This is how they do Westerns in the land down undaaaaa, undaaaa!
During the 1800s, Charlie Burns (Guy Pearce) and his brother Mikey (Richard Wilson) are captured by the ambitious-sheriff Stanley (Ray Winstone). Along with their psychopathic, blood-thirsty bro Arthur (Danny Huston), they are wanted for a brutal crime. However, both sides of the law don’t really seem to come together until Stanley makes Charlie a seemingly impossible proposition in an attempt to bring an end to the cycle of bloody violence. Will it work? Or will the bloodshed just continue on like it always does?
The film starts off with an action-packed opening, filled with guns shooting, girls screaming, and a bunch of Aussie accents that sound totally bad-ass. This starts off the film perfectly but also gets you off on the wrong-foot. See, it makes you think you’re in for a non-stop, blood-soaking, shoot ‘em up type of Western, when in reality, it’s the slow, melodramatic type where instead of shooting one another, they like to montage about their feelings. Just one of the very smart surprises director John Hillcoat gives us, that doesn’t feel like a rip-off of every other Western to come before it.
After seeing The Road, I realized that Hillcoat has a knack for setting a fine pace not only through his direction, but through his cinematography. The whole film takes place in the Australian Outback and you get a feel that this is a dirty, sweaty, and hot-ass place to be living in and it starts to set in pretty quickly that it all takes a big part of the story considering these people hate living in it, almost as much as you do looking at it. But as dirty and grimy as this flick may be, there are still plenty of beautiful visuals here to just soak up in your system. Whenever you have a film that can perfectly capture what the bloody red sky can look like when it starts to get dark in the middle of the day, then you know you have a keeper on your hands when it comes to visuals.
However, it’s not just all about the look, as dirty and sometimes beautiful it can be, it’s actually all about the tone and pace of the story that really takes over you. Is this film a slow Western that decides to take its time on its story rather than its grisly shoot ‘em up battles? Yes, but that does not mean it’s boring in the least bit. In fact, this film kept me on the edge of my seat at certain points because you don’t quite know where exactly this story is going to turn up, and where it does end up; you are damn sure as hell happy that writer Nick Cave decided to go with it. Hillcoat and Cave work great here together because they keep the story flowing smoothly and methodically, and make it seem like they are constantly on the same pace with what they want to show and how they want to show it. Through Cave’s writing, we get a glimpse at these characters, what they’re all about, what they’re motivations are, and why it all matters, but it isn’t just a bunch of guys weeping on about how they just killed for the first time, because there is violence.
And wow Nelly! When it hits, you won’t soon forget it.
The violence here is actually pretty awesome and even though it doesn’t take up the whole story with constant destruction, whenever it does pop-up; it’s bloody and gory to the core, but doesn’t feel like it’s just there to shock us and have us ready to vomit. Nope, it feels reasonable, if that’s all these characters have going for them is taking another person’s life. You can believe that some of these sick, psychotic son-of-a-bitches would actually go to these levels of violence, just to get their revenge and it feels real rather than feeling like something the creators felt like this movie needed. Can get a little cartoon-y at times with the blood-spurting out and all, but you can’t go wrong with violence that feels deserved, especially when you’re talking about a good ‘ole Western. Darn toooootin!
If there was something about this story that I didn’t like it was that I feel like it dropped the ball on the one thing that would have really made itself matter: it’s moral theme. All of the best Westerns, even the shoot ‘em ups that I’ve mentioned about 500 times in this review, all have one central message that is always looming underneath the surface, and then comes out of nowhere by the end to really make us start thinking. That’s exactly what I thought was going to happen with this movie and I think that’s what they thought as well, but the problem was that it doesn’t end up really being about much in the end. Yeah, there was some discussion about loyalty to family and responsibilities, but when you soak it with all of this bloodshed and bad-assery, does it really matter?
