Gravity - 2013

I have been waiting for this movie for years, yet I did not know that GRAVITY would be the film that re birthed my passion and love for the art and craft of film-making. I never knew that the simple premise of two stranded astronauts in space would bring about such exuberant and elated exclamations of absolute astonishment. Yet, from the moment I saw the most perfect image of the earth in the opening sequence of this film, I knew I was witnessing something special, something unique and something that would be seen as a pinnacle of the future of cinema – a film that historians would look back too as the genesis of the new age of film.

Yes, it is that good. But let me tell you why.

Alfonso Cuaron does something not seen in film, that I can recall, ever. With the use of the 3D format, remarkable cinematography and the films unyielding soundtrack, he delicately and sneakily submerges us into the film with each slow tracking shot and close-up. It’s not until the first 10 minutes has passed that you realise that this has occurred all in one sweeping, continuous shot. Yet so much has happened in it, so much detail and movement that you need to blink away the awe. It makes you feel weightless; like you are floating in the scene with Sandra and George. The 3D is often the winner throughout this film and adds the “experience” that its supposed to offer you. This is 3D at its best, miles ahead of Avatar and appreciatingly used to advance the films narrative like Hugo.

Films with minimal or singular characters have been done before, some successfully, some not so. To take on a film of this kind takes courage and a belief in the director’s vision and faith in the writers story. Most recently – and successfully – the films Moon and Buried have centred on a plot of single characters to create a tense and meaningful story. Gravity relies on the fact that being lost in space, is second only to being lost at sea and both are equally frightening. Being adrift in the vastness of space is a hauntingly terrifying prospect considering the chances of being rescued are nil. And it is this image that replays over and over again; a solitary figure clad in white, detached from the umbilical of safety, adrift against a blanket of black. It’s frightening.

I do not want to give away too much of the story. I would encourage you to remain impartial, don’t go in with expectations and try not to read anything about how the plot of the story is revealed, slow take by slow take, but I will say that this is a well-crafted and executed idea. This is a story of triumph at its heart, a woman, and a strong (often flawed one) woman at that, overcomes the impossible when the easier option was to simply give up.

The imagery is stark and brutally honest with cinematography that is fluid and beautiful. The majesty of the earth as the films backdrop provides awe and wonder, never getting in the way of the details or the characters. There are moments in this film where I found myself mesmerised by the action, often in the slow-motion of weightlessness, debris from a disintegrating space-station flies around the screen and into the audience at what feels like rapid motion, but is actually much slower. So much is said in the stillness and silence of the images presented on the screen. One moment I will mention is when Ryan (Sandra Bullock) enters the space station after breathing carbon monoxide for at least 5 minutes. The instant she is within the air lock and able to breathe oxygen she passes out in zero-gravity, spinning gently as if she was a foetus in the womb.  It is stunning imagery like this that makes Gravity a beautiful film to watch.

The other masterstroke of this film is the soundtrack and sound effects. Finally a film that does not shy away from the reality that in space no one can hear anything. To see exploding space stations, and space shuttles, without the sound of the explosion, all shown in the silence of space is truly a remarkable experience in itself. To think, we have been saturated with this unreal concept that anything that blows up in space does so as it would earth – loud and at normal speed, then when we see it how it really is, it is simply frightening. To see someone escape wayward debris that is travelling with no sound and in the weightlessness of zero-gravity, combined with the loud, thrilling operatic music that saturates the audience, you are not on the edge of your seat, but on the floor peeping through your fingers trying to swallow your heart.

Gravity succeeds where so many films fail. It is simple. The script is easy. The story is basic, but the way it is presented is astonishing.

You must see this film. In 3D and in Imax.

This is now officially my second-favourite film of all time. 

the best film of 2013...and a surefire winner at the Oscars.

5 popcorns.

Man of Steel- 2013

Man of Steel – 2013

Dir: Zack Snyder

A modest 3 popcorns (because it looked good)

Man of Steel almost proves that among the cavalcade of heroes, superheroes and mutants that are flooding cinema at the moment, there is no longer a place for the original Superman.

