Teenage Mutant Ninja Turtles (2014) is an interesting reinterpretation of the franchise, filled with action, personality, and humour.

With the Foot Clan spreading crime throughout New York City, report April O’Neil sets out to discover the root of their crime wave despite resistance to her notion of vigilantes saving citizens from the Foot. During her investigations, she encounters four mutant turtles with ninjitsu skills. When she learns they are from her unsettling past, April asks an old friend for help but becomes involved in a sinister plan to poison New York City. It’s up to April and the turtles to stop the mysterious Shredder and his sinister plan.

The turtles in this film look bizarre at first. However, these more realistic depictions lend the film a heightened sense of authenticity. Megan Fox is well cast of the determined yet vulnerable April. Will Arnett as Vern adds some much-needed and well-played humour to the film.

The story is mostly standard action film fair in the second half. The first half, however, provides a more convincing genesis for the turtles and ties April closer to them without straying too far from the original concept.
Some of the concepts, like Shredder’s technological armour and the turtles been bulletproof, are little over the top but fit in well with the campy action sequences towards the end. Fight scenes are well choreographed if a little underwhelming, and the turtles are portrayed as vulnerable and clumsy as well as skilled.

Each turtle has a distinct personality that lends credibility to the film. However, Donatello and Leonardo are pushed to the rear as Raphael and Michelangelo’s more extraverted personalities steal the show. Fortunately, this doesn’t detract from the story.

Teenage Mutant Ninja Turtles is a good update to this classic superhero franchise. While it lacks in originality, it makes up for this with personality. TMNT fans will enjoy the ride if they don’t take it seriously and the film might just create a whole new generation of turtles fans.

3 stars.

Ron Fricke’s 2011 documentary, Samsara, is a beautiful exploration of the best and worst of humanity.

The documentary begins with an up-close look at an eastern religious dance before showcasing some of the world’s beautiful landscapes and then turning to other aspects of humanity. Large sections of the documentary focus on humanity’s various spiritual and religious practices. Other sections highlight the inhumane treatment of animals through the industrialisation of farming, and the mistreatment of people through poverty and violence. It finishes on a more positive note, suggesting that despite these horrific acts that have become like religions, there is hope for humanity.

The cinematography is picturesque, using photographic effects, such as time-lapses and skipped frames, to create sequences that are rich in visual and emotional tonality. Accompanying the lush visuals is a beautiful continuous soundtrack that, through its uplifting, melancholic, and introspective tones, brings a deeper emotional atmosphere to the film. In fact, it even lulls the viewer into a meditative state as they appreciate or become horrified at the documentary’s content.

Worthy of note is the absence of dialogue. This is powerful because rather than a narrator giving viewers an opinion of the presented material, it allows the cinematography and soundtrack to speak on their own and affect viewers in a personal and on an unconscious level. Not only is this emotionally affective, but it demonstrates the power of these filmic components to communicate on their own. And it helps make the film a personally affective experience.

While Samsara is not for everyone, everyone should watch it to appreciate not only the majesty and powerful nature of film, but also the beauty of life.

4 stars

Having explored the future with The Terminator (1984) and outer space with Aliens (1986), in The Abyss (1989) director James Cameron turned his focus to the deep sea with mixed results.

When the submarine USS Montana encounters an unidentified submerged object, its electrical systems shut down, causing the sub to crash. In an attempt to salvage the wreckage, a team of underwater drillers are sent to Deep Core, a private underwater drilling platform, along with a military SEAL team. Included in the diving team are foreman Virgil “Bud” Brigman (Ed Harris) and platform designer Dr. Lindsey Brigman (Mary Elizabeth Mastrantonio), an estranged couple. During their mission, the group encounters several unidentified submerged objects. As a scientist, Lindsey wants to explore the possible new lifeforms but Lieutenant Hiram Coffey (Michael Biehn) is insistent they destroy it, creating much conflict.

