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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.
Following in the footsteps of the 2014 teen- tear-jerker, The Fault in Our Stars, R.J Cutler’s onscreen adaptation of yet another best-selling young-adult novel explores the perils of young love in the terribly formulaic and melodramatic, If I Stay.
The story is centred on Mia (Moretz); a shy high-school junior who dreams of one day becoming a great concert cellist. Her super-cool, rock-loving parents, Kat (Enos) and Denny (Leonard), are very supportive of her dreams; however, Mia – who constantly doubts her own talent – is not so sure that she will be able to make the cut when she auditions for the Julliard School of Music in New York.
As Mia awaits the news that will determine her future, her relationship with Adam (Blackley), the lead singer of a local rock band, is not doing so well, as his career and schedule begins to take him away from the relationship. Uncertain what her future holds, Mia’s world is soon turned upside down when she and her family are involved in a horrifying car accident that leaves both her parents dead, her younger brother Teddy (Davies) fighting for his life and Mia in a coma.
Stuck in between the two worlds, Mia begins to undergo a lengthy out-of-body experience and soon finds herself examining and questioning her entire life – through a series of flashbacks – and quickly comes to the realisation that it is up to her whether to let go and walk towards the light – literally – or wake up and deal with the fact that her life, as she knew it, will be forever changed.
Scripted by Shauna Cross, If I Stay does very little to break away from the usual patterns of young-adult novel adaptations and once again lends its entire focus on the workings of a romance between two young teens under the burdens of life and big decisions. Weighty subjects are thrown around, but never fully explored and the gaps in the logic – mostly to do with the supernatural part of the tale – are vast and, frankly, a little baffling.
Nevertheless, Moretz proves to be a reliable and capable lead, though the chemistry shared between her and Blackley doesn’t really resonate. As her extra-hip parents, Enos and Leonard, came off as a little forced – and a little hard to take seriously – while Keach, playing Mia’s loving grandfather, is the only one who brings a bit of sincerity to his role.
Told mostly through flashbacks, If I Stay is paced well and there is certain lightness to its step. However, it’s all a little bit too cutesy to take seriously.
Careless and seemingly unable to find its own footing, the lack of heart and originality found in the latest reimagining of the ‘80s comic-book and film series franchise is disappointing and while there are moments of praise to consider, its shortcomings are a little difficult to disregard.
The streets of New York are terrorised by an underground criminal organization called the Foot Clan, commanded by an ominous figure known as Shredder (Masamune). At the heart of it all is the ambitious TV reporter, April O’Neil (Fox), who – despite the continuing objections from her clearly-besotted cameraman, Vernon (Arnett) – is looking to break out of reporting irrelevant news pieces and move on to much bigger stories.
Her timing, as it happens, couldn’t be better when, while out investigating a lead one night at the docks April witnesses members of the Foot Clan in a hard-hitting confrontation with a group of shadowy ninja-like figures. Determined to reveal the identities of these so-called vigilantes, April soon finds herself face-to-face with the talking and walking six-foot masked turtles, otherwise known as Leonardo (Ploszek), Raphael (Ritchson), Donatello (Howard) and Michelangelo (Fisher).
Raised in the City’s sewers by their rat-master, Splinter (Shalhoub), the four turtles have been training for years to stand up to Shredder and they are soon given that chance when they learn of the plans of a poisonous gas being released over the city.
There seems to be a lot of uncertainty and ambiguity in Jonathan Liebesman’s approach to the subject at hand and the challenge of reviving a thirty-year-old iconic franchise proves to be a rather tricky task for the Wrath of the Titans director. Written by an army of writers and produced by Michael Bay, Teenage Mutant Ninja Turtles suffers from an sloppy script , awkward pacing and, despite efforts give the very concept a little more depth the end-result feels shallow and undercooked.
Luckily, the action and the visual effects are pretty refined and while the surprisingly potent violence can be a little bit too much to bear, you can tell that a lot of time and effort went into the digital creation of the mutants themselves and the world around them.
Regrettably, the performances are just as unmemorable as the story itself; this applies to Fox most, who seems to be stuck with the same staggered expression the whole way through. The motion-capture translates quite satisfyingly, though the menacing presence of Shredder and the righteous aura of Splinter is never fully realised.
The film as a whole is polished but is short on subtlety and complexity, never finding the charm and nostalgia that initially triggered so much interest in the project.