I would not have thought that Superman could be muscled out of existence by other characters with less substance in their story, yet Man of Steels lacking script does just that – by trying too hard to be just “like the others”.

As the script focuses so much of its story on the fact that Superman is an alien sent to earth to save it, the organic “real-world-ness” feel that worked so well for Batman, seems to fall flat here. The script clearly wants to tell the story of how Kal-El is an alien and as such, must come stop an alien force from destroying the planet, yet the narrative seems to get confused in trying to drive a story about how Clark (and Kal-El) is really a man, trapped in an alien’s body.

What works for the film is its heart, captured in the sensibilities of Kal’s adoptive father Jonathan (Kevin Costner). As a kind of origin story that this film attempts to be, I found myself actually longing for more of the back story where Kal/Clark are learning about who he is and how he must harness not only his abilities, but the struggle between right and wrong and his longing for acceptance. Unfortunately, Zack needs to learn a thing or two about how to use flashbacks in a way that does not disrupt a films flow as many of the flashbacks felt thrown in for “good measure”.

Whilst the film is admirable in parts, its weak script and often corny dialogue rob it of the small steps it makes in forging a strong and rewarding plot. It jumps around uneasily and much of what happens is there for the spectacle and even the interactions between characters feel forced and over the top. And when you’re left wondering why all of a sudden Lois and Superman kiss, you know deep in your heart there is more missing here than meets the eye.

The script is a labor, literally from its opening scenes, and needed the elements of what makes humanity great to contrast against the dreary, broken world which Clark inhabits. There was no humor and where one-liners and quips from Alfred made Batman more digestible, there was very little to break the often relentless barrage of drama, yelling, anger and fighting. We needed to see that humanity was worth saving. In the end, when the choice has to be made, it feels like Superman/Clark/Kal-El is only saving us because he was told too.

The reality is that there is nothing new here and in a burgeoning world of super-hero cinema, the hope it has of moving as far from the Lycra-clad world of Richard Donner’s originals and even Bryan Singers “remake/re imagining” does not give it enough punch to actually stand alone and apart from all the rest.  At some points this film mistakes itself for Transformers and even Avengers and it’s because “we've seen it all before”, the third act becomes a long, building-smashing, ground-destroying, punching, exploding cacophony of very little substance.

And then when you least expect it, the last 5 minutes reveal what you wanted all along and didn't get causing you to throw your box of popcorn at the screen (this may have just been me).

Blue Like Jazz - 2012

Film: Blue Like Jazz

Director: Steve Taylor

Writer: Donald Miller

PG

POPCORNS: 3

I ran into actor Marshall Allman recently and had a quick chat about his work on the film Blue Like Jazz.

The film is an adaption of the hugely successful, New York Times best-seller novel of the same name. Its main themes are more about life than they are about religion and the church. It is more about people than it is about saving them.

I want to talk more about what I walked away with after watching Blue Like Jazz rather than the actual film.

Like the lead character, Don Miller (author of the book/writer of the script), I too have entered a spiritual desert after being a Christian for almost 20 years. I came to God at 18 after an offer of healing and salvation. All I wanted was to be loved, and the offer presented to me seemed honest enough, although deep down, I do not think I really wanted to change who I was.

And that’s how I saw God – and Jesus – as a crucible of change. A conduit of being forced to become someone else. After a time, reading the Bible, going to a church, nothing really felt like it fit. I didn’t ever feel like it actually belonged even though I was told constantly I did. Even though people said they loved me, that Jesus loved me.

Perhaps I didn’t really know who I was to become, or who I wanted to be. The choices I made in life became based solely on the advice and wisdom of others, and then the choices became based on what I believed others would want me to do. The only choice I made for myself, was to marry the love of my life. THAT I knew for sure was the right thing and what I knew I wanted.

Like Don, I too left the safety of church. Although set in the bible belt of the US, Texas, Don’s church experience is not far from my own. Where Don is a strict Southern Baptist, I tried to be a strict charismatic Christian. Although different doctrines, the main focus is the same, Sin = Hell and do everything at all costs to stay away. Look right, speak right, pray right, read right. Stay away from temptation, no pop music, no rock music, no swearing, no drinking or smoking, no tattoos. Wear your cross, hang Godly scriptures in your home, wear the right clothes. Judge everyone. Save everyone.

