Battle at Big Rock (2019)

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2019 #127a
Colin Trevorrow | 9 mins | streaming (HD) | 2.00:1 | USA / English

Battle at Big Rock

Surprised-announced by co-writer/director Colin Trevorrow on Twitter just a week ago (although, reading about it after the fact, it seems dedicated fans were already aware something was coming thanks to that regular modern blockbuster spoiler source: action figures), Battle at Big Rock is a short film entry in the Jurassic Park/World franchise, which premiered on the US FX channel on Sunday night (early Monday morning for us Brits) and is now on YouTube.

Set one year on from the cliffhanger-ish ending to the last film, Fallen Kingdom, this short presents a vignette in the Jurassic world that will help bridge the gap between the previous feature and 2021’s third/sixth instalment. But aside from that large franchise-minded goal, it’s also a chance to see some different characters have a different kind of encounter within the films’ universe.

Well, I say “different” — dinosaurs fight dinosaurs until humans are caught in the crosshairs, then a big toothy dinosaur goes after said humans. The real difference is that this happens to just an ordinary family out on an ordinary camping trip in California, not people who’ve chosen to go to a remote island filled with giant prehistoric lizards. Of course, they’ve decided to go camping in a region where it’s known a bunch of the aforementioned giant prehistoric lizards escaped a year ago and might be roaming about, but whatcha gonna do? When you gotta go camping you gotta go camping, I guess. Also, they’re not white, which is a notable characteristic in this franchise, unfortunately. (That lack of representation across five feature-length movies is hardly rectified by one short, but I’m certain it was part of the intention.)

A family-sized snack

What Battle at Big Rock lacks in originality it makes up for with brevity. This is a concise hit of dino action, cramming many of the franchise’s familiar thrills into a sub-nine-minute package. It also looks great for a short film. Yeah, sure, it still has the backing of Universal Studios — this isn’t exactly an indie production — but it’s not got the full weight of a theatrically-released blockbuster behind it, either. Nonetheless, it manages to include two species of dinosaur, one achieved via a mixture of CGI and a genuine animatronic, and adventure-movie set-piece-level action. It all looks mighty pretty too, although the nighttime fire-lit photography is no doubt partially about hiding the budgetary limitations.

Indeed, the film’s production is possibly its most impressive aspect. It was actually shot back in 2018, so they’ve kept it hush-hush for the best part of a year. And it can’t be easy to keep quiet a film shot on location, and outside of moviemaking’s usual stomping grounds, in Ireland, where apparently there’s a grove of trees that look exactly like a North Californian national park. Presumably the real deal was a no-go because they’d’ve been spotted even more easily there; but, equally, you’d think a big American production team rocking up in Ireland would attract attention — especially when they had a giant animatronic dinosaur in tow. Maybe the locals just presumed it was Game of Thrones

Anyway, the end result is a success, both as a little burst of dinosaur action for those of us who enjoy such hijinks, and as a tease for events we’ll see in the franchise’s next major instalment. Rumour has it the short’s budget spiralled beyond the limits Universal original set, but, considering the ill-will generated by the underwhelming Fallen Kingdom, I’m sure they’ll consider audience’s re-stoked interest (a sentiment I’ve seen expressed repeatedly across social media today) to have been a worthwhile investment.

4 out of 5

Battle at Big Rock is available on YouTube.

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The Predator (2018)

2019 #28
Shane Black | 107 mins | download (UHD) | 2.39:1 | USA & Canada / English & Spanish | 15 / R

The Predator

Some films take me a while to review because I just don’t get round to them. Some take time because I need to coalesce my thoughts. Others, I barely have any thoughts in the first place. The trickiest are the ones where I feel like there are many thoughts, but I have little idea how to express them. The Predator is definitely in that final camp. Why? Well, I thought it was quite a poor film… but I also sort of enjoyed it. Not in a Gods of Egypt way (that was kinda “so bad it’s good”; or maybe “so strange it’s good”), nor in a “I can see what they were going for, they just couldn’t quite get there” way, but in a… well, there’s the rub. The film undoubtedly has its problems, but it also has bits I was okay with; liked, even. What it feels like is a decent, middle-of-the-road-ish sci-fi actioner… that they then, for some unfathomable reason, deliberately dicked around with to make it kinda bad.

The reason I put it that way is the film’s sense of narrative, which is really messy. It feels like someone decided the movie was too long and so got the running time down by just pulling out scenes at random. There’s an extensive IMDb Trivia entry here that broadly explains what was changed in the edit and via reshoots, and that suggests it feels like a lot of stuff was chopped out because, well, it was. Other movies have survived such tinkering, but here it feels cack-handed. The end result doesn’t flow. You can follow it, but it’s oddly disjointed.

Other aspects suggest perhaps there were compromises on things like the age certificate. For example, at one point a female character is spared by the Predator because she’s naked. A vital piece of information for later? Um, no, it doesn’t come up again. So it’s gratuitous nudity? Well, not really, because it’s carefully shot so we don’t see anything. The film ended up going for an R, but perhaps they thought they’d have to make it PG-13? Either way, why is that ultimately pointless scene still in the movie?