At close to three hours running time, The Abyss Special Edition (1993) runs the risk of sagging and becoming lacklustre. It’s a credit to director James Cameron, then, that he keeps the pace of this thriller taut, aided by the interdepartmental conflict, Bud and Lindsey’s torrid relationship, and the witty repartee between the crewmembers. In fact, although the mystery of what lies below keeps viewers interested, it’s the actor’s portrayals of these vivid characters that hold this film together and keep the audience glued to the screen.

The Special Edition adds an extra half hour of material, setting the story in the middle of nuclear conflict between the USA and the Soviet Union, and an extended ending, revealing what Bud encounters below. Unfortunately, the new ending introduces a clichéd science-fiction element that’s out of place with the rest of the film’s realistic tone, and is hampered by a cheap CG sequence. Nonetheless, Alan Davis’ soundtrack is suitably chilling and euphoric, the other extra material adds to the film’s atmosphere, and the rest of the story is still highly engaging.

As an exploration of the submerged (and potentially extra-terrestrial) world, a thriller, and character drama, The Abyss Special Edition works and anyone interested in these things should check it out.

3 ½ stars.

Generation X, a 1996 made-for-TV movie is an interesting diversion, if little else, based on the comic book series created by Scott Lobdell and Chris Bachalo. Yet, the camp story, low production values, and stereotyping ruin what could otherwise have been a good translation.

When teens Jubilation Lee/Jubilee (Heather McComb), who can project pyrokinetic power, and Angelo Espinosa/Skin (Agustin Rodriguez), who can elongate his skin, are taken to Xavier’s School for Gifted Youngsters, they encounter other teen mutants. There, the school’s headmasters, Sean Cassidy/Banshee (Jeremy Ratchford) and Emma Frost/The White Queen (Finola Huges), try to teach them how to cope with their mutant powers. Meanwhile, mad scientist Russel Tresh (Matt Frewer) tries to use Angelo to continue his dream world experiments.  

When the film focuses on the characters, particularly Jubilee, Skin, Banshee, and the White Queen, and even the watered-down M, Mondo, and Husk and Chamber replacements, Buff and Refrax, it’s actually quite an entertaining story about teenagers trying to fit into a world that is hostile towards them. In fact, the whole mutants as different from humans theme is a good metaphor for the teen issue of feeling different from everyone else.

Yet, the overarching plot about Tresh’s desire to control the dream world, while interesting as a concept, is never thoroughly explored, and Frewer portrays Tresh in such an over-the-top manner, that it’s hard to take it seriously. Moreover, the odd camera angles director Jack Sholder uses give the story an otherworldly feel, detracting from the real-world elements.

Had the story focused more on the characters, their relationships, personal developments, and retained Husk and Chamber from the comics (they were replaced for special effects and budgetary concerns) then it might have been a classic. As it stands, however, Generation X is an average film that fans of the comics might enjoy as a curiosity, but everyone else should avoid.

2 stars

Peaceful Warrior, an adaptation of Dan Millman’s semi-autobiographical book, The Way the Peaceful Warrior, is an emotionally engaging and spiritually enhancing film that will convince audiences to seriously look at their lives.

The story follows Dan (Scott Mechlowicz), a talented young gymnast who stands to have it all. One night, unable to sleep after a nightmare of shattering his leg, he encounters an old man (Nick Nolte) in a gas station and sees him perform an amazing physical feat. Impressed, Dan continues to visit the man, who he nicknames Socrates, hoping to learn how to perform the stunt, learning from the man’s wisdom in the process. Then, one day he is involved in a motorcycle accident, which shatters his leg bones. The rest of the story shows Dan sucking up his pride and working his way up to becoming an Olympic entrant once more.

Unlike many films that convey spiritual messages and inner guidance, Peaceful Warrior doesn’t come across as preachy or overly religious. Instead, it focuses on the emotional drama of the protagonist to convey insights to the audience. This is aided by strong performances from Mechlowicz, Nolte, Amy Smart, and the rest of the cast.

