Alita: Battle Angel (2019)

Far better than what I anticipated, Alita: Battle Angel was going to be James Cameron’s next project after Avatar until he decided to devote the rest of his life to making sequels to that 3D epic after its monumental success. Languishing in development hell ever since despite the availability of the full script, penned by the visionary filmmaker himself, this cyberpunk sci-fi actioner eventually entered production with Robert Rodriguez helming the director’s chair and that’s where I lost interest. On top of that, the trailers looked dull, the premise felt generic, and the lukewarm reception didn’t help the cause either. Having seen it now though, I can say with certainty that this movie is surprisingly good.

Based on the manga series Battle Angel Alita, the story takes place in a futuristic timeline set 300 years after a catastrophic interplanetary war devastated Earth. The plot follows a cyborg who is found disembodied in a junkyard by a scientist who then puts her together and names her after his deceased daughter. Waking up in the new body with no memory of her past, she embarks on a quest to find out her true identity. As she begins to navigate her new life in the mysterious world, she meets a street-smart guy who offers to acquaint her with the workings of the society she is now a part of, which in turn helps trigger her memories and with every new piece, she gets one step closer to discovering who she is.

Directed by Robert Rodriguez (best known for Sin City), what surprised me greatly about Alita is that the script first makes sure that it has got the plot basics covered before filling up the pages with cyberpunk details. At least one ambitious & futuristic sci-fi film hoping to become a successful franchise surfaces in Hollywood almost every year. And yet, most of them fail because they don’t have this particular aspect covered. Cameron’s screenplay is still not perfect though. It was probably still unfinished before Rodriguez condensed it, plus it definitely required more polishing. However, Alita’s arc is compelling throughout and is handled with care, for the story manages to earn our interest & investment in her journey as plot progresses.

Now Robert Rodriguez may not have the skill set of James Cameron to realise his script & vision to its full potential on the film celluloid but what he puts up still works better than the hollow content most blockbusters churn out these days. On the strength of its central storyline alone, Alita manages to make most of its shortcomings feel trivial. The futuristic world is arresting to look at but it is lacking that seamless quality & sense of intrigue that immerses us into a fictional universe. The best moments in the film belong to the scenes between Alita & Dr. Ido, for they brim with a genuine father-daughter dynamic. The two also happen to be the only characters in the finished film who aren’t entirely forgettable or poorly sketched.

The world building is impressive, magnificently detailed & at times captivating. Dialogue is cheesy & corny, especially in that love interest subplot, but the flow of events and how everything unfolds is smooth & rarely out of place. The real strength of this film however surfaces when it kicks into the action mode. The action itself may look ridiculous at times but it is embraced & executed so exquisitely & wholeheartedly that these action segments end up being pure fun, unabashed & wholesome extravaganza which in the process, also establish Alita as one badass cyborg not to be messed with. It’s a shame that the film fails to garner our interest regarding its dystopian setting the same way it manages to bring & keep us on board with Alita’s journey to self-discovery.

Although CGI is heavily applied to nearly every frame, it rarely distracts from the drama that unfolds at its centre. Camerawork is at its best during moments of action, employing sharp angles, aptly timed slow-mo, wide range of colour palette & smart lighting to liven up the images. Editing isn’t up to the mark, for there are segments the film could’ve done without. The background score by Tom Holkenborg (Junkie XL) also stands out only on a couple occasions. As far as performances go, only Rose Salazar manages to impress with an excellent showcase and she does her character complete justice. Christoph Waltz also makes the most of the little material available to him. The rest are either wasted or their characters are mere caricatures we never give a damn about.

On an overall scale, Alita: Battle Angel manages to be an enjoyable & frustrating sit at the same time, for there are hints of greatness within the plot that may have yielded a better overall result if it was properly explored but Rodriguez either never truly grasped those moments or he chose to skim over most of them. It also never helps when the final print of a picture lacks a self-contained narrative, and is busy setting up the groundwork for a sequel. In my opinion, whether a second chapter is intended or not, the first film should always have a definite beginning & ending at least. Instead, this one leaves the audience with a sense of an incomplete viewing experience. However, despite the shortcomings, Alita: Battle Angel left me delightfully surprised & sufficiently entertained with its sturdy backbone, utterly riveting central character & its underlying drama that packs more punching power than what appears on the surface. Whether this film is gonna work for you or not depends entirely on how invested you are in the eponymous cyborg’s arc. So do not hesitate to give it a shot.

Fantastic Beasts: The Crimes of Grindelwald (2018)

Fantastic Beasts and Where to Find Them was anything but fantastic. You can take the absolute worst moment in the entire Harry Potter saga and even that would fare better against the best this squib of a spin-off had to offer. Absolutely devoid of all the magic & sense of wonder that made the original series one of the most beloved franchises of all time, Fantastic Beasts was dull, needless & pointless.

And The Crimes of Grindelwald is even worse. Despite lacking a strong foundation, the second instalment in the Fantastic Beasts series continues to add more weight to the pile, thus further weakening the already fragile understructure. And instead of rectifying the mistakes of the first film, it only ends up making some new ones. In short, this is one of the absolute worst films to surface in cinemas last year.

