Tag: The Impossible

Geekscape Movie Review: Spider-Man: Far from Home

by MCDave

Following Marvel’s epic conclusion with Avengers: Endgame earlier this year, the stakes have never been higher as the cinematic universe pivots and plots a new course for the first time since its 2008 inception. And who better than the friendly neighborhood Spider-Man to pave the way for this new era in the MCU? Director Jon Watts returns with Spider-Man: Far from Home, a cozy and familiar sequel that ushers in a new Marvel figurehead and crisply handles its central antagonist in 2019’s finest summer blockbuster.

After the tragic concluding events of Endgame, there’s nothing Peter Parker (Tom Holland) wants more than to relax and enjoy his chaperoned summer school trip to Europe. But just as he leaves for his trip away from being Spider-Man, Peter’s vacation abroad quickly becomes interrupted by Nick Fury (Samuel L. Jackson). Strange attacks at the hands of elemental creatures put his relaxing summer on hold as Peter fights to protect a world that will never be the same again.

There’s no denying the pressure that was on Jon Watts and everyone behind Far from Home to smoothly transition the MCU following Endgame. Yet, the film rises to the challenge by boasting a wide collection of valuable storylines, otherworldly visual effects, and a brilliantly captured villainous foe to Spider-Man that will have fanboys awfully pleased. Far from Home carries a primary “passing of the torch” theme that proves an obvious, but also necessary, pathway for this bridging entry in the MCU. Consequently, Peter Parker’s character experiences quite a bit of turmoil in his quest for introspection. This enables Tom Holland to really shine as a performer, something we’ve all known that he could do quite well since his exceptional dramatic debut in 2012’s The Impossible. There’s also a hearty romance plot here, one that sometimes feels like it’s getting in the way, but one that stands as a major source of the film’s humor as well. From top to bottom Far from Home’s branded formula of intense action and relentless comedy fits the bill and offers a comforting first step into the dawn of a whole new era for the MCU.

GRADE: 4/5

For more reviews, trailers and movie lists visit MCDAVE’s host site

Geekscape Movie Reviews: A Monster Calls

by MCDave

Having given us one of the decades finest films in 2012’s The Impossible, it’s no exaggeration claiming J.A. Bayona as one of Hollywood’s most overlooked filmmakers. Bayona returns in 2016 with the late-year release, A Monster Calls, a touching examination the grieving process that’s gone completely unnoticed during the awards season frenzy. But no matter how often and for how long the Globes and Oscars continue to ignore his exceptional work, Bayona continues to represent a unique voice within the industry.

Newcomer Lewis MacDougall stars as Conor, a lonely boy struggling to come to grips with the painful reality of his mother’s (Felicity Jones) terminal illness. One night at 12:07pm, the imaginative boy is visited by an enormous tree monster (voice of Liam Neeson) who promises to return on three separate occasions to tell him three different stories. These visits and their messages serve as metaphors to Conor’s real-world experiences and help him confront the issues within his own life.

Visually masterful and superbly acted, A Monster Calls stands as another successful dramatic adaption from J.A. Bayona. Youngster Lewis MacDougall does a commendable job of carrying his first feature film, thanks in large part to a wide collection of supporting performances. Yet, it’s the always brilliant Felicity Jones who commands the spotlight with her soulful turn as Conor’s ill-stricken mother. Her omission from the awards season discussion in the Best Supporting Actress race is simply unfathomable, mainly because her quality of work refuses to go unnoticed. Structurally, there are a few contrived subplots sprinkled throughout the story, some of which unfold more effectively than others, but Bayona overcomes these flaws with sensational direction and eye-popping special effects. A Monster Calls isn’t an upper echelon entry like Bayona’s previous masterpiece, yet a clever and emotional finale allow the movie to stand as another formidable effort from an impressive filmmaker.

GRADE: 3.5/5

For more reviews, movie lists and trailers visit MCDAVE’s host site

‘The Impossible’ Director J.A. Bayona To Direct ‘Jurassic World 2’!

by Derek Kraneveldt

Briefly: This is some awesome news.

J.A. Bayona directed two of the most original, memorable, and underwatched films of their release years, 2007’s The Orphanage and 2012’s The Impossible (the star of which is our new Spider-Man).

Now, he’s about to make Universal Pictures a lot of money by directing the follow-up to Colin Trevorrow’s Jurassic World.

The announcement comes via Jurassic World producer Frank Marshall earlier today.

Bayona is currently working on the Liam Neeson / Sigourney Weaver flick A Monster Calls.