You get the idea.

I had been in church for such a long time that when I left (we moved to another part of the state and did not find another church), I had the opportunity to stand on the outside and see for myself what it was really like.

I have to say that, not only is my faith changed, but my whole perspective on Christianity is too.

I don’t want to be a Christian. That’s what it boils down too. The last ten minutes of BLJ is that slap in the face that the whole film alludes too. Don didn’t want to be a Christian either.

Like a simple conversation, the films main theme of acceptance unravels as Don experiences “life” in excess as he runs from the realities of real life. The reality he runs from is that life sucks no matter if you are a Christian or if you are not. It’s actually shit.

Yet, in all the running, Don comes to discover that no matter how far or fast he runs, not matter where he is, God always seems to show up, and in the most strangest of places.

Don’s monologue at the end of the film is what captured my attention. Don admits he is a Christian and was so ashamed of Jesus that he chose not to be so, that he could “fit in” and be “accepted”. Ironic, considering the whole idea of religion, church and Christianity is to prove that you do fit in (you just have to meet all the rules, regulations and pay your tithes to be part of the family).

Standing on the outside of church, I now see how I was seen. How people view Christians and how they view the church. I think I always had a sense of it anyway and rarely would I mention my faith in God in passing, but after the last few years, I cannot deny that the determined, systematic isolation and judgement of some people has left me ashamed.

And I don’t feel that I can speak about it because I don’t want to be judged. I’ve had enough of that in my life. I got rid of everything that made me who I was, based on the idea that if I loved something else more than God, I was living a life of sin. I lost my dreams and passions, stopped doing everything I loved and got rid of everything I thought represented this supposed sin; all because someone judged me. All because I wanted acceptance more than I wanted anything else.

Funny how it works the same on either side of the Church wall.

So now I look at the ethical, moral issues plaguing society today and watch as people espouse their religious vitriol and man-made opinions upon a minority. I can’t believe that I was once part of that. Can’t believe that I was one of those who would judge another’s actions to prove a point. Judge a non-Christian in an attempt to lead them to the light.

Like Don, I too am ashamed. I am ashamed of Jesus. Ashamed of the church and ashamed to say I was once like those who I now judge for judging.

I stay away from anything that remotely looks like God and church, yet, by chance, a young actor who’s work I appreciate decided that he would take up the lead role in a film about a book I read and loved as a young Christian.

Because he took up this role, I took up the book again. Because he took the role in this film made only by donations of passionate people, I got to meet and chat with him personally about his own experiences.

Marshall’s honesty and passion left me pondering my own faith, belief’s and where I am in life.

The film left me challenged – its intention – and has asked a number of questions that I need to answer.

Its funny where God meets you.

If you get the chance, see Blue Like Jazz. See it to see that no matter if you have faith or don’t, life can be shitty and the challenge for acceptance is universal.

Prometheus - Directed by Ridley Scott - June 2012

Prometheus June 2012

Director: Ridley Scott

I want to make this clear: THIS IS NOT ALIEN. Got it? Good. Any ideas that you have, any references you may have made to the original ALIEN film need to be wiped clean. This is a new movie, a new idea and if you go in thinking it will have all the hallmarks of Alien, you will be sorely disappointed.

With that out of the way, read on, but only if you dare. There are spoilers here!

For anyone living under a rock for 30 years, Ridley Scott is some famous director that brought us the original Alien film, you know, that one with the tagline “In space no one can hear you scream”. It was a marvellous mash-up of the sci-fi and horror genres that frightened people half our of their brains in 1978 and spawned a successful franchise (Alien V Predator are not included in that statement, fuck, they don’t exist in my mind) and gave the world of cinema one of its strongest leading ladies, Ellen Ripley (Sigourney Weaver).

