Film Review: Rogue One: A Star Wars Story

With Rogue One: A Star Wars Story, director Gareth Edwards faces a tricky task of fleshing out the opening crawl and telling a story viewers know the outcome of. Against the odds, Edwards delivers an engaging and thoroughly entertaining film.

Jyn Erso is recruited by the Rebellion to help them discover the background to a powerful new weapon. As she finds out more, Jyn becomes the unlikely leader of an unlikely strike against the Empire…

Rogue One: A Star Wars Story is essentially the story from Star Wars: A New Hope‘s opening crawl. The film functions as an episode after the prequels (ending with Revenge of the Sith) and before A New Hope. The characters at the heart of the film are new. Edwards and screenwriters Chris Weitz and Tony Gilroy must tow a line in not reaching to far into the bookended films, whilst also offering a convincing and complete tale.

The filmmakers produce a memorable film by concentrating on the mission. The characters are developed where they need to be, yet the focus remains of the task ahead. After a timid start, the film finds its feet and propels forward. There are some good set pieces and action amongst the exposition and story development.  However the real treat is the measured build to a wonderful finale third. The climax offers spectacle and tension in abundance. Even though viewers know the outcome, Edwards delivers a memorable conclusion.

Rogue One does not carry humour or lightness in the same way as Star Wars: The Force Awakens. This works however, it is a serious blockbuster without being po-faced. The mood suits the  narrative, given the known outcome. Felicity Jones is strong in the central role. She is ably supported by Diego Luna, Riz Ahmed, and Ben Mendelsohn. Visuals offer both spectacle and a style in keeping with the original series. Michael Giacchino’s score complimentary of John Williams’ original.

With Rogue One: A Star Wars Story, Gareth Edwards delivers the type of prequel viewers would no doubt have loved from the 1999-2005 films. This latest film does the franchise proud.

Film Review: Star Trek Beyond

The third instalment of the franchise reboot, Star Trek Beyond continues in the same vein as its predecessors. The film is a lot of fun, although not as striking as the first two films.

Two years into their five-year mission, the crew of the USS Enterprise latest mission takes them into unchartered territory. Captain James T. Kirk and his crew are stranded on a remote planet with no means of communication…

Justin Lin takes over the directing reigns from producer J.J. Abrams for Star Trek Beyond. The third instalment of the franchise has a more episodic feel than the first two. If its predecessors were setting up the world and the characters, Star Trek Beyond then runs with this. The film is an adventure, putting established characters in a dangerous and exciting situation.

Writers Simon Pegg and Doug Jung create something akin to a vast and well-executed episode of the television series. The threat is felt fairly early on, with the main characters isolated in an unknown world. The force which pushes the crew forward in Krall, an antagonist with mysterious origins. However this set up works as a vehicle to explore and further the relationships within the crew.

Star Trek Beyond throws together different members of the crew, offering further depth to their characters as they face a powerful challenge. Karl Urban’s Bones is the character that benefits most from this; the character is given more colour than in the previous instalments. Scotty’s dialogue becomes inexplicably pastiche at times, whilst Kirk and Spock further their ties. Jayla (Sofia Boutella) is a good addition to the film, whilst Idris Elba delivers a suitably wearied performance. The film works best when it is concentrating on the action. These sequences are finely executed by director Justin Lin.

Lin is kinetic with his camera movement, entering scenes at any and all angles. This will work well in 3D, although 2D also feels the benefit. Action sequences generate excitement and will satisfy those yearning for blockbuster spectacle. Michael Giacchino’s score is as fitting as ever.

Star Trek Beyond does a good job of furthering crew dynamics whilst entertaining throughout. A focus on the science fiction aspects of the franchise would probably be welcome in the next edition. Nevertheless, the action, comedy, adventure and fitting tributes work very well in this film.

Film Review: Tomorrowland: A World Beyond

Brad Bird’s Tomorrowland: A World Beyond is brimming with wonder. The film is reminiscent of a traditional adventure movie, and as such is a very entertaining journey.

When teen space aficionado Casey Newton gets a glimpse of a futuristic world, she is determined to learn more. She enlists the help of Frank Walker, a reluctant former boy genius, who has also visited the wondrous place…

Tomorrowland: A World Beyond is a triumph of spectacle. Director and co-writer Brad Bird delivers wonder in spades. Visually, the film is sumptuous with its fantasy depictions. Bird has effectively tapped into science fiction imagery to produce a world rich in futuristic spectacle.

With its flashback opening scenes, Tomorrowland: A World Beyond offers a stylised vision of the past. And as much as the film is about the future, there is a certain resonance with the past. Bird’s film has the feel of a classic adventure; it has a different tone to recent movies of this genre. As such, there is something traditional and wholesome about the film which harks back to family-suitable movies of the 1980s.