The beautiful and sensitive score enhances the emotional moments and audiences, helping audiences feel connected with Dan as well as annoyed at his stupidity and ignorance at times.

Having not read the book, I can’t comment on whether the film does it justice (as with most book to film translations, it’s likely the former contains more depth and insights than the latter). However, on its own, the film is a wonderful experience, taking audiences on an emotional journey while opening them to a lot of wisdom.

Overall, a fantastic film for anyone wanting to learn about life and themselves.

4 stars

James Redfield’s The Celestine Prophecy is a classic book of our time, detailing how we as individuals and a society need to grow. Unfortunately, the same cannot be said for the film.

It closely follows the novel as the protagonist, here named John (Matthew Settle), encounters a series of synchronicities and characters who help him learn about the first eight insights of the Celestine manuscript, which depict a better way of living, while searching for the hidden ninth part. Throughout, forces within the Peruvian government and Catholic Church peruse and persecute the group and try to destroy the manuscript, afraid it will leech them of their authority.

While the book was insightful and well paced, the film suffers from trying to force too much information at the audience as the narrative progresses. While the novel’s synchronicities feel natural, in the film they mostly feel forced, as John rushes from insight to insight, with little breathing space for the audience to reflect on the information. So much of the film is expository and it comes across as overwhelming.

It doesn’t help that Settle’s depiction of John is, at times, wooden and unbelievable as he trusts most of the information without question. However, Thomas Kretschman gives a fantastically enthusiastic portrayal of Will, and the rest of the cast, for the most part, do the best they can with the material. Yet, in many cases it comes across as unbelievable and too convenient.

Fortunately, at the heart of the film is the same pertinent spiritual message as the book. While I encourage faithful novel adaptations, here the adherence to the book’s material works against it. Had the filmmakers spent more time developing the characters and their relationships, spaced out the insights, and slowed the pace down, it would have been as good as the novel. As it is, however, the film comes across as below average.

2 stars.

The Legend of Korra, the animated series follow up to Avatar: The Last Airbender, centres on new avatar, Korra, some years after the death of Aang, the previous avatar. Set in the same world, the series delivers mature content through serious and pertinent themes.

Series one finds Korra under the tuition of air-bender guru, Tenzin, Kitara and Aang’s by-the-book son. During Korra’s training, she and Tenzin are often at heads with each other. Meanwhile, she makes new friends with Mako and Bolin, two bending champions, as well as team sponsor, Asami. When the anti-bending messiah, Amon, surfaces with the ability to remove people’s bending, Korra, finds herself caught in a big mystery as she comes to terms with her weaknesses.

Series two takes places some time later when Korra’s uncle Unalaq, chief of the northern water tribe, asks Korra to use her avatar-powers to open the portals to the spirit world. This results in some drastic changes to the world as well as several betrayals.

In series three, Korra and her friends deal with the consequences of opening the spirit portals as well as a secret society who wants to destroy all forms of government.

The fourth and final series picks up some months later, with Korra wandering the world trying to escape her powerlessness and shadow self. Meanwhile, Mako has become a bodyguard for Prince Wu, Bolin a member of Kovera’s earth nation, and Asami an industrialist. This series focuses on resolving many of the character arcs, while pitting Korra against Kovera’s militaristic view of bringing unification to the world’s nations.

The Legend of Korra’s storytelling is very tight, with many plot twists, and tense scenarios. Moreover, the series, especially series four, deals with some very mature, controversial issues, such as PTSD, fascism, the consequences of mass destruction, self-belief, eastern philosophy, and connecting with the spiritual self, while retaining the focus on balance and mindfulness. At times, the portrayal of some of this material, especially series two’s spiritual focus, is clumsy, however, for the most part it is presented in a believable and relatable manner.