Jurassic World 2 just got a lot more exciting, didn’t it? The film hits theatres on June 22nd, 2018!

‘The Impossible’ Director J.A. Bayona To Helm ‘World War Z’ Sequel

by Derek Kraneveldt

Briefly: The World War Z sequel just got a lot more interesting.

The Orphanage and The Impossible (both fantastic, fantastic films) director J.A Bayona has just signed on to helm Paramount’s yet untitled World War Z sequel. No information about the sequel has been announced at this point, as the film is still in search of a writer, but we do know that Brad Pitt will again produce the film (no word on whether or not he’ll also act in it).

World War Z was a major surprise for me when it released earlier this year. I was a big fan of the (very, very different) novel, and thought that the film looked like absolute crap right from the very first trailer (plot wise, and that wave of zombies looked like something out of an early PS2 game, among other things). When I finally got around to seeing it however, I actually really enjoyed it (Not as an adaptation, but simply as a film… its only similarities to the book were the title and character’s name). In any case, the HonestTrailer for the film was pretty spot on:

Are you looking forward to the sequel? What did you think of the first film? Sound out below!

Source: THR

MCDave’s 2012 Movie Awards

by MCDave

In honor of the Academy Award Nominations which will be announced on Thursday January 10th, I give you my personal 2012 year-end movie awards. 2012 proved to be an extraordinary year in cinema (view my top ten films of 2012), one that will certainly leave its mark in history. Having seen nearly 100 new releases over this past calendar year, here’s my top 5 picks for each of the 6 major races:

Notable films I missed in 2012: Amour, Beasts of the Southern Wild, Skyfall and Rust and Bone

 

Best Supporting Actress

#5 Sally Field – Lincoln

#4 Amy Adams – The Master

#3 Helen Hunt – The Sessions

#2 Pauline Collins – Quartet

and the winner is …

#1 Anne Hathaway – Les Miserables

 Much like the Academy is sure to do in late February, I reward Anne Hathaway with the Best Supporting Actress role of 2012. For all of the focus on Jean Valjean’s character in Tom Hooper’s Les Miserables, it’s Anne Hathaway who serves as the film’s heart and soul. Her emotionally-crushed rendition of “I Dreamed a Dream” will live on as a Hollywood highlight reel forever, making her the clear cut winner here.

Best Supporting Actor

#5 Benicio Del Toro – Savages

#4 Philip Seymour Hoffman – The Master

#3 Sam Rockwell – Seven Psychopaths

#2 Ezra Miller – The Perks of Being a Wallflower

and the winner is …

#1 Christoph Waltz – Django Unchained

Quentin Tarantino’s Spaghetti Western Django Unchained stood out as one of the year’s funnest movie experiences. The film’s most lovable character was Dr. King Schultz, played by Academy Award Winner Christoph Waltz. While I am starting to feel as though Waltz will be the odd man out in the Best Supporting Actor category when Oscar nominations are announced on Thursday (read about my 2013 Oscar Nomination Predictions), it would be a shame for the Academy to omit his transcending performance.

Best Actress

#5 Helen Mirren – Hitchcock

#4 Naomi Watts – The Impossible

#3 Zoe Kazan – Ruby Sparks

#2 Jennifer Lawrence – Silver Linings Playbook

and the winner is …

#1 Jessica Chastain – Zero Dark Thirty

After storming onto the scene in 2011 with a handful of unforgettable roles, it seemed like a forgone conclusion that Jessica Chastain was a star in the making. Taking home my 2011 Best Supporting Actress Award for Take Shelter, Chastin raises the bar again with her phenomenal portrayal in Kathryn Bigelow’s Zero Dark Thirty. Chastain’s character transforms throughout the feature and her development becomes a valuable aspect of the narrative. Although she finds worthy Oscar competition from my runner-up, Jennifer Lawrence (Silver Linings Playbook), Chastain gives the most decisive female performance of the year.

Best Actor

#5 Bradley Cooper – Silver Linings Playbook

#4 Denzel Washington – Flight

#3 Joaquin Phoenix – The Master

#2 John Hawkes – The Sessions

and the winner is …

#1 Daniel Day-Lewis – Lincoln

This race feels like the biggest “no-brainer” to me. For as many brilliant lead actor performances as there were this year (and believe me there were a TON), none of them were even in the same stratosphere as Daniel-Day Lewis’ once in a life time portrayal of Abraham Lincoln. Every chance I get to watch Day-Lewis deliver groundbreaking role after groundbreaking role, it becomes more apparent that I’m experiencing greatness. Steven Spielberg’s Best Picture contender, Lincoln, survives solely on the shoulders of the actor’s performance. There’s no question who deserves this win.

