Flight 1942 (2016) review

I had a good feeling about the plot for this hokum B-movie before I started watching it. What’s not to like about a film where a commercial airplane from 2015 travels back in time to the middle of World War 2 and has to find a way back home?

Then the opening credits kicked in and the words “The Asylum” flashed up on the screen. Oh dear. This might not go as well as I had hoped.

Now, an obvious trick has been missed immediately, because the airplane goes back to 1940, rather than the more obvious choice of 1942. why call your film Flight 1942 if you’re not sending them back to that year?

With that point aside, you know what to expect from an Asylum movie. Some ludicrous plot point will drive the story, the special effects will look like a low quality 2004 era video game, and the performances will be earnest but incapable of making the final product worthwhile.

Aside from the fact the plane has travelled back in time, there’s little else to the plot. Characters are underdeveloped and have no depth besides being basic stereotypes and archetypes – the good looking air hostess; the older air hostess; the angry man; the soldier; the pilot. It is just 85 minutes of people getting upset about being over war-torn Europe, and occasionally being attacked by the Nazis, who have missile and jet technology at their disposal. Hmm.

The best parts of the film are when we cut to the British and the Germans on the ground. In both cases efforts have been made to emphasises which side they are on – the Brits have Union Jack flags plastered everywhere, while the Nazis have swastikas over everything, even the radio equipment. It’s so laughably bad it’s actually really entertaining. Sadly it’s not clear if this was intentional or not. If it was, it’s simply genius.

Otherwise, I can’t say there was anything that really stood out enough for me to suggest watching it. It lacks the charm and stupidity of other Asylum productions, and also misses several opportunities to have fun with the concept.

The key ingredient missing is emotional depth. Seeing as they’re cardboard cutouts, there’s no reason to care about the characters or their predicament. They all go through the motions trying to work out what to do next, but other than an angry outburst from one passenger (“Let’s kill Hitler!”) there’s no real emotion behind any of it.

There are more issues with the script. The initial conceit is that they have travelled back in time, but then it ties itself in knots. It can’t make its mind up about whether this is an alternate reality or that their journey back in time is predetermined. On arriving in the past they discover that Dunkirk was a disaster for the Allies and nearly half a million were lost. So tell me, if this isn’t an alternate reality, why is their history and level of technology different? It doesn’t make any sense. Then again, what else would you expect from another hastily prepared Asylum production?

Freefall – Part 9

Simon Prior

2016-05-08

Hello again, welcome to Part 9 of Freefall, an ongoing double drabble story I’m telling each week. Or more frequently in future – we’ll see if I have time.

Anyway, you’re not here for me and my rambling. Well, you are – sort of. Just… not this bit. If you’re new to the story then you might want to pick up Parts 1-8 in the short story section (ooh, alliteration!).

I’m always glad to receive feedback, whether you enjoyed a story or thought it could do with some work. My contact details are, funnily enough, on the Contact page. Thanks for paying a visit, and I hope you stick around for future episodes.

“Almost there. It’s not much further.”

Farrow walked a few steps behind the farmer, wincing now and again as the pain in his twisted ankle flared up. It was okay to walk on, he just hoped he wouldn’t need to run anywhere.

They were well beneath the farm now, walking down a long corridor that had been cut into the earth. Other tunnels branched off in several directions. They looked like they had been fashioned by one device. Human technology was advanced, but only in matters of warfare. This was beyond current technology. Then it hit him.

It was a hive. Farrow had heard of the existence of giant insects before now, but had ignored them as mere rumour and superstition. These corridors put an end to those thoughts. They were real.

The farmer slowed as the corridor curved round to the left. Farrow stopped in his tracks and looked ahead.

The farmer stepped up and pulled back a hanging sheet to reveal a huge metal door. It was a stark contrast to the surrounding walls and looked brand new. In its centre was a combination lock.

The farmer looked at Farrow.
“Best get yourself inside. We ain’t got long.”