The story of Fantastic Beasts: The Crimes of Grindelwald continues the adventures of the eccentric & introverted Newt Scamander who finds himself in the middle of a new threat looming over the wizarding world after Gellert Grindelwald escapes from his imprisonment and starts gathering followers. Reunited with his companions and enlisted by Albus Dumbledore, Scamander must stop the dark wizard at all costs.

Directed by David Yates, the film is so busy setting the stage for future instalments that it forgets to tell a proper story of its own. In fact, the entire film feels like a filler than an actual sequel, and it’s just as bland & boring as the previous chapter, if not more. As for the characters, the new additions are as awful as reprising ones, and same applies to those magical creatures who never were interesting to begin with.

Written by J.K. Rowling, her script is devoid of everything that made her books click, for the plot is all over the place and not a single character exhibits an arc worthy of our emotional investment. The film fails at even the basic aspects of storytelling and can simply be summarised as one lame scene stacked on top of another. There are too many subplots, too many characters, and yet it all feels superfluous in the end.

There is not an ounce of magic, excitement or sense of adventure evident in those moments of spectacle but that’s expected when the basic elements aren’t properly executed. Production design isn’t bad. Camerawork is passable. Editing is terrible, for the story is overlong & poorly paced. The VFX ranges from good to cartoonish. And James Newton Howard’s score hits the right chords only on couple occasions.

Coming to the performances, Eddie Redmayne, Katherine Waterston, Dan Fogler, Alison Sudol, Ezra Miller & Johnny Depp reprise their respective roles while Jude Law & Zoë Kravitz are in as Albus Dumbledore & Leta Lestrange respectively. I’ve no idea what Nagini is doing here. What’s the point? What purpose does she serve in this tale? None! Anyway, as expected, none of the actors manage to leave a lasting impression.

On an overall scale, Fantastic Beasts: The Crimes of Grindelwald is never able to conjure a strong spell and fails to stimulate the senses. A lacklustre entry in a lacklustre spin-off series, it is as lifeless & soulless blockbuster filmmaking can get and because of that, there is no trouble whatsoever in booking its spot amongst the worst films of 2018. Far too preoccupied with franchise building than anything else, The Crimes of Grindelwald proves that scriptwriting is a different ballgame and J.K. Rowling is no good at it.

The Shape of Water (2017)

A wonderful amalgamation of sumptuous production design, lush camerawork, composed direction & excellent lead performance, The Shape of Water continues Guillermo del Toro’s fascination with monsters and is an unconventional story of love that’s pure, perceptive & poetic.

Set in 1960s America during the Cold War, The Shape of Water tells the story of a mute woman who works at a top secret facility as a janitor where she encounters a captured humanoid amphibian creature, with whom she forms a unique bond & later helps him escape from his captivity.

Co-written & directed by Guillermo del Toro (best known for The Devil’s Backbone, Pan’s Labyrinth & Crimson Peak), of all the films that I’ve seen from the notable filmmaker, The Shape of Water is the weakest. Nothing about it is terrible actually but there is nothing about it that’s memorable either.

It’s a typical love story between atypical characters that’s crafted with affection, told with tenderness & decorated with splendid set pieces. There is a warmth to their blossoming romance at first but it becomes monotonous during the second half. That dance scene in particular is absolutely cringeworthy.

There isn’t much to complain in the technical department though. The set pieces in Guillermo del Toro films are usually so finely detailed & refined that much of it is often mistaken for computer generated imagery. Brilliantly utilising the shades of green, Cinematography give its images a luminous quality & fairy tale vibe.

Editing calmly directs its different subplots towards the same outcome but pacing is a bit on the slow side, plus there are moments that could have used a few trims. Alexandre Desplat’s score resonates a tenderness of its own with its serene tracks though the songs (both original & incorporated) fail to uplift the whole narrative.

Coming to the performances, The Shape of Water packs a reliable cast amongst whom Sally Hawkins impress the most in what’s a silent rendition that’s packed with sincere emotions. Doug Jones adds yet another non-human character to his work collection while Octavia Spencer, Richard Jenkins, Michael Stuhlbarg & Michael Shannon provide good support in their respective roles.

On an overall scale, The Shape of Water is beautiful to look at and makes excellent use of the director’s trademarks but it definitely isn’t one of del Toro’s finest films. The subplots are more interesting than the main story at hand here, but Hawkins does well to keep us invested in her character’s journey to an extent. In short, The Shape of Water is an above average creature feature wrapped in a pretty package.

Coco (2017)

What has continued to separate Pixar Animation Studios from their competition is their ability to consistently deliver original, imaginative & emotionally arresting stories which, when blended with their groundbreaking, standard-setting & state-of-the-art animation, provide a highly rewarding, incredibly satisfying & profoundly intimate experience that strikes a chord with viewers of all ages. And over the years, this very patented fusion of unique concepts, quality storytelling & unparalleled animation has played an important role in catapulting them to the forefront of animation filmmaking and is one reason why Pixar is the most beloved & acclaimed film studio on the planet today.

