oli-reed Reviews

A Clockwork Orange (1971)

A statement on ALL (Analysis)

[10/10 · 20 October 2014]

Upon first viewing this film (the first of Kubrick's work I had seen) the film, though visually striking and eerily violent I didn't understand the significance of what the film was trying to convey and was unsure whether the film's 'crusification' of the main protagonist (Alex) was enough to redeem him for the horrors he had committed. Despite Malcolm McDowell playing the part with undeniable and magnetic charisma, the character he plays is an archetype of young gang criminals, finding an elevation of meaning in the crimes they commit in contrast to their otherwise seemingly dim lives.

Alex's gang choose to hang around in a crudely stylish milk bar, where they even see local sophisticates. This bar is symbolic of societies inadvertent encouragement of such behaviour of violence attracting though sex represented through it. The author of the films source material (novel of the same name) chooses the language of the gangs to be a distinct style called 'Nadsat'. Just like gangs in this day and age deviating from common tongue in favour of their own language games, he chooses to immortalise this idea using Nadsat's Shakespearian and Cockney inspired speak and continues the idea of the gangs self- glorification. The gang will cause havoc and continue to assert their superiority and dominance, whether it be against other gangs, on the road or where it is most brutal - through physical violence through sexual abuse and GBH.

Having said this, the film is not just about the brutality of these gangs. A common misconception is that the film is of gangs, and although this is the case, it is as much a critique of society breeding this culture as it is of gang violence. Alex's house is shown to be scattered with litter and even has the ascetic of being abandoned, showing negligence of such areas he lives in from the state. In this working class environment, Alex's father seems to involved with work to care what he is up to and has given up on him, whilst his Mother (though more caring) lulls herself into believing the lies of her son, playing ignorance to live a happy family fantasy. The social worker of Alex's (if you can call him that) is more worried about his reputation and career (similar to Alex's father) than Alex, pressuring him to stop using intimidation and mild violence rather than truly empathising with him. Mr Alexander (the middle class liberal writer) is fine with Alex despite his previous crimes; lulled over by the potential to ruin the politician involved with his treatment and treats him kindly, willing to help until personal prejudice gets in the way, vindictively turning Alex into a sacrificial lamb for his cause despite his beliefs. This is a critique on people's moral stance differing once personal prejudice is involved. The police are shown at their worst as unnecessarily violent. What is interesting is towards the end of the film, revealing Alex's old gang as police, suggesting that policing is an outlet for violent people that is justified by the law, and that these black uniforms (contrasting with the white gang colour) are gang colours themselves.

However, the most obvious critique is the states choice to 'treat' Alex in a different way not as an genuinely motivated treatment, but a cost saving method to save on prison space (in spite of its consequences). Their view is monetary and political more than anything else, directly opposed by the reverends view of it all. Possibly the most moral voice in the film, he is not against the new treatment because it allows criminals to get out quicker - which annoys the police just as much - but because it removes the social and spiritual purpose of prison; true rehabilitation. With Alex's new condition, it removes his choice of right and wrong and takes that opportunity away from him, instead offering him pain whenever he exhibits violence; forcing him to do the opposite. When this is shown to an audience, the prison guard smiles as it has still served his original intention through prison; pain, whilst the reverend detests it and pities Alex not for what he is, but what he has now become.

A Clockwork Orange is a masterpiece ahead of its time, which holds up even today as one of cinema's finest achievements.

A Good Day to Die Hard (2013)

Yippee Ki NAY Mother Russia!

[3/10 · 1 March 2013]

The fifth instalment in the Die Hard series feels nothing but overindulgent, unnecessary, and just plain dumb. Although we associate Die Hard in the silly action genre, it is easy to forget what made die hard so popular in the first place - a seemingly ordinary guy flung into an extraordinary and dire situation prompting the audience to find humour and entertainment as well as an emotional attachment to the main protagonist - John MCClane.

Despite Die Hard 4.0 getting a lot of criticism from fans of staring from that winning formulae (seasoned veteran style Bruce Willis rather than ordinary guy Bruce Willis)and going for a different angle (cyber- terrorism), as well as being not as violent by targeting a younger demographic, I still felt that Die Hard 4.0 was a relatively successful relaunch of the franchise to a wider audience - if a little ridiculous and weak at times.

Even Die Hard 4.0 is a masterpiece compared to this instalment, which almost too comfortably relaxes into the father/son story cliché, which is the only real story that makes sense in the whole movie. There are more plot holes and unrealistic moments that bullets fired in this film (AND THERE IS A LOT), which detracted me not only from the excuse for a plot, but even from the few little moments that stood out as interesting. The story literally feels like they have filmed the action sequences first and then made up the story afterwards. You know if a film is bad if you are even bored of Bruce Willis kicking Russian ass - a fun and interesting concept performed in a sheer lazy way.

If you are a fan of the Die Hard franchise then chances are you will watch this anyway, however if you are not then this heap of a sequel is well worth a miss.

Fullmetal Alchemist: Brotherhood (2009–2010)

The most ambitious undertaking in animation

[7/10 · 1 March 2013]

'Fullmetal Alchemist Brotherhood' is a remake of it's older counterpart 'Fullmetal Alchemist', succeeding where the other did not perform as well. That is not to say that Fullmetal Alchemist wasn't good, rather that Brotherhood has a few more things going for it.

