Tag Archives: Rebecca Ferguson

DUNE (2021) Review

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Audacious sci-fi scale, but a vapid adaptation. Dune is a stunning sci-fi/action visual spectacle that delivers rich imagery and epic fight choreography; but falls short in translating the thoughtful, complex themes and mythology of the source material, which get buried in heavy handed exposition or are entirely cut. Dune (part one) is the first part of the of an epic sci-fi tale about Paul Atreides, son of Duke Leto of house Atreides and Lady Jessica, a sister of the Bene Gesserit who are sent by the Padisha Emperor from their home world Caladan to govern the Planet Arrakis after the Departure of House Harkonnen. If you haven’t read the book and this sentence sounds overly expositional and convoluted to you this is how you’re going to feel throughout 80% of the films dialogues. However, I’m sure you’re not going to see Dune for the dialogue and it has plenty to offer aside from that.

Director Denis Villeneuve wanted to make this a “Star Wars for adults” and with that he succeeded. Dune boasts impressive visuals and epic conflict but in a more mature manner than the Star Wars films. Instead of using colorful light sabers people are stabbing each other with actual knives. Still not much blood is seen, thanks to the film’s PG 13 rating, but that seems to be unavoidable in today’s industry. The Designs are kept very close to the book, especially the Ornithopters which actually have flapping wings unlike in previous adaptation by David Lynch. Some of it may be because of the improved technology after nearly 40 years but I believe the production designers were definitely trying to stay faithful to the source material. All in all the depictions of technology, lifeforms and other things will satisfy fans of the book, although the production design was a bit too monochromatic for my personal taste. The visual direction is similar to other works by Villeneuve: simple and effective. The camera itself is not here to show off. That’s what the Sandworms, spaceships and battles are for. The cinematography by Greig Fraser is dark and moody, which fits the more adult tone this film is going for.

Continuing with its mission to be an adult Star Wars, it’s also more complex editing wise with mystic visions by the protagonist Paul sprinkled throughout the film by Villeneuve’s frequent collaborator editor Joe Walker. The visual effects shots are done in similar manner to the rest of the camerawork. They are impressive but only there to move the story along and not at all show-offy. The hand to hand combat sequences, of which there are quite a few, most of which look very practical are impressive as well. One can clearly see the effort the actors put into making them appear so effortless. That also includes the main cast, no stunt doubles here! There is one early fight or rather training scene between Chalamet (Paul Atreides) and Brolin (Gurney Halleck) where their skills are put on full display.

Now the actors of which this film has many and many famous ones also did very well, even despite the fact that most of their job consists of spouting exposition and fighting. Rebecca Ferguson as Paul’s mother Lady Jessica being the clear standout and stealing every scene she’s in. Timothée Chalamet has his edgy teenager moment, which in this case fits the character who is still coming to terms with his new place in the complicated conflicts and power structures of Dune but doesn’t really have any other stand out moments. Zendaya, the other perhaps controversial star of this film, also doesn’t stand out much, neither in a negative nor positive way. Her character only really appears in the film towards the end so there’s not really enough to see for a final verdict.

Now on to the not so good aspects of the film. Although the conflict in Dune is still very complex and probably closer to Game of Thrones than Star Wars it’s still very simplified if not dumbed down compared to the complex political intrigues and power plays of the novel to fit the limited runtime of the film format. The complex world of the Dune universe also has to be explained to viewer somehow, which here is mostly done through expositional dialogue. The exposition is well integrated to the story as Paul, the protagonist is also learning about most of these things but it can become a bit overbearing as said before. This can leave viewers who are not familiar with the source material overwhelmed and confused about the particularities of the story and story world. Nevertheless the film should still be enjoyable as an epic sci fi tale about family, power and mysticism, even if it takes some time to understand surrounding lore. Hopefully this film will also motivate a new generation of Dune fans to dive into the world that Frank Herbert created in his books.

Written by German correspondent Leon Zitz.
Be sure to check out his Instagram to see what he’s working on!

