Sign in using your account with
Underworld: Awakening: Flashy Vampires and Werewolves
The fourth film in the Underworld series, Awakening starts off with the vampire and lycan communities being exposed and the humans declaring an all-out war against them. During the purge, vampire Selene (Beckinsale) and hybrid Michael are taken captive and cryogenically frozen. Selene awakens twelve years later in a lab to discover that the humans have won and the remaining vampires and lycans have been driven deep into hiding. While searching for any evidence of Michael’s fate, she runs into the young girl who freed her from the lab, her hybrid daughter, who is being tracked by people desperate to get her back.
Beckinsale doesn’t seem very interested in being in the film. She’s ok when she’s fighting, mainly because the camera’s moving too quickly for you to keep tabs on her, but when the action settles down into an emotional moment, she seems bored at best. Her character barely seems fazed by her lost twelve years or by the fact that she now has a daughter. She has a going-through-the-motions vibe going on, which is completely at odds with the heightened stakes she’s up against. That being said, the sheer amount of bodies she leaves strewn in her wake is highly gratifying, as is the image of her brandishing her twin guns while defying gravity.
The film is flashy but confusing, and this confusion doesn’t stem from a lack of prior knowledge of the series, but by shoddy storytelling and lazy acting. The direction doesn’t get a free pass either. The rapid, choppy fight scenes look impressive but are nonetheless infuriating, especially when they make the logistics of the more important killings vaguer than they already are.
On the plus side, though, the stunts have a sort of balletic quality to them. When Selene jumps off of buildings or over fences, she could almost be mistaken for a dancer if not for her bright blue irises and icy expression. Also, the lycans look like a feral version of Xmen’s Beast and while they aren’t particularly scary, the scenes where they transform from humans to werewolves are pretty cool.
The most irritating thing is how the human versus vampire/lycan war was almost completely ignored. It was used almost solely as a set up for Selene to be captured, completely sidestepping a perfect opportunity to forge a connection between the film universe and the real world. This ethnic cleansing war should have, at the very least, struck a political and emotional chord with the audience. And while a twist in the middle of the film does bring the story back around to how the vampires and lycans dealt with the war, it’s overshadowed by the onscreen bloodbath.
If you’re a fan of the previous Underworld film, this one is more of the same and may be worth a watch.
Trying to recapture the heart, wit and all-round musical grandeur of its 2012 predecessor, Pitch Perfect 2 sees actress-turned-filmmaker, Elizabeth Banks, sit in the director’s chair for her very first feature film. But as is so common with sequels, Banks’ directorial debut is a little off-key and not or as comically refined.
Following their success and three consecutive wins at the A Cappella U.S nationals, the Barden University Bellas are riding high. Led by Beca Mitchell (Kendrick) and Chloe Beale (Snow), the Bellas have been travelling the country on a victory tour, which also happens to include a very special stop at the Kennedy Center, where the group performs for President Obama and other a cappella enthusiasts.
However, things don’t go exactly to plan and when a rather unfortunate wardrobe malfunction involving Fat Amy (Wilson) labels the group as a national disgrace and the Bellas are mortified to learn that they will no longer be allowed to compete or admit any new members to their ensemble as a result.
Devastated by the outcome but equally determined to regain their former glory, the Bellas – who have been currently replaced by their rival team from Germany called Das Sound Machine on the victory tour – are now left with only one choice; win the global a cappella championship or be cast aside forever – dramatic gasp!
Delivering bigger and bolder musical numbers, Pitch Perfect 2 ticks the boxes on the musical entertainment front and the cleverly-constructed mash-ups seen in the previous film will leave any loyal Barden Bellas fan giddy with joy. However, the script isn’t without its problems, written by the 30 Rock’s Kay Cannon, the plot is unfocused and unpolished; everything feels a little overstated and the humour – especially those involving Das Sound Machine –
doesn’t seem to be as focused or as polished as before and although, there was plenty of reason given for the story’s comeback to the big screen, it feels a little overstated and the jokes – especially anything involving any Das Sound Machine member – are quite crude. Even the character of Fat Amy, who was the comedic heart of the original, becomes worn early on. Essentially, there seems to have been little or no character development and, generally, it's too much of the same.
It also doesn’t help that Kendrick’s role has been somewhat downsized in order to make room for Steinfeld who plays Emily Junk; an eager freshman hoping for a place in the squad.
If there’s one thing you can count on, it’s that Pitch Perfect 2 will still score big at the box-office and many will be able to turn a blind eye, and a deaf ear, to its inoffensive, but equally infuriating, flaws. Don’t be surprised if a Pitch Perfect 3 comes to fruition.
Having spent decades in the making, Mad Max: Fury Road finds seventy-year-old director, George Miller, returning to the vast and the beautifully deranged Australian wasteland and anyone lucky enough to be invited for the ride, will immediately recognize its undeniable prowess and action-classic qualities that have been missing from the world of cinema for quite some time now.
Set in the heart of a post-apocalyptic Australian wasteland, Fury Road is once again centred on former-cop-turned-drifter, Max Rockatansky (Tom Hardy stepping in for Mel Gibson) who, after failing to stay ahead of his pursuers is caught by ‘The War Boys’; an obsessive and a gasoline-loving cult working for a ruthless warlord and ruler named Immortan Joe (Keays-Byrne) who controls everything, including the desert’s water supply.
Forced to serve as a human blood bank, Max soon crosses paths with Imperator Furiosa (Theron); a formidable war rig driver who, during a routine fuel run, decides to go off course in an attempt smuggle Joe’s most precious ‘breeders’, aka The Five Wives, out of captivity. However, Joe’s army is hot on her tail, leaving her with no choice but to befriend the rugged Road Warrior who might be the only person to help her out of the mess.
One of the most striking things about Fury Road – and there are plenty – is how unapologetic and relentless the film is from the very first minute. The story – storyboarded way before even a script was realised – is conceived as one long chase scene and the experience of watching the truly great George Miller at work – who has bravely refrained from using much CGI- is awfully difficult to put into words. Wonderfully bizarre, shamelessly violent and mind-blowingly exciting, the film spends very little time introducing us to the story or the characters; the action does all of the talking and, although some might have a little difficulty connecting, the film doesn’t rely on any gravity to its plot and doesn’t apologise for doing so.
Everything is in the visuals and the gorgeous cinematography – zesty orange by day and steely blue at night – is one of the most arresting things about the entire production. The same can be said for the performance of the forever-flawless Charlize Theron, is captivating in her performance as the fearless Furiosa. Sporting a shaved-head and a bionic arm, you can argue that it is, in fact, Theron who drives the plot forward – we won’t get into the popularised notion that the film is a ‘feminist masterpiece’ here, but Hardy’s intended minimal dialogue and man-of-action persona in embodying Max, leaves room for Furiosa to emerge as the hero of the piece.
There’s nothing complicated about Mad Max: Fury Road; but in the landscape of the modern action genre, few films of this kind have been met with such wide acclaim. After years of anticipation, Miller and co more than met expectations. Bravo.