Best Director

#5 David O. Russell – Silver Linings Playbook

#4 J.A. Bayona – The Impossible

#3 Quentin Tarantino – Django Unchained

#2 Kathryn Bigelow – Zero Dark Thirty

and the winner is …

#1 Ben Affleck – Argo

The Best Director race was the most difficult for me to decide. The Kathryn Bigelow/Ben Affleck debate becomes very difficult to dissect. The direction’s outstanding in both Zero Dark Thirty and Argo, but the difference-maker was Affleck’s ability to conjure up a multi-dimensional movie experience. Bigelow’s feature is more of a character based journey, while Affleck focuses on bringing a remarkable true story to life. Distinct opposites in approach, both films are premier examples of modern day filmmaking. However, I just happened to enjoy Argo slightly more than Bigelow’s gripping manhunt tale.

Best Picture

#5 Perfect Sense

#4 The Sessions

#3 Zero Dark Thirty

#2 The Impossible

and the winner is …

#1 Argo

No one can question the abundance of top tier films released in 2012. It was a difficult decision and very close, but I’m going with Argo as the Best Picture of 2012. A roller coaster ride of emotions, Ben Affleck’s Argo interweaves between espionage thriller and comedy. The pacing and tone is perfect, making Argo the most enjoyable film of the year. Its Oscar hopes are still very much alive, despite a major December-long onslaught of competitive releases. Affleck continues to solidify himself as a bonafide filmmaker and gives us Argo, 2012’s Best Picture.

*** Where am I right and where am I wrong? Leave a comment and spark a debate. You can view other work by MCDave at Movie Reviews By Dave

Jonathan’s 10 ‘Most Enjoyable Movies Of 2012’!

by Jonathan

2012 was a strange year at the movies. While comic book movies, remakes and sequels continued their multiplex dominance, there was an entire wealth of indies, festival films and curiosities that made 2012 a pretty diverse year. Even now that it has come to an end, I can’t produce a confident list of 2012’s Best Films… and I saw almost everything (sorry, Cloud Atlas).

So instead of Best (as Matt Kelly provided after seeing only 15 films all year), here’s my list of ‘The Films I Enjoyed The Most of 2012;. It’s a wide-ranging, mixed list, appropriate for a pretty wide-ranging, mixed year. Yes, these are the ones that I got the most out of in my own selfish, film-loving way.

The List:

#1 – Life of Pi – Ang Lee has been one of my favorite filmmakers for about fifteen years. Strange that his one film that you’d think was made for me was the one I enjoyed the least (Hulk). Luckily, this year’s Life of Pi more than made up for it as my favorite moviegoing experience of the year. I bemoan most 3D films, as I should, because most 3D films look pretty bad and suffer from the 3D not being fully thought out. It becomes more of a distraction than attraction. Here, with Ang Lee’s careful integration of digital effects and visual care, is the best 3D film I’ve ever seen. Even in the quiet moments, the movie jumps with energy. And during the big visual crescendos the movie erupts. Life of Pi, both on the script and on the screen, is a complete celebration of storytelling. I loved every moment of it.

#2 – The Hobbit: An Unexpected Journey – Last January, I thought this movie would be on this list, and here it is. I just didn’t know that I’d try and experience it several times just to see it in different formats. Peter Jackson and company pulled off a Herculean task in bringing Middle Earth to the screen, both as The Hobbit and its integration into The Lord of the Rings. Yes, there was some awkward shoe-horning in the film (and where the hell did Radagast go!?!) but still, making a six-part film series of this level of quality can only be celebrated. I love being in Peter Jackson’s Middle Earth and am excited to return next year, regardless of frame rate.

#3 – The FP – I probably saw this movie more than any other film in 2012 and I’m proud that Geekscape was the product pusher through which many of you discovered it for yourselves. Of any film on this list, if The FP were a living, breathing person, it would be the one you’d most want to hang with. It’s equal parts everything you loved about the movies you grew up with plus the addition of video games and attitude mainlined right into its twisted brain.

#4 – The Raid: Redemption – Everyone’s lumping this film in with Dredd. I’m not going to do that. Beyond the tower assault storyline, and the large amount of violence, these movies are pretty different. Watching The Raid at SXSX in March was the loudest and craziest I’ve ever seen a theatrical audience. They were ready to rip the seats out of the Paramount Theater and start hitting each other with them. Unlike the bullet-charged explosiveness of Dredd, The Raid is a pretty hardcore martial arts film. The pain it inflicts is more personal and visceral than Dredd’s machine gun violence. In my interview with The Raid director Gareth Evans last spring, we spoke about how the silat fighting discipline was sort of the joke of the martial arts world before he filmed The Raid (and its predecessor Marantau). It says a lot about the film that no one is joking about it today. It’s just 100% bad-assery.