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“The Greatest Showman” movie musical review

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Stunningly sensational! Ladies and gentlemen, children of all ages witness the larger than life movie musical adaptation of the life of P.T. Barnum directed by Michael Gracey. Dazzling! 20th Century Fox’s The Greatest Showman is an incredible work of motion picture and performing arts magic. Never before has the magic of the American circus been captured so brilliantly. As the movie stares, “a man’s station is truly limited only by his imagination.” From the costumes to the music and choreography, this film is sure to inspire anyone who has a dream and wants to realize it. The music will have you singing along, clapping, and even tapping your toes because the emotions will get you right to the core. Ordinarily, a movie like this could generate an interest in budding performing artists and showbusiness enthusiasts to “run away and join the circus,” but the big top had its swan song earlier this year. One can only speculate that had this film been released last year that the circus that still bears his name Ringling Bros. and Barnum & Bailey would still be touring today. Sadly, the circus had its final performance in May 2017. From the moment the movie opens, you will be completely immersed in the world of P.T. Barnum, a world unfamiliar with the concept of shows that were sheer spectacle, illusion, and simply designed to put smiles on faces. It’s entirely possible that this may prove to be the greatest films of 2017, and certainly one of the greatest movie musicals ever made.

Simply stated, The Greatest Showman is the film adaptation of the life of P.T. Barnum (Hugh Jackman) and depicts how he was inspired to essentially create the very concept of showbusiness. From his successes to his failures, this movie showcases the very beginning of the American circus, a tradition that would last for nearly 150 years. Filled with incredible original music, this original movie musical displays how one man’s vision became a worldwide sensation.

My first observation of this film is just how polarizing it seems to be. On one hand, some critics and websites praise it for being an absolute delight while others are rating it rotten. Unapologetically, I feel strongly that this film musical is nearly flawless. As to how accurately it reflects the life of P.T. Barnum, I cannot speak to that because I have not spent hours researching his life; however, from what I do know about him, the movie seems to have captured the inspiration and vision accurately, as well as his faults and pitfalls. While standard holiday issue biopics are nothing new, what with The Darkest Hour also on the horizon this season, Gracey turns what could have been just another biographical film about an American icon into a larger than life dazzling display of precise choreography, effective montages, and just plain fun! Ringing Bros. may have closed the bigtop for the last time, but the soul of P.T. Barnum lives on in what Feld Entertainment (parent company to Ringling Bros and Barnum & Bailey) does. Without P.T. Barnum, we may not have the concept of showbusiness as we know it today. Despite staying away from the usual meaty themes found in Christmastime biopics, this film packs a powerful punch and supports the need for entertainment and the arts in our lives.

The high degree of passion Jackman displays for his character cannot be overstated. Though Gracey shows his directing prowess in this film, it is the labor of love of Jackman who has been trying to get this movie musical made for the better part of a decade. While the cliche underdog story may not be anything new, the method through which the story is told is a must-see spectacle. What works best in the movie are the extravagant and intricately choreographed musical numbers. The infectious and inspirational songs of The Greatest Showman were written by La La Land Oscar winners Benj Pasek and Justin Paul while the brilliant choreography was staged by Ashley Wallen. Each and every musical number is powerful and truly adds to the fantastic experience of this film. Moreover, this movie musical typifies the height of the visual and performing arts in terms of the ability to create an imaginative atmosphere that generates sheer delight in the minds and eyes of the audience.

In many ways, this movie is an extension of the circus that many of us grew up watching as kids and even adults. The circus was never about deep, complex stories; it was about entertaining audiences of all ages and bringing smiles to faces. And this film will certainly bring joy into your life this holiday season! Such a perfect movie for the week leading into Christmas because it is fun for the whole family.

