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Remember Me: Easily Forgettable
Robert Pattinson steps outside his Twilight Vampire shell in this romantic drama of a troubled young man who falls in love with the equally troubled Ally (de Ravin). Despite its attractive cast featuring major stars such as Bronson and Cooper, Remember Me does little to be remembered.
Tyler (Pattinson) is a young man struggling to come to terms with his brother's suicide and his turbulent relationship with his millionaire businessman father (Brosnan). He constantly gets into trouble and lacks direction in his life until he meets Ally, who, for some reason, is able to get beneath the armour and touch Tyler in a way he had never thought possible.
Of course, Ally comes with baggage too, namely her overprotective detective father (Cooper), who only further complicates her relationship with Tyler. Supporting characters like Tyler’s younger sister Caroline and his best friend Aidan provide fodder to the plot.
The film reaches its climax when the complex characters’ lives all tumultuously intertwine, allowing for the characters to develop and show growth. Sadly, the film’s abrupt ending gives an overly dramatic and unnecessary twist to the story, leaving viewers scratching their heads as to why this direction was chosen.
Despite the believable chemistry between Pattinson and de Ravin, their performances can do little to move the film forward. At times, one feels it is an even slower version of a Nicolas Sparks novel that attempts to touch, make one laugh and create a sense that love can overcome all. The Nicholas Sparks similarity is especially unfortunate, since his latest film adaptation Dear John was released at the same time as Remember Me and may confuse viewers with its very similar dramatic theme (we won’t spoil the ending for you).
Overall, Remember Me is a decent attempt to crawl into the space held by the Sparks' novels of love against the odds. In essence, the purpose of the film is dedicated to the idea of living in the now; and encourages viewers to stop searching for answers in the past and move forward.
This is a perfect date film; if your idea of a perfect date is to have your companion sobbing uncontrollably at the end of the film. Remember Me is still very much a teen flick that will undoubtedly attract hoards of Twilight fans. However, don’t expect this to be in the same world as The Notebook, as the direction leaves just too much to be desired.
Sinking the already-shaky horror-genre deeper into further oblivion, Ouija – based on a popular spirit-summoning board-game from the 1890’s – is, unfortunately, nothing to get excited about.
Written and directed by Stiles White – along with the penning support of Juliet Snowden – the story is centred on best friends, Laine (Cooke) and Debbie (Henning), who, ever since they were young girls, loved to indulge in a childish and seemingly harmless play using the Ouija board.
Several years later, however, Laine is shocked to learn that Debbie has killed herself and even more surprised to learn that – after visiting her home – that there is evidence of Debbie playing with the Ouija board all by herself; a big no-no in the world of spirits and magic. In order to get to resolve the mystery surrounding her death, Laine calls upon the help of her sister, Sarah (Coto), friend, Trevor, (Kagasoff) and Debbie’s boyfriend, Pete (Smith), to play with the Ouija board and summon Debbie’s spirit.
However, things turn upside down when they accidentally end up summoning an evil spirit who, unlike Debbie, wishes to spread harm upon the group. Now, Laine, who brought everyone into this mess in the first place, needs to find a way to shut the portal - between earth and the life beyond - before it’s too late.
Although the idea of turning a popular board-game into a movie doesn’t sound all that ridiculous and the material seems generally interesting, there just isn’t enough imagination or character in Ouija to make it worthwhile. Lacking depth and character, the film relies a little bit too much on the jump-scare tactic and the lack of suspense and tension only adds to its weak attempt to create a frightening horror experience.
Adding salt to the wound, the characters are just as weak thanks to the poorly-scripted material. Cooke leads the way as the only character of note and the relatively new face won’t have harmed her future prospects. The rest of the cast, unfortunately, simply don’t register and ultimately fail to convey a single genuine emotion.
Ouija is tedious, unimaginative and seemingly uninterested in elaborating and expanding on its own source material.
Written and directed by David Ayer, Fury may come across as just another WWII story that has been told many times before, but there’s more to it than it meets the eye.
Set in April of 1945, the story centres on the final days of the war, just as the Allies and their forces have pushed the Germans back into their own land for one last fight. Having just returned to base from a long, drawn-out battle, Sgt. Don ‘Wardaddy’ Collier (Pitt) and his loyal ‘Sherman’ tank crew, including Boyd Swan (LaBeouf), Grady Travis (Bernthal) and Trini ‘Gordo’ Garcia (Pena), are mourn the death of their buddy, Red.
However, they're soon presented with his replacement in the form of Norman Ellison (Lerman); a young and a naïve clerk, who’s only been in the army for eight weeks and has never set foot on a battlefield, let alone operated heavy artillery. Naturally, the Sherman boys aren’t very keen on welcoming the fresh-faced soldier onboard.
Nevertheless, they all soon head onto the battleground to fight what is left of the Nazi forces and Norman’s inexperience, naivety and general apprehension of blood and war is soon put to the ultimate test.
There are over two hundred WWII Hollywood-made movies and although the genre has produced some truly memorable films over the years, the majority have failed to add anything new.
Enter David Ayer – the director and writer behind gems such as Training Day and End of Watch – who manages, ever so subtlety, to inject the story with plenty of essence. Extremely violent and grey, Fury – told mainly from within the confinement of a military tank – is explosive and full of anger – hence the title – however, it’s more peaceful and quieter moments that speak the loudest and the harshness of war and loss is felt throughout.
The onscreen chemistry between the loyal band of brothers keeps the film interesting. Pitt offers an engaging performance as a hard-worn sergeant, while LeBeouf, Bernthal and Pena round off the impressive cast with solid performances.
Similarly, Lerman, better known for his role in The Perks of Being a Wallflower, delivers the naivety and innocence of youth that the role demanded with aplomb.
While many will consider Fury to be of little significance in the large scope of war period dramas, it's very much the case that the whole is greater than the sum of the parts. You won't see anything new here, but the film's heart and soul is largely owed to its central characters and a director who knows how to tell a story.