the abduction of your infant brother Toby by invoking the presence of the Goblin King. Wracked with regret, she leaves the real-world behind and descends into a magical kingdom, where she has only 13 hours to save Toby, before he becomes a goblin forever more.

Script: 2/2

Pace: 2/2

Acting: 2/2

Aesthetic: 2/2

Intention: 2/2

Final Word: 10/10

Labrynth represents a follow-up project to the puppet-based film The Dark Crystal, with director Jim  Henson and conceptual artist Brian Froud reuniting to deliver a much lighter movie this time around (the former was quite a bleak little film). Labrynth was written, among others, by Monty Python's Flying Circus' very own Terry Jones, which goes a long way to explain much of the film's absurdist humor- played out brilliantly here by Henson's anarchic and rag-tag collection of puppets.

Sadly, I've turned to this in light of the news that David Bowie has left these dull lands for someplace a little more exciting. Here, the Thin White Duke plays the part of Jareth, the Goblin King-  a character pitched somewhere between lounging aristocrat and apathetic rock-star. It's impossible imagining anyone else in this part, and I wouldn't be entirely surprised if the role was either written specifically for him, or rewritten after his casting. It's a presence and a persona he seems to slip effortlessly into, and even though he's clearly the villain of the piece, it's difficult not to be won-over by his disarming charm (despite a rather creepy scene where he essentuially begs a 15 year old girl to be his lover- best not dwell on that particular aspect*). This is easily one of the singer's most fondly remembered movie roles, of which he had too few, but it looks like he had a real blast doing it, especially while he's lording over the goblins...
Despite hanging around Bowie's performance, the film still delivers in all other aspects. Sarah is played by Jennifer Connerlly, who would go on to find fame and critical acclaim as a curvaceous adult. Here, Connerlly adds humanity and humidity throughout to a character that is first introduced as petulant and selfish, taking the stale character arc of 'girl to womanhood' and enthusing it with a touching sincerity. Along Sarah's journey she encounters a host of comical scenarios and bizarre creatures (which serve to both help and hinder in equal measure), as designed by Froud and bought to vivid life by the geniuses at the Henson Workshop.

All in all, Labrynth is a fun and beautiful family fantasy, and Bowie provides one Hell of a catchy soundtrack. Once watched, never forgotten.

* spoiler; it's all OK, the whole thing only happens in Sarah's imagination...That's better, right?

RIP David Bowie.

GHOSTBUSTERS; Carlisle's Final Word

"We've been going about this all wrong. This Mr. Stay Puft's okay! He's a sailor, he's in New York; we get this guy laid, we won't have any trouble!"

Peter Venkman

Who you gonna call?

Script Logic; 2/2

Pace; 2/2

Acting;2/2

Aesthetic; 2/2

Originality & Intention; 2/2


Final Score; 10/10





Final Word: It's got everything you could possibly want in a 'popcorn movie'. It's scary, it's exciting, it's funny- and the humor of the film comes from the well defined characters rather than lazy slapstick. Ghostbusters is a rare example of a horror comedy that works on both levels.
Sure, on paper, Venkman's not exactly a  likable fella (in fact, he's a pretty creepy sex-pest when you stop to think about it) but Murray somehow bestows a certain pathetic charm to the character, while Akroyd's wide-eyed naivety and youthful enthusiasm make him instantly likeable as the teams "heart". Ramis and Hudson are on fine support as the socially awkward brains of the operation and the 'average Joe' bought in to make up the numbers respectively. It's the chemistry between these loveable mismatched losers, as well as some genuine scares and creepy creature design, that make Ghostbusters the perfect movie experience that it is.
I could gush and say more, but you've either already seen it (and likely agree with me) or you haven't- and should be thoroughly ashamed of yourself!

"NEVER ANYTHING ON, IS THERE?"

Liz (Sean Of The Dead).

"Should have said- bass"

A quick guide on how I qualify the final score for the 'Carlisle's Final Word' posts...