“LIFE” movie review

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Chilling! In space, no one can hear you scream. Although that tagline is associated with Ridley Scott’s groundbreaking space-horror Alien, director Daniel Espinosa’s LIFE delivers an intensely dark thriller that will have you screaming and cringing from the moment life on Mars is discovered. In the same vein as Alien, LIFE is a science-fiction horror that may look like Gravity and might even have the strong orchestral sounds of Interstellar, but provides audiences with an entirely different experience. Borrowing from Alien and Gravity, Sony and Columbia Pictures craft a new space-horror narrative that can sufficiently serve as a standalone film–and be great in that–but also has potential for a sequel or two. Interestingly, there are parallels to Ridley Scott’s Alien beyond the premise; LIFE also features the same number of crew members and other more subtle elements. That being said, LIFE is definitely not a knockoff Alien nor is it trying to be Ridley Scott’s critically claimed film as it does not contain the social commentary on gender, sex, and family. However, imitation is the highest form of flattery, and LIFE pays both homage to the film that likely inspired it but delivers a comprehensive science-fiction horror experience that provides ample twists, turns, and even some emotional connection along the way.

A group comprised of engineers and researchers on board the International Space Station (ISS) are on the brink of one of the most important discoveries in human civilization: life on Mars. Rory Adams (Ryan Reynolds), David Jordan (Jake Gyllenhaal), Miranda North (Rebecca Ferguson), Sho Murkami (Hiroyuki Sandana), Hugh Derry (Ariyon Baker), and Ekaterina Golovkina (Olga Dihovichnaya) represent several different counties, all working in cooperation on this groundbreaking mission. After the satellite, carrying the Martian sample, is retrieved from spiraling out of control towards the ISS is secured, the group of astronauts are faced with the crisis and task of retrieving it. After a daring retrieval, what should be a joyous discovery–something out of a scientists dreams–soon becomes a living nightmarish game of hide and seek. When the specimen from Mars begins to grow rapidly and become more and more intelligent, it stops at nothing to continue to feed the alien’s insatiable appetite and its goal to find a new home.

Initial impressions of LIFE leave you with noticing just how much like Alien it feels. It’s been nearly forty years since the Ridley Scott cinematic masterpiece, but in that time, no other science-fiction/horror film has come this close to delivering a similar (note: not as high on the cinematic totem pole as its predecessor) experience to that which first terrified audiences in 1979. One of the primary differences between Alien and LIFE is just how much closer to home this horrifying experience occurs. Whereas with the former, the alien encounter takes place hundreds of lightyears away, the latter’s narrative takes place just outside of our atmosphere on the ISS. Not that LIFE feels more intimate than Alien–it doesn’t–but the proximity of this story might add a little something more to the edge that you’re already sitting on as the horrific events unfold on the space station. Pacing is similar to Alien in that LIFE has a slow burn during the first act. To balance this slow burn or to keep audiences from thinking that it’s taking forever for the movie to really get started, the film begins with the “big event” right at the very beginning. The “big event” being the apprehension of the satellite carrying the Martian specimen. But for all it’s similarities, this movie provides a different experience that can certainly stand on its own. LIFE may have been inspired by Alien, but it is certainly not a ripoff.

I’ve been quite critical of the CGI-effects of films in more recent years, but the brilliance of the alien life form in LIFE is the degree to which it feels organic. In the beginning, the life form is little more than a single-celled organism; however, as the plot thickens, the organism begins to take a more chilling form and shape. Eventually, the alien develops a frightening grin and a mysterious-like form. One of the scariest parts of Ridley Scott’s Alien was the degree to which the Xenomorph feels so real that, even in your seat, you could feel the acidic slime and your body likely felt the excruciating pains of that iconic moment when the alien shoots out of the stomach. Part of that can be attributed to the use of pneumatics, animatronics, miniatures, and other practical effects standards. Yes, the alien life form in LIFE is computer-generated, but it also has a very real nature to it. Instead of focussing on how to make the alien as impressive as possible, it would appear that the special effects artists (whose work can be seen in the Transformers movies) focussed more on the small details that ordinarily give a CGI character away. Just like with the brilliant visual effects work in Ex Machina, the visual effects of the alien are flawless.

