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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.
It should come as no surprise that Nicholas Cage has once again found himself in a bit of a career-move pickle; starring in yet another poorly crafted and ultimately absurd feature film as he takes on the horror genre.
Whilst working on securing a tenure, literature professor, Mike Lawford (Cage) has been spending a lot of nights away from home, much to the dislike and frustration of his wife, Kirsten (Callies), and their seven-year-old son, Charlie (Fulton), who, as most boys do at this sensitive age, is craving for his father’s attention. After one too many disappointments, Mike is hoping to make up for the lost time by taking Charlie to a nearby Halloween street carnival, where Charlie begins to act strangely, asking his father to “pay the ghost” before disappearing.
One year later, a now divorced Mike is still on the hunt for Charlie and urges Detective Reynolds (Bent) to keep the investigation open and as another Halloween approaches, Mike begins to experience strange apparitions – including large birds flying overhead and strange figures in the mist.
Directed by Uli Edel and written by Dan Kay – who has adapted the story from a novella by Tim Lebbon - there is very little in the story’s core that distinguishes it from other, similarly-fashioned ghost tales of revenge such as The Woman in Black or Dead Silence. There’s no heart, no oomph no passion and very little narrative suspense or anything that resembles tension hiding underneath its already-cracked surface.
Talking about cracked, Cage – an Oscar-winning actor, lest we forget – is surprisingly straight-faced here, with an exception of a few seriously funny wide-eyed moments of disbelief that will have you roaring with laughter rather than empathising with his distraught.
Although riddle with issues, the biggest of which are originality and overall execution of what is decent source material, Pay the Ghost is not as a complete time-waster as some of the actor’s previous films. But it’s still not smart or crafty enough to do much to regenerate and restore the actor’s already tarnished flailing career.
The fourth and final instalment in The Hunger Games film series is upon us and director Francis Lawrence has injected the closing chapter of Suzanne Collins’ best-selling dystopian adventure with a bit more heart and oomph than from what was witnessed in the first and rather dreary half of this two-part tale. However, although Mockingjay Part 2 is definitely a better and more exciting offering, it’s still not completely free of fault.
Mockingjay Part 2 picks up where Part 1 left off, with Katniss Everdeen (Lawrence) trying to recover after almost being choked to death by her former ‘lover’ and ally, Peeta (Hutcherson), who by the looks of things, seems to have been brainwashed and poisoned with thoughts of killing Katniss. Driven by the anger and her pure hatred for President Snow (Sutherland), Katniss soon escapes District 13 to join an assault on The Capitol under rebel leader, President Coin (Moore), only to discover that there is one last version of the Hunger Games still to play.
One thing’s for sure; Part 2 is a definite improvement over Part 1, which spent most of its time shifting about and setting things up for the big payoff. It’s a problem that we’ve seen before in the waves of adult-fiction novel adaptations – the first half spends so much energy in setting up the second that it fails to convince a stand-alone film. Although the pace picks up, there’s no sense of grandness to what is meant to be a huge finale and, actually, some may even feel underwhelmed by how the plot plays out.
On the plus side, the action is engaging and some of the battle scenes are staged with great attention to detail. In addition, Lawrence is, as always, her fantastic self and she’s once again the anchor on what has been a shaky ship.
As a story which has always attempted to frame the horrors of war through the eyes of a fiercely brave young heroine, so much more could have been done – much like the whole series, there’s something engaging about the finale, but it all feels like a chance missed.