The answer to that is: well, not really. All of the violence and tension for the movie works, but giving it more meaning in terms of how it could have affected our train-of-thought, would have definitely made it more important. Hey, it’s fine for being all about the blood, the guns, the bullets, the horsies, and the hay stacks, but I wanted more. Hell, I needed more! Then again, I don’t really need all of that philosophical shit when I’m watching a movie about a bunch of cops and robbers, going around, shooting one another.
But everything gets better when you think about this awesome, all-star studded cast. Guy Pearce looks pretty damn intimidating as our anti-hero (if you want to call him that), Charlie Burns, a guy who just shows up and wants to do the right thing, even though the rest of his family really can’t. Actually, I don’t even know if that’s what goes through his head so I’m probably just making shit up about him. The guy probably killed families and robbed banks for all I know. But what I do know is that Pearce has that rugged look and feel to him that makes you believe that this guy could kill anything, or anyone that he wanted to, but he just chooses not to unless he actually is pushed to “that edge.” Then, all hell breaks loose and Guy Pearce at his finest.
Somebody who really shocked me in this movie was Ray Winstone, because it isn’t the type of character you’d expect to see him playing, despite it also seeming like the type of dude he was practically born to play: the rough and tough dude that you don’t want to fuck with (that is, unless your Gandhi). But it still has him starting-off like he’s going to play that type of role with him seeming like the type of guy that just wants justice done, and will do anything to get it, but sooner or later, his true colors get shown off to us, and to the rest of the people around him. Once all is said and done and things seem to get a bit too heavy for him, we all see him for the big baby that he really is. Probably one of his least-intimidating roles the guy has ever played, and that’s a good thing because the cockney-gangster bit was getting sort of tired after awhile. The lady who has him come out of his shell and be a bit of a whimp is Emily Watson who is good at seeing why such a masculine, strong dude like him, would fall head-over-heels in love with this girl, and weep at her feet. Okay, she’s not that perfect of a human-being, but she is pretty damn gorgeous so I can definitely see why.
On the other side of the fence, you have Danny Huston playing another one of his evil roles, as the broski Arthur, and gives off a very creepy performance that makes you feel like this guy is going to do some bad shit, whether or not the person he does that to deserves it. He just wants to kill people for the sake of killing people and that’s what makes all of Huston’s roles pretty much scary as hell. Honestly, when has that guy ever played anybody that’s remotely nice in a movie? 21 Grams doesn’t count cause the guy is barely even in it! Don’t worry, I’ll wait here….
Consensus: The blood and guts that are spilled throughout the run-time of The Proposition make this movie worth the watch, as well as the cast, but underneath the surface; there doesn’t seem to be much else other than a bunch of guys just wanting to kill one another and possibly ride off into the sunset when the fun’s all over. So simple, yet, so twisted.
8/ 10 = Matinee!!
Apparently, Steve Irwin’s death wasn’t the worst moment in Australia’s history. Too soon?
Northern Australia during the breakout of WWII was a bit of a mess, but at the center of all the craziness, pain, anger, and agony, there were two people (Hugh Jackman and Nicole Kidman), who came from two opposite sides, to somehow meet together in the middle and find a love that was greater than any other force in the entire world. She, Lady Sarah Ashley, was a richy-rich, stuck-up lady from England who came overseas to help her husband out with his cattle-business, whereas he, Drover, was just a man who just took the cattle, and helped them across the acres so he got his money and went on his way. In the middle of them both, there is a small, Aboriginal child by the name of Nullah (Brandon Walters).
Baz Luhrmann is sort of like a poor man’s version of Terrence Malick. All skills aside, the guy makes a film every once and awhile, hypes it up forever, and they usually meet all of the hype. Over a career that spans 30 years, the man has only made four movies (five, if you include The Great Gatsby coming out this Friday), and each of them have been pretty good. However, whatever your tastes-buds are, you can’t lie about the fact that the guy loves the material he puts on screen, and always give it his 110% full devotion and time. Hence why his films take awhile to come out. However, maybe the guy went a little too far this time. Just a bit, I’d say.