There is an inherent level of unpredictability in LIFE even after the unavoidable similarities to Alien. LIFE plays around with the final girl trope and the killings have a strategy or method to their madness. Conspicuously missing from the characters of LIFE in a comparison to Alien is a Ripley-like character. Does the film portray strong female characters? Certainly. But LIFE keeps you guessing because the order of the deaths do not follow any predictable pattern. Do not allow yourself to fall into the trap of being predisposed to the order of the killings to be based up on star billing. Speaking of the characters, effectively managing an ensemble cast is always difficult. So often, some characters in the ensemble get lost or do not receive nearly as much development as the more obvious leaders. Not true with LIFE. True that there is not a large degree of character development all the way around, but each of the characters is treated with equal screen time and emphasis. That is, until death occurs. The excellent handling of this ensemble gives LIFE an extra dynamic that lacks in other ensemble cast films, thus helping this science-fiction horror to stand out from others that are similar in premise or plot. This movie has a “life” of its own.

2017 seems to be shaping up to be a year of excellent movies! We are just about to finish the first quarter of the year, and already there have been some great motion pictures. Furthermore, 2017 seems to be the year of the horror film because so many have made the theatrical distribution circuit. For those who love a good science-fiction thriller, you will not be disappointed with LIFE. Albeit the film may not be able to sustain the magic and horror for the entire runtime, it successfully delivers a terrifying experience for most of the film. If you don’t mind some cringeworthy moments and the dark tone of the film, then this is definitely one to see this weekend.

PS. I saw Power Rangers this week as well, and it was a delightful film! Yeah, it’s a little campy, but that’s to be expected. Definitely the best Power Rangers motion picture. All-in-all, it sufficiently pays homage to the 90s show but provides audiences with a new story. Go-go see it too!

Written by R.L. Terry

Edited by J.M. Wead

“Mission: Impossible–Rogue Nation” movie review

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MI5Mission: Resurgent. The fifth installment in the Mission: Impossible franchise is surprisingly good. Ordinarily, this far into a franchise, the stories and plots can begin to suffer; but, Paramount Pictures continues the TV series turned cinema powerhouse with great promise for a continued successful run. I don’t think the Mission: Impossible library will ever have quite the allure that James Bond has, but it fairs better than the Bourne franchise. All three definitely perform well, but Mission: Impossible is unique in that Tom Cruise truly sells the movie. Unlike in Hollywood’s Golden Age (~1920s-50s) when particular actors were truly regarded as stars and would essentially sell the movie to audiences and investors, most of today’s movies are not built on the backs of particular fixtures in the star system. There are a few exceptions out there, but Tom Cruise is definitely an actor that is as close to an old-fashioned movie star as we can see and have in contemporary cinema. If you’re looking for a great popcorn movie that you can just chill-ax at, then checkout the latest movie in this unkillable franchise.

With the IMF now disbanded and Ethan Hunt (Tom Cruise) out in the cold, a new threat — called the Syndicate — soon emerges. The Syndicate is a network of highly skilled operatives who are dedicated to establishing a new world order via an escalating series of terrorist attacks. Faced with what may be the most impossible mission yet, Ethan gathers his team and joins forces with Ilsa Faust (Rebecca Ferguson), a disavowed British agent who may or may not be a member of this deadly rogue nation. (IMDb, 2015).

Due of the very nature of these movies, I don’t feel it necessary to pick apart the plot because it is purposely high concept and requires the audience to engage in a momentary suspension of disbelief in order to enjoy the action and adventure. That being said, the movie is pretty solidly acted, written, shot, and directed. I was a little disappointed in that the most impressive sequence of events, involving the plane taking off with Ethan hanging on for dear life, is right at the beginning of the film and everything else pales in comparison. It follows a fairly standard order of tropes common to high concept espionage-action-adventure films. Despite the very contemporary nature of this espionage movie, there is a classic feel that is successfully woven throughout the narrative.