Tag Archives: Idris Elba

Star Trek Beyond Review

Run time: 122 mins       Certificate: 12A
Director: Justin Lin
Cast: Chris Pine, Zachary Quinto, Karl Urban.
Release Date: July 22, 2016.


Boldly going where many have gone before.

Its a relief that with the new Star Trek crews third outing they seem to have finally found their place in the universe. The light adventurous tone matches the charm of the original series while the characters, still as perfectly cast as ever, are given some of their best interplay yet. Unfortunately its taken until the third entry for the franchise to find this balance, and in many ways Beyond feels like the first entry in a series where the story takes a back seat in order to set up the characters and spirit of what’s to come in future installments. Nothing ground breaking then, but with it Star Trek is definitely in the right place for moving forward, especially after the divisive Into Darkness.

Those who were apprehensive about Justin Lin directing a Star Trek film will soon be won over in the opening moments alone. Kirk’s monologue on his doubts regarding their 5 year mission is frankly one of the better moments the reboot series has offered, just one of Simon Peggs and Doug Jungs’ scripts finer moments that stand out amongst the otherwise light affair. Accompanied by swooping views of the Enterprise Lin manages to capture a wonderfully sombre tone amidst the wonder without imbuing any unnecessary darkness or grit, an early indication that Lin and his team get what makes Star Trek special. What follows is a decidedly run of the mill affair that, after the jaw dropping destruction of the Enterprise, all too happily falls back on generic plot beats. While the story may offer little in the way of Star Treks trademark intellectual elements to engage with, its simplicity does pave the way for Lin to handle both the cast and the pace with impunity.

Bones and Spock almost steal the show.
Bones and Spock almost steal the show.

From the moment the crew crash lands Lin takes every opportunity to play with their comfort zones through splitting them up. The most mismatched of these pairings has to be Bones and Spock and is all the more enjoyable for it, yet as effective as the approach is it does see some of the crew end up in far less engaging scenarios such as Sulu and Uhura’s relatively static prisoner scenes. Surprisingly for a director of Lin’s pedigree the action often comes up short, with some of the more physical encounters in particular falling victim to some choppy camera cuts. When its on a grander set though he shines as usual, with sequences from chaotic space battles to Kirk’s motorbike escapades touting an effortless sense of scale without ever breaking the flow of the scene. Some aspects, such as the love it or hate it Beastie Boys scene or the overly familiar finale may give audiences pause, but for the most part you’ll be enjoying the ride too much to notice. As expected all of this is bolstered by some exemplar effects, with the reliance on practical sets helping no end in selling the alien planet the bulk of the film inhabits.

The returning cast all slip back into their roles like a second skin, except for the strange omission of Into Darkness’ Alice Eve who’s disappearance is never explained, and are given ample chance to flesh out their respective roles. Chris Pine is an admirable Kirk once again, bringing the same bravado typical of his 60’s counterpart whilst also getting to grips with some of his characters personal troubles this time round. Zachary Quinto and Karl Urban have some great interplay as Spock and Bones respectively, offering one of the more entertaining through lines of the film as they predictably clash. Urban in particular is clearly having a good time here and offers some of the best laughs in the film. Pegg, Saldana, Cho all hit their mark once more, even though the latter two are given little to do this time round. Its also a shame that this will be the late Anton Yelchins last turn as Chekov as he brings his trademark enthusiasm and energy in his handful of entertaining scenes alongside Pine.

The practical effects and makeup sell the wonder.
The practical effects and makeup sell the wonder.

The new faces are all welcome additions, even if they too struggle to make an impact in the fairly crowded screenplay. Sofia Boutella’s Jaylah is a delight to watch and excels in her action scenes though her character never develops beyond her cliché origin, unfortunate given she’s enjoys a lions share of the screen time alongside Pegg. Idris Elbas villainous Krall suffers a similar fate, as an interesting reveal comes far too late in the game for his character’s arch to be truly realised. He’s a formidable opponent for the crew as is, but its hard to shake the feeling that there was a far better villain waiting to be fleshed out before being cut short by the films roller coaster pace.


Verdict

Star Trek Beyond is a quintessential Star Trek experience, like an extended episode put to the big screen with a dream budget. It may come slightly too late, being the third film in the franchise, and at the cost of an interesting plot, but there’s no doubt Justin Lin had the right vision for getting the series back on track. An enjoyable ride that captures the spirit of the originals then, just don’t expect to think about it all that much after the fact.

Hits

+ Justin Lin captures the spirit of Star Trek
+ Chris Pine excels as Kirk, especially in his monologue
+ Jaw dropping destruction of the Enterprise
+ Perfectly cast crew…

Misses

…though some are given little material
Passable but run of the mill plot
Elba’s reveal comes too late to play out

Overall Rating3starsHit

 

 

The Jungle Book Review

Run time: 105 mins       Certificate: PG
Director: Jon Favreau
Cast: Neel Sethi, Bill Murray, Ben Kingsley.
Release Date: April 15, 2016.