“I don't care if you point a gun at me, so long as you don't get your tits out again!”

It’s not just the story and logic that’s mangled, there’s a real mishmash of tones as well. Writer-director Shane Black did such excellent work shepherding mixed moods in the superb Kiss Kiss Bang Bang, the perfect Nice Guys, and the best Iron Man film, but here he seems to have lost his handle on how to deliver the required blend of action, horror, and humour. Personally, I quite liked the humour, but sometimes it does just barge in out of nowhere. People who like their alien hunter action movies to be po-faced will not be impressed.

So, it’s an odd case all round. It’s an impossible movie to recommend because it’s certainly not good, but I also didn’t hate it as much as I feel I should’ve. It’s kind of a disaster, but it’s also… fine. Put it this way: one day I expect I’ll rewatch the Predator movies, and while I’ll probably skip AvP Requiem, I’ll include this one. Faint praise, I know.

Nonetheless, I really hope they make another Predator movie… mainly so I can see what they come up with for a title. Okay, sure, it’ll probably just be Predator: Meaningless Subtitle, but I live in hope they’ll continue this trend of adding a little something (pluralisation; the definitive article) and it’ll be called, like, Predatoring or something. (Hire me, Hollywood!)

3 out of 5

The Predator is available on Sky Cinema from today.

Aquaman (2018)

2019 #55
James Wan | 143 mins | Blu-ray (3D) | 2.40:1 | USA & Australia / English | 12 / PG-13

Aquaman

DC Comics have had a turbulent time of it on the big screen these past few years. After Zack Snyder’s Marmite Superman reboot Man of Steel they tried to get in on the Marvel-inspired “cinematic universe” boom with the unfairly-derided Batman v Superman and the behind-the-scenes mess that was Justice League, in between which the similarly “buggered about in post” Suicide Squad did them no favours. But they also attracted a lot of praise for Wonder Woman, mainly because it starred a female superhero (not unheard of, but a rarity on screen, and even rarer for a female superhero film to be good), and, earlier this year, Shazam! So maybe their fortunes are on the up again, especially as anticipation is high for both of their 2020 efforts, February’s Birds of Prey and June’s Wonder Woman 1984.

In amongst all of that, in pretty much every respect (release date, critical standing, etc), we have Aquaman. Like Wonder Woman, its tied to the Justice League attempt at launching a shared continuity between these films; but, also like Wonder Woman, it doesn’t seem to have been tarnished by that association, grossing over $1.1 billion at the box office (Justice League maxed out at just over $650 million). While something about it obviously clicked with the general audience, in some respects it’s as much of a Marmite film as Man of Steel — although, tonally, they could hardly be further apart.

For thems that don’t know, Aquaman is Arthur Curry (Jason Momoa), a half-human half-Atlantean chap, who was raised as the former by his lighthouse-keeper dad but has the underwater fish-communicating powers of the latter, which he uses to do superheroic things like rescuing submarines from pirates (those being modern high-tech pirates, natch). Arthur also has claim to the throne of Atlantis, but he doesn’t want it and there are plenty in the kingdom who would dispute it. But when the current king, Orm (Patrick Wilson), attempts to unite the undersea kingdoms to attack the world of men, his betrothed, Mera (Amber Heard), goes in search of Arthur, to convince him to return to his rightful place and blah de blah de blah.

Searching for something. An understanding of the plot, probably.

Yeah, the plotting is mostly sub-Game of Thrones fantasy gobbledegook, attached to an Indiana Jones-inspired quest plot that sends this sea-based superhero to the Saharan desert (in which he arrives to a rap-based cover of Toto’s Africa. I shit you not). That’s just one reason the film stretches out to a mind-boggling 143 minutes (aka almost two-and-a-half hours). It does feel like several movies stitched together; like someone couldn’t quite decide whether they wanted to do “medieval fantasy but under the sea” or “a globetrotting Indiana Jones adventure”, so just did both at the same time.

Along the way, some of it is thoroughly cheesy — the dialogue, the outright fantasy-ness, the vibrant colour palette, the music choices (see above). It’s hard to know if it’s being deliberately cheesy, or if someone felt this stuff was a good idea in seriousness. Whether or not it works is a matter of personal taste, but at least it’s noticeably different from its po-faced label brethren or the slick factory-produced adventure-comedy tone of the Mouse House competition.

There’s an odd vein of ’80s-ness, too: some of the plot directions, Rupert Gregson-Williams’ score, that aforementioned song choice again (whether you despise that song or find it kinda tackily amusing is perhaps a bellwether for your opinion of the film.) This feels like the kind of undersea adventure movie someone would’ve made in the wake of Raiders of the Lost Ark and Conan the Barbarian, if only they’d had the effects tech back then. Except, of course, by using all the CGI that current tech allows, it’s also very much a modern graphics-laden blockbuster. Those two eras, the 1980s and the 2010s, kind of butt up against each other — it’s not being outright an ’80s emulation like, say, Stranger Things; it’s more this weird influence that sometimes rears its head.

Imagine this in IMAX 3D. Just imagine.