Having enjoyed an unprecedented winning streak like no other during the first 15 years of its existence, from Toy Story in 1995 to Toy Story 3 in 2010, the ongoing decade hasn’t been their finest hour, for not only did the studio fell short in what turned out to be their first critical failure but also struggled to come up with original ideas, for majority of their films this decade are based on already existing works. Inside Out was a fresh breathe of life that showed that Pixar is still capable of dazzling us with stories that make our heart sing. And now, Coco reaffirms the faith in the studio, for it isn’t just their most culturally-defined work to date but is impressive enough to rank amongst their finest works.

Set in a small Mexican village, the story of Coco follows Miguel Rivera, a 12-year old boy who dreams of becoming a musician but has to keep his creative expression a secret, for a past trauma dating back generations is tied to the art form and it is strictly forbidden in the family. Things take an unexpected turn on the Day of the Dead when in an attempt to prove his worth by taking part in a talent show, Miguel steals a guitar that once belonged to a legendary singer, and is transported to the Land of the Dead where he reunites with his dead relatives. With limited time on his hands, for next sunrise would turn him into a permanent resident of the realm, Miguel attempts to find his singing idol in order to seek his blessing.

Directed by Lee Unkrich, Coco sets its premise within the first few minutes with a quick overview of the Rivera family history, including the events that led to total ban on music in the family, which since then has been passed down to future generations as the family turned to shoemaking. Unkrich’s tale is original & packed with fully dimensional characters, but what stands out most is its thoughtful execution. Brought to cinematic life with immaculate attention to detail, the film is a result of thorough background research that portrays Mexican culture & heritage in all its glory, and is as funny as it is touching. Unkrich handles the subject matter with care, treating it with the respect it deserves, and is able to articulate its themes of life, death, family & culture in an accessible fashion.

Every rendered image is refined to the smallest of details and the iconography is heavily inspired from Mexican streets & locales. The computer animation is flawless, as expected from the revered studio. Its vibrant set pieces & bright colour palette emanate a sense of heartfelt warmth & intimacy that not only enrich the viewing experience but also carries an immersive quality that brings the viewers further into its radiant world. Editing paces its 109 minutes narrative with firmness, for each moment paves way for the next with twists & turns placed at the right places as the picture heads towards its emotionally powerful finale. Michael Giacchino retains the Mexican flavour with a fitting soundtrack that also includes catchy musical numbers, ranging from the soul-stirring Remember Me to the gleeful Un Poco Loco.

Despite the skeletal appearance of most characters, every one of them is fully-fleshed in the script, and the writers have done a wonderful job in providing every relevant person an arc trajectory of their own. And what that really does is it makes us relate to them on a personal level, understand their choices, and invest in the journey they are undertaking. The film features an all-Latino voice cast, thus adding even more credibility to these scripted caricatures, and they all voice their roles with flair & finesse. While most characters are interesting on their own, their developing chemistry with each other is a core ingredient that makes the story work on so many levels. The gags are plenty and continue surfacing throughout its runtime, thus keeping its playful & amusing vibe alive even when the film is dealing with macabre elements.

On an overall scale, Coco is another impeccable fusion of first-rate storytelling with jaw-dropping animation from the acclaimed studio that scores high marks in all departments of filmmaking, and is an awe-inspiring, thoroughly riveting & endlessly entertaining ride from start to finish. Crafted with passion, precision & perseverance, it is an affectionately carved & soulfully narrated cinema that balances its light & dark elements with effortless panache, and is practically flawless in every aspect. An exquisite ode to remembrance & a heartwarming tribute to Mexican culture & folklore, this ingeniously directed, deftly written & beautifully textured masterpiece is another quality addition to Pixar’s oeuvre. Arguably the best film of the year, and definitely amongst the most accomplished works of its genre(s), Pixar’s latest is an endearing delight that comes one hundred percent recommended.

The Wizard of Oz (1939)

Packed with songs that aren’t catchy at all, filled with people that are more annoying than one would care to admit, and testing my patience with its cartoonish visuals & childish character interactions, The Wizard of Oz may be the staple of American pop culture, and is undoubtedly legendary for its influence & cultural impact but it is also a film that belongs to its era, for it looks awfully dated today.

The story of The Wizard of Oz follows Dorothy who’s swept away by a tornado and ends up in the magical land of Oz where she’s greeted by a bunch of midgets after inadvertently killing the witch who used to torment them. The plot covers the journey she embarks on to find the one who can help her return home, encountering new, eccentric friends on the way who tag along with her while being hunted by a wicked witch who desires something she’s carrying.

Directed by Victor Fleming, there are a few things to admire about The Wizard of Oz, most notable of all being its use of Technicolor. Using sepia tone for Kansas segments and bright colour palette for scenes set in Oz, the film creates a sharp contrast between reality & dream world but it’s in the moments when it switches from one colour composition to another that its added weight is deeply felt. Its set design is just as admirable & brims with vibrancy.