One of the things that I was really impressed by is how loyal Brotherhood was to the original Manga in comparison to the first one. All of the nuances of the original books are at the very least addressed in this new version, whilst the old one somehow struggled to cover all ground.

Another of the factors that should draw you in is the clear and crisp animation style. Though it hasn't got a particular style or tone in a sense, the drawings are all fully realised and a variety of styles are used to set the mood for the segments (e.g. flashbacks from Ishval darker and grittier with less stylised violence to show atrocities).

As in the first, the actual story is the major attraction to this piece, and is like an intricate pocket watch, where each and every action of a character) can be seen to directly or indirectly affect the other characters, as well as the amazingly presented world that is so easily immersed into. Having said this, the heavy story in no way gets in the way of the action, rather the action serves the story with a satisfying balance.

If there is some complaints to be had, they are noting compared to the achievement of this show. To me - who isn't a major anime fan - the humour sometimes felt a little forced (e.g. someone will be fighting for there life, only to start complaining about petty details whilst in chibi, but this is a typical method of many anime's and is a personal criticism more than anything else. Not to say that it the humour doesn't work is isn't funny at times, it's just that sometimes it feels a bit out of place and detracts me from the story and emotions of the battles.

Another thing that did seem to bother me a little was the ending. Not spoiling anything, the build up to the ending felt a bit overdone and could have been cut into fewer episodes, making it feel exhausting toward the end.

Overall the series is well worth a watch. You find yourself easily immersed into the fully realised world the creators have constructed, as well as genuinely caring for most of the characters along the way. Watching the show without getting addicted is near impossible and is merit to the passing efforts of the team behind it. After watching the first three episodes I was so drawn to the show, that it was hard for me to stop watching at least three every night. Though it does seem a little cheesy at parts, it is a massive undertaking that cannot go un- missed whether you are a fan of anime or not.

Mass Effect: Paragon Lost (2012 Video)

A lazy addition to an otherwise sterling series

[3/10 · 29 January 2013]

Anyone who is a fan of the Mass Effect games and has played the last one is already familiar with James Vega and is somewhat aware of the story of his lost platoon. Though James Vega is by no means a favourite character of mine, he still is a fun and worthy addition to the amazingly diverse roster of characters offers up in the ground-breaking game series.

However, this spin-off animation does not live up at all with the original three games cinematic style, characters, story or story telling. I know it is a slightly difficult comparison to compare a game to an animation, however when a feature that has to focus more on combat than story has a more fuller narrative then you know it is bad. Even compared to the third game - an ending that is regarded as one of the worst game endings ever feels more satisfying than this.

The animation felt the laziest aspect of the whole production and offered nothing special to fans. When the main character's neck is bigger than his head then you know how poor quality the animation is.

Not only is the animation lacking, but the characters provided for the viewer to be emotionally invested in were two dimensional and bland for the most part, not forgetting some very dodgy voice acting and impressions of old characters, as well as a PAINFULLY obvious 'bad-guy'. Not forgetting massive plot holes e.g. why didn't Essex go after the asari and save her with biotics, or why was it so easy to get out of the pod chambers, even when they weren't paralysed).

There were some parts I liked and the end felt somewhat satisfying and the beginning and end felt reasonably satisfying, however from a name this good, fans and newcomers should justifiably expect something more.

I know this is based on a comic, so the production cannot be blamed entirely, however this could have been a lot more of an exciting tale if executed directly. As well as this, why they chose this piece to do as an animation is beyond me. They could have just as easily animated a satisfying alternative ending to the series (although that would be hard to execute well), or create a fresh narrative from the plentiful world that mass effect has created (pre, post, or parallel to Shepard). I would have personally liked them to create a narrative from the Rachni Wars.

OVERALL LAZY AND DISAPPOINTING WITH THE POTENTIAL IT HAD

Batman: The Dark Knight Returns, Part 1 (2012 Video)

What Batman: Gotham Knight should have been

[8/10 · 12 January 2013]

The first part to The Dark Knight returns feels a lot more complete than the second half. It thrusts Frank Miller's adaptation of the Caped Crusader in both a loyal and fresh way, displaying a lot more of a flawed character who turns back to the cowl through compulsion more than why he started it.

What massively works in this productions favour is the bold and varied art direction the story is presented in, displaying a grittier and bloodier batman we are used to, and parallels the mood and tone of the character. This may seem obvious considering the post-modernist violent setting, however the violence did go further than I thought they were going to take it (BUT THIS IS NOT A BAD THING)!

Dynamics between characters are also very well written for animation and you can appreciate the subtle nuances between relationships as well as hear dialogue that reflects a character arch throughout the story.

The voice acting may feel just a little bit stiff here and there, and some of the features in the comics appear to be somewhat left out or brushed over quickly, however this is a different format to a comic so the artist should be allowed to trim some of the fat off in order to make the film feel like a cohesive narrative.

Overall, this piece feels like a lot of effort from DC has been put in to both reward the fans and pay homage to Frank Millers contribution to their wonderful icon. For animation work and superhero stories, this is one of if not the best piece of art made and is on par with the very well made Nolan films as well.