Double Dose of The Amazing Spider-Man 2

 

This week on Double Dose we have the second part of Sony's rebooted Spidey franchise: The Amazing Spider-Man 2.

You can check out my written review on (spoiler free) by clicking HERE.

We also have the first episode in our new series of The Padcast, which you can listen to below:

(Warning: there may be light spoilers discussed)

You can also download an .mp3 of the episode HERE.

If you’ve enjoyed it please show your support: LIKE, SHARE and SUBSCRIBE!

18th April 2013

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Film Review: The Amazing Spider-Man 2

      You’d think that with all the set-up out of the way, this sequel to the 2012 reboot of the Spider-Man franchise would be a lot more focused and succinct. Well it is and it isn’t.

      The strained on/off relationship between Peter Parker (Andrew Garfield) and Gwen Stacy (Emma Stone) gets much of the attention (and indeed screen time) in this instalment, as does a deeper exploration into what Peter Parker’s parents were up to before they disappeared. The actual villains, however, feel severely sidelined, appearing more like an afterthought. Since Spider-Man has always had such a colourful rogue’s gallery to choose from, it seems a shame that they are given so little screen time.

      Great actors are consistently wasted throughout due to a poor script and inconsistent tone. Paul Giamatti is reduced to hammy bookend sequences, Dane DeHaan is great until he actually becomes the cackling, tongue lolling Green Goblin, Jamie Foxx channels the Nutty Professor as Max Dillon and lacks decent motivation as Electro… the list goes on. To be fair, Emma Stone is excellent throughout and the scenes she shares with Garfield have genuine chemistry (they are also a real-life couple) although Garfield himself is yet again only given two emotions: cocky or crying. So much attention is given to the pair’s interactions that, in fact, you may be mistaken in thinking you are watching a romantic drama – albeit one with a guy that occasionally goes out dressed in spandex.

      In regards to the action, it’s flashy and frequently beautifully realised, but the same old problem with previous portrayals of Spidey persists. The obligatory scenes of watching him swing through the city is kinetic and well choreographed but isn’t that much of a difference from what we’ve seen in four previous films already. Considering the first Sam Raimi film was released over a decade ago, these scenes end up feeling rather rote and uninspired. The same applies to the fight sequences. As soon as any big showdown commences, the actors are replaced by CG models that are reminiscent of a highly polished cut-scene from a videogame. Its all bright and shiny but unfortunately serves as too much of a disconnect.

      The Amazing Spider-Man 2 also has the annoying habit of constantly talking down to the audience. Any room entered in the Oscorp building will have a guide voice explaining the relevance of the contents of the room to the plot. The dialogue is frequently clunky, serving up such gems as a guy walking along with blue-prints announcing to no-one in particular: ‘Guy with blue-prints coming through!’ Electro’s origin scene has him balancing precariously above a tank of electric eels as he sings ‘Happy Birthday’ to himself. There is a pantomime-like evil German doctor called ‘Kafka’ that borders on the offensive. Any sort of subtlety is definitely not on the agenda.

      There are other moments of inconsistency. Spider-Man’s ability to use his ‘spider sense’ or to go into super accurate moments of slo-mo seem only to be available when the script calls for it. Similarly, Electro is able to travel through sockets, be impervious to bullets and disappear and re-materialise at will, and yet when it requires him to be punched repeatedly by Spidey he suddenly loses all these abilities. Without solid rules or a sense of consistency it’s hard to be invested in these encounters or care about the outcome.

      The Amazing Spider-Man 2 is a frustrating experience. There are some nice ideas and the film features some incredible production design, but there are too many uneven moments and inconsistencies throughout. The inconsequential and light-hearted comedy that runs through much of the film jars with the more serious scenes (such as the opening plane sequence or the emotional gut punch towards the end), the villains feel rushed and under utilised, and much of the film just seems like a set up for the next (in a rather lazy move, Oscorp seems to be the launch pad for every major Spider-Man villain to come).

      It’s a shame then, that although the romantic focus of this film is decently portrayed, it eats up the majority of the running time (despite the film being almost two and a half hours long) and doesn't leave room for much else. If you are looking for throwaway entertainment, this entry to the well worn franchise may suffice, but those looking for something a bit more meaningful will likely come away disappointed.

18th April 2014

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Film Review: The Raid 2

            The sequel to Gareth Evan’s breakout hit The Raid (AKA The Raid: Redemption) continues the story of cop Rama (Iko Uwais) a mere two hours after the closing moments of the first film. And, story-wise at least, that’s pretty much all the two films have in common.