Having no nostalgic attachment whatsoever, the film turned out to be an insufferable experience that made me question my sanity and left me wondering what exactly prompted my decision to give it a go in the first place. While I do admire the imagination, creativity & passion that went into its production, I’m also certain that I probably would’ve liked it way more had I encountered it during my childhood, possibly within the first ten years of my life, which didn’t happen.

Anyway, coming back to this musical fantasy, it’s commendable what the filmmaking crew were able to put together from the available resources back then and for the viewers of that era, it must have been a magical ride. However, more than what happens in the wonderland, I was mostly in awe with how they shot the whole scene with the approaching tornado in the background. There were a couple of times when it was genuinely amusing but for the most part, it was just laughable.

On the technical scale, given the year it was made, The Wizard of Oz is no short of a marvel. It was unique in a lot of ways, and the behind-the-scenes wizardry puts it in a league of its own. Be it the camerawork, staging, shot composition, lighting, special effects, art direction etc, the film excels in most departments but its musical numbers aren’t appealing at all, plus the slew of characters that kept showing up as the plot progressed only added to my misery of sitting through this bore.

Coming to the performances, the cast consists of Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Jack Haley, Billy Burke, Margaret Hamilton & one ugly dog named Toto. While there isn’t any individual work that leaves a lasting impression, Hamilton did come close with her rendition of the Wicked Witch though, the sum of their inputs yields a slightly better result. The chemistry shared between Garland, Bolger, Haley & Lahr has a natural vibe to it, and they manage to lift each other’s performance up by a little.

On an overall scale, The Wizard of Oz is often cited as one of the greatest achievements in cinema history and it very well may be but its dated visual encapsulation, cartoonish characters, juvenile humour, forgettable songs & my own low tolerance for films like these never allowed me to just sit back, relax & enjoy it for what it is. The same happened with Star Wars for similar reasons and no, I’m not sorry about that either. For me, regardless of its celebrated status, The Wizard of Oz is nothing more than a mere tick mark on a checklist, and I have no plans of returning to it ever again.

Guardians of the Galaxy Vol. 2 (2017)

Ever since its inception with Iron Man in 2008, Marvel Studios has not just gone on to revolutionise the comic book genre with its then unique idea of a shared universe but over the years, little by little, with one film at a time, it has also shaped itself into a formidable brand that’s well ahead of its competitors at the moment. For the first few years or so, Marvel played it safe by bringing its biggest names to cinematic life that helped pave the strong foundation of Marvel Cinematic Universe. And then with its 2014 summer release, it threw an unexpected curveball.

Guardians of the Galaxy was, at its time of release, Marvel Studios’ biggest gamble to date, for it was a relatively unknown entity when compared to their most famous works plus its almost standalone existence also deviated from Marvel’s established formula. However, the risky endeavour paid off immensely well in their favour as this crazy mixture of an oddball cast & eccentric crew didn’t just strike gold for the studio in both critical & commercial departments but it still remains one of their best entries to date, not to mention that it’s certainly the funniest of them all.

To no one’s surprise, the resounding success of Guardians of the Galaxy warranted a sequel and three years later, it is finally here. The fifteenth instalment in the Marvel Cinematic Universe, Guardians of the Galaxy Vol. 2 is bigger in both scale & scope, just like a sequel should be, and continues the journey of this wicked team of extra-terrestrial misfits in their latest roles as Guardians while also bringing more figures from their past into the spotlight. Its vibrant use of colour palette and another tightly curated soundtrack is a notable highlight but the film as a whole lacks the freshness of the original.

The story of Guardians of the Galaxy Vol. 2 finds Peter Quill, Gamora, Drax, Rocket & Baby Groot on another exciting adventure as they are hired by a galactic race to kill an inter-dimensional monster that feeds on their precious machinery. Successful in their endeavour, the Guardians get their hands on Gamora’s estranged sister Nebula in exchange for their services but when Rocket steals some of the very components the team just fought to protect, they are attacked by a fleet of drones and crash-land on a nearby planet where they encounter a mysterious figure who happens to have the answer to Quill’s true parentage.

Written & directed by James Gunn, the film opens with a flashback sequence set in 1980 that introduces the viewers to Peter Quill’s father but Guardians of the Galaxy Vol. 2 truly commences when Baby Groot starts jamming out to “Mr. Blue Sky” on speakers in the forefront while the rest of the Guardians fight the aforementioned inter-dimensional beast in the background. It’s a nicely choreographed segment that wholeheartedly evokes the pleasant delights of the original and although there are more flashes of it down the line as plot progresses, Gunn’s writing & direction falls little short of achieving the same feat twice.

Unlike the first film, not all attempts at humour hit the right spot but the ones that do manage to, leave a mark of their own. Apart from Quill’s paternity question, the film also sheds little light on the tragic past of Nebula, Gamora & Yondu while Drax the Destroyer is mostly used for comic relief, a welcome gesture by all means, and Baby Groot brings a childlike innocence & cuteness that works for the most part but there are also moments when his presence becomes a slight distraction and tries to mask the various shortcomings in the script or peripherals. At its core, the plot follows the same path as the rest of Marvel features but it rarely feels dull because of that.

