For F*** Magazine
Month: August 2015
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Hitman: Agent 47
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HITMAN: AGENT 47
If you’re a particularly undemanding action movie fan, Hitman: Agent 47 is certainly not the worst way to kill 108 minutes ever. It might be possible to overlook the thoroughly generic plot and enjoy the action and the locales, but this possesses a higher “leave your brain at the door” quotient than most “leave your brain at your door” movies. What is most entertaining is the thought that some Singaporean government official will have to pretend this is a good movie to justify its use of the country as a filming location.
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HARBINGER DOWNDirector : Alec Gillis
Cast : Lance Henriksen, Camille Balsamo, Matt Winston, Giovonnie Samuels, Winston James Francis, Mick Ignis, Michael Estime, Jason Speer, Reid
Genre : Sci-Fi/Horror
Run Time : 82 mins
Opens : 13 August 2015
Rating : NC-16 (Some Violence and Disturbing Scenes)
“There’s an organism on this ship” are not words you want to hear, especially in a horror movie. Sadie (Balsamo), is a university student working on her thesis, accompanied by her professor Stephen (Winston) and her classmate Ronelle (Samuels) on an expedition to study the impact of climate change on Beluga whale migratory behavior in the Bering Sea. They hitch a ride on the Harbinger, a crab fishing trawler captained by Sadie’s grandfather Graff (Henriksen). Chancing upon the wreckage of a Soviet spacecraft from the 80s frozen in the ice, Sadie and Graff decide to haul it onto the ship, a decision some of the other crew members question. The spacecraft harbours a deadly secret – mutant tardigrades, resilient microorganisms that have transformed into a fearsome creature intent on devouring all aboard the Harbinger.
Harbinger Down comes from writer-director Alec Gillis and is produced by Tom Woodruff, Jr. Gillis and Woodruff are the founders of Amalgamated Dynamics Inc., a special effects studio that has furnished animatronic effects for films such as Starship Troopers, Alien vs. Predator and Sam Raimi’s Spider-Man trilogy. They worked on 2011’s The Thing, only to discover that their animatronic effects had been replaced by computer-generated imagery in the finished film. This was not the only film ADI had worked on to suffer that fate. Fed up with how Hollywood was treating their work and bolstered by the positive reaction their work had garnered from movie fans online, Gillis and Woodruff set out to make an independent creature feature that would contain only practical effects work, a monster movie made using lo-fi techniques including performers in suits, miniature photography, effects makeup and stop-motion animation. The result is Harbinger Down, partially funded via a Kickstarter campaign.
With all this background information in mind, it’s clear that the film’s purpose is to prove the point that practical effects are better than digital ones; a way for old-fashioned special effects creators to vindicate themselves. It’s very clear that the plot is merely a flimsy skeleton on which to hang the monster mayhem. This has all the hallmarks of cheaply-made science fiction horror: it all takes place in a single location, most of the actors deliver performances that deserved to be confined to a community theatre stage and the dialogue is clunky and laden with clichés. The crusty sea dogs have to unwillingly play host to a bunch of academics who are in way over their heads when a long-buried evil is loosed on their vessel. “Some things should stay frozen,” deckhand Atka (Edwin Bravo) intones with all the subtlety of a hammer to the face. The pitch that Gillis and Woodruff put on Kickstarter was that this is “in the spirit of two of the greatest sci-fi/horror films of all time, Alien and The Thing (1982)”. Harbinger Down is less “in the spirit” of those two modern classics and more “stuck in their shadow”.
As mentioned earlier, the performances aren’t great – Matt Winston is particularly hammy as the obnoxious professor. Camille Balsamo’s Sadie is a protagonist we’ve seen hundreds of times in this genre, the adventurous, intelligent young woman who is plunged into a terrifying adventure. The character is competent and courageous, but also commits acts of stupidity as the plot demands. Black Sea from earlier this year presented us with a more believable crew of grizzled, bearded sailors manning a rickety vessel than we see here. Milla Bjorn’s Svet is the token tough chick, confrontational and quick to draw her trusty knife. The saving grace in the cast is Lance Henriksen, whom genre fans know best as the android Bishop in Aliens. He takes it seriously, is convincing as the veteran captain of a trawler and brings a much-needed dose of gravitas to the proceedings. The genre cred certainly doesn’t hurt either.