It’s obvious that before the idea of this movie even came about, Luhrmann watched and studied the old-school MGM movies of the 30′s, 40′s, and early 50′s. Why is it obvious? Well, if you take away the beautiful visuals, the color, the action, the blood, the murder, and some other disturbing images that would have been pretty taboo back in the day, then you have your typical, feel-good epic that would have been made back in the day with Clark Gable and Joan Crawford, and probably took the whole world by storm. However, those were simpler and more modest times, nowadays, our more-current viewers don’t really have the steam and time for all of the melodramatic moments that Luhrmann seems to embrace, but not really think through.
For instance, there are plenty of scenes in this movie where everything is so happy-wappy, so joyful with glee, and so damn smiley, that it’s near-laughable. That’s not to say that the actors involved with these moments don’t try their hardest to get past the obvious-corniness of the material, but they can’t help but fall prey either. It’s almost inescapable with corn-ballish material such as this. But then some weird things would start to happen with this movie, and I found myself getting more and more lost out of nowhere.
The idea that this flick tackles two subjects, both gripping in their own ways, at the same time really makes it seem a tad uneven, as well as up-and-down with it’s transition. On one end of the arena, we have the love story between Jackman and Kidman, which is probably the best element of this whole flick. Both are great workers in their own right, but the way they’re characters were playing-off of one another at first, had me worried that it was going to be too light and rompy to be taken seriously. But somehow, they made it work because they legitimately do seem like they have sexual-chemistry that can’t wait to get you all hot, sweaty, and ready for the lovin’ to take ahold. If I was Keith Urban, I’d be a little ready to put the fist-a-cuffs up next time I saw Wolverine. Then again, I’m not Keith Urban. Which altogether means that I’m not a million dollar-selling, country artist that is married to Nicole Kidman. Nope, I’m Dan O’Neill, who blogs and watches movie. Wow. Life sucks.
Anyway, those two whether they are together or not, make this movie work and keep it moving at a pace that draws your attention in, but it didn’t seem to draw Luhrmann’s attention all that much, considering he’s more concerned with the other aspect of the movie it wants to cover: the Aborigines. The Aborigines were a very important part of Australia’s history, which makes total sense as to why Luhrmann would make them a key-focus in this story of times that are changing, and the love story in-between it all, but it doesn’t fit well as it seems to not be Luhrmann’s strong-suit.
The strong-suit that I’m talking about is how the man can’t seem to really get his point across, without being as obvious as an albino, dressed in all white, playing hide-n-go seek. Yeah, that obvious. Scenes where they are merely showing the types of racism the Aborigines would face are somewhat disturbing, but also don’t fit well in the context of this movie when you have a bunch of people palling-around with one another and believing in the spirits from up-above. Obviously Luhrmann does not like the treatment that the Aborigines faced during this period, but he doesn’t show his feelings in a strong-enough way to really impact you and instead; sort of makes you wish that he didn’t try to explore it anymore than he already did. Shame too, because it’s a piece of Australian-history that is one of the most important, and should never be forgotten. However, you can’t help but want to forget about it, especially when it’s getting in the way of the sexy-time between Jackman and Kidman.
Seriously, they were about to make me faint!
But this review would not at all be complete if I didn’t talk about Luhrmann’s inspired-attention to detail, that never ceases to amaze me, no matter how melodramatic the material may be. Every scene in this movie feels as if Luhrmann not only paid close attention to it, but wouldn’t go asleep for days until he nailed exactly what he wanted to see. Sure, some of the scenes seem choppy due to lame-o special-effects and green-screens galore, however, it’s still something to see and marvel at, considering you know the type of film maker Luhrmann is. I disliked the hell out of his rendition of Romeo & Juliet, but the man always gave me something to go googely-eyes at, which made the movie slightly-better. That’s the same exact formula here, except there’s more to this story than just an age-old love story that we’ve heard, countless-upon-countless of times. This is a story that does have a heart, does have a vision, and does have inspiration, it just gets lost somewhere in the muddle of it all. Thankfully, Baz keeps his head above it, and keeps us watching. How the man does it: I will never know.
