Sign in using your account with
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.
It should be pretty clear by now that if you’ve seen one Nicolas Sparks film - Notebook, The Last Song, A Walk to Remember - you’ve seen them all. Continuing in the trend of relentlessly sappy romantic melodramas, The Choice - adapted to the big screen by Bryan Sipe and directed by Ross Katz - will speak to those who are willing to listen. However, those who prefer their movies with a little less cheese might want to rethink their order.
Set in a small idyllic coastal town in North Carolina, the story is centred on Gabby Holland (Palmer); a medical student who has moved away from the chaotic city life for some peace and quiet while studying to become a doctor. Unfortunately, the peace she was looking for is not to be found as she has moved in next door to, Travis Shaw (Walker); a handsome veterinarian, who, along with his on-and-off girlfriend, Monica (Daddario), enjoys throwing loud parties and get-togethers, much to Gabby’s distaste.
At first, the two are at each other’s throats, with Gabby not withholding her obvious exasperation with the hunky neighbour. However, when their significant others - including Gabby’s boyfriend Ryan (Welling) - conveniently disappear from the picture for a few days, it’s not long before the two fall for one another.
Logic, common sense and reality, are nowhere to be found in this idyllic romantic setup, set along a sun-dappled coastline where each sunset is better than the next. For fans of this particular brand of romantic movie, what ‘connection’ the two leads manage to cultivate is satisfying enough. Unfortunately, for those who might be a little bit more grounded and connected to reality, this latest heavy serving of romantic sap just won’t do.
Sticking unremittingly to its formulaic mould, The Choice - boasting all of the worst romantic movie tropes under the sun - is the definition of derivativeness, featuring plenty of hand-holding, eye-gazing and corny romantic exchanges. The leads, although, pretty to look at – this is a Nicolas Sparks movie after all – are just not strong enough to carry the film through; Palmer’s overacting is bothersome at best, while Walker largely serves as the eye-candy of the piece.
All in all, those who enjoy the comfortable predictability that can be found in Nicolas Sparks stories, will definitely find something to like about the author’s eleventh book-to-screen adaptation. It’s everyone else that we’re worried about.
Inspired by Casey Sherman and Michael J Tourgias’ 2009 non-fiction book, The Finest Hours: The True Story of the U.S Coast Guard’s Most Daring Sea Rescue, Craig Gillespie’s rescue-drama is an occasionally compelling film, but bearing in mind this is supposed to be the retelling of one of the greatest sea rescues in the history of sea rescues, the end-result is a little flatter and isn’t distinguished as one might expect.
Taking place on 1952, off the coast of Massachusetts, a raging storm has caused two oil tankers - the SS Fort Mercer and SS Pendleton – to split in half. While most of the rescue boats have been deployed to assist the Mercer, the crew on Pendleton - led by the first assistant engineer, Ray Sybert (Affleck) – weren’t able to send out a rescue signal and are now left at the mercy of the sea.
Meanwhile on land, docile-looking Coast Guard captain, Bernie (Pine) has been given instructions by his commanding officer, Daniel (Bana) to undertake the risky rescue-mission after the Pendleton’s location is discovered. Aware of the consequences, Bernie, along with a handful of men, heads out into the stormy night.
What keeps The Finest Hours afloat, so to speak, is the fact that it’s inspired by real-life events – this in itself gives the plot a sense of gravitas. If this was a fictional plot, however, it would have been thrown out long before it reached the big screen, despite, for the most part, telling its story in a relatively compelling and capable manner.
The problem is that it’s all a little run-of-the-mill. Giving the subjects of loyalty and bravery the classic, melodramatic Hollywood touch, the familiarity of the story is inviting, yes, but it’s also highly derivative and predictable. In addition, the nautical jargon used in the film is confusing and keeping up with the technicalities distracts from the human elements of the plot.
However, the film’s biggest setback comes with the decision to screen it in 3D, which is not only distracting, but also terribly disorienting; most of the film takes place at night, so trying to keep up with what’s going on is almost impossible.
The performances offered by what is a solid cast, meanwhile, are engaging enough to keep things balanced – Pine is surprisingly reserved but affective, while Affleck shines as the skilful engineer. Overall, though, it’s just not strong or heartfelt enough to keep its head above water (sorry, we can’t help it) and deliver a story which fitting of its real-life story.