The set pieces are more extravagant than last time and they are beautifully designed & gorgeously rendered in the final print. Cinematography makes vivid use of all the colours in existence and the resulting frames flourish with radiant hues from start to finish. Operating with an energetic flair, the camera also benefits from some clever placements & smart manoeuvring. Pacing isn’t an issue but the way its events unfold do lack the smoothness of its predecessor. Every scene in the movie relies heavily on visual effects and the VFX team leaves no stone unturned to make sure that there is nothing to complain about, whether it’s the celestial bodies or CGI characters or any set piece.

Coming to the performances, Guardians of the Galaxies Vol. 2 features Chris Pratt, Zoe Saldana, Dave Bautista, Bradley Cooper, Vin Diesel, Michael Rooker & Karen Gillan in their reprising roles while the new additions include Kurt Russell as Ego & Pom Klementieff as Mantis. The chemistry between the returning characters retains all its original magic and some of those bonds are further strengthened & explored. Of all the big names, it’s Rooker who impresses the most and his character of Yondu easily stands out as a show-stealer. One of the best things about the first film was its eclectic soundtrack and this sequel delivers in that particular department yet again with another fitting soundtrack that seamlessly blends into the narrative.

On an overall scale, Guardians of the Galaxy Vol. 2 may not be a better film than its predecessor but it is still a worthy follow-up chapter that offers its own set of thrills & amusement, and happens to be just as much fun & entertaining an experience, if not more. In all honesty, James Gunn’s decision to go big and stretch the horizons of this space opera wasn’t a bad idea at all but in an effort to match the consistent vibe & free-flowing wit of the original, he ends up trying a tad too hard and much of it is reflected in the resulting picture. Nevertheless, Guardians of the Galaxy Vol. 2 earns its spot in the Marvel Cinematic Universe and its colourful images, dazzling visuals & first-rate soundtrack, in addition to its interesting plot & adequate characterisation, puts it right up there with Marvel Studios’ better feature films. Definitely recommended.

Kong: Skull Island (2017)

After successfully bringing the “King of Monsters” back to cinematic life in 2014, Legendary Pictures turns its attention to another behemoth to further solidify its own cinematic universe of super-species. The second feature film in Legendary’s MonsterVerse that also serves as a reboot of the King Kong franchise, Kong: Skull Island is full of references to the 1933 original and also tries to capture the iconic texture of Apocalypse Now in its images but all of it doesn’t amount to much in the end, for what we have here is yet another generic monster movie that offers nothing new in its retelling of the legend of the giant ape.

Kong: Skull Island follows a team of scientists who, just before the end of Vietnam War, manage to secure the US government funding for the expedition of an uncharted island in the South Pacific. Hiring a British mercenary as their tracker and escorted to the mythic place by US military squadron, the group soon encounters a 100-foot tall bipedal ape who destroys their choppers and leaves them dispersed & stranded in the unmapped territory, thus turning the survey job into a survival race. With danger lurking on every corner, their only hope for rescue is a resupply team that will meet them up north in three days time.

Directed by Jordan Vogt-Roberts, the story begins with a prologue that offers a glimpse of the mighty Kong before heading to pave the necessary groundwork, which is established rather quickly. The first act of Kong: Skull Island is also its strongest, for the premise is set up expertly and the efficient handling of its ominous vibe & sense of foreboding evokes interest. But once all our characters are on the island and the main plot is set into motion, it starts to lose momentum as the director is unable to juggle multiple subplots properly while the simultaneous need of monster mayhem further throws the narrative off-balance.

Many writers worked on the script yet the final draft resulting from their collective effort is neither refreshing nor emotionally engaging. Characterisation is downright terrible, for there isn’t one character in the picture whose arc exhibits an interesting trajectory or whose journey is compelling enough to be worthy of any emotional investment. Making things worse are its lame attempts at humour that fall flat most times and create a jarring effect more often than expected. It’s quite evident that the filmmakers themselves weren’t sure whether they wanted it to be a lighthearted, fun-filled extravaganza or a serious monster flick with dark undertones.

Production design team does well to imbue a sense of mystery & danger to the exotic island, plus all the man-made stuff featured in the movie are in tune with its 1970s timeline. Cinematography attempts to duplicate the haunting aura of Apocalypse Now with its radiant colour palette, skilful use of lighting & shadows but succeeds only in bits n pieces. Slow-mo camerawork is finely utilised during the first encounter with Kong but is ultimately overdone in the end. Add to that, there is virtually nothing in its images that enhance the 3D viewing experience — No point of view shots, no real depth perception, no cleverly placed camera angles, nothing.

