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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.
Tinker Bell, who made her first appearance in 1953’s animated picture Peter Pan, returns in the fifth installation of her popular Tinker Bell franchise, The Pirate Fairy; an infectious and thoroughly charming story of friendship and sisterhood.
Directed by Peggy Holmes, The Pirate Fairy follows the adventures of Tinker Bell – a.k.a Tink – (voiced by Whitman) and her five fairy friends; the Garden Fairy, Rosetta (Hilty), water fairy, Silvermist (Liu), light fairy, Iridessa (Raven-Seymone), wind fairy, Vidia (Adlon) and finally, animal fairy, Fawn (Bartys).
The girls live in Pixie Hollow; a magical fairy community where everyone has been given a duty based on the talent revealed to them at birth. Life is seemingly peaceful for the five friends but trouble soon comes knocking when Zarina (Hendricks), the new fairy in charge of the production of fairy dust, decides to perform a forbidden experiment with the rare Blue Dixie Dust – an important ingredient used to make the fairy’s gold-blue dust powder – resulting in a near-catastrophe at the lab.
Relieved of her position as the Dust Keeper, Zarina flees Pixie Hollow, only to return a year later for the Dixie Dust. It’s now up to Tink and her friends to pursue Zarina, who they soon learn has become the captain of a pirate ship, and convince her to return to where she truly belongs; in Pixie Hollow. However, Zarina’s new friend, James (Hiddleston), a pretend-cabin boy has other plans for the fairies and the fate of Pixie Hollow altogether.
Serving as a prequel to Peter Pan’s 2002’s Return to Never Land, The Pirate Fairy will please fans of the franchise, who will be happy to see their favourite fairy – and her devoted group of followers – return with their peace-loving ways. It’s a simple story with just enough colour and vibrancy to keep things moving along. Although its animations and overall technical quality is nowhere near the likes of Pixar productions, for example, the story is strong enough to compensate for its drawbacks.
Whitman, who has been with the franchise since the beginning, returns as Tinker Bell and once again shines as the determined and lovable leader of the fairies. However, it’s Hendricks – popular for her role as Joan Harris of the TV’s Mad Men – who steals the show as the feisty and the often misunderstood Zarina who manages to get herself mixed up with the wrong crowd.
Similarly, Hiddleston – better known for his portrayal of Thor’s evil brother, Loki – is superb and deliciously devious as cabin boy James whose destiny as Captain Hook is yet to be fulfilled.
Ultimately, The Pirate Fairy is a story about friendship and understanding. It may not be as big or majestic as Disney’s last outing, Frozen, but it’s still engaging enough to stand on its own feet.
Wally Pfister’s directorial debut – a slow and relatively complicated take on the world of artificial intelligence – falls short of the type of thrill needed to push Transcendence into the major leagues of sci-fi.
Written by a fellow first-timer, Jack Peglan, Transcendence lends its focus to Will Caster (Depp); a prominent leader of the artificial intelligence research who, along with wife Evelyn (Hall) and fellow researcher Max (Bettany), hopes that computers will one day be able to think for themselves and, inevitably, replace humans and the ill-intentioned ways of mankind.
However, Will’s radical way of thinking soon makes him a target for an underground anti-tech terrorist group led by Bree (Mara), who decide to take out the A.I pioneer by shooting him with a radioactive bullet, leaving him to die a slow and a painful death.
Not prepared to let go of her husband just yet, Evelyn reaches out to Max and manages to convince him that the only way they can keep Will and his work alive is to download his brain – and consciousness – into the system, before his body completely deteriorates.
The experiment is a success, but the new computerised version of Will is not the same man they all once knew, but a cold mechanical shell obsessed with accumulating both knowledge and power. With the help of a renowned computer scientist, Joseph Tagger (Freeman,) and FBI agent Buchanan (Murphy), Max begins to look for ways to put an end to Will, while Evelyn, desperate to hold on to the man she once loved, is hesitant to let go.
Pfister, a long-time Chris Nolan collaborator who served as cinematographer for most of his productions, definitely knows how to work the camera and manages to paint Transcendence with a crisp, pallid polish. Everything from the special effects to the choice of framing looks absolutely superb. However, its steely façade doesn’t make up for the shallowness of the story, which goes from confusing to downright ridiculous pretty early on.
In terms of the performances, the cast struggles with their underwritten roles and, consequently, feel utterly disengaged from the story altogether. Showing off a more subdued side, Depp is relatively passive and indifferent in his performance of a man who quickly loses sight of what’s right and wrong as he begins living in his own creation. Freeman and the rest of the supporting cast are underused, while Hall – as Depp’s despairing onscreen wife – is left with little to build with on the emotional side of the story.
In the end, Transcendence flatters to deceive; from the lack of onscreen chemistry and character development to the absurdity which the story quickly escalates to, this latest wannabe sci-fi blockbuster – although pretty to look at – is just a little too dull to stand with the big boys – so to speak.