Ridley went on to direct another famous sci-fi film Blade Runner and a string of great films including Thelma and Louise, Gladiator, Black Hawk Down and American Gangster. A couple of years back, at the height of adding new films to franchises, the old man hinted at an Alien Prequel. Well, that news sent many fans into a frenzy, causing the internet to almost implode upon itself, with the hope that 2 burning questions would be answered, 1. What was/is the Space Jockey and 2. How did the derelict spacecraft end up on LV426. But slowly details began to emerge that the film may not be a prequel; in fact, it may not be an Alien film at all.

Ridley had been very cryptic in answering questions about the film. He never directly said that his new film, Prometheus, was or was not a prequel or what it really was about, but what he did say was that when they started writing, they realised there were bigger questions that needed answering and that the film was set in the same universe as Alien.

How this would be possible remained to be seen. How could you have a film set in the same universe as Alien, but not have any aliens (as in, those black mother fuckers with the teeth, the two mouths and acid for blood) in it?

The trailer which was released almost a year ahead of the film didn’t help. In fact is inflamed opinion, rumour and speculation about the films central themes and did nothing to answer any questions about whether or not it was an Alien prequel and Ridley was simply keeping his cards close to his chest.

Prometheus is an enormous film. So big in fact that they created the biggest sound stage ever required to house the sets.  Sir Ridley has spared nothing in making this a grandiose spectacle of CGI brilliance. But it comes at a cost. The film is so big and spends so much time asking huge questions that the characters are almost reduced to stowaways.

I’m not sure if I should be disappointed or if it simply did not meet my expectations and see it for what it’s worth.

The let down is the script. The idea is generous and allows for a strong narrative to carry it, but it muddles itself asking all these really big questions and leaves few of them answered or explored. I don’t think the audience needs to be spoon fed, but I just felt that we were rushed through feelings and thoughts, opinions and beliefs a little too quickly which left the characters feeling a little hollow.

In Alien, it is a slow burn to the end which is what makes the horror of it work. You know something is coming and when it does, it’s when you least expect it. Nothing is for the sake of it – everything is setting you up for the scare.

Here, in Prometheus, there is gore and scares, but no horror, which is what I wanted. I wanted to be scared shitless, I wanted a reason to be on the edge of my seat. I agree that audiences are harder to scare these days, but there were two things that happened in this film, for “scare sake” that make no real sense. The scares feel like they are simply there for the sake of it. I wanted claustrophobia – tight corners, narrow corridors, close ups, you know, the usual. But the vastness and enormity of the film lose that one thing that worked for Alien, there was no escape.

Perhaps I wanted an Alien too much, or expected too many hallmarks from the original and now with some distance, I recognise that this is a film that needs to stand on its own which it does well, but you are left wanting more and it’s from the characters that you want it. I can be satisfied with hypothetical questions that remain unanswered, but I want to care about the people in a film, that why we are there.

But to understand the origins of Prometheus, you have to know the Alien universe, so drawing relationships between the two are inevitable.

In Alien, the team onboard the cargo ship Nostromo set down on the planet of LV 426 after being raised by a distress signal. When Kane, Lambert and Dallas enter a derelict spacecraft, they discover not only a hive of eggs, but also a mummified alien known only as the Space Jockey with a hole in its chest – we discover later the cause for the hole, but that’s another movie.

The main question raised, never explained in Alien or Aliens, was the how the derelict spacecraft came to be on the planet of LV 426 in the first place and what was this Space Jockey. Was it enemy or foe and how did the Aliens overcome them?

Prometheus promised to explain all this or at least hinted to some origins of what the Space Jockey was. The trailer promised this also, there was a huge ship blown apart and falling from the atmosphere, an Alien in a mural, a woman screaming, gooey slime, and the opening of the Space Jockeys canon.  It was safe to assume that they were visiting the planet we know as LV 426.

*SPOILERS AHEAD*.

But they don’t. Scientists Elizabeth Shaw (Noomi Rapace) and Charlie Halloway (Logan Marshal-Green) discover an invitation from our makers to come find them.  The same constellation of stars appears in tribal paintings from a number of ancient civilisations which is translated into said invitation.