Editing is a mixed bag in itself, for the film paves a solid foundation with a promising first act but fails to capitalise on that as pacing flounders in the middle once the story splits into two subplots. Unnecessary pandering, awful application of wit & hollow CGI action is what unfolds after the first 30 minutes before concluding with an uninspiring & predictable finale. Visual effects has its share of strengths & flaws, for the giant ape is rendered in immaculate detail while other kaiju designs are at times laughable, and the battles between the two isn’t even half as exciting as it was in Peter Jackson’s King Kong. Lastly, Henry Jackman’s score isn’t memorable but it does its job nonetheless

Coming to the performances, Kong: Skull Island features a talented ensemble in Tom Hiddleston, Samuel L. Jackson, Brie Larson, John Goodman & John C. Reilly, with Terry Notary providing the motion capture work for the eponymous giant ape. Hiddleston is alright as the mercenary, Larson does nothing but take photographs & act surprised in her role of a photojournalist, Goodman’s character appears to be lifted right from 10 Cloverfield Lane, Jackson puts on the United States Army gear but keeps his badass persona in tact to deliver a very Samuel L. Jackson-like performance while Reilly is plainly annoying plus the excessive focus on his character was totally unwarranted.

On an overall scale, Kong: Skull Island is just as mediocre an entry in MonsterVerse as Godzilla but it does feature more monster mayhem, even if those brief battles never manage to be wholly engrossing or emotionally fulfilling. It really is a shame because both films had the resources and they both did well during the first act, only to throw it all away in the remaining segments. Characterisation takes a backseat here, which is understandable to an extent, but it still doesn’t result in more focus on the depicted monsters. Most creative choices don’t work out in the film’s favour and, in addition to all that, there is pretty much nothing in it that we haven’t seen before. Falling short on expectations, Kong: Skull Island is yet another monster flick that neither realised its true potential nor looked up to see what was up for grabs. A wasted opportunity.

Fantastic Beasts and Where to Find Them (2016)

The magical, enchanting & breathtaking mythology of J.K. Rowling’s wizarding world was brought to cinematic life through the collective wizardry of an epic ensemble that dazzled the hearts & minds of muggles around the world for the first decade of the new millennium and became a worldwide phenomenon that saw an entire generation of viewers grow old with Harry, Ron & Hermione. The Harry Potter saga still remains one of the most beloved works of literature and its film adaptation is just as cherished, if not more.

Over the course of a decade, those seven remarkable novels were adapted into eight feature films, each one a critical & commercial success that left its imprint in the hearts of its audience. And once the saga had run its entire course and it was time to say goodbye, the series bid farewell to its fans with an epic finale that was just as nostalgic as it was fitting. But we are living in an age where no franchise is allowed to rest in peace, and so the magical world of J.K. Rowling is back again with a spin-off that doesn’t have an ounce of the original’s magic.

A wholly pointless, superfluous & unwarranted return to the wizarding world that also marks Rowling’s screenwriting debut, Fantastic Beasts and Where to Find Them is a dull, needless & absolutely redundant spin-off that nobody ever asked for and is worse than even the weakest Harry Potter film. Lacking a well-defined set of characters, far too preoccupied with its beasts that aren’t even that fantastic, and devoid of all the elements that made its predecessor so delightful & captivating, this subsidiary of a much superior franchise isn’t worth a dime.

A spin-off of the Harry Potter film series that is inspired from J.K. Rowling’s book of the same name, the story of Fantastic Beasts and Where to Find Them takes place 70 years before the events of Harry Potter and follows the adventures of Newt Scamander, an eccentric & introverted magizoologist who arrives in New York City with a suitcase full of magical creatures but soon finds himself being chased by American wizarding authorities after his suitcase mix-up with a muggle (or No-Maj) results in several creatures escaping into the city, thus threatening the exposure of the magical world.

Directed by David Yates, Fantastic Beasts and Where to Find Them opens with the iconic “Hedwig’s Theme” and then, over the course of its runtime, goes on to show why it’s not even worthy of that notable track from John Williams. There is an actual attempt to create its organic world from scratch but it indulges in so many trivial moments that add nothing to the narrative plus it moves at such a tiresome pace that the interest fizzles out soon enough, thus allowing boredom to set in real quick. Yates’ direction is substandard, for he is really unable to keep the narrative compelling but the fault mainly lies with the script.

Written by J.K. Rowling in what’s her first attempt at penning a script, the film features an original storyline that only lifts characters from her book of the same name, since the source material doesn’t contain any story and is more a glossary than an actual novel. With the assistance of CGI, the magical creatures do come alive in splendid detail but the human figures inhabiting the story lack a sturdy arc, and have nothing at all to compel the viewers into investing in their journey. It’s a terribly written screenplay that fails to make a positive impression and this was unexpected from the revered author.

Production design team does well to recreate the 1920s New York setting, and its set pieces are sumptuously decorated. Cinematography utilises colour tones that provide a slightly vintage feel to its images. The film makes excessive use of CGI yet the segments they are applied to remain hollow from within. The creatures are brilliantly designed & rendered but they feel more like props than characters of any significance. Editing is poorly carried out, for its 133 minutes runtime is severely felt and fails to keep the interest alive, while James Newton Howard’s score is only mildly effective.

