Sign in using your account with
Battleship: Humans Vs Aliens Action Flick
Summer is all but here and we have been blessed with another alien-action blockbuster based on a toy and no, this time around it’s not Transformers, though by the way this film’s been marketed, you’d think Battleship was an extension of the Transformers franchise; ‘Transformers at Sea’ if you will. And while the two films have several things in common, they’re also quite distinct. For one Transformers focuses on the robots - and truth be told, they’re pretty damn impressive - while on the other hand, Battleship, surprisingly, focuses more on the human characters. Neither of the films managed to combine the two - interesting robots/aliens and compelling humans that is- but the human element in Battleship makes it easier to get caught up and emotionally involved in the film.
NASA discovers a planet in a different solar system that has very similar conditions to Earth, conditions conducive to life, and promptly builds a satellite station in Hawaii to try and establish contact with any forms of extraterrestrial life that may be out there. The scientists discover the success of their experiment when five huge unidentified objects hurtle into our atmosphere. One takes out a huge chunk of Hong Kong while the rest crash land in the Pacific Ocean, off the coast of Hawaii, in the middle of a bunch of international navy fleets that have gathered for an exercise. A massive battle takes place between the aliens and the navy as the humans try and thwart the aliens’ attempts to communicate with their home base and send for reinforcements.
Since Battleship is being marketed towards the same demographic that made Transformers such a cash cow, you’d think they’d have put a bit more effort into their alien design. Firstly, their spaceships look like metal cubes, kind of like a rectangular version of the AllSpark cube in Transformers, and secondly, the aliens themselves look like tall, metal Power Rangers. Another thing is that it’s never really explained why the aliens come to Earth in the first place. All we get is the hypothesis that when the humans managed to establish contact, a few aliens decided to mosey on over here to check out our planet.. Thankfully, and this may be a product of entering the film with zero expectations, the humans mostly make up for the aliens and the general lacklustre visuals.
Kitsch plays Alex, a smart slacker with attitude issues who’s forced by his older brother, Stone (Skarsgard), to join him in the US Navy as a way of getting his life on track. Decker plays Samantha, Alex’s girlfriend, who’s a physical therapist and the daughter of the fleet’s captain. Thanks to the fact that the film clearly emphasizes Alex’s potential, his transformation from immature slacker to a bona fide leader is actually believable while Samantha, thankfully, gets to be more than just the token girlfriend and plays a large part in saving the planet as well. Rihanna makes her acting debut as a badass Navy officer named Raikes while Linklater plays Cal, a wimpy, nervous scientist and the source of most of the film’s comic relief.
The film as a whole takes a while to settle into its groove, but when it does it becomes quite engaging. By the final third, when the war reaches its peak, you’re actively rooting for the Navy and restraining yourself from cheering out loud and singing along to AC/DC. The film as a whole is far from perfect and is actually too uneven to be called good, but the final half hour is wall-to-wall fun, ending the film on a pretty high note.
Most actors and directors will tell you that tackling a biopic is no easy task. The portrayal of any iconic figure – loved or hated – comes with pitfalls and any filmmaker faces an uphill struggle before the first scene is even filmed.
Such is the case with Diana; a biopic detailing the most tumultuous times of the late Princess Diana that ultimately fails to match the splendour and majesty of one of the most influential figures of the 20th century.
Based on Kate Snell’s book, Diana: Her Last Love, the story opens on that ill-fated night in Paris in 1997 with Princess Diana (Watts) walking down a hallway towards a waiting elevator – recorded by the hotel’s CCTV cameras – before heading out and climbing into a waiting car.
The events then rewind back to two years before the tragic death, with Princess Di finding herself drowning in bad publicity, following her separation from Prince Charles. The once media-darling struggles to keep her private life away from the public eye and bloodthirsty paparazzi.
She soon finds comfort in British born- Pakistani heart surgeon, Hasnat Khan (Andrews), whom she meets during a hospital visit. Diana is instantly besotted and she quickly begins pursuing the sweet-talking doctor who is, naturally, flabbergasted by her interest in him.
Their relationship is soon splashed all over the media and the immense pressure of it all becomes a too difficult for Hasnat to handle. Trying to balance his now highly-publicised love affair with one of the most influential women on the planet and the disapproval of his family in Pakistan soon drives Diana away and into the arms of one Dodi Fayed (Cas Anvar) as more drama ensues.
Two-time academy-award nominated actress, Naomi Watts, tries her best to bring authenticity to the monumentally tricky role and, to her credit, succeeds in some parts. That aura of vulnerability, that soft-spoken voice and the all too famous shy gaze beneath those long lashes is captured wonderfully; however, anything else that may have been buried deep beyond the façade is never fully explored.
Meanwhile, Andrews – of Lost fame – looks like he may have bitten more than he can chew; aimless and ineffectual pretty much the whole way through, he manages to overstate his every move and that spark of chemistry – which initially brought these two lovebirds together – is never really felt on screen.
Directed by Oliver Hirchbiegel, this could have been a heart-rending tale of one of the most beloved figures of our time. Instead, it fails to really utilise the endless well of inspiration that is impossible love.
Diana never truly grabs your attention; it’s ultimately uninteresting, unexciting and a little too inclined to the haziness of a soap opera.
With many Americans still picking Thanksgiving turkey out of their teeth and others already embarking on Christmas shopping, Jimmy Hayward’s Thanksgiving-themed, animated comedy, Free Birds, is the first of what will almost certainly be a production line of hastily put-together films capitalising on the festive season.
Meet Reggie (Wilson); a nonconformist turkey who has always been viewed as an outsider for his ‘radical’ thinking. The idea of having himself – and the rest of his fellow-turkeys – fattened up for the upcoming Thanksgiving festivities, is a notion that doesn’t sit too well with Reggie. He continuously tries to warn everyone of their imminent slaughter, but his warnings go unheeded. That is until they realise the stark reality of their situation and throw Reggie under the bus to save their own necks.
However, much to his surprise, Reggie ends up being the White House’s ‘pardoned turkey’ and is soon sent off to Camp David to live the good life; lots of TV and a great deal of junk food.
One night, he’s approached by Jake (Harrelson); a cheeky and rebellious turkey who informs him that there’s a way of travelling back in time to the very first Thanksgiving, where they can take Turkey off the menu for good.
Intrigued and fascinated by the possibility, the duo soon find themselves jumping into the secret government machine, named S.T.E.V.E (voiced by Takei), and travelling back to 1621. They quickly learn, however, that becoming ‘free birds’ is going to take some serious work.
While the idea behind Free Birds might sound solid on paper, the final result is not. Essentially, this is not a film that holds the wide appeal of the likes of Toy Story and Finding Nemo. Kids will love it, though adults will probably find the cutesy humour and inattentive storyline difficult to engage with. Moreover, the endless-parade of product placements and tiresome references to other, unquestionably better, films only serves to undermine it.
The film’s only redeeming feature lies with its two leads. Owen, in his usual carefree and offhand style, injects the character of Reggie with enough likeability, while Harrelson approaches his character with conspicuous willingness and excitement. The rest of the cast is equally deserving of praise, especially Poehler – voicing Reggie’s love interest – who brings zesty and feisty personality to her role.
Despite Free Birds’ good intentions, this underdog story – or in this case an underturkey, if you will – would have been a lot better if it spent a little bit more time in the oven.