 All eager, the Scientists head on out to a planet only named LV223 and never before been too, expecting to discover their makers, or the Engineers as they have affectionately named them. Soon they discover more than they bargained for, yep they created us, but they also wanted to destroy us and how they planned to do that was to pummel the earth with bombs made of...um...alien organisms. They obviously weren’t happy with the end result, but something went wrong which is then unleashed upon the unsuspecting crew. Yes Shaw, you were wrong.

It’s Michael Fassbender (X-Men First Class, Shame) that pulls the cast through the weak script. Out of all the characters, his cyborg David seems to be the most well developed and thought out with unnerving motives and emotionless  betrayals that leave Ian Holms Ash for dead. Its testimony to Fassbender’s acting chops that he can add such dimension to a one dimensional character.

Charlize Theron (is Vickers, Weylands daughter and the next in line to the vast Weyland empire and throne. She is restrained in her convictions but lacks credibility and leaves you wanting more. You really want a reason to smile when she dies, believing she deserved it, but there was an unexplainable apathy about her that just didn’t work. Vickers is the compass of fear onboard the Prometheus, yet you have a hard time believing it or believing there is reason for her motives.

Every other character is simply fodder with little depth or time spent exploring who they really are and why they are there. In the end, when they all die, you care little for their deaths and spend more time wondering why they died in the first place.

The film ends with a sequel in mind and perhaps the biggest reveal that this is in fact a prelude to better things to come, and hopefully more answers than questions.

3 popcorns out of 5....only for the art direction. 

The Avengers - April 2012

Directed by: Joss Whedon

Everybody take note! The superhero film genre has just been ramped up a gear or two, in fact, someone has rammed the throttle into overdrive and that someone is Joss Whedon.

For those of you who don’t know who this man is, he’s been around a while, but not as famous as other directors. First and foremost, he is a writer. We have him to thank for films like Toy Story, Titan A.E., Atlantis and Alien Resurrection. He is also the writing and directing genius behind TV shows like Buffy the Vampire Slayer, Angel, Dollhouse and the short lived Firefy (among others) and he is no stranger to directing big action movies. He helmed the Firefly spinoff movie, Serenity.

But, this is Whedon’s first big feature film, it’s also his first blockbuster and there is a lot riding on the success of this film.

The Avengers is a long time coming. There have been numerous directors attached to it, a number of scripts, and of course, six other films preceding it (I am including the original Hulk). Making it work has been no easy task.  Each character has their own successful film franchise (Thor 2 and Captain America 2 and Iron Man 3 are due out in the next two years) with plots, subplots and narratives that have loosely been tied together with short end-of-credits scenes involving Nick Fury and the Avengers Initiative.

The film has been on Marvels radar since Iron Man first appeared on our screen on in 2008.

For the uninitiated, The Avengers comic was released in 1963 and was titled “Earths Mightiest Heroes” and starred Iron Man, Ant Man, Wasp, Hulk and Thor. (As an interesting sidenote, in issue 4, the Avengers find Captain America, trapped in ice). The comic has had a number of incarnations over the years and has spawned a couple of animated series, gaining other popular Marvel heroes along the way, most notably and more recently, Spiderman and Wolverine.

In the first issue of The Avengers, the team are assembled to fight Thor’s brother Loki who has used his power of illusion to persuade the Hulk onto a part of destruction.

Whedon has used these elements as his inspiration to create a strong script and storyline that successfully pulls together some of cinemas biggest personalities (and egos) and not only develops their characters further but broadens their appeal.

The story is over the top, but not enough that you find yourself scoffing. The reality is that you need to suspend disbelief when dealing with characters from other worlds, aliens and magic! And considering the source material lends itself to be over the top anyway, the beauty in Whedon’s script is that it never once takes itself seriously. (SPOILER) Even when S.H.E.I.L.D.S super-sized aircraft carrier turns into a flying invisible fortress, Nick Fury states, “Let’s dance” as reflectors cover the ships surface much like a mirror-ball, rendering it completely invisible to the naked eye! Over the top? Hell Yes!

The first act sees the assembly of the Avengers. The Cap and Bruce Banner are asked to find Loki and the Tesseract he has stolen from SHEILD. Later Thor and Iron Man join the team with Hawkeye and Black Widow. What works well is that when the four superheroes and superegos come together, each thinks they will save the day, but as their egos compete against one another for attention, the typical alpha-male muchoness comes to the fore, causing disunity and damage – a lot of damage!