Consensus: Modest and old-fashioned to a fault, Australia may not be the type of movie you watch time and time again due to the unevenness of the material, and cloying-parts of the story that seem to pokes it’s ugly head out every so often, but is one of those movies you watch to enjoy, marvel at with the flair for visual and colors, and get ready to sweat, especially once you see Jackman and Kidman lock bodies, and prepare to make love. Oh yeah, baby.
6 / 10 = Rental!!
Finally, 9 hours of my life can finally be put to rest.
As Sauron’s dark army surround the citadel of Minas Tirith and hope wanes for all of Middle-earth, Frodo (Elijah Wood), Sam (Sean Astin), and Gollum (Andy Serkis) continue their journey towards Mount Doom in order to destroy the Ring of Power.
After two movies that have already racked-up to being over than 3 hours each, it seems almost granted that the final-conclusion of this spectacular trilogy would end with a 3-hour and 21-minute time-limit. That’s right, ALMOST 3-AND-A-HALF HOURS! But what separates this long-ass time-limit from the last two, is the fact that you barely notice it one-bit, despite it being the longest of the three. Just goes to show you that long movies, aren’t always that bad to sit-through.
I think first things first to get this review going would be to give major kudos to director Peter Jackson who, like with the last two, does a magnificent job at showing us this beautiful world of Middle Earth, in all of it’s darkness, weirdness, and overall beauty. The sets, designs, make-up, costumes, art direction, and everything else, just look perfect and with this last movie, you needed that keen-eye for attention to detail that Jackson has to make a movie like this work, and it totally does. Obviously a lot more of this movie is dependent on special-effects and CGI, whereas the last two had it, but not a huge-amount, but it’s not distracting from the real beauty that lies underneath this movie and from what I hear, a lot of this was filmed naturally, which impressed me as hell since it seemed like some of these sets would have taken years to be built, and each movie came-out a year-apart from one another. That’s dedication to detail right there, folks, and it’s no surprise that that same dedication won Jackson almost every art and set-design Oscar that year, and rightfully so.
However, Peter Jackson didn’t just win a bunch of secondary-awards for his work here on this movie, he also won Best Director and that’s not just because of his strong look and detail into this world he obviously loves, but mainly because the guy has the spirit and passion inside of him that makes this flick work, right about from the start. The reason I say “right about from the start”, is because the film obviously has a bit of a problem in the beginning, because it seems like it’s trying to find it’s footing in how it wants to start things-out. We get a couple of awkward cuts to Frodo and Sam being slightly homosexual with one another, to a pretty un-epic shot of Legolas, Aragorn, Gandalf, and Gimli, all slowly riding-down the grassy lands with their horses, but after that, it picks up it’s speed and momentum, and I was willing to forgive Jackson for all of this because it just continues to get better and better.
Once this movie picks up and knows exactly where it wants to go, it’s the freakin’ most epic, most entertaining, and most emotional-ride you will ever take in a movie. The movie cuts between the two stories of Frodo & Sam’s journey to Mount Doom and the defense of Gondor and Minas Tirith, and whereas the weaving in-and-out of stories took a lot of momentum out of the direction the last time-around, it works so perfectly because both stories have a great deal of built-up tension and emotions that run high in about every frame of this flick. Watching Sam and Frodo make their way to destroying the ring will keep you on the edge of your seat as they constantly continue to find hardships getting to their destination, and the Battle of Peleanor Fields is the other story that seems to be the centerpiece of this movie, and had my heart racing just as much as Sam and Frodo’s journey, even though they were both polar-opposites in terms of pacing and development.