Coming to the performances, Fantastic Beasts and Where to Find Them features a fine cast in Eddie Redmayne, Katherine Waterston, Dan Fogler, Alison Sudol, Colin Farrell, Ezra Miller & others yet none of them leave a lasting impression, possibly because the characters they play aren’t refined enough in the script. Redmayne comes off as a tad too eccentric in the role of Newt Scamander, Fogler plays an oafish muggle, Waterston isn’t remotely interesting in her role, Sudol is an overdose of sugarcoated mediocrity, Farrell at least tries to make his character stand out, while Miller does well with what he’s given.

On an overall scale, Fantastic Beasts and Where to Find Them is arguably the worst thing to come out of J.K. Rowling’s imagination and is as lifeless in storytelling as it is bland in characterisation. Failing to bring anything new to the table, it is a tediously crafted, awfully written & shoddily narrated fantasy and is so lacking in originality & creativity that it qualifies more as a cash-grab than some genuine attempt at creating something new & exciting. And what’s worse is that there are already four more sequels lined up for production. Overlong, uninspiring & frustrating, the new era of J.K. Rowling’s wizarding world is off to an extremely disappointing & instantly forgettable start, and is anything but fantastic.

Doctor Strange (2016)

The fourteenth instalment in the Marvel Cinematic Universe and the second entry in their Phase 3 plan, Doctor Strange brings yet another avenger into the already crowded Marvel family while introducing mystic arts & alternate dimensions to its ever-expanding universe. Overdosed with suffocating levels of CGI, following Marvel’s typical narrative formula beneath its visually complex exterior, and steered by a stellar performance from its charismatic lead, this origin story offers its viewers a kaleidoscopic journey through astral realms, infinite realities & spacetime contortions yet fails to set itself apart from the norm.

Doctor Strange tells the story of Stephen Strange, a highly revered but equally arrogant neurosurgeon whose bright medical career ends abruptly after he loses the use of his hands following a car accident. Spending all his resources on experimental surgeries in order to regain his abilities, he finally heads to the east for a last resort treatment and meets the Ancient One, a powerful sorcerer who acquaints him to multiverse and teaches him ways to harness energy & shape realities through the mystic arts. But when a former disciple of the Ancient One threatens the fabric of the known world, Strange is put to the ultimate test and must rely on his metaphysical powers to save the world.

Co-written & directed by Scott Derrickson (best known for The Exorcism of Emily Rose & Sinister), Doctor Strange marks his first stint with comic book filmmaking and although he succeeds to quite an extent in delivering a sufficiently entertaining extravaganza, his latest suffers from the same set of issues that has plagued nearly all his works to date. Derrickson is definitely gifted when it comes to paving a strong groundwork for his films and while he manages to keep the momentum going for the major portion of the narrative, he’s always struggled to conclude them on a satisfying note. And in that regard, Doctor Strange is no exception. Its first half is promising but the remaining half descends into another generic blockbuster.

The screenplay features a universe that’s full of imaginations & possibilities yet only scratches its surface. Beneath all that parallel universes, time manipulation & astral projections lies the same generic storyline following the same predictable route that we all have seen many times before. What’s interesting, however, is how it handles the arc of its titular character, for Stephen Strange remains an intriguing character at all times. Instead of diving into the complexities of mystic arts & alternate realities, it opts for shape-shifting, multi-faceted backgrounds that are eye-popping but carry no weight or meaning behind them. And as is the case with most Marvel Studios features, the film lacks an intimidating antagonist.

Coming to the technical aspects, Production Design team chips in with set pieces that brim with mystical qualities while props such as ancient artefacts & antiquated relics provide added details to the spiritual environment it was aiming for. Camera is used in a way so as to amplify the film’s prismatic backgrounds but its chosen angles, slightly muted colour tones & apt lighting don’t necessarily succeed at it. Editing gets slightly carried away by letting many events transpiring in astral planes & other dimensions overstay their welcome and although the pace is steady, the film still ends up running a little longer than it should have. Visual effects are jam-packed into nearly every scene and is overwhelming at times but it is also the film’s most striking highlight.

Coming to the performances, Doctor Strange features a talented ensemble in Benedict Cumberbatch, Chiwetel Ejiofor, Rachel McAdams, Benedict Wong, Mads Mikkelson & Tilda Swinton, with both Cumberbatch & Swinton impressing the most. Cumberbatch as Stephen Strange is perfectly cast and does total justice to his role by illustrating the stubbornness, arrogance & ambition of the eponymous character with precision while his charming persona compels the audience to invest in his journey. Ejiofor does well with what he’s given. McAdams & Wong don’t have compelling roles, Mikkelson tries to imbue a sense of evilness into his character but there isn’t enough meat on his arc, while Swinton steals every one of her moments with effortless ease. And last but not the least, Michael Giacchino contributes with a score that’s fitting but not enthralling.

