There’s a stark beauty to the animation of Richard Williams that is wildly undercut by the startling violence that ensues. Williams is very talented with presenting very fluid and life black and white animation that is reduced to very horrific scenes of battles and a war ensuing in the middle of a field.
After many years of the “Star Wars” franchise remaining stagnant and relatively convoluted, “The Force Awakens” has come to simplify and completely re-think the movie series. JJ Abrams introduction to his bold new vision for “Star Wars” is a one hundred percent faithful visit to a galaxy far, far away that functions as a platform for a new series, a sequel, and a love letter to the simpler, episodic days of “Star Wars” where every film was an ode to the classic movie serials of the golden age of cinema. This time around “The Force Awakens” actively works in fixing many of the mistakes made in the original six films, by actively casting a wide array of heroes and villains to present a more humanistic environment we can dive in to. And I’m not speaking about a wider array of aliens, but racially diverse characters, all of whom have something to contribute.
It should serve as no surprise that a zombie movie produced by Uwe Boll is nothing but an empty and utterly tedious experience. I’m not going to proclaim “Eaters” as the worst zombie movie ever made, but it’s definitely one where there’s simply no substance and nothing to take away from it. It’s not too much to ask for a zombie movie where we can empathize with characters, and experience something exciting while also having a good time. “Dead Set” managed to accomplish that well.
It’s a good thing that “The Hunger Games” has so much interesting story and undertones about the power of the media and propaganda behind it. It skirts dangerously close to a movie that’s nothing but set up to the second half of the final film. It’s padded and filled with a lot of discussion that seemingly goes nowhere, but through its flaws, I appreciated where it brought the story of Katniss Everdeen. It doesn’t hurt that Jennifer Lawrence single handedly keeps the movie from diving in to the deep end with her powerful turn as the reluctant heroine. As I mentioned, “The Hunger Games” dealt with various stages of Katniss’s life as a celebrity. She built a revolution in the first movie, had to maintain her celebrity status in the second movie, and here she’s now a pawn for a rebellion.
Director David O. Selznick’s civil war drama epic about an upscale socialite is one of the many cinematic masterpieces I’m not very fond of. Visually, it’s a stunning work of art, with sweeping splashes of bold colors that help to establish the power of the love for the South, and character Scarlet O’Hara’s ability to take from her beloved land to rebuild her empire. But underneath the gloss and brilliance of the cinematography, “Gone with the Wind” really doesn’t garner much of a complex narrative beneath its seams, relying on very unlikable and vapid characters that serves their purpose all too well. While they could really complete a story about the inner turmoil of the wealthy in the war torn South, the characters of Scarlett and Rhett really offer nothing interesting to the narrative, and most of the interesting tidbits are handed over to character Mammy.
I’m very glad to say that “Princess Mononoke” was my first real experience with Hayao Miyazaki’s amazing cinematic contributions. After its Oscar buzz in 1997, I sought out the film, and was shocked at what I’d been missing from the master director. “Princess Mononoke” is probably Miyazaki’s broadest film, but one that also conveys a meaningful alllegory about the sanctity of nature, and how the wars of men can taint the sacred lands. It’s an action packed and incredible morality tale that will win over fantasy buffs instantly. “Princess Mononoke” is set in the Muromachi Period of Japan where a local village is attacked by a vicious amorphous demon. The bow and arrow wielding warrior Ashitaka, comes to the rescue of the village, fending off the demon and defeating it after a horrific battle, but the demon manages to corrupt his body with its vile darkness.
I’ve never gone in to a movie wanting to love it so much and come out of it feeling so utterly disappointed. Except maybe “Cabin Fever.” In either case, I wanted to love “Frankenstein’s Army” if only for its interesting tale of a Russian squad going in to battle and finding a madman scientist using soldiers to form his own army of decrepit freaks. Normally I’m a big fan of the found footage sub-genre as well, but once I realized “Frankenstein’s Army” was found footage, it threw me out of the narrative almost immediately. I can see the found footage formula working in the age of digital camera, and digital camcorders, and cell phone videos. I can even see it working in the nineties with VHS camcorders, but to have us believe there’s a found footage movie set during World War II is immensely absurd, and just downright desperate.