In the Two Towers, the Battle at Helm’s Deep was an absolute joy to see play-out on screen because it built-up the intensity, the emotion, the action, and most of all, the fun in having two, opposing sides go head-to-head and watching as they are both equally-matched, and equally-as-smart as the other. It was probably the highlight of that whole movie, even if there was a lot more to cheer-on about, but the battle that takes place here in this flick (the Battle of Peleanor Fields), makes it look like a bunch of kiddies messing around in the playground. Jackson totally ups the ante with his direction by providing so much action, blood, and sometimes, gore to have us really involved, but also adds a great deal of heart and emotion to have us fully-invested enough, to the point of where our hearts are racing every time it seems like somebody is going to be the nest one to bite the dust. Seriously, I’ve seen this movie about 2 or 3 times before, but I was still gripping my sheets, wondering who was going to be next and it sent me shivers up my spine whenever I heard a loud, scary enemy come-through again and provide another threat to all of our heroes and favorite characters. Seriously, if you don’t feel any type of emotional-connection to these characters as they all become one-step closer to death in a span of 1 hour, then you my friend, are just as soulless and as dark as the enemies they are facing. Crappy metaphor, I know, but you get the point.
However, that key-battle in the center of this movie is only one of the main reasons why this movie works as well as it does and why Jackson got the Oscar in the first-place. There is so much going on-here that it would definitely be very easy to see how somebody would feel as if it’s too much at one-time, but Jackson evens it all-out so nicely so that we see everything that happens, why it happens, and gives us a bit of time to understand it all. Not many movies that have a certain-type of audience feel the need to do that because they feel as if it’s strictly for the fanboys to understand, and everybody else to ‘eff off, but not Jackson. No, he’s a different type of lad and I’m happy that he decided to take his time with this movie and lay everything-out on the ground for us all to get as soon as the story started to pick-up because when it gets going, it never stops and that’s when you find yourself having the best time of your life with this movie.
Another key-element to this movie that Jackson wisely allows, is that every character that we have gotten to know or see over the past 2 films, finally all get their own chance to shine, rather than having it be the Frodo and Gandalf show 24/7, which also means, all of the performances are fully-realized and some of the best of the whole trilogy. Viggo Mortensen kicks ass once again as Aragorn, and shows that he is not one prince to be messed-with, especially when it comes to somebody coming in between him, his buddies, and most of all, his gal that he is so far-away from. I may make Aragorn sound like a bit of a pussy with that description, but trust me, he’s not in the least-bit. Ian McKellen is awesome as Gandalf and shows how wise and warm he is, not only as a ruler, but as a character, as well; Orlando Bloom is good as Legolas, and shows us why the guy kicks just as much as Aragorn does; and John Rhys-Davies doesn’t quite get enough moments to steal the spotlight from everybody else like he did in the 2nd-movie, but he still has a lot of fun here as Gimli. Anybody I didn’t mention, don’t worry, they all did good, especially those little, fuckin’ hobbits.
In the past 2 movies, it seems as if Sam and Frodo are the only ones to really get the attention from Jackson in terms of character-development and actually meaning something in the whole grand scheme of things, but now, Jackson allows the other two as well to show what they’re made of. Billy Boyd and Dominic Monaghan are each great as Pippin and Merry, respectively, and show that they aren’t just about of immature jokers, they can actually put-up and shut-up when they need to and actually help move this story along, even if they are without their tree buddies that I missed very, very deeply. These two get a lot to do, but Frodo and Sam aren’t left-out of the equation, either, and their story is by-far the one I really connected to since it’s all about the limits of friendship and how far one will go to really help the other one out and hopefully, save their lives in the process. Elijah Wood has been a bit tweedy as Frodo in the past 2 movies, but really excels here and gives Frodo a bit of a mean-streak that actually has you fearful for Same, as well as Gollum. Wood has never been the star actor of our generation, but here, he shows us that he can act no matter how much he gives-off that softy-smile that really rang the wrong bells for me. Seriously, I thought the revelation at the end was going to be Frodo was in-love with Sam after all of this time, I swear it.