A Bear Necessity.

To describe how refreshing Jon Favreau’s adaptation of The Jungle Book is would be almost impossible, in an age of countless needless remakes it could have been set to go down the same path, but instead he’s delivered a delight of a film that pays as much a homage to the Disney original as it does the Kipling source material. Placing itself deftly between the musicality of the cartoon and the more fable like qualities of the book it manages to create wonderfully balanced world all of its own, one with equal charm and drama that will appeal to any age. Simply put this is Disney back on classical form.

The beautifully crafted world and animals will strike you immediately, with an eye on realism at all the times the CGI is undoubtedly some of the best to have ever been put on screen. As with all effects laden films though, there can be some disparity in the quality. Seeing Mowgli ride down the river on Baloo’s stomach is brilliantly realised, whereas another moment that sees Mowgli being taken through the trees by an assortment of monkeys looks more than a little odd. Likewise it takes a moment to adjust to seeing such believable animals talk so casually, some characters mouth movements never quite looking credible, yet admittedly there came a point in the film when I forgot even noticing it. It all takes a little getting used to then, but once you’re invested in the world there’s no denying the beauty with which it has been crafted.

Ben Kinglsey's Bagheera is a commanding figure.
Ben Kinglsey’s Bagheera is a commanding figure.

Favreau shows a clear attention to detail throughout, building the mythos behind this animal kingdom subtly without ever endangering the plot or characters. Ben Kingsley’s Bagheera works as a pseudo narrator, establishing aspects of the world such as the much respected elephants (far from marching this time round) to add a level of depth to the proceedings. Children won’t be lost with any heavy messages, but its does take it beyond the simplistic man versus nature motifs it could have easily relied solely upon.

There is time for levity as well however, not only from Baloo either, with two songs from the original animation returning to great effect. John Debney’s soundtrack is well done, weaving the same classic tunes into its rousing orchestral themes to evoke a nostalgia in any Disney fan. All of this is then framed expertly by Bill Pope’s cinematography, using panning shots and close ups in equal measure to emphasize the breadth of scale in this fantastical world. One instance where the camera follows an enormous King Louie clambering around the sides of a courtyard as Baloo and Bagheera struggle below was a jaw dropping shot that sold the scene with a stunning intensity that’s rare in such effects heavy features.

Christopher Walken dominates the screen as King Louis.
Christopher Walken dominates the screen as King Louie.

What binds the dramatic tones with the whimsical fantasy of it all is without a doubt the spot on voice acting. Few of the famous characters are replicated from Disney’s previous iteration, rather they’re developed further or reinvented entirely. Bill Murray’s con artist Baloo lights up the film from the moment he appears, providing some much needed comic relief to the relatively sombre opening. His comic delivery is as spot on as ever, and he gives some genuine heart to the character. Likewise Kingsley’s regal tones imbue Bagheera with his trademark wisdom, whose chemistry with both Mowgli and Baloo arguably provides an anchor to the majority of the films more poignant scenes. Idris Elba revels in the villainy of Shere Khan, and in taking the big bad to some truly dark places gives the protagonists and audiences alike something to genuinely fear. Christopher Walken’s King Louie (an enormous gigantopithecus this time around) steals his scenes with his mafioso like turn as the character, his rendition of Swingdance managing to be both joyous and terrifying at the same time. Perhaps the only disappointment here is Scarlett Johanson’s Kaa who, despite being animated exquisitely in her mesmerising scene, turns in a performance absent of any of the hypnotic qualities of the character she’s portraying.

Considering this is Neel Sethi’s breakout role as Mowgli, and that he’s the only character physically on set, he performs admirably. Portraying the cock sure attitude of Mowgli whilst interacting with co-stars made up entirely of CGI animals inevitably leads to some stiffness and moments of over acting, but the enthusiasm with which he approaches every aspect of the role keeps the character from ever feeling detached from the world he’s inhabiting, which is no mean feat.


Verdict

Once the whimsical credits begin to roll to the timeless Disney songs there’s little doubt left that The Jungle Book was a remake that fully deserved to be made. Favreau’s cognizant approach marries the best of both worlds, weaving the depth of the book into the playfulness of the Disney original to form an iteration that’s entirely its own. Astounding computer effects, a believable lead and an esteemed voice cast all ensure this classic tale finds its place in modern cinema.

Hits

+ Balances dramatic beats with humour perfectly
+ Surprising depth and emotion
+ Cast impress across the board
+ Musical beats implemented into the soundtrack
+ Jaw dropping visual effects bring the world to life…

Misses

…but some disparities still hamper the CGI.

Overall Rating4starsCritical Hit