That includes in some of the action scenes, which were shot on real sets with real actors (gasp!) Not all of them, naturally (there’s a mindbogglingly massive undersea battle involving thousands of soldiers and sea creatures), but those that were done for real are incredibly staged and shot — a running rooftop fight in Italy is beautifully done. The general imagery is often fantastic, too. Not always (sometimes it’s just fine; sometimes it’s too much), but there are incredible, impressive, comic-book-panel-on-screen shots here. So it’s a real shame that Warner have forced a choice between 3D or a shifting IMAX aspect ratio on Blu-ray. As regular readers know, I enjoy 3D and I love a shifting aspect ratio, so being forced to pick is upsetting. Marvel normally tick both those boxes by including the IMAX ratio only on their 3D releases — annoying for 2D-only IMAX fans, I know, but I’m well set. Warner have done the opposite, however, with the 2D releases including the IMAX ratio and the 3D remaining locked to 2.40:1. To say I’m disappointed would be an understatement, because the 3D adds so much to the big sequences, but I can imagine the IMAX ratio shift would too — together, they’d be perfect, but Warner won’t let us have that. So, I did enjoy the film’s 3D a lot, but at some point I’m going to make time to watch it again in 2D for the ratio shifts. I’ll plump for it in 4K too because, considering that the film’s colours are already pretty vibrant in SDR, I bet they’d pop delightfully with HDR.

Setting format complaints aside, I had a lot of fun with Aquaman. The spectacle is so genuinely spectacular, and the humour and/or cheesiness is so don’t-know-whether-to-laugh-or-groan fun, and the overlong running time stuffed so full with so many different ideas, that I couldn’t help but find the whole heady mix downright entertaining.

4 out of 5

Aquaman is available on Sky Cinema from today.

Rampage (2018)

2019 #61
Brad Peyton | 107 mins | download (HD+3D) | 2.40:1 | USA / English | 12 / PG-13

Rampage

A big-budget live-action movie adaptation of a 32-year-old arcade game that I’m pretty sure only old and/or hardcore gamer geeks remember? Was that the wisest moviemaking decision? I mean, there’s nothing wrong with being old, but is a PG-13 CGI-fest like this really aimed at that age group? Well, I guess these days it is, so maybe it wasn’t such a poor commissioning decision after all — and it made over $428 million at the box office, so someone knew what they were doing. And, before this year, Rampage was tied for the honour of being the best-reviewed video game adaptation ever made… though as it achieved that with a Rotten Tomatoes score of just 52%, it’s certainly damning with faint praise.

Anyway, I don’t really care about all the video game-y stuff. I’m here because it’s a The Rock movie, and I tend to find his stuff pretty entertaining nowadays (as do many others — I bet he’s a bigger part of that $428 million than “based on a video game” is), and it’s about an ape, a wolf, and a crocodile who get mutated into giants and set about destroying Chicago. I mean, who doesn’t want to see that? (Yes, I know: well-adjusted adults who actually grew up.)

If you think I’m being facetious, nah, that’s the plot; or it’s the climax, anyway, and the rest of the film exists as a way to find a narrative reason for said climax to happen. Naturally, with such a batshit barmy climax as the end goal, the story that gets us there is thoroughly daft also. It involves corporate skullduggery and genetic experimentation and all kinds of stock plot-building stuff like that, but at least it’s all executed with a certain amount of humour. No one is taking this too seriously.

Monkeying around

So it’s a little odd, then, how gruesomely violent and gory it gets, and sometimes kinda unnecessarily cruel with it. But there are no nipples and only one use of “fuck”, so, sure, PG-13! I would describe the gore, but a lot of it is kinda spoilery so I’ll refrain; but the film’s opening shot features a drop of blood floating into a dead guy’s empty eye socket, and later we see people ripped in half, one character falls into the mouth of a monster in slow motion, we see another get beheaded and the head get eaten… Yeah, okay, it’s all ridiculous CG BS, but still.

The Rock is truly the closest thing we have to a genuine Movie Star right now, I think — a guy who can still lead a movie on the strength of his name and likeability alone (look how many original or near-as-dammit-original movies he’s done in the past few years that’ve made bank). He’s got just the right level of charm to keep us engaged and on side without it tipping over into smarminess. He also has a remarkable skill (or at least I think he does) whereby, without breaking character or immediately undermining what’s happening, he lets us know that the story and its antics shouldn’t be taken too seriously because, hey, it’s just an action movie. Or maybe that’s just something I inherently infer from his very presence, considering the kinds of movies he stars in and the fact he always plays more-or-less the same character. Anyway, in this one he convinced me that he had a tight brotherly bond with a giant CGI ape, and consequently made me care about the fate of said collection of pixels, so that’s an achievement in itself.

“Jeff, stop chewing the scenery — that's the CGI's job.”

This time, most of the rest of the lead cast are in on the gag too, with Jeffrey Dean Morgan chewing more scenery than the monsters as a cowboy-ish government agent, and Malin Akerman and Jake Lacy hamming it up as the corporate bitch villain and her halfwit brother. Naomi Harris pops up as The Rock’s love interest cum sidekick, who’s a clever scientist lady and can hold her own in a verbal slanging match with him, but, yeah, is still primarily there to be the love interest.