Jurassic World (2015) review

Simon Prior

1999 was the last time we stepped into the world of Jurassic Park. That film, the third in the franchise, was enjoyable enough but failed to capture the depth and replay value of the first two entries. Plus, its big set pieces were leftovers from the original Michael Crichton novel. But that’s a discussion for another time.

In Jurassic World it is several years after the events of Jurassic Park 3. We return to Isla Nublar (for the first time since 1993) where the park has finally opened and been running without problems for ten years. John Hammond has since sadly passed on along with Sir Richard Attenborough, but his fingerprints are all over the successful park – even stretching to a glimpse of Mr DNA in the early going.

But all is not well. Of course. Aside from the raptors that have learned an element of respect for animal expert Owen Grady (Chris Pratt), there are issues to tackle of both a corporate and a human nature. Vincent D’Onofrio represents the antagonistic Dennis Nedry role of the original, and has shady plans that contrast with Hammond’s policy of and entertainment. There’s also the minor issue that a returning Dr Wu (BD Wong) and his team have created a new dinosaur, because audiences want something scarier “with more teeth”. Enter Indominus Rex, a hybrid dinosaur that can mask its body heat, blend in with its surroundings, and it’s smart to boot.

Into this are dropped a few archetype characters. There are the obligatory kids who are visiting the park for the first time while their parents undergo a divorce. When things start going wrong, Owen Grady and park overseer and auntie to the boys Claire (Bryce Dallas Howard) go looking for them. Owen is your typical animal behaviour expert, almost like Muldoon in the original. In my opinion Chris Pratt can do no wrong, both before and since Guardians of the Galaxy, and if further proof was needed of his box office draw, it’s right here. He’s a more serious presence than Star Lord, but his slight air of deadpan whimsy works well.

Great special effects follow, more detailed and believable than ever before. There are issues with the plot, which not only sees Howard running everywhere in high heels (not recommended) but not living up to the tension that Spielberg was able to develop in his two efforts. Plus women get short shrift overall. Judy Greer’s role is to sob down the phone, while Lauren Lapkus is our voice of exposition from the park control room. Her scenes with Jake Johnson as Lowery do offer an amusing aside to the main narrative, at least.

Despite the heels, Claire does at least develop throughout the story, softening from the numbers based figurehead to somebody who might consider starting a family. It’s terribly broad and fits in with the usual stereotypes as she falls for the rugged Owen and screams a lot, but it’s better than nothing.

The ending is total fan bait for sure, but I defy anybody who sees it to not be cheering along with everybody else. It’s a fine balance between farce and fandom, and Colin Trevorrow just about manages to pull it off.

With a hint of more to come in this world, Jurassic Park successfully puts to bed most of the problems the franchise has previously faced. There are a couple of slips that stop it climbing to the same heights as Spielberg’s opening brace, but it’s certainly on the right track. This comes as quite the relief given the film’s decade in development hell.

Short Story: I, Zombie – Part 10

Simon Prior

2016-05-06

Here we go folks, we’re at part 10 of the ongoing story and the final part for a few weeks. Excited? And so you should be. After today I, Zombie goes on a bit of a break so I can write some other stuff. What will be up next week then? You’ll have to come back next week and find out.

I know, I’m cruel like that.

Jenkins ran to Howard’s quarters as fast as she could. She received some strange looks from her fellow soldiers, but that was normal. There were always strange looks aimed at her. She ignored them. If there was a problem it was with them, not her.

The room was empty. Where could he be? He wasn’t expected on duty until morning. Unless he was nearby there was no chance of finding him. Not without using internal security cameras at least – and she didn’t have clearance for that.

Entering Section 43A, she had to stop. A soldier stood in her way. She didn’t recognise him, but the base was so huge she’d been here for three years and still didn’t know absolutely everybody. Still, she looked at him with suspicion. He didn’t have the posture of a soldier, and beneath the cap he wore his hair was much longer than the regulation length.

