Sign in using your account with
Titanic 3D: A Chance to Relive ‘97
Titanic was momentous and its effect on pop culture was probably bigger than its effect on cinema. There hasn’t been a film since Titanic that has managed to create such a fuss; attracting everybody and their grandmother to the cinema, and dominating everybody’s conversations regardless of age or ethnicity. Even the Harry Potter series, arguably the biggest films of this millennium, have a fan base that maxes out at a certain age. Besides, the Titanic onslaught was also aural; Celine Dion’s theme song was inescapable and remained that way for a few years after. It’s actually a wonder that something so fantastically irritating was so popular, but luckily it seems we’re being spared the musical assault this time around.
In hindsight, Titanic is pretty cheesy. Actually scratch pretty, it’s super cheesy. The dialogue is basically clunker after clunker; one of them in particular: “A woman’s heart is a deep ocean of secrets,” sounds like something out of a bad dating manual. The younger Rose contends with her share of duds where Kate Winslet seems very ill at ease while she delivers them. In fact, she only loosens up somewhat when she starts to fall in love with Jack; it’s the romance that enchanted viewers the first time around that has kept the film culturally relevant and generated it so much goodwill. It’s the epitome of a love story. You have two very attractive leads acting out a forbidden love story between a girl stifled by upper class norms, and a free spirited artist from the wrong side of the tracks. Toss in her stubborn, arrogant fiancé, who she’s being pressured into marrying to save her family from financial ruin, and you have just the right elements of a great forbidden love. The Titanic going down is just window dressing and the only reason we care about the accident is because of its effect on Jack and Rose’s relationship. As a viewer, you spend the length of the film rooting for them to end up together; the iceberg is just one more obstacle keeping them apart. And yes, the part where Rose lets Jack go at the end is still as tear inducing as ever.
It’s interesting to see Leonardo DiCaprio at his teen heartthrob peak. It’s easy to forget now but back in the ‘90s DiCaprio was inescapable; he was to the ‘90s what Zac Efron and Taylor Lautner are to this decade.
The 3D effect adds considerable depth to the picture but like most reissues, the real draw here is seeing the film in the cinema; the 3D doesn’t add enough to warrant another viewing if you’re just lukewarm about the film, or if you’ve already seen it a trillion times on TV. The true experience here is reliving 1997 all over again; in other words, feeling nostalgia. Whether it’s for the days when ‘blockbuster’ wasn’t just a code name for a superhero flick; for when film events weren’t a dime a dozen and managed to capture the general public’s attention for extended periods of time; or for when one film would come along and give everybody something in common to be excited about.
Rowan Joffe’s latest psychological thriller – based on S.J Watson’s nail-biting 2011 page-turner – is, sadly, anything but thrilling. Poorly-constructed and emotionally shallow, Before I Go to Sleep starts off with an absorbing premise, but fails sustain the intrigue needed to do its source material justice.
Having suffered a terrible car accident ten years ago, Christine Lucas (Kidman) wakes up every morning not knowing who or where she is. As a result of a severe head injury, the forty year-old suffers from a form of post-traumatic amnesia, which erases her most recent memories every night she goes to sleep.
Unable to recognise her own husband, Ben (Firth), she wakes up every morning in fear while her long-suffering partner sits on the edge of the bed patiently explaining – through a collage of pictures taped to the bathroom wall – who he is and who they are to one another.
Psychiatrist, Dr. Nash (Strong), calls her every morning, encouraging her to keep a video-diary. Convincing her to join an experimental treatment designed to jog her memory, Christine’s understanding of her life is put into doubt when she begins to unravel the real truth about her past and the fact that not everyone in her life is who they say they are.
Set somewhere in the UK – the exact location of which is never specified or visually depicted –Before I Go to Sleep starts off relatively strong and, for what it’s worth, Rowan Joffe manages to create a genuine sense of mystery surrounding his fragile protagonist from the film’s very first scene.
However, the story quickly begins to lose its edge – and focus – when Christine starts digging deeper into her past, quickly falling into clichéd thriller territory. That’s made all the worse with a few too many inconsistencies and far-fetched scenarios, all coming together to render it shallow and uninvolving.
It’s a darn shame, because the three main actors are all capable of delivering outstanding performances and both Kidman and Firth are convincing enough for the most part, though even they as characters seem detached to what should have been a complex and taxing plot.
Many have pointed to Christopher Nolan’s groundbreaking thriller, Memento, and even Adam Sandler comedy, 50 First Dates, as two films that, despite being at opposite ends of the spectrum, deal with similar plot devices in much more decisive ways. Before I Go to Sleep has neither the intelligence of the former nor the comic relief of the latter and, in the end, really just has nothing.
Peter Jackson’s fourteen-year-long Middle-Earth adventure has finally come to a close with the third and final instalment Bilgo Baggins’ journey with The Hobbit: The Battle of the Five Armies; a slightly bloated, but generally successful, finale that boasts plenty of action and technical superiority over its immediate predecessors.
Hitting the ground running and wasting no time in plunging audiences in the deep-end, The Battle of the Five Armies begins exactly where the second film left off, with Smaug (once again voiced superbly by Cumberbatch) setting Laketown ablaze.
Lonely Mountain’s hidden treasure is soon left without its viscous watchman, driving all involved parties to claim some, if not all, of its golden prize. Meanwhile, Thorin Oakenshield (Armitage) along with Bilbo (Freeman) and his army of loyal dwarf-followers decides to claim the Mountain himself.
Poisoned by ‘dragon sickness’, Thorin insists on protecting the gold in spite of the demands made by the people of Laketown, who have adopted Bard (Evans) as their new leader.
This doesn’t sit well with King Thranduil (Pace) and the elves, either, and with the orcs also gathering their forces for a sneak attack, the battle for the mountain is imminent.
A With a running time of just over two hours, The Battle of the Five Armies is the shortest of all of The Hobbit entries, though it’s also one of the most ambitious and visually-creative of the lot. The cinematography is exquisite and the CGI techniques seem to have been pushed to their very limit. However, there’s an obvious lack emotional depth and character-development which, in turn, develop into plot holes, so to speak.
Nonetheless, the cast is, as always, steadfast and dependable with Armitage shining, while Freeman’s usual whimsical nature and superb comic timing is, surprisingly, underused. Similarly, the rest of the cast, including Lilly as the she-elf, Evans as the newly-emerged leader of Lake Side and McKellen seem like bit-part players.
In hindsight, the decision to split the three-hundred page novel into an almost nine-hour long epic trilogy seems a little redundant, when it really could have been told just as, if not more, affectively in one, slightly long, three hour film.