            Whilst the original The Raid was largely confined to a single location over a period of a few hours, The Raid 2 is a sprawling crime epic, encompassing several characters and storylines - this time spanning over the course of a few years. The budget, the ambition and (of course) the bone-crunching violence of the action sequences that many people praised in the first film, have all been upped considerably for the sequel – Evans proving that he is a genuinely exciting talent to watch and not just a one-hit wonder.

            In The Raid 2, Rama is forced to go deep undercover in order to weed out corrupt cops, but along the way becomes deeply entrenched in working for the local mob boss Bangun, his ambitious hothead of a son Ucok, as well as encountering a dozen other colourful characters ranging from rival bosses, hitmen, underworld lowlifes and corrupt officials. It’s a definite change of pace, and, whilst the intense action scenes and bloody fights are still all present and correct, there is a bit more down time for the story to breathe and characters to develop.

            As a result, it’s nice to get to see Iko Uwais getting more time to act this time around, but special mention also goes to Arifin Putra, who impresses as young mob heir Ucok – a more complex character that carries much of the dramatic weight of the film. There is also a Japanese element added to the story in the form of a Yakuza presence (headed by Kenichi Endo) that hints at a much larger world beyond.

            The scope and cinematography of the film have also been considerable upped. There are plenty of lingering long shots, extreme close-ups during heightened moments as well as some tasteful use of slo-mo. The style calls attention to itself a lot more this time around – this also being the case with the action sequences and their kinetic camera work as well as the quieter moments. There are overhead shots of huge brawls, shots rolling through windows as characters are thrown through them, and a camera being passed through one window and out of another during a frantic car chase. In addition to the excellent fight choreography, the way these scenes are expertly staged and shot is a breathless and visceral thrill.

            Tonally, The Raid 2 does feel different, however. The violence this time is darker, gorier and a touch more mean-spirited. Whereas many deaths in the previous film seemed to be an ugly necessity for the characters in order to survive the immediate situation, here there are also plenty of executions and assassinations, often unflinching in their delivery, refusing to cut away. This is undoubtedly one of the most violent and bloody theatrical releases of recent times.

            Not only are characters unexpectedly (and often shockingly) offed, but the whole film has an omnipresent sense of threat throughout – as if any scene can suddenly burst out into ultraviolence. Evans uses this well to ratchet up the tension throughout, creating a very dark and nihilistic feeling of no escape, as if no one is truly untouchable and every character is living on borrowed time.

            Despite its lengthy running time, The Raid 2never feels overly long. Although it isn’t the succinct and perfectly formed rollercoaster ride of it’s predecessor, the wider canvas of the story it tells indeed deserves a lengthier movie. And there is certainly plenty of variation: highlights include a twenty-against-one fight in a toilet cubicle (that swiftly puts to shame the recent Captain America The Winter Soldier’s lift scene), a muddy prison yard brawl, the return of Yayan Ruhian (Mad Dog!) as a homeless assassin; and a hammer scene that quite easily manages to leave that scene from Old Boy in the dust.

            The film isn’t without its faults, however. The fact that the original incarnation (simply entitled Berendal) was in pre-production before the original The Raid and then later retro-fitted to be its sequel, does lead to some unevenness in the story, and some of the ridiculously over-the-top fight sequences and almost comic book characters (actual names: “Baseball Bat Man”, “Hammer Girl”) occasionally stand at odds with the more realistic and gritty gangland tone that the film strives for.

            Taken with a pinch of salt, however, these are minor quibbles and if you are able to suspend your disbelief, they actually add a welcome colourful flourish to the rogue’s gallery of the film. Evan’s The Raid 2 is visually stunning, the action sequences push at the boundaries of the genre, and it even occasionally finds the odd moment to be darkly funny. Calling it a mixture of Infernal Affairs, The Godfather and a high-octane martial arts movie all rolled into one sounds fairly ridiculous – and yet is pretty accurate. If you can stomach the violence, this one is not to be missed.

14th April 2014

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Film Review: Noah

      A big budget film of a well-known biblical tale, directed by one of the most interesting filmmakers working in Hollywood today, is guaranteed to receive all sorts of attention – both good and bad.

      In other hands, this could have been a disaster – either a generic Hollywood-ised action ‘re-imagining’ that takes too many liberties with the source material or, on the opposite end of the spectrum, a preachy and steadfastly literal interpretation of the story that we all know so well anyway. The end result is, rather refreshingly, something in-between, yet at the same time still capable of surprising you with the unique direction it has taken.