#5 – John Dies At The End – This is the craziest movie I saw this year. Of all the films from 2012, John Dies At The End is probably the one I think most Geekscape readers will appreciate the most. It’s equal parts science fiction, monster and occult film… but told through a narrative that is just as slapstick as it is intelligent. Really, John Dies At The End is almost impossible to describe, especially if I want to avoid spoiling it for you (I really do)! Every time that you think the movie is going in one direction or is about one specific thing, it pulls a complete 180 on you and pursues a wilder and more satisfying direction. And just when you think you can contain this movie, it spills out and becomes about something much larger than you can imagine. Really, the most impressive thing about this already impressive movie is its ability to articulate some pretty complex ideas about our own existence in a fun and exciting way. This is one destined for cult status among us geeks.

#6 – Les Miserables – This was an impressive production. Just on a technical level, Les Miserables had some of my favorite shots of any film I’d seen this year. Director Tom Hooper’s visual communication with an actor’s performance was second only to the work I saw in The Master or Holy Motors (which was probably the best performance I’ve seen this year). In many of the film’s one take masters, the focal depth on the actor’s performances was almost razor thin, leaving little room for the performer to move. Then they both start moving. It’s pretty impressive to watch both the performances of the actor’s and the camera. I’m not a big fan of musicals so it’s hard for them to make my list. Les Miserables did it pretty easily.

#7 – Dredd 3D – This is my favorite comic book movie of 2012. It didn’t have the loose plot threads and “what the fuck logic” of The Dark Knight Rises or the multiple personality complex of The Avengers’ first act that completely took me out of loving the movie the first time I saw it. And I’m not even going to elaborate on the heartbreak that was The Amazing Spider-Man for me. You can listen to the linked podcasts for those. What I will say is that Dredd 3D is the most faithful adaptation of the 2000AD source material that you’re ever going to see on-screen. Everything about the movie was spot on and completely drenched in kerosene from beginning to end. The non-stop violence. The broken world. The breakneck pace. Much like 2000AD, mainstream American audiences weren’t ready to accept this movie into their theaters. This isn’t Spider-Man. It isn’t Batman. And it isn’t The Avengers. It’s just pure adrenaline. I can’t wait to see it over and over.

#8 – Django Unchained – All of Quentin Tarantino’s movies are interesting… and this is one of his more interesting ones. I still don’t know if I 100% loved it. In my book, it does the same near-fatal thing that Inglourious Basterds does. It hits a dinner table scene during which the movie’s locomotive energy runs out of steam and is only re-injected by a high octane shoot out like an adrenaline needle stabbed through a breastbone. Sound familiar? It’s almost scary how structurally similar the last acts of these movies are and you can start at the Django scene around the dinner table and the underground cafe scene in Inglorious to start your study. Both involve characters carefully masking their identities but ultimately showing their hands. They both end in those identities being revealed and the main characters forced to move their plans into action and within twenty minutes a historical building full of people is being shot to shit with almost no survivors. And ultimately, the movie ends with an ambush by the movie’s lead on the movie’s biggest sellout, whether that be a turncoat Nazi or a race traitor of a house-slave. And that’s where Tarantino’s ability to make cinematic mix-tapes saves the day. In anyone else’s hands, this would all be painfully redundant. But these aren’t anyone else’s hands. While you often get the feeling while watching Tarantino’s films that you’ve heard these songs before, damn if they aren’t arranged and cranked up in the greatest possible way here. Bring on the director’s cut.

#9 – The Master – This is a film I actually enjoyed much more after it was over. It just stayed with me for a long time. The precise camera work, the performances, the riddle of the film’s subject, everything in this movie felt done with so much care that I couldn’t dismiss it upon leaving the theater. The Master makes you work to appreciate its message, and whether it be a study of the birth of Scientology, a condemnation of the audience’s passivity or an admission of P.T. Anderson’s own insecurities, there is a lot to explore here on several levels.

