Tag Archives: Rise of the Planet of the Apes

Crisis of the Guardians – Where did DreamWorks go wrong?

Exactly who is this film aimed at?

Exactly who is this film aimed at?

Rise of the Guardians fell under the radar somewhat in late 2012. A family entertainment for Christmas (set at Easter) with some wonderful animation and an undeniable sweetness at its core, it has under-performed hugely for DreamWorks, only now in late January taking in twice its $145m budget, which will elevate it to just a notch above “disappointing”.

Exactly what went wrong is unclear. Admittedly trying to portray childhood fantasy icons such as Santa Claus and the Tooth Fairy as Avengers-style superbeings is a bit much to ask of audiences, but compared to other US animated films released in recent years this was still a step above the average.

For all its problems, from the basics of its premise to its mismanaged marketing, I for one enjoyed Rise of the Guardians. The animation was as strong as DreamWorks has ever produced, and the story provided a deeply affecting reversal in the final act for the character of Jack Frost that was as good as any moment in How to Train Your Dragon (although Dragon admittedly had more than its fair share of those moments).

But while I liked Guardians, I could not shy away from the fact that the universe it created repeatedly threw up mental roadblocks for me. Overt silliness in the dialogue or subtle visual references to other projects (intentional or not) would grab me by the brain and drag me right out of the movie. I imagine, given the box office returns and lack of word-of-mouth, that I cannot be alone in this.

Here are the issues that troubled me most.

1. Guardians! Guardians! Guardians!

No, you did not see this movie

No, you did not see this movie

It’s not DreamWorks’ fault of course, but my goodness there are a lot of films with “guardians” in the title doing the rounds of late. Back in 2010, Zack ‘300’ Snyder directed Legend of the Guardians: The Owls of Ga’Hoole, a CGI owl fantasy movie. If you know five people who saw it, you’re probably lying.

Elsewhere, Marvel have announced their most risky project for “Phase 2” of their Avengers series, Guardians of the Galaxy, which features a brigade of intergalactic superheroes (including a rocket-powered racoon – take THAT magic owls!).

Of course what both of those films have over Rise of the Guardians is that we know from the title precisely what they are guardians of. Rise of the Guardians could be set at a foster home for all anyone can tell.

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2. Guardians Will Rise

Planets full of apes have also been known to rise

It was an unfortunate year to choose “rise” to be the load-bearing noun in your movie title. The Dark Knight Rises was one of the biggest hits of 2012, and laid a flat-out claim to the verb “rise” and all its subsidiaries.

But Rise of the Guardians really is a nothing title. In fact, when we first meet the Guardians as a group, they are already an assembled unit; there really is no rising going on here. It’s just a title for the sake of it; that “rise” could be the most redundant noun in a movie title since Aliens Vs Predator: Requiem.

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3. Where have I seen this before?

Oh what fun Jack Skellington might have had behind the other doors...

Oh what fun Jack Skellington might have had behind the other doors…

I won’t be the first to point out the fact that Rise of the Guardians is more or less the film that happens when you open all the doors in The Nightmare Before Christmas. Far more troubling though is the similarities to the plot of (sorry about this) The Santa Clause 3: The Escape Clause.

Seriously, just try and see how much of that trailer you can get through before wanting to jam a fork in your eyes.

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4. Logorama

What if he hooked a person?

In this secular fantasy, the Guardians take their orders from The Man in the Moon – who traditionally appears in all DreamWorks films as a part of the company’s logo. In Guardians, is he a stand-in for God, or an overt advertisement for the company that produced the film?

It’s like having James Bond report for duty, only to learn that M has been replaced by MGM, a giant 80-year-old lion.

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5. Tom Hiddleston!

He even LOOKS like Tom Hiddleston!

What a 2012 Tom Hiddleston had! Riding high from the get-go after strong performances in War Horse and The Deep Blue Sea, he played the maniacal villain Loki in The Avengers before voicing the dastardly Pitch Black in Rise of the Guardians. How could things possibly get any better for… wait. That was Jude Law?! Well fuck me they sound alike!

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6. Santa LOLZ

If there’s one thing kids love it’s Night of the Hunter references

Santa Claus having a Russian accent makes a lot more sense than the English accent he regularly has in films (although it’s not quite the Turkish accent it should be). But seriously, Alec Baldwin does the voice?! That’s the best Russian accent they could dig up?!

Further to the film’s secular standpoint, Guardians moves away from calling him Santa and he is regularly referred to in the film as “North”.

