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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.
Sinister looking children’s toys – dolls and puppets in particular – are a common feature of many a horror film, often somehow possessing dark demonic powers. Annabelle, the latest horror of such kind and the prequel/spin-off to the last year’s summer hit, The Conjuring, unfortunately is rather dull.
Directed by John R. Leonetti – of The Conjuring, Sinister and The Mask fame – and written by Gary Dauberman, Annabelle is set in the early 1970s and follows Mia (Wallis) and John Gordon (Horton); a young married couple living in Santa Monica, who are expecting their first child.
One night, their next-door neighbours are killed as a result of a satanic cult home-invasion job. Unfortunately, the drama doesn’t end there and they soon end up victims of a similar crime, but after a certain amount of struggle – and blood spilled – the couple manages to come out alive.
Soon after their traumatic ordeal, their home – that they’ve grown to love and care for – begins to suffer a series of supernatural occurrences and after it becomes a little too much to handle, they decide that it’s best to move. Unfortunately, trouble follows them to their new home and John and Mia soon realise that Mia’s prized collector’s doll might have something to do with it all.
Annabelle starts off strong, with Leonetti and Dauberman weaving a decent amount of tension and suspense into the opening. However, although, their ideas are relatively solid – and some of the scares genuinely frightening – the plot soon become repetitive and what little novelty the premise has wears off pretty darn soon.
In terms of performances, both Wallis and Horton managed to sustain a good amount of chemistry; however, their characters – just like the story – aren’t formed well enough to form a connection with the audience.
Riddled with clichés and familiar formulas, Annabelle is little more than an attempt to cash-in on the success of its much more convincing and entertaining predecessor.
Liam Neeson’s ‘special set of skills’ are once again put to good use in Scott Frank’s latest neo-noir thriller, A Walk Among the Tombstones; a dark and a gritty spy-thriller that takes a rather a brutal approach to the notions of revenge and redemption.
Set in 1991, the story – adapted from the pages of Lawrence Block’s popular series of novels of the same name – centres on Matt Scudder (Neeson); an ex-cop turned unlicensed investigator, whose love for booze has forced him to retire early and join an alcoholic anonymous support group.
During one of their regular meetings, Scudder is approached by fellow alcoholic, Peter Kristo (Holbrook), who informs him that his drug-trafficking brother, Kenny Kristo (Stevens), requires his services. After being summoned to Kenny’s lavish home, it’s revealed that Kenny’s wife was kidnapped and, despite paying the hefty ransom, was killed and returned to him in pieces.
Scudder befriends a homeless but seemingly intelligent boy, TJ (Bradley), while conducting research and, despite his young age, becomes a close friend and an informal assistant. The road to revenge soon leads them to creepy cemetery groundskeeper, James Loogan (Olafsson), and Scudder, whose past still haunts him, soon learns that there’s more at play than just a kidnapping.
Directed and adapted to the screen by Scott Frank, A Walk Among the Tombstones doesn’t exactly fall in line with Liam Neeson’s recent filmography and those expecting more of the bravado in Taken, might be a little disappointed. This is a slow-burning picture which requires a certain amount of stomach – thanks to its graphic violence – and staying power due to its longwinded and lengthy plot. The cinematography paints the New York setting in tones of grey which contributes to an engaging overall sinister tone.
Neeson carries the story like a true Hollywood pro as the enigmatic lead and he comes across as unbending, kind and utterly ruthless all at the same time. Unfortunately, the villains – played by Harbour and Thompson – are a little cartoonish, while Olafsson’s character deserved a little bit more screen-time.
Taking everything into account, A Walk Among the Tombstones is a solid film that owes most, if not all, of its charisma, so to speak, to Mr Neeson.