The female characters really come to the fore, especially in series four, offering positive (and negative) role models for young girls.

The primary protagonists are well rounded and credible characters audiences will come to love. Unfortunately, from series two onwards, Bolin is turned into a buffoon for comedic purposes, which is disappointing because it fails to honour his character. Eventually, however, he re-evolves into the character established in series one.

The series features some amazing cel and 3D animation. Characters’ gestures and animations are realistic and convincing and, in most places, the blending of cel and 3D animation is seamless.

Overall, creators Bryan Konietzko and Michael Dante DiMartno should be applauded for creating an avant-garde animated television series that confronts mature and engaging themes and pushes the boundaries of animation. The Legend of Korra is MUST SEE TV, especially series one and four.
 
4 ½ stars

With a heavy reliance on nostalgia from the series’ earlier entries, 2015’s Terminator: Genisys risks plummeting this once great series into even direr depths than 2009’s Terminator Salvation did. Fortunately, drawing on the previous films strengthens this average action-film.

Kyle Reece is sent back to 1984 to protect Sarah Conner from a T-800. Only, instead of finding a helpless Sarah, as in The Terminator (1984), he encounters a war-savvy Sarah reminiscent of 1991’s Terminator 2 along with a protective and reprogrammed T-800. Although the original Judgement Day was stopped, they learn of Skynet’s new activation date, and so travel to 2017 to stop it, only to encounter an unexpected surprise.

What follows is a standard action film punctuated with some great Terminator lore and mythology, some great comedic lines and action-sequences from Arnold Schwarzenegger, who plays an ageing T-800, some great character interaction between Kyle (Jason Clarke) and Sarah (the wonderfully convincing Emilia Clarke), and some surprising twists.

Early sequences tastefully reimagine classic scenes from The Terminator, while adding their own twists that respect the original material. The film offers little new in terms of story. Fortunately, like Terminator 2, the character interaction makes the film because the attachments between Kyle, Sarah, John, and the T-800 are emotionally driven, well played, and engaging. Action sequences, too, are well constructed and while a few moments defy credibility, they are never overdone.

Overall, Terminator: Genisys is a good action film that respects the Terminator licence. While it’s not as good as the first two films, it’s miles better than Salvation and on par with 2003’s Terminator 3: Rise of the Machines.

3 stars

The Wachowskis’ 2015 film, Jupiter Ascending, contains an original and expansive universe filled with a variety of alien races and conflicts. Yet, this vastness quickly loses audiences.

The film focuses on protagonist Jupiter Jones (Mila Kunis), an “ordinary girl”, who encounters several aliens who whisk her off world. Little known to Jupiter, this is all part of an alien species’ belief that she is the reincarnation of their royal mother.

Early on, Jupiter comes across as a relatable character with a quirky, but loveable, family. However, character development quickly falls to the wayside as the alien concepts are introduced and expanded action sequences become the mainstay. While the film attempts to show a regular person overcoming her inner feelings of worthlessness by putting her into a situation bigger than her, it focuses more on Jupiter’s value to the alien characters, objectifying her as little more than a plot device. Thus, audiences have little to emotionally invest in. Unbelievably, Jupiter readily accepts most of the foreign worlds, creatures, and character machinations without question.

In some of the Wachowskis’ other films (The Matrix and Cloud Atlas), foreign worlds and characters are cohesively introduced while maintaining the audience’s emotional investment. However, in Jupiter Ascending, too many alien concepts are introduced too quickly with little emotional resonance, leaving audiences feeling dejected.

That said, Jupiter Ascending contains some innovative ideas and concepts, like seeding and  harvesting planets, and clipping an alien’s wings for his past sins. Unfortunately, these are not enough to save it from being a concept driven film with little emotional substance. Nor is the excellent cast of Kunis, Sean Bean, Channing Tatum, and Eddie Redmayne, who give convincing performances.

Science-fiction fans may enjoy it as a curiosity.

2 stars