But wait a second, his name is North, he travels all over the world, and his best friend is the Easter Bunny? Where have I see this one before…?

Oh.

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7. Rabbit-proof farce

Is that an Aboriginal tattoo in his fur?

Is that an Aboriginal tattoo in his fur?

Hugh Jackman’s Easter Bunny gets upset when people get his species wrong and think he’s a kangaroo. “It’s the accent, isn’t it?” he asks in his actual Hugh Jackman voice. Yes, it is. That, and the boomerangs. If you want people to not think you’re a magic kangaroo, put down the goddamn boomerangs.

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8. Oh Guillermo…

Who honestly thought this didn't look stupid!?

Who honestly thought this didn’t look stupid!?

Executive producer and top-tier visual fantasist Guillermo del Toro’s fingerprints are all over this movie, but nowhere more so than in its interpretation of the Tooth Fairy as a humanoid hummingbird woman. Honestly, I preferred his tooth fairies in Hellboy 2.

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9. I represent the estate of Miyazaki Hayao…

You know, I can handle the fact that Santa’s workshop shares its architectural plan with the bathhouse from Spirited Away. What I can’t handle is that the yetis that populate it look like this:

What does that remind me of?

What does that remind me of?

Goddammit.

Goddammit.

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10. Safe sex elves

Insert additional "horn" comment here

Insert additional “horn” comment here

I get the need to redesign the look of Santa’s elves, but why must they look like they’re wearing festive condoms? It brings a whole new meaning to the term “bell-end”.

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11. Putting all your eggs in one basket case

Kill it! Kill it with fire!

Kill it! Kill it with fire!

Living eggs that walk were creepy enough in Garfield and Friends. This was the stuff of candy-coloured nightmares.

Yeah, remember Garfield and Friends!

Yeah, remember Garfield and Friends!?

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12. The last three issues, combined

So the film explains where the Guardians come from rather well, but where the hell do all their minions come from?! Are the little hummingbird fairies actually the Tooth Fairy’s children?! This is the kind of thing that keeps me up at night.

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13. Rabbit Hole 2

Nicole Kidman in Rabbit Hole, from children's entertainer David Lindsay-Abaire

Nicole Kidman in Rabbit Hole, from children’s entertainer David Lindsay-Abaire

Based on the book series The Guardians of Childhood by William Joyce, the film was adapted by David Lindsay-Abaire. When he’s not scribbling family entertainment like Robots or the Shrek musical, Lindsay-Abaire is busy winning Pulitzer Prizes for work like his play Rabbit Hole, about family disintegration following the loss of a child. No one else finds this combination jarring?

Is it a coincidence that the Easter Bunny in Guardians has the ability to open magic rabbit holes anywhere he chooses? Does David Lindsay-Abaire shit in the woods?

No.

Probably not.

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2011 in review – Style, meet Substance. Substance, Style.

Now, perhaps I’m just misjudging the subtext of what I’ve read in the blogo/Twitter-sphere, but I get the impression that there is consensus that 2011 was a particularly fine year for cinema. There were definitely a lot of great films released, and compiling the list below was not easy, but was it a particularly great year?

It was certainly a standout year for American (and English-language) cinema. With some exceptions, blockbusters were smarter and tighter, and even where they failed (Rise of the Planet of the Apes) they still had ambition. Source Code led the charge for a new wave of intelligent sci-fi thrillers. Bridesmaids and 50/50 showed that American comedies could have as much heart as they had bodily fluids. Drive proved enough flair on a filmmaker’s behalf could erase any need for strong dialogue or acting – yet that film brought some great lines and fine performances nonetheless. At Cannes, The Tree of Life conquered, and around the world audiences were left mesmerised and/or walked out of the cinema.

The build-up to 2012’s The Avengers continued with two enjoyable tongue-in-cheek superhero adventures, Thor and Captain America: The First Avenger; the success of both suggested the heroic team’s first outing will be one of the biggest films of this year. If rivals DC and Warner Bros wish to meet the Avengers threat head-on with a Justice League film, the critically mauled Green Lantern and a trailer for 2012’s The Dark Knight Rises should ensure that no one wants to see a JL film without Christopher Nolan at the helm any time soon.