“Excuse me” she said, moving to walk past. He stepped in front of her. She looked him in the face. His gaze didn’t waver.
“I said excuse me”. She tried walking through on his right side. Again, he stepped into her path, blocking her way.

“You brought in that thing, didn’t you.” It wasn’t a question. Jenkins said nothing. She walked toward him, knowing what was coming next.

She stepped back, avoiding the punch that had been aimed at her head. Twisting to her right she aimed a left hook of her own at her attacker’s ribs. She connected and heard the man grunt in pain. Before he could react she aimed her right fist at his chin. This one connected too, and the soldier staggered back.

Something hit her from behind. Then everything went black.
The door to Pops’ cell opened and a military General walked in. His chest was adorned with medals. He looked at Pops from the doorway, inspecting this creature that had been introduced to his base. Despite the power he held, it took more than a minute for him to feel comfortable enough to walk inside.

He stopped just out of reach.

“They tell me you’re a smart one. Is that true?”

Pops nodded his head slowly. The General shook his head and smiled.
“Well I’ll be a monkey’s uncle. Isn’t that a turn up for the books?”
He walked a few steps closer. He was within reach. Pops kept his arms by his side. It wouldn’t help him if he killed the General here and now. The General had recognised this.

“Of course, when you came back with my soldiers, we wondered what in Sam Hill they were thinking. Nobody brings the dead back to the base. Nobody. You’re a risk. You being here puts the lives of everybody here at risk. They knew that. And yet they still decided to bring you back. Funny, huh?”

The General wasn’t smiling.

Pops looked at the General, confused. The General was enjoying this little interrogation.

“You don’t understand, do you? Well let me spell it out for you. You’re never leaving this room.”

The Man From U.N.C.L.E. (2015) review

Simon Prior

Or more like The Man From U.N.C.L.E. Begins. Despite the film’s name, this Guy Ritchie adaptation of a fondly remembered 1960s television series is little more than a set up for American smooth talker Napoleon Solo (Henry Cavill taking on Robert Vaughn’s role) and Russian Ilya Kuryakin (Armie Hammer in the David McCallum role) to join forces and stop a threat far bigger than the one their respective countries presented to one another during the Cold War.

The characters are presented as intriguingly flawed from the off. Solo, for having gambling and womanising issues is press-ganged into serving his country rather than going to prison, while Kuryakin has anger issues that stem from his upbringing.

The decision to make this a period piece is one that works in its favour. Ignoring the very obvious parallels between the Cold War and the character’s relationship, it also represents a time of deep uncertainty that plays into both the after effects of World War 2 but also the threat of nuclear armageddon. It also rather cannily sets it apart, visually at least, from the glut of modern day action films that were released in 2015. It’s for the best as other than its visual style there isn’t much to the story that hasn’t been done better elsewhere.

Alicia Vikander is Gaby Teller, the female foil in all of this, who thankfully is never once presented as a weak character who needs the men to save her. While both Solo and Kuryakin give this a good go (it was the 1960s after all), she is still somebody who remains entirely independent and capable.

Ritchie’s direction is solid, coming from the same school as his Sherlock Holmes movies. For all the issues that some people had with those films, I loved their style and approach to the material. That applies here, too. I used to watch the original Man from UNCLE television series when I was younger(on repeat, of course – I wasn’t around in the 1960s), so I have a small amount of fondness towards the source material.

I can’t say that this big screen version ruined any of it for me. At it’s core it’s just a standard spy caper, filled with exotic locations, engaging action sequences and, admittedly, a somewhat poor villain. Elizabeth Debicki is good value as the seductress Victoria,

While I can’t fault The Man From Uncle on a technical or performance level, there is something about it that doesn’t quite gel. Some of the plot developments are a little obtuse and not explained clearly. Elsewhere character motives are a little unclear but this isn’t enough to stop you enjoying the action.

In fairness, much of the appeal lies in how Solo, Kuryakin and Gaby interact with one another. They’re a fun bunch to be around and the spy caper just adds to this.