#10 – The Impossible – Can you love a movie simply for its sound design? I think you can… but luckily The Impossible is a whole lot more. The incredible sound design is just the first thing you experience. I know that Zero Dark Thirty and a few other movies I experienced this year did the whole “the audience will hear our movie before they see our movie” black screen intro… but none of them did it as effectively as the opening moments of The Impossible. It really sets the mood for a film whose most intense moments exist in 360 degrees and not just on screen in front of you. J.A. Bayona’s 2007 ghost film The Orphanage made me a fan, but here his camera work is so selective and claustrophobic that it really gives you a sense of helplessness against the rushing tide. This game of visual keep away and the way that the story is told a little out of sequence to keep information from us, combines with the immersive sound surrounding you to create a movie that is as visceral as it is inspiring. Much like Danny Boyle’s 127 Hours, I realized afterwards that I’d been holding my breathe for much of the movie. Combined with two perfect tight-rope performances by Naomi Watts and Ewan McGregor (really, the entire family in the film), this is a movie that’s only going to get better as people discover it over time. From here on out, Bayona’s name should be spoken alongside the other elite Spanish speaking directors like Alejandro Iñárritu and Alfonso Cuarón (so really, it should be spoken among any elite directors period).

 Close, But No Cigar (Not that we condone smoking…)

The following are movies that I loved this year, and they’re a pretty eclectic mix, but for some reason or another they stayed out of the Top 10. In a few hours I may look back and change them again… but by then we’ll be too deep into the new year. We can only move forward!

 Argo

 Zero Dark Thirty

 Holy Motors

 Wreck-It Ralph

 End of Watch

 The Avengers

 Moonrise Kingdom

 Safety Not Guaranteed

The Imposter

Brave

Geekscape Movie Reviews: The Impossible

by MCDave

Many people believe that the Best Picture race for the 2013 Oscars has been narrowed down to three films: Zero Dark Thirty, Lincoln and Les Miserables. But after seeing J.A. Bayona’s The Impossible, it’s clear that even the Academy doesn’t get it right every time. Based on a remarkable true story of survival, The Impossible follows a family separated by the 2004 tsunami that rocked Thailand, Indonesia and other parts of Southeast Asia.

Henry (played by Ewan McGregor), his wife Maria (played by Naomi Watts) and their three young sons all travel to Thailand for a winter vacation to celebrate the Christmas holiday. While experiencing the beauty and paradise of their beachfront resort, the family finds itself forever affected by one of the deadliest natural disasters in the history of the world. Divided by a tsunami that killed north of 200,000 people, the family struggles to reconnect and defy the greatest of odds.

J.A. Bayona’s The Impossible is a game-changing drama characterized by artistic direction and unparalleled acting. The young, but mightily-gifted, director uses the camera to perfection and places the moviegoer in the center of this horrific tragedy. By literally filming on top of the characters, The Impossible forces the audience to join its subjects on their unfathomable journey. In doing so, the strong bond formed between the viewers and the onscreen family becomes the foundation of the feature. This connection demands a variety of energy and emotions, making The Impossible a true testament of humanity. Even through all of the destruction and despair caused by this devastating tsunami, Bayona effectively illustrates the power of human compassion. And while sentiment can become a difficult sell, Bayona’s once-in-a-lifetime cast makes it feel effortless. Naomi Watts steals the show and stakes her claim as a legitimate Best Actress contender. Right on her heels is youngster Tom Holland who portrays the family’s eldest son Lucas. His character commands an enormous amount of screen time and Holland makes the most of every moment. It’s shocking to discover that this is Holland’s first motion picture, but the future is clearly bright for this budding star. Backed by strong direction and extraordinary performances, The Impossible stands out as one of 2012’s most compelling and moving dramas.

To be perfectly honest, there are no detrimental faults with J.A. Bayona’s latest masterpiece. One minor blemish resides in what some will call an “average” screenplay. The dialogue is adequate but nothing exemplary, and various other areas of the script mirror the same level of mediocre acceptance. However, the emotional force of the feature is carried out through Bayona’s original sense of direction and a well rounded cast. By simply serving its purpose, a less than glaring script appropriately allows for the fascinating true story to take control of the film. Playing more as a complementary figure, the screenplay never diminishes this unbelievably amazing account of survival. Even at its weakest points, The Impossible is nothing shy of cinematic euphoria.

Throughout the course of time, meaningful movies have slipped through the cracks of a blockbuster-driven society. Thankfully, I expect the Academy to find some way to acknowledge the profound work of director J.A. Bayona and his entire team. Filled with amazing visual sequences, top flight acting and a beautiful score, The Impossible is an iconic feature that should be savored by everyone. Currently playing in select theatres, make it a point to seek out The Impossible. You won’t want to miss one of 2012’s finest features.

GRADE: 5/5

When MCDave isn’t on Geekscape, he can be found at Movie Reviews By Dave