After a terrific year in 2010, children’s films hit a hurdle – only one children’s film cracked my top 20, and it was released in the US in 2010. Martin Scorsese’s beautiful but shamefully overlong Hugo deserves applause however, even if it did prove once and for all (to me at least) that 3D cannot be mastered even by the most talented of filmmakers. Nostalgic methadone The Muppets and the enjoyable Kung Fu Panda 2 (which featured superb sequences of traditional hand-drawn animation) also narrowly missed my list.

As for documentaries… well, for work-related reasons I saw more docs last year than any year previous. Unfortunately many of them are so obscure that there is no point in listing them here. But suffice to say it was a strong year for documentary from around the world, even if the interesting but unambitious Inside Job won most of the acclaim this year. Docs like Senna and Page One: Inside the New York Times told their stories with far more flair.

A few notes on the list. Traditionally I have stuck with what was released in Ireland during each individual year, meaning that some of the previous year’s late releases (especially the Oscar push) end up on the subsequent year’s list – there’s never been a way of avoiding that. To add to the confusion now, I spent almost half of 2011 living in the United States, so this list may see some films released in late 2010 in the US but early 2011 in Ireland, while others will have yet to arrive in Irish cinemas yet.

It’s fair to say I didn’t see as many new films in 2011 as I might have liked (so few bad ones indeed, that I do not have enough to fill a “worst of 2011” list), but I did see a huge number of films this year. On the big screen, just some of the classics I saw include: Walkabout, The Driver, Paisan, Pickpocket, Network, The Wages of Fear, Quai des Brumes, The Life and Death of Colonel Blimp (a restoration presented in person by Scorsese and Thelma Schoonmaker), Bridge on the River Kwai, Who Framed Roger Rabbit, Orpheus, The Warriors and The Big Lebowski. Most of these were made available to me during a three-month internship I undertook at the Museum of Modern Art in New York, a position I could talk endlessly about, but will not concern you with here.

That didn’t leave much room for new films, and amongst those I missed that I suspect may have challenged the films on this list are: Paul, The Beaver, Warrior, Moneyball, Take Shelter, My Week With Marilyn, Tyrannosaur, Fincher’s The Girl With the Dragon Tattoo, The Skin I Live In, War Horse and The Adventures of Tintin.

Honourable mentions for films that I saw but barely missed out on the list are: Hugo, The Guard, The Muppets, Attack the Block, Senna, Harry Potter and the Deathly Hallows – Part 2, Bridesmaids, The Inbetweeners Movie, Cave of Forgotten Dreams and Super 8.

Now, enough stalling… shall we?

20. The King’s Speech

The eventual reigning champion at last year’s Oscars, this was a beautifully produced and (for the most part) strongly acted account of the troubles faced by the young King George VI. A powerful and memorable ending casts a positive light on an otherwise largely forgettable flm; but damn, what an ending it is.

19. Troll Hunter

One of 2011’s most unexpected delights, this “found-footage” comedy/horror used the bizarre natural landscape of Norway as the perfect paradise for surprisingly realistic CGI trolls on a budget. An outrageously straight performance by Norwegian comic Otto Jespersen as the government-sponsored hunter of the title and surprisingly effective pseudo-science about troll biology made this film a sometimes scary but consistently hilarious outing – Man Bites Dog meets Rare Exports. “TROOOOOOOOOLL!” may have been the funniest delivery of a single word last year.

18. Tangled

Disney finally put a CG challenge to their successful underlings Pixar with this gorgeous retelling of the Rapunzel tale. Colourful, enchanting, witty and light, the film was only let down by standard music numbers and a fairytale parody feel all-too familiar from the Shrek films. A superb villain, a playful chameleon and an indestructible horse were all highlights, but the film’s greatest feat is the animation in Rapunzel’s seemingly endless waves of golden hair.

 17. Mission: Impossible – Ghost Protocol

M:I4 came out at the end of a year which had featured some strong blockbusters but had been for the most part low on action (Transformers: Dark of the Moon notwithstanding). But Ghost Protocol made up for that. Beginning with a simple prison breakout, Ethan Hunt and his team go on to infiltrate the Kremlim, abseil the world’s tallest building and embark on a chase through a sandstorm where every grain can be heard whistling violently by the camera. The story was light spy fare, but the commitment by actors and filmmakers on show were as awe-inspiring as the stunts they pulled off for the camera.

16. The Descendants

Alexander Payne’s latest is a powerful family drama. George Clooney is impressive as a lawyer nigh-widowed when his wife is left in a vegetative state after a boating accident. Trying to hold his family together, he must also deal with a sale of his family’s massive estate on which many relatives are relying. Hawaii has never looked so naturally beautiful and also hideously metropolitan as it does here. The music is wonderfully chosen from local sources, and Shailene Woodley gives one of the year’s best performances as the distraught and destructive older daughter. However, the film’s tiresome insistence on ending every dramatic scene with a punchline keeps it from being one of the greatest of recent American dramas.