Much like the Roger Moore era of James Bond, this is a spy film where you don’t have to engage your brain too much to enjoy it. If further sequels should appear, they would be welcome for the Solo/Kuryakin banter alone.

Husbands (1970) review

Simon Prior

John Cassavetes stars and directs in Husbands, alongside Columbo himself Peter Falk and Ben Gazzara. The three play close friends who are united following the sudden death of another close compadre, setting off a two day party and the onset of a midlife crisis for all three of them.

As the title implies the focus is entirely on the men, asking questions about the effects of middle age. It also represents man in his true form, as a perennial schoolboy. Take this as you will, but men will generally never grow up. Despite their advancing years and responsibilities – all are married with kids – they are ultimately selfish and self-centred to a point. They are also dedicated to their friends and have an unshakeable bond that can never be broken. Or so they think.

Filmed in a cinema verité style – that is, in brief, as if it’s being shot like a documentary (there is of course much more to it than that – click here for the details) – there are many long rambling takes without any emphasis placed on cinematography or other typical obvious directorial flourishes. It’s more a point and shoot type situation, which does help bring the viewer into the story. This could easily be something that’s taking place out there in the real world somewhere.

At the centre are three solid performances from Cassavetes, Falk and Gazzara, although the extended focus on Cassavetes’ Gus is ill advised. It would have been better placing more of the story with Gazzara’s Harry or Falk’s Archie instead. Especially Harry, as he is the most broken of the trio, a massive near-violent argument with his wife setting off the plan to visit London and setting up the second half of the film.

A lot of the energy falls out of it once the trio get to London which, rather typically, is absolutely pouring it down with rain for the duration. Too much time is spent on this part of the story, and the ill advised attempts at scoring with women as if to prove their virility are likewise given too much focus. There was more going for the characters until this point, even if it was about the malaise seeping into their lives and their efforts to fight against it.

It does have a certain power behind it, despite its flaws. The glimpse into a man’s world, the crushing disappointment that could hit when you settle into a life you never expected to live. This is Husbands true strength, even if from a modern eye it could have been supported by some strong turns from the wives to emphasise the point. The only true glimpse of “the lady indoors” is Harry’s wife, who threatens him with a knife. It’s hardly surprising he decides to jump on a plane to London. He is just as bad, if not worse, as he threatens to beat her up and part strangles her. In context her reaction is entirely believable.

It’s definitely too long and could do with having up to half an hour shaved off the running time. But as an exploration of middle aged manhood it is a broad success. It could have just done with a little more focus rather than the rambling jumble of manliness that is the final cut.

Too Late Blues (1961) review

Simon Prior

Ghost (Bobby Darin) is a jazz player, meandering through life with his bandmates. They are content to just play their music, for the most part, without any hopes or plans for the future. Then he meets Jess “Princess” Polanski (Stella Stevens) and decides to set his sights on fame and fortune, seemingly at any cost. The problem? Nobody rates her voice. She does have a moderately pleasing warble, singing without singing. So er, that’s something.

The other problem? The rest of the band aren’t particularly well rated either. But Ghost has a vision, and it’s his creative posturing that keeps things going.

Cassavetes gets in close and personal with the camera at every opportunity, the focus being on the performances rather than setting or situation. It is all about the emotions, the human element. Other than establishing shots, the majority of the film is played this way. This might have been a result of financial constraints or that the film needed to completed as quickly as possible, but it works.

And that’s perfectly suitable. Antagonism and crumbling personal relationships form the basis of Cassavetes and Richard Carr’s script, the first film Cassavetes made for a major studio. The plot, whether knowingly or not, reflects his battle with the studio, the ongoing struggle of maintaining your creative vision despite the efforts of others to twist it to suit their own needs.

Ghost is a coward, both in a physical and an emotional context. Darin plays him one part smarm, one part charm, one part weak and vulnerable. The smirk on his face is a facade, a public face that contrasts with his inner demons. There have been complaints about Darin’s performance, but I’m of the opinion that it suits the character.