Rampage is not big and it’s not clever, but it is kinda fun. Although it is actually quite big — that’s kinda the point. But anyway, it’s mostly big dumb fun, and naturally a lot of that looks pretty awesome in 3D. I liked it as a thoroughly ludicrous, brain-off entertainment.

3 out of 5

Stalker (1979)

aka Сталкер

2018 #100
Andrei Tarkovsky | 162 mins | Blu-ray | 1.37:1 | Soviet Union / Russian | PG

Stalker

Described by the blurb on its Criterion Collection Blu-ray release as “a metaphysical journey through an enigmatic post-apocalyptic landscape”, Stalker is… probably that… I guess…?

Adapted from the novel Roadside Picnic by Arkady and Boris Strugatsky (which, according to critic Mark Le Fanu in Criterion’s booklet, is more hardboiled pulp than artistic thinkpiece), it follows a professional ‘Stalker’ (Alexander Kaidanovsky) — someone who can enter and navigate a mysterious restricted area known only as the Zone — as he guides two latest clients, a depressed writer (Anatoly Solonitsyn) and an inquisitive professor (Nikolai Grinko), into the Zone and to the attraction at its heart: the Room, a place which is rumoured to grant a person’s innermost desires.

That’s the plot, anyway. Considering it’s over two-and-a-half hours long and I just summarised most of the story, you know it’s About more than that. But suffice to say I didn’t get it. It’s just some blokes wandering around, being depressed, occasionally philosophising about bugger all; then the ‘stalker’ chap is depressed even more by his clients’ attitude at the end, for some reason; and then we see his kid has telepathic powers because… um… People think director Andrei Tarkovsky’s previous sci-fi film Solaris is slow and obtuse, but it’s pacy and its meaning is crystal-clear compared to Stalker. Indeed, watching this just made me want to watch Solaris again — that was a slow Soviet sci-fi I actually found thought-provoking and interesting. One inspired thought I will credit it with is the notion of what “innermost desire” actually means. We might think we know, but do we? If the Room grants, not what we choose to ask it for, but our true innermost desire, then it reveals the truth of our self to us… and we might not like what we find.

Some blokes being depressed

The film “resists definitive interpretation” says Geoff Dyer in a featurette on Criterion’s Blu-ray. It’s “a religious allegory, a reflection of contemporaneous political anxieties, a meditation on film itself […it] envelops the viewer by opening up a multitude of possible meanings,” adds the blurb. Oy. So is it profound or just pretentious? I think the lack of clarity — the lack of definitive interpretation — can be used as evidence for both sides. Its acclaim would suggest most think it profound, so I’m the one missing something. That’s always possible. Also, I’m always wary of calling something “pretentious” — that’s become too much of a catch-all criticism for people who don’t understand an artwork and want to blame the work itself rather than their own intellectual capabilities. So we’ll have to settle on me just not understanding it.

Some of it does look good, at least… which is handy when long stretches of it are just staring at things in unbroken takes (there’s something like 142 shots, which is about one cut every 88 seconds). Whatever the film is or isn’t trying to say, I feel fairly certain it didn’t need to take so much time to say it.

Equal parts Annihilation but without the exciting stuff, privileged white male angst, and flicking through a photo album of deserted urban environments at someone else’s too-slow pace — with strange dashes of The Spy Who Came in from the Cold and X-Men Origins: Jean Grey for good measure — Stalker is… definitely something.

2 out of 5

Stalker was viewed as part of my What Do You Mean You Haven’t Seen…? 2018 project.

Zathura: A Space Adventure (2005)

2018 #67
Jon Favreau | 97 mins | streaming (HD) | 1.85:1 | USA / English | PG / PG

Zathura

Before Jumanji: Welcome to the Jungle there was Zathura, which is sort of a sequel to Jumanji… but more of a spin-off, I guess… well, really it’s a completely unrelated movie with the exact same plot. Inspired by another book by the same author, it sees two kids (Jonah Bobo and a very baby-faced Josh Hutcherson) discover an old board game that comes to life with terrifying consequences, and the only way to make it stop is to finish the game. But this game is about space, so it’s completely different, obviously.

Unsurprisingly, it’s difficult to avoid assessing the film’s quality in comparison it to its predecessor. The thing that struck me most was it feels less consequential than Jumanji, somehow. In the previous film the stakes feel high — you worry they won’t beat the game or make it out alive. Perhaps that’s because of Robin Williams’ character getting trapped in the game at the start, which makes you believe things can go wrong. Whereas here, it just feels like crazy shit will keep happening until they finish. It may also be because you can infer ‘rules’ in Jumanji — we know monkeys are going to be mischievous, tigers might eat you, etc — whereas in Zathura, because it’s sci-fi, it’s all made up. And it feels made up as it goes along, too — because it’s not based on real life or an existing brand, we don’t know the characters, the monsters, etc.

Similarly, the characters benefit from way too much luck. The kids keep not reacting fast enough to stop or save things, but then something fortunate happens so things go their way. Maybe you could sell this as a deliberate thing — like, the game wants to be finished — but that’s not how it plays out. They just keep getting lucky, in a not-great-screenwriting way. Perhaps I’m projecting problems where there are none in these observations, but it’s just another factor towards not feeling jeopardy like I did in Jumanji. Overall, Zathura was just more… pleasant.