15. True Grit

The Coens went west again with this adaptation of Charles Portis’s book, while still undeniably owing credit to the John Wayne-starring original. With two terrific performances at its centre by Jeff Bridges and Hailee Steinfeld and stunning golden-brown cinematography, this was a notable entry in the Coens’ canon. Expectedly wacky minor characters and some thrilling and tense shoot-outs added to the fun.

14. Pina

An incredible documentary and the finest live-action 3D film yet produced (although still far from faultless in terms of that technology), Pina is a work of love in memory of the late choreographer Pina Bausch. Wim Wenders controls the cameras but he allows Pina’s choreography to direct the film, as her company, each member an instrument of their master, performs sensational modern dance pieces. The energy and beauty of the dances are on full display, as four massive ensemble pieces are intercut with brief personal performances by each of the dancers. For the most part the 3D recreates the depth of viewing dance in theatre while allowing the viewer to feel the power and intensity of each performance more intimately. The film has emerged from a tragedy (Pina’s sudden death just before filming began) to become a testament to one woman’s remarkable legacy.

 13. Poetry

South Korean star Yoon Jeong-hee emerged from retirement to star in this superb, harrowing drama about an ailing grandmother forced to raise money for a legal settlement after her grandson is implicated in the suicide of a teenaged girl. Unexpectedly powerful and heartfelt, Poetry is carried by Jeong-hee’s sensational performance as she tries to find the will, energy and love to do whatever it takes to save her grandson from prison.

12. Tinker Tailor Soldier Spy

This superbly shot, atmospheric spy thriller was one of the year’s most audience-dividing films, but few could doubt its style and the acting strength of its terrific ensemble cast. Despite some pacing troubles caused by adapting an extremely meaty book, Tomas Alfredson latest film maintained tension and intrigue from start to finish, while injecting some superb character drama into proceedings. Old-school storytelling meets modern filmmaking precision.

11. Kill List

The only film on this list that I can openly say I do not know if I wish to see it ever again. This genre-shifting oddity – part thriller, part horror, part kitchen sink drama – came out of nowhere this year; a low-budget Yorkshire production. With frenzied performances and horrific but effective storytelling, editing and imagery, this unforgettable beast manages to terrorise its audience but unlike most modern horrors actually has a genuine story. Family, friendship and the damage rage can do to them are the subjects at this film’s core. Unmissable – if your stomach can handle that sort of thing.

10. We Need to Talk About Kevin

It may have suffered from budgeting problems but this drama, about a mother who cannot love her son, is crafted by truly expert hands. Lynne Ramsay directs the irreproachable Tilda Swinton as the troubled mother – uncertain if her child is evil or, worse, if her fearing that is making him so. A wonderful mesh of flashbacks weave together a devastating story, told with wonderful plays of lighting and editing. Swinton gives perhaps the greatest performance of her career to date, while co-stars John C. Reilly and Ezra Miller offer strong support.

 9. Midnight in Paris

Woody Allen’s latest comeback is his best film in decades. Owen Wilson fills Allen’s acting shoes with aplomb as a writer nostalgic for an era he has never known – Paris in the ’20s. When, escaping his passionless fiancée, he inadvertently finds himself time-travelling to that age, he finds inspiration from his idols and, unexpectedly, a truer love in the form of Pablo Picasso’s mistress (Marion Cotillard). Beautifully shot, cunningly scripted and with a soundtrack to warm the heart, the film is elevated further by a series of charming cameos; most notably Adrien Brody, hamming it up magnificently as Salvador Dalí.

8. Black Swan

Darren Aronofsky’s film about obsession on the ballet stage combines the wildness of Powell and Pressburger with the psychological and body horror of David Cronenberg. Anchored by an incredible performance from Natalie Portman, this is a stylish, sexualised psychological thriller about a mental breakdown spurred on by determination to be the best. Ominous production design and chaotic editing kept the audience as confused and terrified as its lead character.

