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The Lucky One: Cheesy Chick Flick
We’ve all seen, at the very least, one Nicholas Sparks film which is enough to figure out the formula that has probably made him into a millionaire by now. While they’re usually super cheesy, they sweep you along in a torrent of emotion. You laugh, you cry, you swoon and you leave the cinema happy. But even with adjusted expectations, The Lucky One isn’t particularly entertaining.
The film is completely centred on the romance and so there’s absolutely nothing to distract from Zac Efron’s zombie-like state. Or from the film’s frightfully cheesy dialogue. Or from the fact that it packs a whole hoard of clichés into an hour and a half in a desperate plea to activate our tear ducts.
Efron plays Logan, a marine stationed in some Arab country (turns out to be Iraq) fighting the scary brown men. The morning after an ambush, he finds a picture of a blonde chick with the words ‘keep safe’ on the back. He carries the picture around with him everywhere, like a talisman, and lo and behold, he cheats death several times while a ton of people around him die. Traumatized, he returns to America with the aim of finding the girl in the picture and thanking her for being his guardian angel. He tracks her down, is unable to show her the picture or tell her why he’s there, takes a job near her and they soon fall in love. The blonde girl turns out to be a single mum by the name of Beth (Schilling) who has an abusive ex who keeps threatening to take their kid away from her and who doesn’t like the fact that she’s seeing Logan.
Out of the two leads, Taylor Schilling is definitely the least offensive, though Blythe Danner, as Beth’s grandmother, despite being the most watchable person on screen, was a rather head scratching piece of casting. Beth’s mother would be understandable but grandmother? Either she’s found the fountain of youth or Beth looks far older than she actually is. Schilling’s character fluctuates between brave, selfless mother and helpless female, both of which only require her to stand around looking pretty which isn’t exactly difficult for someone who looks like Katy Perry’s blonde twin. All in all, she’s pleasantly bland. Efron on the other hand looks like a buff, tanned corpse. His character is supposed to be grieving for all the friends he lost on duty but what we get from Efron is a complete lack of emotion. When he’s not showing off just how nice he is by playing with Beth’s kid, he’s standing around blank faced, looking stiff. Resembling a teenager isn’t helping his cause much either.
The lack of tension is what really does the film in though. The Notebook had a sense of urgency about it. You genuinely rooted for the couple to be together even though they weren’t necessarily pleasant characters. Part of that was Amy McAdams and Ryan Gosling’s chemistry which Efron and Schilling lack but on the other hand there was an actual obstacle keeping them apart. In The Lucky One, their troubles are more hiccups than roadblocks.
This film is really only recommended for die hard Nicholas Sparks fans or people who don’t mind staring at beautiful actors, sun drenched scenery and a gaggle of adorable dogs in lieu of a decent story. Stay away if you’re prone to incessant eye rolling.
Arriving fourteen years after the last Jurassic Park entry, the fourth film in the twenty-two-year old franchise is finally here with Trevorrow’s Jurassic World; a thrilling, but flawed, addition to the series that never really recapture the magic of the original, but still manages to excite and serve as a fitting summer blockbuster.
Picking up twenty-two years after the events of Jurassic Park, the story is centred in and around the dinosaur amusement park on Isla Nublar, belonging to billionaire Simon Masrani (Khan), who has taken the idea from the late John Hammond and turned it into a multi-million dollar reality. Responsible for managing the park’s security is rigid operation manager, Claire (Howard), while her impressively knowledgeable colleague – and love interest - Owen (Pratt) is in charge of training the park’s dinosaurs.
As one might expect when playing god, things quickly go wrong when the genetically engineered Indominus Rex – the park’s latest attraction – escapes from its enclosure leaving Simon and his team of soldiers – led by Vic (D’Onofrio) – to fight of the giant monster.
Having spent over a decade in development limbo, there’s a certain amount of satisfaction to be found in the realisation of what, at times, like a pipedream for diehard fans. Though reception has been mixed, Jurassic World proves to be a thrillingly visualised world. The park and all of its bells and whistles – including a petting zoo and a triceratops ride – are designed with careful detailing and the film succeeds in communicating a sense of awe and wonder.
However, in the harsh light of day, the film just doesn’t have the same impact, when considering the fact that the plot isn’t all that fresh – in fact, the skeleton of the story is the same – scientists play god, things go wrong, step forward hero. Granted, the dinosaurs being substantially larger and smarter adds a grandeur to proceedings, their human counterparts aren’t so lucky.
Performances by both Pratt – channelling his inner Indiana Jones – and Howard are solid, however, most of the characters aren’t explored or fleshed out enough to make you care about the outcome, leaving the mass destruction the hub of enjoyment – and it’s simply not enough.
Considered by some quarters to be Spielberg’s biggest contribution to Hollywood, Jurassic Park has a timeless quality about it; a quality that stacks the odds against a successful sequel even more so. This is a top popcorn movie, so to speak, but just lacks the sheer magnitude in ingenuity of the original. But then again, it has broken several box office records.
Written and directed by Gattaca’s Andrew Niccol, Good Kill arrived in Cairo cinemas with generally favourable reviews and the distinction of having competed for the Golden Lion at the 2014 Venice Film Festival. However, despite a strong performance by lead man, Ethan Hawke, and the film questioning the necessity of war, the film loses its way after raising some thought-provoking points.
The story is centred on former Air Force pilot, Tom Egan (Hawke), who now operates as a drone pilot, comfortably flying in and out of enemy territories from the safety of a Las Vegas control centre. Working under the command of the officer-in-charge, Jack (Greenwood), Tom is considered as one of the best in the business, although his six tours in Iraq have left him itching to be out on the battlefield.
Hitting targets – and occasionally a few innocent civilians – has become a part of his daily routine and his ambiguous mental state is often carried into his private life and marriage to wife Molly (Jones), as he becomes more and more distant. It’s only when Tom and co are forced to cooperate and take orders from the CIA that the hushed man begins to questions the the dubious missions he’s been asked to carry out.
Good Kill starts off relatively strong and the setup to the dispassionate and the merciless world of drone warfare – where targets are killed off with a flick of a joystick – is executed remarkably well. Infusing plenty of technological detail, the film’s premise offers an interesting, if not necessarily fresh, outlook on the concept of the ‘war-on-terror’ and for the fans of the genre, there is definitely enough here to pass the time.
However, the film quickly loses its way and, after the initial engagement, things simply trail off, and the film doesn’t deliver the strong climax it promises. This is of course not the first time that Niccol puts the spotlight on modern warfare – see Lord of War. The difference here, however, is that the director fails to maintain the same level of interest in his characters.
And it’s a shame, because Hawke is able to pull a quietly impressive performance of a troubled soldier of war, but it’s his life at home and his connection – or lack thereof – with the terribly wasted January Jones – as well as his fellow pilots – that throws the movie and everything it tries to achieve, down the drain, turning Good Kill into an occasionally fascinating, occasionally tiresome watch.