Play the game

That said, I had some more specific niggles. For a film that should’ve been trying to avoid accusations of being a rip-off, they invite it further by (spoiler alert!) giving one character a backstory that’s a riff on Robin Williams’ from the first movie. Zathura comes at it from a different angle, at least, but that’s a mixed blessing: it doesn’t have the same emotional effect because we only learn about it belatedly, but at least that means it isn’t ripping off Jumanji’s entire narrative structure, and also allows for a neat twist later on. There’s some time travel stuff that doesn’t wholly hang together, but then does it ever?

Equally, you can clearly tell they weren’t paying enough attention to every aspect of the screenplay: the older sister (played by a pre-fame Kristen Stewart, by-the-by) gets put in hibernation for five turns, but it takes eight turns before she wakes up. How no one noticed that is baffling — did they not think to just count it in the script? Even if they somehow missed it until post-production, all it would’ve taken is a dubbed line or two. “Five turns” sounds like a lot of gameplay to miss, so maybe they just thought “eight turns” would sound too ridiculous, but did they not think someone would spot it?!

Plot logic aside, at least the film has some great effects and design work. Jumanji has aged badly in that respect (the CGI is pretty ropey), whereas Zathura still looks great, in part because there’s actually a lot of props and models involved. The performances are pretty decent, too. Director Jon Favreau clearly has a talent for working with kids — the pair here; Mowgli in his Jungle Book; Robert Downey Jr… But in all seriousness, he gets really good performances out of these children.

Holy meteors!

Also worth noting is that the UK version was originally cut to get a PG… and remains cut, because the uncut rating wouldn’t just be a 12, it’d be a 15! That’s because of “imitable techniques”, which in this case means using an aerosol as a blowtorch to set fire to a sofa. The main thing I find interesting about this is that presumably the original cut shows the Astronaut setting fire to the sofa, whereas in the UK version it just suddenly cuts to him stood beside a sofa on fire, which is so much funnier. Hurrah for censorship, I guess.

And so we come to the score. Zathura is one of those films I find a little awkward to rate, because I did enjoy it — in some respects, more than I enjoyed Jumanji when I rewatched that recently — but it also doesn’t feel as polished and complete as its predecessor in terms of story and characters. Even as I had fun, I saw many things I felt could’ve been sharpened up. For that reason, I’ve erred towards a lower rating.

3 out of 5

Upgrade (2018)

2019 #44
Leigh Whannell | 100 mins | streaming (HD) | 2.35:1 | Australia / English | 15 / R

Upgrade

Leigh Whannell is best known for co-creating the Saw and Insidious franchises, so he steps outside of his horror stomping ground to write and direct this cyberpunk action-thriller. It’s set in the kind of near future where we have self-driving cars (and similar tech), but there are still people who prefer the old ways, like mechanic Grey (Logan Marshall-Green), who makes his living restoring classic cars for people like tech genius and entrepreneur Eron Keen (Harrison Gilbertson). After an incident leaves Grey paralysed, Eron offers to help by implanting him with a cutting-edge top-secret chip he’s developed called STEM. It works even better than expected, and Grey begins to use his newfound abilities to hunt for the men who did this to him.

On one level, Upgrade is a straightforward sci-fi action-thriller, following Grey’s investigation as it leads him to some shady figures who have near-future tech of their own, and then they fight. While that may seem simplistic, it’s full of neat little touches, particular in the action’s choreography — it almost begs a rewatch just to see everything that’s going on in the frantic fight scenes. I don’t mean “frantic” in the over-cut, can’t-see-shit sense of so many action sequences in the last couple of decades — in fact, Whannell often uses wide shots and long-ish takes — but there’s so much going on, with the characters making decisions at such speed (boosted by that body-modifying tech), that parts do become a bit of a blur.

Change can be painful

On another level, the film has something to say about the technology that drives its storyline. Okay, maybe it doesn’t have a lot to say, and if you’re well-versed in sci-fi they’re not necessarily original comments either, but it poses questions and makes you think about what could be just around the corner, and what value it might have, or what danger it might pose. Plus it pushes the story into some interesting places; places a low-budget Australian-produced movie can go that other mainstream-minded sci-fi/action flicks wouldn’t dare. If you’ve ever seen a Saw film then you can guess that Whannell likes twists, especially of the “sting in the tail” variety, and Upgrade has more than its fair share of last-minute switcheroos. How many you see coming is up to you — one seemed glaringly obvious to me, but anticipating that ‘reveal’ blinded me to some more that came after.

Combining those two levels renders Upgrade a strong mix of straight-up action thrills and thought-provoking near-future sci-fi. A definite must-see for genre fans.

4 out of 5

Upgrade is available on Sky Cinema from today.

The Matrix Revolutions (2003)

The 100 Films Guide to…

The Matrix Revolutions

Everything that has a beginning
has an end.