 7. Shame

Following his sensational breakthrough Hunger, director Steve McQueen’s second film is a tragic and overwhelmingly honest portrayal of a sex addict. The year’s biggest surprise star, Michael Fassbender, gives a disturbing but spellbinding performance in the lead role as a man obsessed with his own need. Carrie Mulligan gives a fine performance as his sister, the only person who stands a hope of getting through to him in his self-destructive cocoon, but who has her own problems to deal with. Shot with the director’s now signature style of long takes and anchored cameras, Shame gets you inside the head of a man you were happier only knowing the exterior of. A gripping, sorrowful, shameless movie.

 6. A Separation

As human as any drama could hope to be, this Iranian feature tells the story of a couple as they prepare to divorce, and the effect it has on their teenaged daughter. When an accident implicates the husband in a terrible crime, the familial bonds are tested to their limit. A Separation is an incredible, original-feeling story, in which every shot is sensitively composed, and the actors play out the drama with more conviction than most filmmakers could dream of finding. An unexpected gem of Iranian cinema.

5. Drive

Taking its cue from Walter Hill’s existential car chase classic The Driver, untameable Danish filmmaker Nicolas Winding Refn made his American debut with more class and style than most of Hollywood’s heavy-hitters could hope to conjure in an entire career. Shot so slickly the screen appears to ooze light and colour (and later, blood), and with a soundtrack that can only be described as “awesome”, Drive took the whole world by storm and topped countless best of lists in 2011. Ryan Gosling plays the largely silent lead role calm and cool, but the film is stolen by the enigmatic Albert Brooks as a business-savvy mafia boss who takes no prisoners.

4. Melancholia

Perhaps Lars von Trier’s finest film to date, this drama of personal agony/apocalyptic sci-fi nightmare was one of the most hotly debated films last year. It tells the story of a young woman’s lapse into a destructive depression as the very literal metaphor of the planet Melancholia begins a collision course with Earth. As our heroine, Kirsten Dunst reveals herself a remarkable actress of hitherto unexplored talents. However, several of the film’s other performances – especially those of Charlotte Gainsbourg, Charlotte Rampling and Kiefer Sutherland – deserve outstanding praise also. The film’s overture, a stunning sequence of painterly foreshadowings, and its conclusion in an orgy of emotion, light and music, make it a truly remarkable piece of filmmaking from an endlessly challenging filmmaker.

3. 13 Assassins

One of the year’s most over-looked films, 13 Assassins echoes the greatness of Seven Samurai while creating a grittier, more violent and altogether more carefree film. Takashi Miike builds the drama over the course of an hour, setting his band of samurai against an army of warriors and their utterly despicable master. When the tension finally gives way, one of the most remarkably orchestrated battle scenes in recent memory erupts in a flurry of swords, severed limbs and flaming cattle. The film’s realistic look and soundscape allow for a perverse weirdness to seep through, which provides a truly breathtaking entertainment.

2. The Tree of Life

A surprise victor at Cannes in 2011, Terrence Malick’s latest is a glorious thing to behold. The story of a Texas family is told in flashes of light and memory, accompanied by angelic music and bolstered by outstanding acting by Brad Pitt, Jessica Chastain and Hunter McCracken. Through imagery of the dawn of time and the rise and demise of the dinosaurs Malick demonstrates the true reality of life; the lord giveth and the lord taketh away. Composed of one eye-shatteringly gorgeous image after the other, The Tree of Life simply has no equal in terms of skill in filmmaking. Only a misused Sean Penn and a clichéd (though beautiful) coda could be said to make this film anything less than a masterpiece.

1. The Artist

The filmmaker/actor partnership behind a pair of slight but playful French spy spoofs unexpectedly burst onto the global stage in a flurry of unbridled joy in 2011. The Artist, a silent tale of silent movies and the silent men and women behind them, is not just a throwback to the classics of old Hollywood, but is a touching, timely drama about obsoleteness and getting back on your feet. More importantly, it is a delightful, playful and utterly charming comedy that takes the visual medium to a place it hasn’t gone with such panache in over 80 years. Michel Hazanavicius directs like a silent-era pro, as if he were one of the European émigrés who built early Hollywood arriving a little too late to the party. In the lead role of former silent star George Valentin, Jean Dujardin is electric; every muscle in his body goes into his dazzling performance, his face does more work than most actors do with their entire beings. As his young muse, Bérénice Bejo provides a perfect mirror of physical support, while Valentin’s remarkable pet dog (also his co-star) steals many scenes without bending a whisker. As much homage as it is a work of sheer class in and of itself, The Artist is a joy-filled crowd-pleaser which also toys with the medium with some remarkable, truly satisfying results.

That's all folks!

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