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Left Behind: Disastrous Book-to-Film Adaptation
Back in 2002, a straight-to-DVD adaptation of the novel, Left Behind, left what could have been a potentially interesting film franchise a horrible mess. For some reason, a Hollywood bigwig decided to give the green-light to a new adaptation.
Left Behind begins its story at JFK airport where we meet Chloe Steele (Thompson); a college student who has just arrived home to celebrate the birthday of her pilot father, Captain Rayford (Cage). Unfortunately, her father, portrayed as a heartbreaking player amongst his peers, is unable to attend; he has decided to work the overnight flight to London – in order to get away from his wife, Irene (Thompson), and her newly-found relationship with God – and also, to have a little bit more time to canoodle with the attractive air hostess, Hattie (Whelan).
Disappointed by her father's no-show, Chloe soon pours her heart out to TV reporter, Buck Williams (Murray), whom she meets before he boards her father's flight. Soon after, she heads home to see her mom but only to end up having a heated argument – mainly about religion – forcing her to storm out and take her younger brother, Raymie (Dodson), out to the mall. However, strange happenings soon begin to take place when millions of people – including Raymie – mysteriously disappear, leaving only their clothing and belongings behind. Similar occurrences take place on her father's flight, leaving the Captain and what is left of his passengers, wondering what or who could be responsible for the catastrophe and whether 'The Rapture' is nigh.
Based on a popular book series of the same name written by Tim LaHaye and Jerry B. Jenkins, there are no words to describe just how terrible and poorly-executed Left Behind really is. There's zero cohesiveness to the story and the production values are embarrassingly cheap.
Poorly paced and filled with a lot of unnecessary dialogue – everyone seems to have something to say – most of the story takes place within the confinement of the airplane and it takes a really long time before anything remotely exciting happens.
In what appears to be one of his most questionable roles to date, Cage is his usual melodramatic self, while Thompson's character as a born-again Christian brings embodies the notion's clichés and stereotypes without a shade of pragmatism. The only member of the cast to bring any kind of sincere conviction to his role is Murray, as the helpful TV reporter.
Overall, Left Behind is a shockingly poor and devastatingly boring take on the 'end of days' and it is, just like it states, probably just better off left behind.
Those going in expecting an action-packed sci-fi adventure, complete with explosions, flying space-ship battles and a full-on war between humans and their extraterrestrial visitors, will be severely disappointed with Denis Villeneuve’s Arrival. Taking on a more philosophical approach to things, Arrival is an intelligent and a thought-provoking alien-invasion thriller which revels in its own complexity and manages strike all of the right chords, but for a few missteps.
Based on Ted Chiang’s short story titled Story of your Life, the film begins with the arrival of twelve mysterious alien spacecrafts which position themselves at twelve different locations around the globe, igniting fear and paranoia amongst the residents of Earth.
Recruited by Colonel Weber (Whittaker), linguist Louise Banks (Adams) – along with mathematician Ian Donnelly (Renner) – is brought to Montana to help deal with the possible threat by making contact with the aliens in order find out who they are and what their intentions may be.
However, establishing communication with the visitors is not as easy as one would have hoped with Louise soon discovering that the aliens have their own language which uses symbols to communicate. Deciphering their tongue into a language they can understand is no easy task and with the threat of a global war between humans and aliens on the verge of a breakout, Louise must work hard to suppress her own personal demons in order to get the breakthrough she, and everyone else on the planet, needs.
Following his success with a character-driven drama like Prisoners and intense drug-thriller, Sicario, Villeneuve turns to sci-fi this time and manages to deliver yet another impressive – and by far the most ambitious – piece of work. Tackling some rather big questions about life, time and what makes us human, the script - written by Eric Heisserer - works as both a character-focused drama and a sweeping sci-fi adventure. Drenched in an enigmatic aura of the unknown, the pacing is slow and purposeful with Villeneuve unraveling the story’s mysteries steadily but thoroughly, keeping the tension and momentum high, while composer Johann Johansson’s original score, infuses the story with plenty of atmosphere and mood.
Delivering yet another powerful performance, it’s not a stretch to say that Amy Adams is the true star of the show; embracing her character’s strength and vulnerability with plenty of presence and grace, Adams delivers on all fronts, while Renner, although not used as much, is quietly effective.
All in all, Arrival is a winner and although it does struggle a little bit with trying not getting too lost in its own complex ideas, it’s one of the most thought-provoking, touching and moving sci-fi films you will see this year.
On the surface, Robert Zemecki’s slick and a technically pristine WWII-set romantic-espionage-thriller looks like a winner. Boasting an impressive cast and a script by Peaky Blinders’ Steven Knight, everything about Allied points to success. However, although visually striking and overall satisfying in terms of action, it’s the film’s central story - the romantic pairing between Mr. Pitt and Ms. Cotillard – fails to ever really get going, leaving the film a little hollow and difficult to invest in.
Set in 1942, the story begins with the introduction of Canadian intelligence officer, Max Vatan (Pitt), who finds himself on a mission in Morocco with French Resistance fighter, Marianne Beausejour (Cotillard), who is to play the role of his wife during a covert operation that involves assassinating a high-ranking Nazi official. After successfully carrying out their assignment, the pair’s pretend relationship soon turns into the real thing with the duo soon marrying and welcoming a baby girl into the world, as they settle in war-torn Britain.
However, things are soon turned upside down for Max when he is informed by his by-the-books boss, Frank Heslop (Mad Men’s Jared Harris), that Marianne is currently under investigation and that she, in fact, may be a Nazi spy. Given seventy-two hours to prove her innocence before he will need to kill her, Max soon sets out on his own investigation.
Aesthetically, the film embraces an old-Hollywood approach, with a certain sense of nostalgic glamour and elegance present through the minutes. Told through a wonderfully slick lens frequent Zemeckis collaborator, cinematographer Don Burgess, there's a certain style and sophistication to every single frame. But while the film is pleasing to the eye and Steven Knight’s script boasts plenty of moments of suspense and intrigue, there‘s a serious lack of heart missing from the story, which turns the more passionate moments into melodrama.
In addition, the romance between the two leads is never really sold. Both Pitt and Cotillard definitely look the part and when they are not onscreen together, their performances are affective. However, it’s when they share the screen and viewers are asked to buy into their love story that it all goes south. Allied is a functional and an effective WWII spy thriller. It’s just not as captivating or engaging of a romance-drama that it sells itself to be.