As good as Elijah Wood may be, Sean Astin is the one who really steals this show as Samewise Gamgee, and you know what? It’s about damn time this guy finally got his rocks off in these movies, because not only is Samwise as strong of a character as anybody else in this whole damn series, but Astin is also a great-actor too, and one that I feel like never really gets to show himself for all that he is because people still see him as Rudy. Samewise is such an awesome character to watch on-screen not just because he lays down the law for Frodo and tells him all of the obvious stuff about the ring, Gollum, and the evils that come-from both of them, but because you feel like this guy would do anything, I do repeat, ANYTHING, to save his friend’s lives, no matter how hard or impossible it seemed to be. Astin plays this up so perfectly and to watch him come-alive as an actor through Same, is a freakin’ revelation since this guy rarely ever gets the chance to and it’s sort of a shame that this guy never got an Oscar nomination for his work here because he’s understated, believable, strong-willed, and most of all, the emotional anchor that holds this movie down from being a “Nerd’s Only” love-fest.
If there is any reason why this movie deserves the high-rating I’m giving it, it’s mainly because it’s one of those rare-occasions where I’m reminded of why I love watching epic movies such as this: they take me out of the real-world I’m in, and place me into another no matter how unbelievable or fantasy-like it actually may be. After those first, 15-minutes that Jackson seems to struggle with are over, things only go uphill from there and show you exactly why you invested half-of-your-day to see the first 2 movies in the first-place. You love the characters, you love the mythology, you love the setting, you love the battles, and most importantly, you just love what Jackson does with this movie and how he never seems to disappoint any loyal fan of the original source material, or regular, moviegoer that just wants to be transported into a different world. He delivers on both ends of the spectrum and trust me, by the end of this movie, if you loved the first two, you will most likely shed a tear once you see your beloved trilogy come to a sweeping, but beautiful ending that couldn’t have been better, even if Jackson put a freakin’ cherry on top of it. Go out there and see The Hobbit this weekend, people! Lord knows I will be, regardless of if I want to or not. Trust me, I do.
Consensus: Despite being the longest out of the three (clocking in at 3 hours and 12 minutes, The Lord of the Rings: Return of the King still delivers on every end of the spectrum that fans, and moviegoers alike expect from these movies: beautiful sets and designs, fully-realized characters, dazzling action, an emotional story from start-to-finish, and especially with this one, a beautiful send-off to a trilogy we will most likely never, ever forget about, no matter how many prequels Hollywood and Peter Jackson want to churn out of their money-making asses.
I may be a noob because I don’t know a Orc from a Uruk-Hai, but as long as we got elves, wizards, dwarves, monster-creatures, and trees all duking it out in one flick, I’m fine with not knowing.
Taking place literally 3 days after where the first one left-off, we follow three stories of our favorite characters and see how they all are separated, but go-out on their own quests as well. Frodo (Elijah Wood) and Sam (Sean Astin) continue their journey towards Mordor to destroy the One Ring, meeting and joined by Gollum (choreographed by Andy Serkis), the ring’s former owner. Aragorn (Viggo Mortensen), Legolas (Orlando Bloom), and Gimli (John Rhys-Davies) come to the war-torn nation of Rohan and are reunited with the resurrected Gandalf (Ian McKellen), before fighting at the Battle of Helm’s Deep. Merry (Dominic Monaghan) and Pippin (Billy Boyd) escape capture, meet Treebeard the Ent, and help to plan an attack on Isengard.
That’s a pretty lengthy-premise, hell, probably the longest one I have ever done, and hell, this is a pretty lengthy-movie. But even though it may clock-in at 2 hours and 59 minutes, just missing that day-changer by a measly minute, you still can’t help but have a great-old time watching all of your favorite fantasy characters, battle it out like nobody’s business. Oh, and let’s not forget the walking trees, too. Can’t forget about them.
Once again, as you could probably expect from the guy, Peter Jackson does a great-job at nailing each and every single, little detail of this setting down to it’s core. Everything just looks perfect the way it is and those swooping shots that seem to take over the film, do nothing else but put you in the mind-set that yes, you are in Middle-Earth and it’s time to get ready for a place that is filled with mystical-beings and happenings, but also a place that’s filled with a lot of darkness and war, as well.