Country: USA
Language: English
Runtime: 129 minutes
BBFC: 15
MPAA: R

Original Release: 5th November 2003 (60 countries, including the UK and USA)
Budget: $150 million
Worldwide Gross: $427.3 million

Stars
Keanu Reeves (Bill & Ted’s Excellent Adventure, 47 Ronin)
Laurence Fishburne (Boyz n the Hood, Mystic River)
Carrie-Anne Moss (Chocolat, Disturbia)
Hugo Weaving (Captain America: The First Avenger, Mortal Engines)

Directors
The Wachowskis (Bound, Jupiter Ascending)

Screenwriters
The Wachowskis (The Matrix, Speed Racer)


The Story
With Neo having rejected the destiny prescribed for him, but discovering his power is greater than previously thought possible, he sets out on a long-shot mission to save humanity, even as the machines prepare to destroy mankind’s last city.

Our Heroes
The trilogy centres on the actions of Neo, Trinity, and Morpheus, but in many respects they’re just part of an ensemble in this finale, with many other characters getting to be in command of screen time, including the likes of ace pilot Niobe, Neo-idoliser the Kid, and a whole bunch of citizens of Zion during the big battle.

Our Villains
The machines threaten the surviving humans, while in the Matrix the increasingly dominant Agent Smith threatens Neo’s chances to save them all.

Best Supporting Character
Amongst the many humans fighting to save Zion, perhaps the most noteworthy is the captain of the Armoured Personal Unit corps, Mifune, who’s as much of a badass as the guy he’s obviously named after.

Memorable Quote
“Everything that has a beginning has an end. I see the end coming, I see the darkness spreading. I see death.” — The Oracle

Memorable Scene
Before Reloaded there was much hype about the “Burly Brawl”, in which Neo fights dozens of Agent Smiths. Unfortunately the final result was marred by some iffy CGI and overshadowed by the freeway chase. Here, we get the sequel: the so-called “Super Burly Brawl”, in which Neo fights just one super-powered Agent Smith in what remains of the Matrix, and it’s a much more exciting, visually extraordinary climax.

Memorable Music
Don Davis’ score for the trilogy has always used a mix of electronic-y rock and more traditional orchestral music, but the epic final battle adds choral voices to the mix in a very effective way. Thankfully rejecting the idea that they sing just “oohs and aahs” or, even worse, “this is the one, see what he can do” in plain English, Davis instead had the choir sing the Pavamana Mantra, so it’s not just nice texture in the soundtrack but meaningful too.

Truly Special Effect
There’s nothing as obviously groundbreaking or original as in the other two films, but a lot of the effects still hold up exceptionally well 15 years down the line. It’s difficult to imagine how the battle of Zion (created through a mixture of live-action, miniatures, and CGI) could be achieved any better today.

Letting the Side Down
The untimely death of actress Gloria Foster, who played the Oracle in the first two films, necessitated her recasting for this final instalment. Unfortunately, her replacement just isn’t as good, seeming to struggle with her portentous dialogue.

Making of
Christopher Nolan gets a lot of credit for bringing regular films into the IMAX market (or vice versa, depending how you look at it) with actually shooting on the format for The Dark Knight (a notion copied since, obviously), but Revolutions was actually the first live-action feature film to be released in IMAX at the same time as its regular theatrical release.

Previously on…
The story began in The Matrix and continued in The Matrix Reloaded, while spin-off anime shorts The Animatrix and video game Enter the Matrix filled in some of the blanks.

Next time…
The story continued in MMORPG The Matrix Online, which ran from 2004 to 2009. Rumours of some kind of reboot or continuation flare up now and then.

Awards
1 Razzie nomination (Worst Director)
3 Saturn Award nominations (Science Fiction Film, Costumes, Special Effects)

Verdict

I used to think Revolutions was better than Reloaded, mainly because at least it brought everything to an end and didn’t have that confusing stuff with the Architect. But reflecting on the sequels now, I have to agree with the consensus that this isn’t as good — there’s nothing that matches the highway sequence for entertainment value, and, actually, the lack of overt philosophising is almost to its detriment. It does have its moments (see: Memorable Scene), and I do think it ultimately comes to powerful resolutions, but the journey to them doesn’t have the same spark.

The Matrix Reloaded (2003)

The 100 Films Guide to…

The Matrix Reloaded

Free Your Mind.

Country: USA
Language: English
Runtime: 138 minutes
BBFC: 15
MPAA: R

Original Release: 15th May 2003 (US & others)
UK Release: 21st May 2003
Budget: $150 million
Worldwide Gross: $742.1 million

Stars
Keanu Reeves (Point Break, Man of Tai Chi)
Laurence Fishburne (What’s Love Got to Do With It, Contagion)
Carrie-Anne Moss (Red Planet, Unthinkable)
Hugo Weaving (Babe, Transformers)

Directors
The Wachowskis (The Matrix, Cloud Atlas)

Screenwriters
The Wachowskis (Assassins, Sense8)


The Story
With just 72 hours until the machines arrive to destroy mankind’s last city, all ships are ordered to return home for its defence. But Morpheus still believes the answer to their salvation lies in the Matrix itself and what Neo is meant to do there.

Our Heroes
Neo is just a man, but within the Matrix has abilities and power beyond any other. As he journeys deeper in the fake-world’s workings, can he free mankind? Will his love for fellow freedom fighter Trinity get in his way? Is their captain, Morpheus, misguided in his belief that Neo is The One?

