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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.
Ludicrous, crass but also undeniably fun,Ted 2 - the sequel to Seth MacFarlane’s successful 2012 comedy, Ted –proves to be a more consistent and better drawn-out affair than its predecessor, even if the jokes – which there never seems to be a shortage of– don’t always land where they’re supposed to.
Picking up shortly after the events of the first film, Ted 2 is once again centred on best-buds and avid stoners, John Bennett (Wahlberg) and his talking teddy bear, Ted (voiced by MacFarlane) who, as it turns out, don’t seem to be living out their happily-ever-afters with the women in their lives. See, John has divorced the love-of-his-life, Lori (Kunis), and Ted, who at the beginning of the film shares his “I Do’s” with his human-bride, Tami-Lynn (Barth), is in constant clashes with his new wife.
Deciding that the best way to reconcile and put an end to all the bickering is to start a family, Ted reaches out to his best-friend for help; a decision which soon proves rather messy. However, Ted’s civil rights are soon called in to question by the government who wish to brand Ted as property as oppose to a living thing, leaving John and Ted with no choice but to turn to the rookie – and pot-loving- lawyer, Samantha (Seyfried) for some legal help in an attempt to prove that Ted is a living being with rights of his own. Hence the tagline ‘Legalise Ted’.
Endless pop-culture references and MacFarlane’s distinct brand of abstract toilet humour is once again the integral part of the story. While the first film lent most of its focus on Wahlberg and his romance with Mila Kunis – the actress was written out of the script due to her pregnancy with husband Ashton Kutcher – Ted 2 shifts the focus onto the talking teddy and his battle to be recognised, essentially, as a human.
The decision to shift proves to be a smart move, although the film does tend to take itself a little too seriously at times; in addition, Wahlberg – whose deadpan delivery is almost always spot on – seems to shine more in his secondary role.
Ted 2 is neither ambitious nor smart and its jokes are often offensive and pretty vulgar. Nevertheless, it’s a fun goofy kind of vulgarity that will ensure more box office success and probably even a third film.
Like it or not, the Terminator franchise holds a special place in Hollywood history – thanks in part to Arnold Schwarzenegger. The once great franchise is arguably Arnie’s most iconic role and despite being three year away from his 70th birthday, the former Governor of California doesn’t look half-bad in the fifth, but far from final, instalment in the franchise.
Terminator Genisys is the first of what has been described as a new, standalone trilogy, but if the first film is anything to go by, fans will most likely be throwing their hands in despair at what’s to come.
Set initially the year 2029, the film’s main device is time travel and the butterfly effect – concepts that are becoming increasingly difficult to keep fresh and original. While co-creator, James Cameron, has unabashedly put his support behind the Alan Taylor-directed flick –going as far as to say that it has reinvigorated the franchise – Genisys only served to further dilute a series that just can’t keep up with contemporarily conceived sci-fi action.
The story opens with A.I. system, Skynet, all but defeated by the freedom fighters, lead by John Connor (Jason Clarke). In one last attempt to defeat the resistance, a T-800 Terminator is sent back to 1984 to kill John’s mother, Sarah (Emilia Clarke), who is of course under the protection of the Guardian (Schwarzenegger). What happens from then on is a bit of mystery.
Possibly the biggest problem of the film is that it tries far too hard to maintain elements of the original series and fails to do so well. While staying faithful to the films that have made the Terminator franchise so iconic is commendable, all references and lines of continuity feel forced and unsubtle, as if to say, “hey, look – we haven’t forgot the original!”
Seeing Arnie don the Terminator character once more is, in itself, a novelty – especially after the horrendous CGI used to resurrect him in 2009’s Terminator Salvation. But outside of that, you come away with very little when the end credits start to roll. The two Clarkes starring in the film hot the right notes in their performances, but suffer the convoluted script more than anyone.
While reboots, remakes and distant sequels have generally found success in the last few years – some commercially, some financially, some both – the fact that the film has only recouped half of its budget, which includes a marketing budget of at least $50 million dollars, speaks volumes about how tame and just plain unexciting this endeavour has been.