2015 #195
Bill Condon | 130 mins | streaming (HD) | 2.35:1 | USA / English | 12 / PG-13
Bill Condon | 130 mins | streaming (HD) | 2.35:1 | USA / English | 12 / PG-13
Oscar-winning adaptation of the stage musical that doesn’t tell the story of the Supremes in fictionalised form, no sir.
Jamie Foxx is the ambitious car salesman who transforms a trio of black soul singers into a crossover hit by replacing chunky lead Jennifer Hudson with sexy Beyoncé Knowles. Personal issues dog the girls’ career, as Foxx becomes megalomaniacal, leaving early successes like R&B star Eddie Murphy in his wake.
Despite oddities, like diegetic performances being replaced part way by characters breaking into song, and questions over the story’s adherence to fact, the film is a compelling (if heightened) character drama.
Score: 
Based on the novel The G-String Murders by Gypsy Rose Lee (as in 
Stanwyck carries the film, both on stage and off. Her “will they/won’t they (of course they will)” romance with Michael O’Shea’s comic is kept aloft by her biting ripostes to his advances, and when a comedy sketch is interrupted by backstage noises she saves the day by breaking into song, doing the splits, a cartwheel, and the Cossack dance in quick succession. Not bad for a 36-year-old!
Adapted from the classic young adult sci-fi novel by Orson Scott “bigoted idiot” Card, Ender’s Game is the story of Andrew “Ender” Wiggin (Asa Butterfield), who displays uncommon aptitude in a military programme to train children to fight against an alien race that attacked Earth decades earlier. Sent to a training centre in space, Ender must battle his fellow candidates to prove their worth to their hardened commander, Colonel Hyrum Graff (Harrison Ford), ready for the real battle to come.
It tips its hat to things like drone warfare, child soldiers, and understanding our enemy, but that’s all it does: acknowledge those parallels exist, then refuse to explore them. Conversely, the music is too heavy-handed, taking on the burden of providing emotion that’s lacking from the screenplay.
Sadly, after all that training fun, once the cadets jet off to the other side of the galaxy for a rushed third act, interest evaporates speedily. It even has to work hard to sell its own twist as a twist! (Spoilers follow in this paragraph.) In a simulation for a war, Ender does what he’d do to win that war. Then he’s told it wasn’t a simulation, it was the actual war… and he’s all cross. I mean, okay, the fella kinda has a point when he gets angry afterwards: they’ve lied to him, and maybe he would’ve behaved differently if he’d known. But the point of the training was to teach them what they needed to do to win, and it taught them that, and he did it. Maybe this twist works in the book, but in the film it felt somehow unearned.
Widely regard as one of (if not the) greatest kung fu movies ever made, The 36th Chamber of Shaolin introduces us to San Te (Gordon Liu), a student whose hometown is oppressed by forces of the ruling Qing dynasty. He and his classmates join the underground resistance run by his teacher, only to wind up witnessing his friends and mentors be hunted, tortured, and killed. Faced with a similar fate, San Te escapes to the Shaolin Temple, widely known for being home to the best kung fu around. The temple’s monks refuse to teach martial arts to normal folk, nor help by joining the fight — they’re Buddhists, after all. Nonetheless, San Te manages to inveigle his way in to their company, and years of training begin.
San Te is eventually learning how to use weapons, and when he finally graduates from the 35th chamber he has to prove himself in combat, first against the temple’s justice, then when he returns to the outside world and seeks vengeance. Fights both with and without weapons are imaginatively choreographed and executed with the customary speed and precision.
For most of the ’90s and ’00s, Disney churned out direct-to-video sequels to many of their most beloved animated classics. They have a reputation for being unremittingly awful, hence why Pixar’s John Lasseter put a stop to their production after he became Disney’s Chief Creative Officer in 2006. Despite that reputation, however, there are those who say one or two are actually quite good. One of those (and the only one I’ve previously seen) is 
are to be found with the forty thieves… I expect you can guess where that’s going. Fortunately the film gets there pretty quickly, then transitions into a story about the possible redemption (or not) of Cassim alongside the quest for the Hand of Midas, capable of turning whatever it touches into gold (natch).
When What Dreams May Come first came out, the reviews seemed to conclude that it was rubbish, but at least visually splendid. Back in 1998, that put me off — “it’s not meant to be very good” was the takeaway thought there. As the years have gone on, for some reason those reviews (or possibly just one I extrapolated into a consensus, who knows?) stuck with me; and as my temperament as a film fan grew, that it was visually extraordinary (even if nothing else) began to seem reason enough to watch it. It lingered in the back of my mind, never quite becoming a “must see”, especially as the opportunity rarely (if ever) presented itself. So that’s more or less how I come to it now, 17 years since its release and those reviews — a long-awaited scratch of a long-lingering itch. (Perhaps this gives some insight into why/how it takes me so long to get round to watching recommendations/things I’m quite keen to see/etc.)
Hell, incidentally, also looks incredible, as do the various locales visited by Chris and his companions (played by Cuba Gooding Jr and Max von Sydow) on their way there. Director Vincent Ward and his team have created a rich, engrossing visual space here. It’s not just the Oscar-winning visual effects either, which create Chris’ initial realisation of Heaven as a kind of living painting, but also the locations, their decorations, and some fantastic sets. The design work is brilliant, and the vast majority of it still holds up today. Even the CGI doesn’t look glaringly like 17-year-old graphics, and in many cases what I presume is a mix of live action, models and some CGI is far more effective than the all-CG look it would likely have if made today.
Nonetheless, some will identify with the sentimental “love transcends death”-type message more than others, and there’s a chance those who like (or don’t mind) their films to be at the soppier end of the spectrum will genuinely love it. For the rest of us — for anyone who likes visual splendour in their movies, anyway — it does indeed merit a look for the imagery alone.
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