Throw in a hefty dose of personal drama in his relationship with Princess and you have the makings of an emotionally explosive and dramatic story. Suffice to say the finale is much like life – downbeat but tinged with hope.

For me this was a story about finding balance between creative endeavours and other important aspects of your life such as friends and family. It’s something that we all struggle with in one form or another, or at least those of us with a creative and/or busy mind. Life is about balance, ultimately. This is something lost on Ghost until the closing moments.

I have a few complaints, in that the supporting players aren’t filled in as well as I would like. Aside from their instruments of choice there is precious little of them added to the story. Even the outrageously stereotypical manager of their bar of choice has more going for him. Admittedly, this is more to do with him being an outrageous stereotype rather than deep characterisation.

It might not be the greatest human drama ever committed to film, but the hallmarks are there. If the rushed 30 day schedule led to Cassavetes not achieving what he had hoped, it does at least show he had talent behind the camera. And, sometimes, taking 30 days rather than 6 months can work in your favour.

Ant-Man (2015) review

Simon Prior

It’s refreshing that Marvel chose to release Ant-Man when it did. If not for its palate cleansing goofy nature in the wake of the blockbuster status of Avengers: Age of Ultron, than for the script resisting the urge to “go big” and copy the same formula for its third act as all of the other finales in Marvel’s Phase 2 catalogue.

Instead it’s a deliberately more intimate affair, and without wanting to labour the pun, much smaller in scale. This is a good thing. With all the good will in the world towards Marvel’s Cinematic Universe, Phase 2 is filled with movies that have the same finale.

For those not in the know, Ant-Man was one of the original Avengers in the comics, a man called Hank Pym. In this instance Pym’s days of adventuring are behind him and he appears courtesy of Michael Douglas. The mantle of Ant-Man falls on Scott Lang, a cat burglar who chances upon the shrinking suit one day and finds his life irreparably changed.

For many a year the project was under Edgar Wright’s control, predating the MCU. Then, when the MCU picked up pace, Wright left the project due to that old chestnut, creative differences.

This was a concern, but thankfully new director Peyton Reed has managed to give us a solid story that is filled with humour. How much of the script was kept from Wright’s time on the project isn’t clear (I’ve no doubt it’s covered on a DVD commentary or something), but any worries are soon put to bed. The jokes hit the mark frequently, and the plot moves forward at a decent pace. In an effects-heavy film like this there was always a risk that something was going to fall flat. That isn’t the case, with the shrinking and enlarging effects handled well. You’ll even get hit in the feels by the CGI ant called Antony.

In true Marvel fashion, the story is solid but the depth to the characters is another point worthy of mention. So the villain, Corey Stoll’s sinister businessman Darren Cross, is defined solely by his desire to be an evil villain (see every other Marvel movie villain), but the heroes are very well detailed. Lang is determined to do right by his daughter, while Evangeline Lilly’s Hope Van Dyne, daughter of Hank, has her own issues to resolve with her father. These are layered and complex characters that deserve our attention. And then there is Michael Pena’s Luis who, to be fair, is presented as the comic relief. And excel in this role he does.

The finale flies in the face of Phase 2 by pitching Ant-Man and Yellowjacket off against one another, in miniature form, in Lang’s daughters bedroom. You won’t look at Thomas The Tank Engine in the same way ever again, that much is certain.

Closing with a teaser that we may get to see The Wasp in a sequel is another strong point in a film that gets it right in almost every respect. Well done Marvel and everybody involved. It just goes to show that, metaphorically speaking, the sky’s the limit as far as this cinematic universe is concerned.

Freefall – Part 8

Simon Prior

2016-05-01

Hello again, welcome to Part 8 of Freefall. If you’ve been keeping up (and I hope you have), Kohra is moving in on Farrow and hopes to have him back under armed guard soon. Farrow, meanwhile, is down on the planet’s surface and has met a friendly local.

And what about last week’s episode? Who are those people? All will be revealed shortly. Hopefully.