 It is not until part the way through the second act that the team pulls together for the greater good, which is to save humanity from total destruction at the hand of Loki and his alien army.

The script is what makes this film and is proof that studios should trust “fanboys” with comic book adaptions. Whedon has used his extensive knowledge and passion to write a story that is appealing to all audiences while combining what we love from the original films. There are plenty of references to the “prequels” and the character traits each has developed and bring with them and for the fans, easter egg references to the comics to satiate their appetite.

It is film is funny. Very funny. The Hulk almost steals the show (spoiler) when he throws Loki around like a ragdoll during his “I am a God” speech, but each character gets a few choice lines that will surely become part of our vernacular.

At times I thought I was in Transformers: Dark of the Moon, considering the scale and grandeur of the film’s final act – the near destruction of New York. Although there are hallmarks to DOTM, Avengers is nothing like it, in fact, Whedon proves he is the better director by piecing together huge battle sequences, action, explosions, while ensuring that each character has plenty of screen time that not only makes sense, but doesn’t get lost in the enormity and scale of it all.

The production flawlessly merges CGI and live action together, but the 3D conversion leaves little to be desired. Considering the success of Tron Legacy, I am surprised Disney (who owns Marvel) didn’t pull out all the stops and have it filmed in 3D.

I have long appreciated Whedon’s film making abilities and here he channels the work he made famous in Serenity, those fast zoom shots of ships exploding are used here, but not overdone. He also shoots action from interesting and random angles often panning through the back of destroyed cars and broken windows and styling shots that replicate comic book frames, which many fans will appreciate, but most will miss.

The Avengers proves that comic book adaptions can work in the right hands and that screenwriters and directors need to have some understanding of what they are working with.

This is the BEST comic book – SUPERHERO – film I have seen and is the mark by which all future films will be judged by. 

Top 10 Movie Robots - Jays Top 10

I started a top ten movie list at the end of last year, I thought I might copy some of the movie magazines and create my own top ten’s of movie things.

Add your own!

To start off:

July

My top ten Movie Robots (in honour of the upcoming Real Steel, starring Hugh Jackman – which I am a little excited about)

10:  Data ­– Star Trek: Generations Series

There’s smart, then there’s Star Trek Generations’ Data. He gets a nod for being the most useful, smart and enigmatic robot to ever want to be human. Data has seen it all as the USS Enterprise traverses through the universe captained by Jean-Luc. He was upgraded with an emotion chip and turned into a partial human by the Borg; an experience that only he and Picard would share. Oh, and he's always happy to help scan for life forms.

9: T1000  - The Terminator

THE MOST DANGEROUS robot to be sent back from the future, the T1000 is a silent, methodical killer intent of destroying John Connor, the revolutionary that will one day bring down Skynet. Built from liquid metal, barely saying a word, the T1000 is a revolution in special effects turning into all manner of objects and humans.

8: Iron Giant – Iron Giant

From the critically acclaimed (but under performing) film based on the classic Ted Hughes book and directed by Toy Story’s Brad Bird, The Iron Giant is a remarkable film with a touching, confronting anti-war message. The robot in question, falls from space and quickly gobbles up anything made of metal. Set at the height of the cold war, Giant is a war machine, capable of mass destruction, but through the heart of a young boy, discovers that he can be more than a killing machine.

7: Teddy – Artificial Intelligence

The wonder toy of the future, Teddy is the Teddy Ruxpin of the 21^st century on steroids. If David is “Pinocchio” then Teddy is certainly Jiminy Cricket. He is a bear that looks wonderfully soft to hold and looks remarkably real as a toy. He offers David all sorts of advice and caution and like Jiminy; he travels with David every step of the way. At the end of the film, we are left to ponder if he lives, or like David, dies.

6: Johnny 5 – Short Circuit

Number 5 is alive! The 80’s treated us to a robot intent to learning as much as he could about the world and humans in the little time he was free from the experimental lab. Struck by lightening, becoming self-aware, he discovers the joy of the Bee Gees, dancing and love and what it means to be a sacrifice.