Believe it or not, from a reader’s stand-point, this is the most controversial movie-adaptation of the three because apparently Jackson took some liberties of his own in changing up the story-structure, events, and even the characters as well. Obviously any person who has ever read these books and is expecting the exact, same thing on-screen are going to be a little pissed to see some things shook-up a bit, but I don’t think Jackson could have told this story any other way. What I mean by that, is that since there are three stories going-on at the same time, you sort of have to tell them all just like that, rather than telling one-story, being done with it, and moving onto the next without any transition to other stories. It can be done, but it wouldn’t have worked for this movie and that’s why I’m really glad Jackson kept all of these three stories to continue to go-on at the same time, without a break, or stop, or anything. It’s just got a beautiful flow to it and that’s because Jackson knows the story from head-to-toe and wants to show everybody his love and appreciation for it, even if he has to stick to his movie-rules and piss a couple of people off by doing-so. Hey, you can’t please everybody out there, Pete, but you sure as hell pleased the hell out of me.
I think where this film works so well compared to the first-one is the sort of tone and approach it takes to the story. You can definitely tell that this story is starting to get more and more tense as it develops and you can tell that there’s more of a drastic-feeling to every scene, where you don’t quite know what’s going to happen next, who you’re going to have to say bye to, and just how far the story will progress in-time. You have a bigger, emotional-connection to everybody here and it’s not just about who’s going to get killed-off next, it’s about who are you going to miss when it’s all said and done. There is definitely a lot that’s worth standing-by and awaiting the next surprise, but it’s not all about surprises, twists, or turns with this story, it’s about the feeling of the world you’re placed into and whether or not you’re going to be able to stay-long and watch as all of your favorite characters risk their lives 24/7.
That’s why the infamous battle at Helm’s Depp is considered one of the best battle-sequences of the past-decade, there’s so much emotion, turmoil, and intensity going on behind it, that you can’t stop feeling like you are involved with it as much as the actual-characters themselves. Anybody that talks about this movie, always talks about this huge-spectacle of a battle and as they should, because it is absolutely awesome to be entertained by, and absolutely gripping to watch. You never know what’s going to happen next with this scene and you feel like anything could happen, and usually does actually happen. It’s filmed-beautifully, as well as you could expect, and just goes to show you that Jackson had an inspiration for how he wanted this battle to look and feel like and holy damn, if it wasn’t for this whole-sequence, I don’t know how much of this film I would have actually loved.
However, I shouldn’t really talk like the battle at Helm’s Deep is the only thing worth watching here, because it isn’t. Each and every other story that they throw at us is as epic, dramatic, and gripping as the one that comes before it, the only problem is that when it gets in the way of the battle-sequence, it slows things down a bit. I liked the story of Sam and Frodo continuing their quest with the Ring, and the two hobbits with the walking trees, but whenever they showed-up, it was usually to break-up the action that was happening during the battle and it felt a bit cheap, as it just took away from all of the excitement and intensity that we were feeling beforehand. I mean, yeah, these stories needed to be told and needed to be spliced-in with the main-one, but still, you can’t help but feel like they just dedicated a good solid 45 minutes to the battle at Helm’s Deep, and be done with it, rather than just jumping back-and-forth and breaking some of the fun.
That same person who you heard talking about this movie and mentioning the battle at Helm’s Deep, would also probably mention that this is the flick that first introduced the CG-driven powerhouse of Gollum, played by Andy Serkis. See, what most people at the time didn’t know was that Serkis donned the blue-suit for this role and encapsulated all of his movements, flow, and feelings all into this character to give him a realistic-look and feel. Instead, everybody else thought that it was just another case of the computers taking over the magic of Hollywood, and just using a bunch of special-effects that may look beautiful, but are still special-effects none the less. That’s what’s so amazing about Serkis as Gollum here, is that he just brings all of this feeling to a character and makes it seem very unbelievable how he was able to pull it all off so well. I also can’t forget to mention that Gollum looks as real as you’re going to get and it’s a work of art to watch and just gaze at. Yeah, technology is better now, but at the time, it was beyond art. It was a freakin’ masterpiece.