As always, if you’re enjoying the story then feel free to send me your feedback. You can reach my through a variety of different locations. Thanks for reading and I hope you enjoy this week’s update.

“Moving into position now, sir.”

Kohra nodded and without a word left the command centre.

The battle cruiser glided towards the ground. It hovered for a moment, a few short metres away from the surface, before gently coming to rest in a wide barren field. In the distance the light of battle could be seen,

For a bystander watching outside, the hull of the ship seemed to split open from its centre, a large ramp lowering slowly towards the soil below.

Kohra stomped down it, ahead of his entourage, before it had fully finished descending. His boots touched the ground mere seconds after the ramp, and he continued walking.

His entourage, weighed down with heavy armour and military equipment, struggled to maintain pace. Kohra would punish them if they were tardy. He had done so many a time in the past. The fact they were burdened with their armour and weapons was of no consequence to him. To a man they quickened their pace and were soon marching in time behind their mission leader.

Kohra was oblivious to their presence. He walked with a singular purpose. All he thought about was Farrow and the pain he would inflict on him.

Everest (2015) review

Simon Prior

Mount Everest, the tallest mountain on Earth, has been a challenge for climbers since Norgay and Hillary were the first to officially reach the summit in 1953. Here it is a character in itself, a foreboding presence at all times. Effortlessly beautiful but potentially deadly at the same time. You scale the mountain at your own risk, there is no telling how quickly circumstances can change from good to bad to worse. This was the case for the 1996 expedition to reach the summit. That year eight people died after being caught in a blizzard.

We spend the first hour being introduced to the characters, in particular the two key groups that are planning to climb to the top. We also meet the other groups that have descended upon the mountain. 1996 happened to be the year that base camp was relatively swarming with people after Adventure Consultants, led by Rob Hall (played here by Jason Clarke) proved that commercialising Everest climbs was a possibility. Scott Fischer (Jake Gyllenhaal), leading the rival group Mountain Madness, join forces to help reduce potentially fatal delays on the ascent.

Joining them on the mountainside are a cavalcade of famous faces including Josh Brolin, John Hawkes, Michael Kelly, Naoko Mori, Emily Watson and Sam Worthington, some of whom will scale Everest but won’t make it back, others such as Watson and Elizabeth Debicki are a consistent presence at base camp – it seems that you can’t have an emotional moment in a film without having crying women present to emphasise the point. There are no good guys and bad guys here, as it’s the mountain and the elements that are the true enemy. Occasional disagreements aside, the climbers are mostly dedicated to one another’s survival. Or their own, on occasion.

It is in the second half of the film, once the peak of Everest has been reached, that the story takes its inevitable turn to tragedy. By now we’ve spent an hour with these characters, been advised time and time again of the inherent dangers in climbing Everest. Be it oxygen deprivation, acclimatisation, lack of equipment, poor planning, altitude sickness or combination of any and all of these, the odds aren’t that great.

It’s perhaps for the best that we had the opening hour to meet the characters, because ultimately there’s no depth to these people. As great as the actors behind them are (and no doubt the real people being portrayed), we’re given little to work with beyond some key personality stereotypes and emotional touchstones with family members back home. Josh Brolin is grumpy, Rob Hall is accommodating and non-confrontational, Fischer is a long haired hippie type. Watson, Debicki and Knightley are on hand to offer well meaning words and tears, and so on.

The drama atop Everest is gripping stuff, but the families left at home are given short shrift. Keira Knightley and Robin Wright have little to do except wait for news of the inevitable. It’s a terrible waste of their talents, but I admit that to expand on their roles would have meant less time getting to know the climbers, and it is in them that the story is rightly focused. As the story is treated with due deference the grounded performances add emotional depth to what would otherwise be an emotionally distant narrative.

Other themes, such as the commercialisation of Everest, rather than the respect nature deserves, is touched upon but never fleshed out to its full potential. It’s a film that looks great and justly covers a tragic event with due respect, but is lacking in other key areas that could have made it essential viewing.

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