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Valley of the Wolves: Palestine: Focus on the Israeli-Palestinian Conflict
Valley of the Wolves: Palestine is the latest instalment of a popular and successful film series in Turkey. In this sequel, the story focuses on a team of Turkish operatives on a mission to avenge the deaths of the aid workers killed by Israeli commandos in the flotilla that was bound to Gaza.
Polat Alemdar (Sasmaz) and his men put their lives at risk by crossing more than just the enemy’s lines as they head to Palestine on a mission of revenge, honour and patriotism.
The freedom fighters’ main objective is to locate and eliminate Moshe Ben Eliezer (Besikcioglu), the Israeli military commander responsible for the killing of innocent aid workers in the Gaza flotilla raid. However, Eliezer’s arrangements take an unexpected turn as Polat Alemdar will stop at nothing to bring him down.
Valley of the Wolves: Palestine is clearly influenced by the Palestinian conflict. The main stars are just drawn into the plot as supplementary elements; the real chronicle focuses on the people of Palestine and their suffering.
However, the highlight of the plot is how such undercover teams make their way through Israeli intelligence and the numerous army forces. The brutality of some scenes will stir compassion and empathy for the Palestinian people: one scene in particular shows a disabled child buried alive under the wreckage of his home by Israeli soldiers.
The supporting actors in Valley of the Wolves: Palestine actually give more memorable performances than any of the leads, who are pretty average at best. As the most expensive film ever made in Turkey, Valley of the Wolves: Palestine is full of action scenes from beginning to end. While the action element is not exactly top-notch when compared to Hollywood standards, audiences will still appreciate the effort. However, many scenes are over the top as our heroes seem to be superhuman; it quickly becomes insulting to the audience’s intelligence!
The film was actually shot in Turkish and Hebrew, but the version in Cairo cinemas is dubbed in Arabic, which is frustrating as Egyptian audiences may not fully understand the dialogue because of the poor translation and strange accents.
Overall, Valley of the Wolves: Palestine is a well-made film that demonstrates the violence and injustice of the Palestinian people’s struggle.
Expanding from his 2006 short film, Oculus: Chapter 3- The Man with a Plan, director Mike Flanagan – along with help from writer Jeff Howard – approaches the subject of the supernatural with a considerable amount of imagination and manages to deliver some scares in the relatively unnerving ghostly thriller, Oculus.
The story follows the troubled lives of Tim (Thwaites) and Kaylie Russell (Gillan); a pair of siblings who witnessed the brutal death of their parents over a decade ago. Tim is convicted of the murders and is sent into protective custody and a psychiatric hospital, while Kaylie remains in a pit of despair without her family.
Years later, Tim is released on his twenty-first birthday and is now looking to rebuild his life and move away from his turbulent past. However, Kaylie has become convinced her brother was innocent and that something unnatural is at play.
Kaylie, who works at an auction house, has recently come across the very same oversized, 400 year-old mirror that she believes is responsible for their parents’ deaths. Moving back to their old house and installing surveillance equipment, Kaylie and Tim hope to record evidence of the supernatural being.
A Blumhouse Productions creation – the same people who brought you Paranormal Activity – Oculus, as luck would have it, steers clear of the increasingly overdone found-footage approach, despite what its trailer might suggest. Instead, director Mike Flanagan seems inspired by the horror films of the 70’s and 80’s, like recent flicks, The Conjuring and Sinister, and paints the mood of the film with a slow-burning tone of dread and an ominous fear of the unknown. The film transitions between the past and present wonderfully, all while keeping you on the edge of your seat.
Gillan, the Scottish-born actress known for her role in TV’s Doctor Who, proves to be a relatively solid lead and manages to paint Kaylie with an equal blend of self-determination and fear, while Thwaites’ doe-eyed qualities comes across as a little too sappy.
Sadly, Oculus is not without faults. The film is never fully realised as a story and although it provides its share of scare, it’s all really rather forgettable.
The follow up to Carlos Saldanha’s vibrant animated feature, Rio – a film that grossed over half a billion dollars at the box office - finds the Brazilian-born filmmaker returning to the pulsating streets of Rio Di Janeiro, before setting off into the wilderness of the Amazon.
Picking up some time after the end of the first film, Rio 2 finds the Blue Macaws, Blu (voiced by Eisenberg) and Jewel (Hathaway), happily married and living a carefree life while raising their three hatchlings, Carla (Crow), Bia (Stenberg) and Tiago (Gagnon), at the Blue Bird Sanctuary.
However, their children’s overly-domesticated habits begin to worry Jewel, who is fearful that her children are slowly losing touch with nature and what it means to be a bird. So, when she hears that there may be a flock of Blue Macaws living in the Amazon rainforest, the family decides to fly across for a vacation and a bit of an investigation.
Once there, not only does the family discover that there is more of their kind in the world, but that the flock is led by none other than Jewel’s long-lost father, Eduardo (Garcia). Jewel soon finds herself toying with the prospect of moving her family there for good, while Blu – who now must prove himself to Jewel’s apathetic and unconvinced father – isn’t too sure whether he’s ready to give up his life in Rio. Meanwhile, Blu’s lifelong nemesis, Nigel the Cockatoo (Clement), who is no longer able to fly, follows the family to the rainforest in search of revenge.
Eisenberg and Hathaway return to reprise their roles as the lovable Blu and Jewel and, although their shared chemistry can still be felt throughout, it seems that their second outing is not as charming as their first. Clement is hilarious as the grouchy Nigel, while all of the supporting characters, excluding Chenoweth’s hysterical performance as Gabi – a poisonous frog hopelessly in love with Nigel – aren’t given much of the spotlight, apart from indulging in a few impromptu sing-offs, including yet another cringe worthy rendition of Gloria Gaynor’s I Will Survive.
Just like the original, Rio 2 dazzles with its vibrant and bubbly tone; the opening scenes of the New Year’s Eve celebration on the bustling streets of Rio Di Janeiro are breathtaking and Saldanha, succeeds in adapting the alluring and captivating magic of Brazil.
The story, unfortunately, is not as engaging the second time around and Saldanha seems to have sent the story on a downward spiral the minute he decided to step out of Rio and move his flock of birds into the back woods of the Amazon rainforest.
There are still plenty of thrills and spills, but had it not been for the infectious Brazilian music and a handful of interesting characters, this would have been a complete washout.