Tomorrowland: A World Beyond teases viewers with glimpses of a fantasy world, taking its time to give context and meaning to the science fiction elements depicted. The film deals with familiar dynamics of the genre, positing a central theme of hope versus despair. The good-technology bad-technology trope is also present in Tomorrowland: A World Beyond, although even the more insidious aspects bring elements of humour. With its focus on environmental issues, the film tackles a pertinent and commendable topic. However, towards the end especially, Bird’s film does come across as preachy, detracting slightly from the overall message.

Cinematography and art direction in Tomorrowland: A World Beyond are superb. Michael Giacchino’s score also works very well with the attractive visuals. George Clooney offers a decent performance, although both he and Britt Robertson are outshone by the delightful Raffey Cassidy.

A welcome addition to the sci-fi adventure genre, Tomorrowland: A World Beyond successfully marries spectacle with an engaging narrative. A family film which should please all parties.

Film Review: Star Trek Into Darkness

Star Trek Into Darkness is a hugely enjoyable blockbuster that should satisfy the most casual viewers to the die-hard fans of the franchise.

When a rogue Starfleet agent causes mass destruction, Captain Kirk and the crew of the Enterprise are tasked with capturing him. Their mission takes them to dangerous enemy territory…

The reason that Star Trek Into Darkness works so well is that it ticks all the boxes in terms of action adventure, science fiction and comedy. Given how well received 2009’s Star Trek was, Into Darkness had rather a lot to live up to. J.J. Abrams’ sequel certainly meets expectations.

Star Trek Into Darkness is even more enjoyable than its predecessor.  Star Trek was very entertaining, so this signals the calibre of this sequel. This is mostly due to the fact that the origins tale has already been covered; Into Darkness can jump straight into the action. There is of course character and relationship development in the film. However,  the narrative feels more enticing in this instalment.

Pacing in the film is solid; there is never really a dip in momentum despite the two-hour plus run time. There are a few moments in the film that are a bit predictable, but Into Darkness is so well executed that it is hard to mind these.

There are numerous nods to earlier Star Trek films; no doubt these will be appreciated by fans. Michael Giacchino’s score definitely gives Into Darkness that epic blockbuster feel. In 3D, some of the foreground appears blurry, particularly near the beginning of the film. There is also a shot that seems so overly gratuitous it almost seems as if the filmmakers kept it in to make viewers roll their eyes. Nonetheless, these are only minor blemishes in what is a superb blockbuster.

Performances are strong throughout Into Darkness. Chris Pine and Zachary Quinto display good chemistry in their turbulent friendship, while Benedict Cumberbatch is fantastic as the rogue agent.

Star Trek Into Darkness is simply great fun, and currently the blockbuster to beat this summer.

Film Review: Super 8

Super 8 is the best blockbuster of the year so far. J.J. Abrams homage to producer Steven Spielberg is utterly charming.

Charles enlists the help of his friends, including Joe Lamb, to shoot a short movie. Hoping to enter the film into a competition, Charles seeks production values. Shooting a scene at night, the young teens witness a terrifying train crash. Following this, mysterious incidents take place in the town, as Joe and friends try to investigate what has occurred…

Super 8 is a fantastically well constructed film. Like the best blockbuster movies, Abram’s film effectively combines action-adventure, comedy and science fiction. These elements work well together; Super 8 has the ability to shift between comedy and tension seamlessly.

The film displays some sentimentalism. This is not particularly surprising, given Spielberg’s involvement. Moreover, these moments are well executed and are in keeping with the overall feel of the film. The sentimentalism never really veers into cheese territory.

The sense of mystery works well in Super 8. The contents of the train is not revealed initially, leading the main characters and the viewers to question the army’s involvement as well as the strange occurrences. It is a significant way into the film before more details are revealed, which keeps viewers guessing as to if or how the supernatural comes into play.

The influence of Spielberg’s films from the 1970s and 1980s is made very apparent in Super 8. The mystery over the cause of events is reminiscent of Close Encounters of the Third Kind. The camaraderie of the group of kids harks back to E.T. and the Spielberg-produced The Goonies. The references are visual as well as thematic, with the running in the train crash sequence harking back to an infamous Raiders of the Lost Ark scene. Furthermore, the references to George A. Romero are a nice touch. Abrams pays homage to his influences in the best possible way; overtly and slightly in awe, but blended seamlessly into the action.

The effects used in the film are first rate. Super 8 has a polished overall look, again harking back to Spielberg’s earlier blockbusters. The sound is suitably consuming. Michael Giacchino’s score is apt, although a section sounds very similar to Danny Elfman’s Nightmare Before Christmas theme.

The comedy in the film is effective thanks to Abrams’ script and the very natural interaction of the young teens. Performances are great all round, with Joel Courtney, Elle Fanning and Riley Griffiths standing out in particular. Kyle Chandler, meanwhile, looks every inch the late-1970s dad as Jackson Lamb.

Abrams’ film is highly recommended, and will likely be remembered as one of the year’s best movies. Super 8 is simply a delight.