      Right from the opening credits you can tell that subtly is off the cards and a heavily stylised approach is in. From Clint Mansell’s booming score to the ominous introductory narration, Darren Aronofsky’s take is striking - both in terms of the visuals and the (at times) considerably dark subject matter. The result is like something you would get if you mashed the bible up with Lord of the Rings (yes, there are barbarian hordes and rock monsters that feature as a major part of the story!).

      Whilst in theory that sounds horrible, Noah actually manages to come across as a decent fantasy epic. It’s unmistakeably the story we know, but the inclusion of some nightmarish visuals, post apocalyptic desperation, violent battle scenes and frequent instances of man’s inhumanity toward his fellow man, is often hauntingly effective. Anthony Hopkins provides some light moments as an old man who can’t stop wittering on about berries, but the majority of the film’s runtime is played straight and serious – with more emphasis on the threat of the very human antagonist Tubal-Cain (Ray Winstone) (and then later the family dynamic coming under strain) rather than the more obvious choice of dealing with the logistics of gathering and fitting two of every animal into a large floating box.

      As for the animals themselves, the film is very CG heavy - and yet the sheer scale and ambition in the various scenes that show swarms of critters descending upon the ark is often breathtaking. The time-lapse sequences are also a highlight – one in particular (which seems to deftly marry the idea of creationism and evolution) is a triumph. Aronofsky likes to straddle this ambiguity (Noah is clearly influenced by prophetic visions and there is often talk of ‘miracles’, but we never see ‘God’ and He is only ever referred to as ‘The Creator’).

      Whilst this works well in the context of the film, it’s unfortunate that both evangelical Christians and hardcore atheists are going to end up bitterly disappointed with the result, as the film repeatedly refuses to land on either side. And that’s not even mentioning the anachronistic clothing (hoodies, boots and patchwork jeans), the home pregnancy kit, convenient knockout gas, seemingly pro-vegetarian agenda and the aforementioned Transformer-like ‘Watchers’ - that are all further examples of elements that will rub many people up the wrong way.

      Despite all this, the sheer boldness of Noah makes it worth a watch. Russell Crowe is well suited in the lead and watching him square off against a growling Ray Winstone is a delight. Although her scenes are a touch melodramatic at times, Jennifer Connelly brings her A-game as Noah’s wife Naameh, and Logan Lerman impresses as conflicted son Ham (despite his accent occasionally slipping).

      Noah is likely to be one of the most divisive films of this year, but it’s undeniable that Aronofsky has imbued this (literally) age-old story with a fresh perspective. Even though this may well be his most accessible and mainstream movie yet, Noah is bold, daring and features some powerful imagery that will stay with you long after watching. 

6th April 2014

You can also see this review at PillowMagazine.com

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Track of The Week - Wild Belle - It's Too Late

       To celebrate the nice weather today, here is a lovely track called It’s Too Late by Wild Belle. Have a listen below:

      Made up of siblings Elliot and Natalie Bergman, Wild Belle hail from Chicago. This song is taken from their debut album ‘Isles’ - an interesting mix of reggae, ska, indie-pop and electronica.

      Check out another track, Keep You, which sounds like a mash-up between The Specials and Beth Gibbons.

      I deliberated for a bit about which to put as the track of the week out of these two, but eventually went for It’s Too Late as I actually heard that one first via a tasty remix by Anoraak. The catchy and unusual vocal stylings led to me look up more of their stuff.

      You can check out the band and see what they are up to by visiting their official page HERE or on Facebook HERE

31st Mar 2014

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Film Review: Captain America: The Winter Soldier

     Marvel’s ‘Phase 2’ series of superhero films have a lot to live up to.

     These are no longer simply just origin stories anymore. The characters have been established, the stakes always need to be raised higher; and at the same time delicately interweaving the existing Marvel film mythos in such a way that these films can both be enjoyed as standalone stories as well as part of the greater canon. More specifically, this is all leading up to the massive 2015 event that is The Avengers: Age of Ultron.

     Eschewing the pulpy serial feel and plucky bombast of the period-set first outing for Captain America, The Winter Soldier is an entirely different animal: a superhero movie crossed with a spy thriller – something that we haven’t really seen before. Although a few story twist and revelations can be smelt a mile off, there is a pervading sense of mystery, subterfuge and paranoia throughout – and even one or two genuine surprises along the way.

     Cap himself appears much slicker and cooler this time around. It’s a real joy to see him in action - the opening sequence taking place on a hijacked ship being a terrific introduction to what the super soldier is now capable of. He’s still a boy scout and straight as an arrow, but with some much needed humour injected by way of the humorous back and forth exchanges with his allies (unlike the recent Thor: The Dark World’s somewhat shoehorned gags), this feels more like Whedon’s dialogue from The Avengers - certainly not a bad thing.