Our Villains
As hordes of machines drill down to the human city of Zion, a more pressing threat is Agent Smith, who has found a way to multiply himself and is on the warpath within the Matrix, with his sights set on Neo.

Best Supporting Character
The Merovingian is a snobby Frenchman (is there any other kind, ho ho) who holds prisoner a key program our heroes need access to. First, they’ll have to endure his philosophising; after, they’ll have to fend off the men he sends to kill them.

Memorable Quote
“Now consider the alternative. What if I am right? What if the prophecy is true? What if tomorrow the war could be over? Isn’t that worth fighting for? Isn’t that worth dying for?” — Morpheus

Memorable Scene
The freeway chase. It’s so long it almost doesn’t count as just one scene, but it’s spectacular quarter-of-an-hour long action sequence packed to bursting with impressive stunts and effects.

Technical Wizardry
See above. The logistics of filming the sequence are mind-boggling. Now they’d just throw it all together in a computer with a bit of green screen for the actors, but back in the early ’00s they built a massive stretch of freeway and filmed most of the practical stunts for real — and it’s all the better for it, of course.

Truly Special Effect
Some of the CGI is a little ropey 15 years on (though the digital body doubles looked just as bad at the time as they do now, to be honest), but all of the real-world stuff with Zion and its ships still looks fantastic.

Letting the Side Down
Depending on your point of view, the climax is either philosophically engaging or impenetrably incomprehensible. I feel like repeat viewings and time have made it more understandable, but it’s still suffused with more big ideas than people expect to find in their blockbuster movies.

Making of
The Matrix Reloaded” is a funny title when you think about it. I mean, it’s very much “from our perspective” — in the film’s world the Matrix has never stopped running, so it’s not being reloaded; it’s an allusion to computer-y stuff and the fact this is a sequel, nothing to do with the actual content of the film. Though I guess it’s not really any weirder than just sticking “2” on the end or whatever, so…

Previously on…
In 1999, sci-fi actioner The Matrix blew everyone’s minds. In the run-up to this sequel there was also The Animatrix, a series of anime short films that explained some of the backstory to the films’ world and detailed certain events that occurred between the first film and its sequels.

Next time…
The video game Enter the Matrix occurs alongside Reloaded, featuring characters and situations from the film in a parallel storyline. It included around 45 minutes of live-action scenes shot by the Wachowskis, which has since been made available on the film’s DVD/Blu-ray/etc releases. Later the same year, The Matrix Revolutions concluded the trilogy, while MMORPG The Matrix Online continued the story. There have also been other video games and some comic books, but for a modern media franchise it’s been quite tightly controlled beyond that.

Awards
1 Razzie nomination (Worst Director)
1 World Stunt Award (Best Overall Stunt by a Stunt Woman (for motorcycle work in the freeway chase))
3 World Stunt Awards nominations (Best Fight (for the chateau hallway), Best Stunt Coordination Feature Film, Best Overall Stunt by a Woman (for a car stunt in the freeway chase))

Verdict

The Matrix sequels are generally viewed as a big disappointment, which isn’t wholly accurate or fair (for one thing, this first sequel actually has pretty solid ratings online, from both critics and viewers). It was always a big ask to follow-up a movie as original, groundbreaking, and straight-up entertaining as the first Matrix, and that the Wachowskis chose to do so by doubling down on the mythology and underpinning ideas obviously wasn’t successful with too many people. So perhaps making the plot 50% a straightforward quest-against-time narrative and 50% impenetrable philosophy lectures wasn’t the best idea, but the action sequences are still absolutely stunning. And, actually, if you bother to engage with the film on its own level, there’s some interesting stuff here.

Bumblebee (2018)

2019 #83
Travis Knight | 114 mins | Blu-ray (UHD) | 16:9 | USA & China / English | PG / PG-13

Bumblebee

The live-action Transformers movies, eh? Seemingly hated by everyone, critics and fans alike, and yet combined the first five grossed almost $4.4 billion at the global box office. Nonetheless, with the fifth one being the lowest grossing so far, and Michael Bay finally making good on his oft-repeated desire to leave the series’ director’s chair, someone clearly felt it was time for a change. That brings us to Bumblebee, a spin-off (it’s focused around the de facto second-in-command Transformer) cum prequel (it’s set in the ’80s, explaining some events that occurred before the 2007 movie) cum soft reboot (with redesigned characters and nothing that explicitly ties it to the Bay films, this could be the start of a whole new continuity). Did fans finally get what they want? Well, maybe, but it obviously didn’t work for the wider audience: the film took $468 million worldwide, which is good in itself but still represents almost a $140 million drop from the previous film. And it didn’t work for me, either: Bumblebee isn’t necessarily any better than the best of the Bay-era films, it’s just middling in different ways.

