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The Raven: Suspense-less Thriller Based on Edgar Allen Poe’s Work
A deranged groupie has taken Edgar Allen Poe’s (Cusack) literature a little bit too literally. He goes on a killing spree using different murders from Poe’s stories as inspiration, where each murder contains a clue to the next. The murderer starts improvising though and kidnaps Poe’s girlfriend, Emily (Eve), to draw the author closer in; taunting him. The murderer orders Poe to write a story and publish it in the newspaper where he works, based on the murderous actions. In the story, Poe both immortalizes the killer and shapes his future actions.
This is a film with a decent concept that just doesn’t work out. Making a murder-mystery out of bits of Poe’s literary tales could have been pretty interesting, but it basically boils down to us hopping from one gruesome murder to the next. There isn’t even much connecting one murder with the next. Also, by having Poe translate the murderer’s escapades into fiction the film has a very strong going-through-the-motions vibe, killing any sense of suspense or tension.
The characters aren’t much better either. Cusack’s character of Poe is a depressed alcoholic with a raging ego and an insufferable sense of superiority – basically a cliché of an artist. Eve’s character Emily is pretty and, unfortunately, doesn’t get much of a chance to transcend that trait seeing as she’s stuck in a box for most of the film. Also, Poe is at least double her age and is probably old enough to be her father. Their relationship is kind of creepy and you wouldn’t be wrong in completely empathizing with Emily’s father who does his best to keep them away from each other. Luke Evans plays Detective Fields, the officer in charge of the investigation and the man who first makes the connection between the murders and Poe’s stories. He does a decent job not least because he isn’t saddled with the ‘artistic,’ heavy-on-the-synonyms dialogue that Cusack has to deal with.
At the very least, the film looks good even though it’s not as extravagant as other period films. It has a very Gothic feel with its bleak palette and reams of fog unfurling everywhere, which does manage to give the film a vaguely foreboding feel. The murder scenes are pretty gory, the costumes look good and are sufficiently showcased in the scene of a ball.
The film is disappointing on two levels: it squandered a cool concept and it ended up a completely by-the-numbers thriller.
Expanding further on its already wobbly and tedious premise, the third installment of the Sylvester Stallone-led testosterone-filled franchise is exactly what you would expect it to be; loud, senseless and utterly brainless.
Directed by Patrick Hughes, The Expendables 3 opens with Barney Ross (Stallone) and his dependable crew of rowdy mercenaries, Lee Christmas (Statham), Gunner (Lundgren), Toll Road (Couture) and Ceaser (Crews), rescuing and breaking Doctor Death – a.k.a “Doc” – (Snipes) out of prison.
After a series of unnecessary explosions, the team decides to take a quick trip to Somalia and take part in a CIA-operated mission to eliminate a black market arms dealer from the scene. However, the mission proves tricky when the group is confronted by Stonebanks (Gibson); a backbiting businessman - and an ex-member of the crew - who holds personal ties with Barney. The team ends up taking a huge and an unexpected blow and, after almost losing one of his members, Barney promises to track down Stonebanks – with the help of CIA Agent Drummer (Ford) – and seek revenge.
Wanting to keep his dear friends out of line of fire, Barney and recruitment specialist, Bonaparte (Grammer), begin putting together a much-younger team of mercenaries, which include the tech savvy, Thorn (Powell), no-nonsense tomboy, Luna (Rousey), weapons expert, Mars (Ortiz) and Smilee (Lutz). Not wanting to miss out on the action, Trench (Schwarzenegger) also joins the team. Their mission? Find Stonebanks and, if circumstances allow, bring him back alive.
Let’s be honest; the novelty of watching this peculiar but impressive assembly of 80’s and 90’s action superstars - all thrown together in one massive concoction of muscle, guns and testosterone – has worn off. While the first two films offered a bit more appeal – mainly thanks to the cast’s obvious sense of self-awareness at their very own absurd existence - The Expendables 3 chooses to go in another direction. Taking itself a little too seriously this time, it seems like the boys are running on fumes; the witty one-liners have been replaced by one too many explosions, the action scenes feel erratic, shaky and incoherent, the pacing is rather clumsy and the predictability levels have reached their all-time high.
The addition of Gibson and Banderas is probably the best aspect of the entire film; Gibson shows what real acting looks like and Banderas – as the unemployed warrior looking for a kill – infuses the story with the much-needed energy. As for the rest, it’s the same old story - old being the operative word – though there is still enough to keep fans happy.
Emerging from a lesser-known comic-book line, James Gunn’s Guardians of the Galaxy – Marvel’s tenth, and possibly quirkiest, offering – proves to be a risk well taken.
Set entirely in the galactic immensity of outer space, Guardians of the Galaxy follows the story of Peter Quill (Pratt); a twenty-six-year-old Earthling who was abducted as a young boy and raised by The Ravegers – an alien gang of thieves led by the notorious, Yondu (Rooker).
Far away from home, Peter – a.k.a Star Lord – now roams the cosmos and soon comes across a special orb; a silver infinity stone that holds an incredible amount of power. Unfortunately, he’s not the only interested party and he is soon confronted by Korath (Hounsou); the right-hand man of one of the most villainous terrorists in the galaxy, Ronan (Pace), who wants to use the orb to overthrow a rival civilization run by Nova Prime (Close).
Intrigued by the high interest in his new discovery, Peter turns his back on Yondu, who sends assassin, Gamora (Saldana), to retrieve the orb.
He also soon attracts the attention of bounty hunters, Rocket (voiced by Cooper) – a sly raccoon warrior – and his best pal, talking tree-like human, Groot (voiced by Diesel).
After causing a public disturbance, Peter and his pursuers are soon put in prison and form a temporary bond, along with muscular inmate, Draz (Bautista), in order to break out and prevent the precious stone from falling into the wrong hands.
Written by James Gunn and Nicole Perlman, Guardians of the Galaxy is refreshingly off-beat, steadfast and full of character. Visually, Gunn paints his intergalactic backdrop with plenty of colour, however some of the CGI tends to feel a little overcooked and the action-scenes – although pretty entertaining– feel a little unrefined.
Pratt – whose character and performance has already drawn comparisons to Harrison Ford’s Indiana Jones – proves to be a solid and extremely likable lead, while Saldana uses her trademark femme fatale penchant to great use . However, it’s Cooper as the chatty and cheeky raccoon, Rocket, and Diesel as the human-tree, Groot, that steal the show, adding a whimsy rarely seen in modern comic-book film adaptations.
Without household comic-book names to inject a bit of weight into proceedings, this is a film that could have found itself in the annals of failed comic-book adaptations, alongside Marvel flops such as Daredevil, Elektra and Ghost Rider.
But, armed with a funky 70’s soundtrack, likable characters, a witty temperament and thrilling action, Guardians of the Galaxy has arrived at the perfect time for Marvel, who – despite huge box office earnings with Captain America, The Avengers et al – were in dire need of a fresh canvas.