On an overall scale, Doctor Strange does serve its purpose by delivering an entertaining, amusing & serviceable origin story to fans of its faction and mainstream audience in general but it isn’t amazing enough to garner a spot amongst Marvel’s finest features. Travelling a safe, risk-free route and sugar-coated with trippy, hallucinatory visuals, it is much capable of standing on its own but also works as another stepping stone to the major crossover feature that’s due for release next year. Even though I expected much more from it, what it delivers in the end isn’t entirely a disaster and has its own share of positives but it’s also a shame because, given its premise, it was capable of so much more. A fine introduction, if not a memorable one, Doctor Strange is a typical fun-filled extravaganza that we’ve come to expect from Marvel Studios and is another enjoyable addition to its repertoire. Definitely worth a shot.

Kubo and the Two Strings (2016)

By distancing itself from competition with other players and keeping stop-motion animation alive & relevant in this day & age when majority of animation studios have jumped aboard the 3D computer animation bandwagon, Laika Entertainment, LLC has built an incredibly strong reputation over the years and is one of the rare film studios on the planet that’s all about bringing reverberating tales & compelling characters to life on the big screen while setting higher bars for its art-form by pushing stop-motion animation into uncharted realms.

Entering into the world of feature filmmaking in 2009 with Coraline, Laika has never swayed away from dark, macabre themes despite its films being aimed at families than any particular crowd and it is this boldness plus its greater emphasis on story & characters that has set this animation studio apart from the herd. Their first feature remains a masterwork of first-rate storytelling, ParaNorman showcased breathtaking stop-motion animation, The Boxtrolls managed to keep the studio’s winning streak alive but their latest may very well be Laika’s most challenging film to date.

The fourth feature film by Laika Entertainment, LLC finds the studio beautifully balancing its rich, colourful fable with adult-oriented themes & action-packed extravaganza to succeed as another enriching, enthralling & exquisite delight for viewers of all ages, plus it absolutely decimates the earlier benchmarks the studio may have set with its previous features, for what the animators pull off here is something that blows the competition away. A stunning example of handcrafted magic, Laika’s latest is a visual feast that’s entertaining, enlightening & rewarding in more ways than one.

Set in ancient Japan, Kubo and the Two Strings tells the story of its titular character, a young kid with one eye who lives a life of solitude with his mother in a cave atop a mountain after she staged a daring escape from her world to save her boy. Explicitly warned to return home before dark, Kubo spends his daytime at a nearby village, entertaining the locals with tales of a brave warrior through his magical shamisen & enchanted origami. But when he fails to make it home on time one evening, a chain of events are set in motion that ultimately dispatches him on a quest to confront his fate.

Co-produced & directed by Travis Knight, the CEO of Laika Studios, in what is his directional debut, Kubo and the Two Strings opens with a brief prologue & a clever monologue that offers its viewers a peek of the world that’s waiting ahead and a mindset required to fully grasp it. The first act takes its time to pave the necessary groundwork before heading for the adventure that lies in front of it and Knight’s composed direction exhibits all the hallmarks of a promising talent as this new filmmaker-in-town expertly handles all the aspects and makes them work in harmony.

The script packs a fable that borrows heavily from Japanese cultures & folktales yet it brims with an originality of its own, not to mention that it provides complete arcs to its characters. The theme of duality keeps surfacing throughout the picture, be it life or death, light or dark, love or hate, etc but despite its grim tone & morbid elements, the film never hesitates to indulge in lighthearted humour whenever an opportunity strikes, plus the character interaction only helps in the evolution of their respective arcs by developing their individual stories while strengthening the chemistry between them.

From the technical standpoint, Kubo and the Two Strings is nothing short of an extraordinary feat. The images are rich in colours & textures, the CGI background seamlessly & silently synchronizes with the stop-motion animation, plus there are some grand set pieces that give viewers a sense of the daunting task the animators undertook plus the painstaking effort that was required to render those complex sequences with such effectiveness. The wisely chosen camera angles, wide range of colour palette & fluid movements do contribute in enhancing its drama and they do so in a very subtle manner.

Editing is well-executed and allows the story to unfold at its own pace, thus letting its characters evolve at their own rate. However, it may not go well with everyone as its final act does feel a tad too stretched, even if it culminates on a fitting note. The background score is absorbing and always in tune with the transpiring events. The voice cast consists of Art Parkinson, Charlize Theron, Matthew McConaughey, Rooney Mara & Ralph Fiennes, each playing their part to near-perfection, with Theron, McConaughey & Mara impressing the most in their respective roles of Monkey, Beetle & the evil Sisters.

On an overall scale, Kubo and the Two Strings is a thrilling amalgamation of a deeply fascinating mythology, smart storytelling, mature themes, interesting character arcs, clever wit, outstanding voice-work & unparalleled stop-motion wizardry, and isn’t just arguably the best animated film to surface on silver screen in 2016 but is well worthy of a spot amongst the finest films of its year. A handcrafted labour of love that’s executed with precision, narrated with finesse, and is catapulted to greater heights by its groundbreaking stop-motion animation, Kubo and the Two Strings is passionate filmmaking & dextrous craftsmanship at its best. Highly recommended.