     Whilst Iron Man, Hulk, Thor and Hawkeye are understandably absent, it's nice to see Scarlett Johansson’s Black Widow and Samuel L. Jackson’s Nick Fury receive significantly beefed up roles – more screen time here than in any of the previous films they have appeared in. Many other familiar faces turn up in small parts or cameos and future characters are also teased – making this a real treat for fans – although having a mid-credit AND a post-credit sting seems almost obligatory these days.

     Also of note are new ally Falcon and the main antagonist: the Winter Soldier himself. The former is re-imagined via the Hawkeye school of design (precariously balanced between high-tech cool and being ever so slightly goofy looking); the latter a terrifyingly efficient killer that adds real tension and a sense of ominous threat in his earlier appearances. Whilst his true identity is hardly a surprise to anyone, the build up and reveal of the character is excellently handled.

     Despite the abundance of Hollywood style shaky close-ups and fast editing, the action remains impressive, with inventive fight choreography (Cap gets to use his shield a bit more this time and in a variety of ways), tense set pieces (a fight in a crowded lift) and some great stunt work (Fury’s car chase). It’s often visceral and brutal, guaranteed to make you wince once or twice.

     Captain America has always been the most straightforward character out of The Avengers ensemble and is often overshadowed by his more colourful compatriots, but The Winter Soldier allows him to shine. There are a few issues here and there (character motivations and allegiances being slave to the twisting plot developments, one or two overly convenient escapes and the villain’s rather predictable character arc), but these can easily be overlooked in what is a slick action thriller. One that just so happens to feature a couple of superheroes.

27th March 2014 


You can also see this review at PillowMagazine.com

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Recent Updates - combined!

Hi readers,

Just a quick update on recent developments.

I’ve been publishing a lot of articles elsewhere on’t web for the last few months, so thought I would link up some of them here. Whilst I eventually aim to have an index page up on this blog for easy reference to all the articles, for now here’s just a convenient summary.

PillowMagazine.com – I’ve been writing film reviews for Pillow since June of last year. Mostly these have been mainstream theatrical releases, but I’ve also occasionally covered DVD releases, retrospectives, bits of film related news, reports from film screenings and the odd book review.

The index (pending) will eventually list all my articles but for now you can access them all HERE.

Know What To Watch – I’ve written a few articles there since last November – some DVD reviews and a few ‘list’ type articles.

Unfortunately the site is on hiatus at the moment so is unlikely to feature any new articles from me for a while. Click HERE to see all my articles.

Battle Royale With Cheese – Another dedicated movie-centric site that I write for. 

I’ve chosen to start a series here called ‘The Vault’ (tagline: ‘Unearthing forgotten films… So you don't have to) which takes a look back at older films – often cult/genre pictures. I’ve only just got given an account there so you can’t search my articles by author just yet, but here are links to the first three entries to ‘The Vault’.

The Cell (2000)

Shadow of the Vampire(2000)

The Twilight Zone Movie(1983)

More to follow in the series.

FunkstylersTV – A HipHop Dance website, FunkstylersTV films, hosts and streams videos from many dance events as well as offering news and interviews from the scene.

I’ve been writing articles here since last July and have my own column – covering random dance topics such as: The Maturing BBoy, The Impact of Footageand Have Large Comps Ruined BBoying?

You can check out all of the articles HERE.

Other stuff - I’ve also joined a local writing group or two recently so you may be lucky enough to catch some more fiction up here at some point, so watch this space!

I’ll also try to keep the updates coming on this blog too every once in a while. As well as the usual film related stuff (such as my recent Top Films of 2013 article), there will be more updates on my Journey into Lego series, Track of the Week, as well as various other random bits and pieces.

The Padcast (as seen in the Double Dose entries) is currently getting a format rehaul - so expect that to be back (soonish) but in a slightly different guise.

I also plan to do more Lego based photography (as the above picture) – will probably post up a bunch of these together here at some point but for now, follow me on Instagram: Sebski_kinsta.

And just to complete this bout of shameless self-promotion, follow me on Twitter (@Sebski_Kinsta) to receive updates on what I’m up to and what I’ve published recently (no mundane tweets about what I had for breakfast etc… I promise!)

That should pretty much bring us up to speed. Apologies once again for the lack of updates here but at least now you know why!

Anyway, thanks everyone who has supported me thus far and I hope to have more for you up soon!

2nd Mar 2014

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