These 100-week roundups are a clearing house for reviews I haven’t got round to writing up 100 weeks (i.e. almost two years) after I actually watched the films in question. As I mentioned in my August review, I’ve recently fallen behind even on that, so the 100-week moniker isn’t technically accurate right now. Hopefully I’ll catch up soon.
This time, we have a motley bunch from September 2018: two one-star films that made my “worst of year” list; and two four-star films, one of which made my “best of year” list. They are…
Stephen Hopkins | 125 mins | digital (HD) | 2.39:1 | USA / English | PG / PG-13
I remember this reboot of the classic ’60s sci-fi series being received very poorly indeed when it came out in 1998; and so, even though I was a young sci-fi nut at the time, I didn’t bother to see it — and then spent the next 20 years not bothering to see it. But with the recent re-reboot on Netflix going down rather well, I thought maybe it was time to see for myself. I shouldn’t have bothered — it’s truly terrible.
It gets off on the wrong foot, starting with a load of over-ambitious CGI, and that continues unabated throughout the entire movie. Anyone who moans about the quality of CGI in modern blockbusters should be made to watch this so they can understand what they’re complaining about. Maybe it looked ok back in ’98, I can’t remember (I suspect not), but watched now it looks like an old computer game, never mind an old movie.
Poor effects can be forgiven if the film itself is any good, but the opening action scene is both fundamentally needless and stuffed to bursting with cliches, and the rest of the film is no better — just nonstop bad designs, bad dialogue, bad ideas, more bad CGI… Even the end credits are painful, playing like a spoof of the worst excesses of the ’90s, from the trippy “look what our computer graphics program can do” visuals to the dance-remix-with-dialogue-samples version of the theme.
So, it turns out the critics at the time were right. I have seen even worse movies in my time, but there aren’t many merits here — there’s one effect that is well realised, at least. But that doesn’t come close to justifying the film, or for anyone to waste their time watching it. It really is very, very bad.
Lost in Space featured on my list of The Five Worst Films I Saw For the First Time in 2018.
The Brothers Strause | 93 mins | digital (HD) | 2.35:1 | USA / English | 15 / PG-13
In a Cloverfield-esque setup, a bunch of young people awaken from a boozy party to discover an Independence Day-esque alien invasion happening outside their window. What follows just feels like familiar parts from even more movies Frankensteined together in a failed attempt to produce something original.
In terms of overall quality, it’s like a direct-to-Syfy movie granted a minor-blockbuster effects budget. Goodness knows how it landed a cinema release. The directors were visual effects artists who, based on their IMDb credits, moved into directing music videos before springboarding into film directing with Aliens vs Predator: Requiem, the sequel to the much maligned AVP that, shockingly, managed to be even worse. Skyline was their second feature — and, in a seemingly-rare bit of justice for directors making shitty blockbusters, their last (they’ve gone back to effects, where they continue to have a long list of high-profile credits). They completely financed Skyline themselves, forking out just $500,000 for the shoot before spending $10 million on the effects. It couldn’t be any clearer where their priorities were…
And it feels like a film made by VFX artists. For one thing, one of the main characters is a VFX artist. He lives in a swanky apartment, with a hot wife and a hot mistress, drives a Ferrari and owns a yacht. Either this is extremely obvious wish fulfilment, or at one point VFX guys were doing very well indeed. (Considering there was that whole thing a few years back about major VFX companies shutting down, either this was made before the bubble burst, or some were able to weather the storm to a sickening degree. Or, like I said, it’s wish fulfilment.) Aside from that, it’s like a CGI showcase. Everything’s shot handheld, all the better to show off how realistically the CGI’s been integrated. The screenplay puts in no effort, with thinly sketched characters and a flat, uninspired storyline that rips off other movies with abandon, runs on a shortage of logic, features weak world-building with inconsistent rules, and seems to just… keep… going… until, after you think it’s definitely over this time, there’s yet another scene: a mind-bendingly gross and laughable finale.
And yet, years later, someone made a sequel! I’ve even heard it recommended (though it has a lowly 5.3 on IMDb). Someday, I’ll have to see…
Skyline featured on my list of The Five Worst Films I Saw For the First Time in 2018.