0/10:                       God I hope to never have to sit through a film that scores 0.

0 to 2 out of 10:      Crap. Utter crap.

3 to 4 out of 10:      Useless, don't even bother watching this.

5 out of 10:             Watchable, if there's nothing else around. Hire it, don't buy it.

6 to 7 out of 10 :     Good, solid effort and enjoyable.

8 to 9 out of 10:     Excellent, worth seeing at the cinema, and certainly worth buying.

10/10:                    Perfect. Rare as hen's teeth. Need I say more? I couldn't fault it.

THE MUPPET CHRISTMAS CAROL; Carlisle's Final Word.

'He was a tight-fisted hand at the grindstone, Scrooge: a squeezing, wrenching, grasping, clutching, covetous old sinner.'

Gonzo / Charles Dickens.

Script Logic; 2/2

Pace; 2/2

Acting; 2/2

Aesthetic; 2/2

Originality & Intention; 2/2

Final Score; 10/10

Final Word; Well, it's Christmas time once again, so I may as well review something in a festive vein. Every household has a particular Christmas film they watch, and in our family this was it- the quintessential feel-good festive film. You'll laugh, you'll cry, and even the most cynical  and jaded viewers will find it hard not to be moved by these fuzzy critters. The story unfolds almost exactly as the book and never looses its pace. Michael Cain's performance is pitched perfectly (stony and bitter enough to convince as a miserable and lonely old man, but still light-hearted enough for all the family), while the supporting cast of Muppets bring their usual charm and wit to bare on the  material- proving that despite the number of Christmas Carol retellings already out there, there is still some fresh fun to be had with some old familiar ghosts...

ALIENS; Carlisle's Final Word.

"We'd better get back, 'cause it'll be dark soon, and they mostly come at night... mostly."

Newt.

Script Logic; 2/2

Pace; 2/2

Acting; 2/2

Aesthetic; 2/2

Originality & Intention; 2/2

Score; 10/10

Final Word; A sequel that’s actually better than the original, one that’s not content to simply re-tread the same old boards, this takes the series into a completely new direction (and sadly nothing to follow in the franchise came anywhere near these dizzying heights). Where Ridley Scott served up the shivers, James Cameron takes you on a thrill-ride, and the result is a perfect mix of action, horror and science fiction. Anything more I can add will only sound like the gushing of a die-hard fan-boy, and to the film's credit most of the physical effects have stood the test of time pretty well.

SE7EN; Carlisle's Final Word

"Ernest Hemingway once wrote, 'The world is a fine place and worth fighting for.' I agree with the second part."

William Somerset.

Script Logic; 2/2

Pace; 2/2

Acting; 2/2

Aesthetic; 2/2

Originality & Intention; 2/2

Score; 10/10

Final Word; As a film, Se7en represents a flawless achievement (a very are thing), but it’s an incredibly tough film to watch. I’m sure everyone’s already seen this, but I’ll still hold back from revealing spoilers- surface to say, it’s a grim film with a sucker-punch ending that will stay with you for years to come. Another genre defining classic responsible for a string of knock-offs and pale imitations, which luckily have done nothing to diminish the film's achievements. Even to this day, the film feels contemporary.

PAN'S LABYRINTH; Carlisle's Final Word.

"You're getting older, and you'll see that life isn't like your fairy tales.
The world is a cruel place. And you'll learn that, even if it hurts."

Carmen, Pan's Labyrinth (2006).

Internal Logic: 2/2

Pace: 2/2

Acting: 2/2

Aesthetic: 2/2

Intention & Origionality: 2/2

Score: 10/10



Final Word: Both beautiful and haunting in equal measure, a must see film. Spanish and subtitled, but let that put you off and you're missing one of the best films ever made; part Schindler's List and part Chronicles of Narnia. Guillermo Del Toro's master piece, and a far superior film to it's spiritual-kindred The Devil's Bcakbone. I could go on (and on), but I wouldn't want to undermine it by overhyping- the less you know the better the experiance. Go see it.