5:  Pris – Blade Runner

No robot list would be complete without an entry from the iconic sci-fi film Blade Runner. With a list of robots as long as your arm to chose from, Pris (Darryl Hannah) has to be one of the most memorable replicants. She’s a replicant built for “basic pleasure”, but this robot has one mean gymnastic ability; she can kill you at 20 back flips!  

4: Bishop – Aliens

Could this synthetic human put right all the wrong things that his predecessor, Ash caused?  For Ripley, he needs to stay away from her, and she makes that terribly clear, but what makes Bishop different, (besides his behavioural inhibitor) is that he actually has a heart and right when Ripley thinks all is lost, he appears like a knight in flying armour to save the day!

3: Optimus Prime - Transformers Trilogy

Who’s going to save the world from the evil plans of Megatron and Co? Optimus Prime, that’s who. Not only does this robot have the ability to transform into the coolest looking Mack truck, he has the coolest arsenal of weapons. From a sword that cuts through metal like a hot knife to butter, to a transforming trailer that becomes a battle platform, Optimus is constantly there to save Sam, and humanity, just like Jesus..speaking of, did I mention he can also be raised from the dead? 

2: Wall-e – Wall-E

A Waste Allocation Load Lifter – Earth class; WALL-E is one of the most expressive robots to cross the silver-screen, yet, he barley says a word.

He collects junk, finding treasure in humanities waste and is the only resident on the planet earth after we polluted it. Although only a little square robot, he encompasses all that it great about humanity and gives us reason to hope again.

1: R2D2 – Star Wars saga

There is no other robot like R2D2! He is looks like a trashcan on wheels, but he is so, so, so much more. Communicating in a series of beeps and whistles, lights and spins, he is the veritable swiss army knife in robot form. He can talk to any computer, open doors, throw holograms, deliver important messages, carry your trusty light-saber, electrocute monkey-like aliens, serve beverages...and then, he saves your life when you’re about to be crushed in a trash compactor! HE IS THE ROBOT!

And the worst?

Skids and Mudflap – Transformers: Revenge of the Fallen

They are Michael Bay’s equivalent of Jar Jar Binks. Offensive, pointless and racially stereotyped, not only are they the worse robots to grace the silver screen, but their alternate forms are just as ugly as when they are robots.

 (Not even worthy of a video link)

The Hobbit - 15 years too late?

Martin Freeman dons the Hobbit ears as Bilbo Baggins.

The movie adaption of J.R.R. Tolkien’s The Hobbit is underway in the “new” Middle Earth, New Zealand.

Gratefully, after years of protracted talks, a failed movie company, a lengthy court battle, about 700 directors and a casting strike, Peter Jackson has returned to helm this epic movie monster. Also returning are Ian Mckellan as Gadalf, Ian Holm as the older Bilbo Baggins and recently confirmed, Elijah Wood as Frodo Baggins.

It’s been 8 years since the last film Return of the King premiered and 10 since Fellowship of the Ring graced our screens. It was way back in 1997 when it was announced that Peter would take on the mammoth task of recreating the much loved book as three movies; a 5 year journey that would see him make all three films at once, a feat never before accomplished, nor repeated.

Since then, Peter has only directed two features, King Kong and The Lovely Bones and now, he returns to directing duties on the Hobbit, filming both films at once. It has so far been a 15 year round journey for him and his team, one that makes me wonder if he can still be as focussed on the subject as he was before? He has been sleeping, reading, eating, filming, selling, writing, creating, JRR Tolkien for 15 years, could he be a tad stale?

Peter directs Martin in Bagend

By all accounts, I still think this man is the man for the job. When I met him in 2001 for the premiere of FOTR I was amazed by his passion and love. When he spoke about the films and about the source material, he did it with respect and appreciation. I don’t agree with all his choices for the films, but you cannot deny that he made some amazing films.

The snippets we are hearing (you can follow Ian Mckellen and Peter Jackson on Facebook and Twitter) reveal a positive return to Middle Earth from a man who is a perfectionist  with an almighty eye for detail.

I think its time to pick up my book again!