Christian Desmares & Franck Ekinci | 102 mins | digital (HD) | 1.85:1 | France, Belgium & Canada / French | PG / PG
This French animation is an alternate-history steampunk adventure that follows orphan April (voiced by Marion Cotillard in the original audio) as she investigates a decades-long spate of missing scientists, including her own parents.
The tone is one of pulp adventure, which is right up my street, and consequently I found the film a lot of fun. It’s a great adventure, abundant with imaginative sci-fi/fantasy ideas, engaging characters, and laced with humour. The independent French production means it’s not beholden to Hollywood homogenisation — there’s some very dark stuff in the world-building details, which contrasts somewhat with the light adventure tone of the actual plot, and some viewers may find this spread of tones problematic. More of an issue for me came when, a while in, the plot heads off into barmy sci-fi territory. No spoilers, but it wasn’t quite what I was expecting from the original premise. But this is perhaps more an issue of expectation than actuality — it wasn’t severe enough to lose me, just take the shine off something that was otherwise headed for perfection; and, as I adjusted to where the story was going, I enjoyed it more again.
Resolutely unproblematic is the visual style. The design and animation, inspired by the works of comic book artist Jacques Tardi, are absolutely gorgeous — like a ligne claire comic sprung to life. When US animations try to ape an artist’s style, it often winds up as a movie-ised imitation — at best you can recognise the inspiration, but it’s still been filtered and reinterpreted (cf. Batman: The Dark Knight Returns). But this is like the panels just started moving, with full fluidity (none of the “jerkily moving between static poses” you sometimes get with cheaply-done modern animation). That applies to character animation as much as anything, but the wildly imaginative steampunk alternate history allows the designers and animators to really cut loose, with a fabulously invented world.
April and the Extraordinary World placed 26th on my list of The Best Films I Saw in 2018.
Anders Walter | 106 mins | digital (HD) | 2.39:1 | Belgium, UK, USA & China / English | 12 / PG-13
The past few years have seen a random, unexpected mini-genre pop up: dramas about Serious Issues where the protagonists also have something to do with giant monsters. I’m not talking about Pacific Rim or Godzilla, but movies where the monsters are either imaginary or in some other way analogous to the very real problems experienced by the characters. Films like A Monster Calls, about a teenage boy coping with impending bereavement, or Colossal, in which Anne Hathaway discovers she’s controlling a giant monster that keeps appearing (and which kept its big issue a secret in the marketing, so I will too). I don’t know if there’s really enough of these to call it a “genre”, but three films in as many years that fit roughly in that very specific bucket strikes me as a lot; and I watched all three in the span of a few months, just to emphasise the point.
Anyway, the latest entry in this genre I may’ve just invented is I Kill Giants. Based on a graphic novel by Joe Kelly (who also penned this adaptation) and J.M. Ken Niimura, it’s about American schoolgirl Barbara (Madison Wolfe) who believes giants are coming to attack her hometown and she’s the only one prepared to fight them. Whether these giants are real or just an outward expression of an inner conflict is, of course, why this ties in with the other films I mentioned.
There’s plenty of stuff I liked a lot in I Kill Giants. The female focus. The power of friendship, and of small acts of kindness. The acceptance of being a bit different and an outsider, within reason. The magical realism in its handling of the giants. Unfortunately, it takes a bit too long to get to its conclusion — it’s not exactly repetitive, but there is some running on the spot. When the finale comes, it’s an effective twist. I’d guessed many of the reveals, and I think the film definitely expects you to guess at least one (which it then wrong-foots you about). But narrative trickery isn’t really the point. It’s impossible to discuss which other film it’s most similar to without spoilers, but the other one dealt with certain stuff better due to being upfront about it, rather than lacking it all into the final ten minutes. That’s the ending’s biggest flaw: that another film did fundamentally the same thing recently and, overall, better. That’s not the film’s fault.
Not a perfect film, then, but it has a lot to commend it. Just be aware it’s one where the journey is more rewarding than the destination.