Ian McKellen was the anchor of the first movie, but is rarely here as Gandolf, even though he still kicks as much ass here in this movie, as we expected from him in that movie. Instead, that anchor is given-away to Viggo Mortensen who absolutely nails it as Aragorn. Viggo just has this look and feel to him that has you wonder what he’s going to do next, but yet, at the same time, still has you feel like you’re in safe-hands whenever he’s around. That’s why it was pretty freakin’ awesome to see him take over ship here a lot of times and just let everybody know that he’s the boss, he’s the man you don’t want to mess with, and most of all, he’s the man that’s going to slay all of these weird-looking, freaky creatures. Just goes to show you that Viggo really can scare anybody, whether he’s playing a Russian-mobster, playing Sigmund Freud, an ex-gangster-turned-family-man. Yeah, that last sentence pretty much puts Viggo Mortensen’s career into a nutshell.
Consensus: The Lord of the Rings: The Two Towers is the second-installment that hits, and hits hard with enough emotions, action, and characters running through, that you feel like you have a full grip and feel of this story, what’s happening in it, and what’s to come of it in it’s grand, epic finale. Return of the King, here I come!
Had me totally convinced that I was born in the wrong century.
Retelling the ancient Battle of Thermopylae, it depicts the titanic clash in which King Leonidas (Gerard Butler) and 300 Spartans fought to the death against Xerxes (Rodrigo Santoro) and his massive Persian army.
300 is the definitive 21st century guy movie. If you tell me that you watched 300, and didn’t automatically get inspired to hit the gym, and possibly a couple of people on the way, well then I will call you a huge liar. Or Persian.
This is adapted from Frank Miller’s graphic novel, which is also based off some actual true history right here. The film itself is directed by Zack Snyder, the guy who’s behind The Watchmen, Dawn of the Dead, and the new Superman film coming up and I must say that having seen this guy’s films he really does know how to make a film, as crazy and hectic as it may be, look beautiful. The visuals are outstanding, and the constant flairs of all these different colors hitting the screen, put you in this world where bloodshed is everywhere and only the strong will survive. This provides some beautiful shots, with some even better cinematography that seemed so hard to pull off, but somehow they did.
The one thing that some people may not actually see about this film is that it is about 40 minutes long, if it were to play in real-time. But instead Zack “Slow-Mo” Snyder makes almost every single action hit, stab, cut, kill, etc. it slow-motion which didn’t bother me at first, until I realized that almost everything is like this, and bothered me because I just felt like it was lazy directing to create a cooler look to the action.
However, despite that, I must say that the action is freakin’ awesome! Since this is a guy’s film you got non-stop shouting, bleeding, beheading, delimbing, swords going all over the place, shields being destroyed, and most of all you have those male-bonding scenes that may seem like a GLAAD parade with all these half-naked dudes in sweat and dirt, but as soon as you see the first action sequence that’s all off your mind, and you just wanna see some more people get thrashed to shreds. If you look away at one scene because this is too graphic for you, you are not a real man, I should know too (site name).
The script is full-on machismo with these one-dimensional caricatures talking like WWE wrestler’s. Honestly though, who cannot forget “THISSSS ISSS SPARTAAAA” or “Give them nothing! But take from them everything!!!!”. The dialogue may seem all a bit laughable, but in the end, the action just holds you over for good, and you will find you and your bros quoting this long after.
Gerard Butler is the freakin’ man as Leonidas, and perfectly captures that look and spirit that we image the Spartan warriors to have been. It’s just a shame that all he does is shit now, but we can always look back at the days when he was actually good. Lena Headey is also good as well as beautiful as his beautiful wife Gorgo. I also liked seeing Dennis Rodman as Xerxes. Oh…that wasn’t him…..could have had me fooled. It was also nice to see other stars in this such as Michael Fassbender, Dominic West, and David Wenham.
Consensus: Not to be taken too seriously, 300 is a more of an orgy of violence and gore, rather than an actual history document, but will entertain the hell out of all dudes, as well as provide plenty and I do mean plenty of beautiful visuals.