After Baxter (Devin Eash) plays a YouTube prank on his older brother Calvin (Mark L. Young) and his friend J.J. (Adam Cagley), Calvin decides to take revenge. He sends Baxter on an online mission to find the mythical – and apparently fictional – ‘Movie 43‘, a video so foul and depraved that it’s been banished to the furthest corners of the internet, whilst Calvin fills Baxter’s laptop with pornography and viruses. Apparently the video will, if seen, bring about the end of humanity, the destruction of the world, and will make him pull his own penis off, and we are treated to all the videos that Baxter encounters on his search.Continue reading →
Pampered pet rat Roddy St. James (Hugh Jackman) may appear to live the life of luxury with his lavish Kensington home, gargantuan television and high class lifestyle, but his existence is lonely, and he craves companionship. When his owners leave him for a few days, his world is rocked by the arrival of loutish hooligan sewer rat Sid (Shane Richie), who takes over the house and ridicules Roddy’s way of life. Roddy’s plan to evict Sid – via the toilet bubble bath – goes awry, and results in Roddy being flushed instead, leaving him lost in the vast underworld of London’s sewage system, where he becomes intricated with Kate Winslet’s tomboyish Rita and a plot involving a royal ruby, a computer cable belt and a mysterious plot concocted by sewer mafia boss The Toad (Ian McKellen).
Jean Valjean (Hugh Jackman) has worked his last day of nineteen years of slavery, all for stealing a loaf of bread to feed his starving family, and subsequently trying to escape. Upon his release he is informed by policeman Javert (Russell Crowe) that he will be on parole for the rest of his life, so Valjean flees and tries to make a life for himself anew. Some years later, Valjean has become a successful businessman, but Javert remains on his tail, which distracts Valjean at a key moment, which in turn dramatically affects the future of one of Valjean’s employees, Fantaine (Anne Hathaway), and her young daughter Cosette. Some years later, and on the eve of the French Revolution, Cosette (Amanda Seyfried) becomes the object of affections of Marius (Eddie Redmayne), a young but prominent revolutionary, who is himself adored by Eponine (Samantha Barks).
One love story is told across three wildly different time periods as Tom (Hugh Jackman) tries to cure his wife Izzy (Rachel Weisz) of her life threatening disease. Told in the modern day, Elizabethan era and a space-set future time, the film is beautifully shot and lit, effects created using different liquids dispersing into one another to create timeless yet phenomenal scenes. The story strands flow into one another, as the modern day surgeon struggles for a cure, a historic conquistador seeks to discover the fountain of youth and the slap-headed space traveller floats inside a giant bubble talking to – and occasionally eating – a tree. If this all sounds a little too much for you, you’re not alone, as this is a polarising film that many dismissed for being just too odd. The modern day segments are the easiest to follow, with a straightforward narrative, relatable characters and situations requiring minimal explanation. Director Darren Aronofsky (Requiem for a Dream, The Wrestler) alas does not have much of an eye for combat, with some of the past tense skirmishes coming across muddled and confusing, but otherwise this is a creative and visually stunning depiction of an otherwise done to death story.
Fittingly, The Prestige is a trick of a movie, a plaything, director Chris Nolan toying with the audience like a cat with a ball of string. Everything, from character motivation to the narrative timeline is entangled for the audience to figure out, as the tale of two rival magicians, Hugh Jackman and Christian Bale, unfolds. Jackman’s Robert Angier is a showman, but lacks the skill of Bale’s Alfred Borden, himself too concerned with the technicalities of the illusions to be entertaining. Hell, even the film’s genre, seemingly a period drama, reveals itself to be more science fiction who-dunnit (not to mention what-dun-and-how). Nothing is as it seems, but on a repeat viewing you pick up the clues, noticing that Nolan did indeed signpost the way, but the plot, characters, setting and acting was too mesmerising, too engrossing for us to notice.
With the consistently excellent Matthew Vaughn (Kick-Ass) releasing his upcoming X-Men First Class soon, a film about which I am very excited, and not just because it features January Jones and very little clothing, I thought it was apt to cross off X-Men 2. Although there were some excellent scenes, most notably the entrance of fan-favourite Nightcrawler (Alan Cumming) attempting to kill the President, the attack on the Mutant Academy and the fight between Wolverine and Lady Deathstrike, there were some plot holes I just couldn’t get past at the end of the film (spoilers). Firstly, when Magneto (Sir Ian McKellen) breaks into Cerebro, where a brainwashed Professor X (Sir Patrick Stewart) is being used to locate and kill all mutants worldwide, we are shown the mutants writhing in pain for the 30 seconds or so they are being attacked, so when the machine is altered, to affect non-mutants instead, we can only assume that they (we?) are put under a similar level of duress. So we’re talking about everyone driving a car, every pilot flying a plane, every surgeon performing an operation, all these people would be unable to function for a few minutes, causing carnage worldwide, and probably a massive number of fatalities. Secondly, why did Phoenix (Famke Jannsen) die? Yes, she got off the plane to lift it into the air (I’m assuming there are some logistical difficulties with lifting something you yourself are inside), yet there is a period of time between the plane being up in the air and the flood of water, that she is holding back, from engulfing her. She knew there was a teleporter on the plane, as we are told she is preventing Nightcrawler from helping her, but why not let him bamf out and grab her after she’s lifted the plane? It is a completely needless death, present only so when Charles meets the president at the end of the film, he can say there were losses on both sides, even though we are shown she didn’t really die.
Other than that, Brian Cox makes an excellent Bond-like villain, complete with henchmen, underground lair and, ahem, crippling put-downs (remarking “don’t get up” to a wheelchair-bound Professor X), and making the film more of an ensemble piece, as opposed to the originals Wolverine-show , even though he is the most memorable and fleshed out character. I also approved of director Bryan Singer including elements of his own life, for example Iceman (Shawn Ashmore) ‘coming out’ to his parents as a mutant.