The film begins much like Man of Steel: launching us into a conflict between aliens on a distant planet. I criticised that film for throwing us into the deep end with a bunch of hard-sci-fi mumbo-jumbo, and I find similar fault here. I guess the point is to get an Epic Action Sequence up front (unlike Man of Steel, where it’s political arguing, here it’s a full-blown battle) and to show off the new-look old-style Transformers, which have been modelled more on their appearance in the ’80s cartoon series. But it does nothing to dispel the notion that this is nothing like the Bay films — it’s just another frenzy of metal-on-metal and garbled mythology. Then Bumblebee, who’s mainly identifiable as “the yellow Transformer”, gets sent off to Earth, where he accidentally winds up in a scrap with some military types. More action, but with a slight change of pace.

Bayhem never dies

Only after all this has gone down do we finally get to the supposed point of the movie. We’re introduced to Charlie (Hailee Steinfeld), a teenager in 1980s California who likes listening to 1980s music and wearing 1980s clothes and doing other 1980s things because this is set in the 1980s. She’s down on her luck for various reasons, but what she really wants is a car. She finds one in a boat scrapyard (totally logical), but that turns out to be Bumblebee in disguise, and suddenly she has a giant robot for a best friend. But Captain Military Man (John Cena — I have no idea what his character name was. I could look it up, but this was more amusing), who Bumblebee fought with in that second action sequence, is on the hunt for our big yellow friend, and so are some Decepticons (the bad robots).

The “a girl and her robot” angle is what the film was sold on, combined with the ’80s setting to suggest a throwback to movies of that era, like E.T. and so on. I quite like it as a concept — it’s certainly a change of pace from the increasingly overblown city-destroying world-saving antics of the earlier films — but it’s the execution that disappointed me. It takes too long to get it up and running. Even after the palaver I’ve already described, it spins its wheels on Charlie getting Bumblebee started, on comedic interludes with her family, on establishing a wannabe-love-interest for her (a guy who both works opposite her at a fairground and is her next door neighbour, yet apparently she’s never even noticed. Incidentally, I can’t remember his name either). There’s altogether too much time spent on the military and Decepticons hunting ‘Bee, too, especially considering it amounts to little that’s meaningful. I mean, specifically two Decepticons turn up on Earth, and they’re therefore the film’s primary villains, but I can’t remember their names either. Their personalities amount to “the one who plans” and “the one who just wants to shoot everything”.

A girl and her robot... which is disguised as a car

But after nearly an hour of this faff, the film gets good, with Charlie and Neighbour Boy getting up to some enjoyable ’80s kids’ movie-style antics with their friendly giant robot. But oh, then it’s time for the climax, so it’s back to explosions and indistinguishable chunks of metal hitting each other.

This is why it’s frustrating to me, because for a brief bit of time in the middle you see what I think this movie really wanted to be, and what I really wanted it to be, before it descends back into Bayhem-with-calmer-editing. Incoming director Travis Knight (whose only previous credit is the exceptional Kubo and the Two Strings) handles individual sequences well, suggesting he was a canny hire, but the film’s problem is bigger than that. The wonky pace and structure devotes time in the wrong places, leading to underdeveloped character beats (the big payoff for Charlie’s emotional subplot actually made me laugh out loud, which was not the intended effect) and taking too long to get to where it wants to be — just as it’s getting good, it has to dart off into a finale that doesn’t have enough impact, because we’re not really invested in the villains either.

Talking of what the movie “should’ve been”, a word on the certification. Bumblebee was originally given a 12A by the BBFC, just like every other modern blockbuster, but there was some kerfuffle in Australia that led to it being cut down under, and it seems that version was tamer enough to get a PG in the UK, so that’s the one that was released here (and, I think, everywhere outside the US). It loses about six seconds of injury and violence, apparently. There was a time earlier this century when anything below PG-13 was a bad thing, because they thought teens/adults would write the film off as being kids’ fare. Maybe that’s changed. Maybe it just doesn’t apply in the UK. Maybe they thought being a PG wouldn’t put grownups off (as an adult, who looks at the certificate, especially for the sixth movie in a well-established franchise?) but would allow more kids in. Who knows. It is what it is. I’m not sure it’s worth caring about.

This cute dog is also in it a bit

Also, another thing about differing releases: I wish they’d put it out on 3D Blu-ray somewhere, so that I could’ve bought that version. As noted at the start, I watched the 4K UHD disc, and the (upscaled) picture was fine but not spectacular (aside from one or two bits, and the usual benefits of HDR), but there were whole chunks I feel would’ve benefited from 3D. The Bay movies certainly did. I know those of us who enjoy the format are more in the minority than ever, but it seems that interest remains in some markets (looking at other titles that didn’t get a 3D release in the US and UK but did elsewhere, countries like Germany, Italy, Japan, and India seem to be among the lucky ones), so I don’t know why this hasn’t turned up in any of them.

Anyway. If Bumblebee managed its structure and pace better it’d be a lot more fun. I feel like, even with just the material that made it to the final cut, you could do a radical re-edit and turn it into a much better movie — ditch the Cybertron crap, cut way back on the baddies hunting for ‘Bee, get the relationship between Charlie and ‘Bee up and running faster, then focus on their teenage hijinks. Instead, someone thought it would be neat to bookend the film’s heart with a bunch of Bay-esque whooshbangery, and it gets in the way.

3 out of 5

Bumblebee is released on DVD and Blu-ray (regular and 4K UHD flavours) in the UK today.