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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.
The latest low-budget Blumhouse Productions horror production, Jessabelle; a voodoo-worshipping Louisiana-bayou set thriller that is sadly, not as scary nor as ghostly as it wants itself to be.
Set in a misty Louisiana, Jessabelle follows Jessie (Snook); a woman dealing with the loss of her fiancé and unborn child to a car accident that has also put her in a wheelchair. With her life seemingly in ruins, Jessie is left with no choice but to move back into her family home with her estranged, alcoholic father, Leon (Andrews).
Uncertain of what the future holds, Jessie finds it difficult to adjust to her new life, not least because she has to spend her nights sleeping in her deceased mother’s bed. Soon after, though, her life takes on a new route of mystery when Jessie discovers a secret box – labelled Jessabelle, packed with seemingly worn-out VHS tapes. Filled with mysterious recordings of her mother’s tarot-reading to her unborn child – whom Jessie assumes is her – she finds comfort in seeing her mother, though Leon insists that she dispose of the tapes.
Intrigued by the cryptic messages and her father’s strange reaction to her findings, Jessie decides to dig deeper and along with old-friend, Preston (Webber).
The atmosphere and air around Jessabelle could be described as relatively eerie and the film maintains a degree of plausibility – at least more so than many of its peers. When you dig deeper to the heart of the story, however, the film comes up short and is rather timid for a horror film. This is made all the more obvious by the fact that the film almost insists on using every clichéd horror trick in the book.
Despite the plot’s lack of edge originality, Snook – previously seen in movies such as Sisters of War and Not Suitable for Children – manages to command the screen relatively well, while Webber was equally pleasing as Jessie’s Knight in Shining Armour.
Despite a reasonably promising build-up and a commendable attempt to bring a certain verity to a genre that requires more suspension of disbelief than most, the pay-off just isn't satisfying.
Unlike the first two films in the wildly popular cinematic adaptation of Suzanne Collins’ young-adult novels, The Hunger Games: Mockingjay Part I –the first instalment of a two-piece finale – is an underwhelming and slightly hollow watch.
Mockingjay Part I begins shortly after the end of Catching Fire, which saw Katniss Everdeen (Lawrence) pulled out and rescued from the games by game-maker, Plutarch Heavensbee (Hoffman), and mentor, Haymitch Abernathy (Harrelson).
Brought underground and aided by the District 13 rebels – led by President Alma Coin (Moore) – Katniss is asked to serve as the face of the growing revolt against President Snow and his tyranny over Panem. However, getting the young-rebel on board is not easy, as Katniss – whose beloved home district was levelled by Snow’s bombers in the previous instalment – is still trying to overcome the loss of her fellow District 12 champion, Peeta Mellark (Hutcherson), who has now become a prisoner of the Capitol.
Desperate to bring Peeta back to safety, Katniss soon agrees to become the ‘Mockingjay’ and operate as a symbol of hope and resistance for the people of Panem.
Just like Harry Potter and Twilight – other similarly structured franchises that have split the big finale into two or three parts – Mockingjay Part 1 feels abrupt. Granted, it’s unfair to judge a two-part film as, essentially, one arc is running through both, but a film released on its own can only be watched on its own and this first part spends its two-hour-plus running time setting up the pieces of the puzzle and building up the story with no payoff.
This is somewhat remedied by returning director Francis Lawrence’s focus on big battle scenes, though once again, there’s no real payoff, no punch-line.
One thing that won’t be put into question is another engaging, emotional and an overall solid performance from Oscar-winning actress, Jennifer Lawrence, who manages to keep the story kicking, regardless of its awkward pacing. Other returning faces, which included Hoffman, Harrelson, Hutcherson and Banks, are all equally reliable and, as the determined President Snow, Sutherland is once again a strong and a dependable villain.