With a film that exists primarily to showcase the monster effects, the big question is “how do they look?” There are several gross-out moments of body horror that recall old-school genre favourites and the film occasionally manages to drum up some thrills. For the most part, the effects are well-executed, though the opening sequence of the Russian spacecraft crashing back down to earth is pretty phony-looking. Tardigrades look like horror movie monsters as it is, so that’s a decent starting point, but there is no defining concept to the creature design – the most effective movie monsters such as the Xenomorphs from Alien and the Brundlefly from 1986’s The Fly have an underlying unifying logic to their design that makes them indelible. The mutant tardigrade creature in Harbinger Down looks as if someone threw a bag of standard “movie monster” traits into a pile: teeth, tentacles, spines, pulsating nodes, icky ooze et al – with blue LED lights on top for the hell of it. That the monster fails to even approach iconic is disappointing, considering the talent involved in bringing it to life is clearly skilled and passionate about their chosen brand of movie magic.
When it comes down to it, Harbinger Down is little more than a SyFy original movie with considerably more effort put into the effects. It may be of interest to genre aficionados given the origins of the production and the fact that it originates from ADI, but if you’re walking into this not knowing who Alec Gillis and Tom Woodruff, Jr. are, you won’t leave caring about them. If this movie proves anything, it’s that it really doesn’t matter if the effects are practical or digital when they are not in service of a compelling story.
Summary: Hardcore genre movie geeks may find this creature feature worth their while, but outside of that niche, Harbinger Down is too formulaic and forgettable to make much of an impact.
RATING: 2 out of 5 Stars
The Crossing II (太平轮：惊涛挚爱)
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THE CROSSING II (太平轮：惊涛挚爱)
Director : John Woo
Cast : Zhang Ziyi, Takeshi Kaneshiro, Song Hye-Kyo, Huang Xiaoming, Tong Dawei, Masami Nagasawa, Amanda Qin, Yu Feihong, Tony Yang, Qianyuan Wang, Bowie Lam
Genre : Drama/Romance
Run Time : 126 mins
Opens : 13 August 2015
Rating : PG13 (Some Disturbing Scenes)
The second and final part of John Woo’s historical disaster epic washes ashore. Picking up where the first film left off, we continue following the three central romances as all parties are swept up in the aftermath of the Chinese Revolution in 1949. Taiwanese Doctor Yan Zekun (Kaneshiro) is caught in a bind, his mother intending that he marry Meifang (Angeles Woo), the widow of his brother. Zekun’s heart still belongs to Masako (Nagasawa), who has been writing letters to him, letters that Mrs. Yan has burned in the hopes of putting an end to that relationship. Yuzhen (Ziyi) is desperate to get on a boat out of Shanghai, believing that her fiancé is waiting for her in Taiwan. At the hospital where she volunteers, she is briefly reunited with a severely wounded Tong Daqing (Tong). Yunfen (Song), the pregnant wife of General Lei Yifang (Huang), boards the steamer Taiping with her family. The Taiping, overladen with passengers and cargo, embarks on its fateful voyage for Taiwan, a voyage the vessel will not complete.
Just when we thought nothing could be more pointless that The Crossing: Part 1, Part 2 comes along. Essentially, audiences were being told “before you get to the big sinking, let’s spend some time with the characters and get to know them.” “Some time” turns out to be one and half movies, by which point most viewers will have to restrain themselves from yelling “just sink already!” at the screen. The first film was filled with languid romantic interludes of lovers gazing longingly into each other’s eyes, in between requisite battlefield carnage. Instead of getting right into the action, we are saddled with even more set-up, in which characters rattle off long passages of exposition establishing how the main characters are connected. It turns out that it’s coincidence and not love that holds the world together in the most tumultuous of times.
The Crossing has been called “the Chinese Titanic” and it seems director Woo doesn’t mind the comparison: after all, Titanic is the second highest-grossing film of all time. The similarities are apparent: both films aspire to be sweeping period romances that revolve around fictional characters and are set against a historical disaster at sea. While Titanic is often regarded as cheesy, The Crossing surpasses it in this regard by far. At every turn, the film is melodramatic rather than moving. While Titanic had one romantic relationship as its focus, The Crossing has to split its time between three romances that have to converge in a triumph of contrivance. The intention seems to be that the audience is equally invested in each of the three love stories presented, but that is ultimately too much to ask.
Huang Xiaoming and Tong Dawei take a backseat in this installment, with the bulk of the screen time going to Takeshi Kaneshiro and Zhang Ziyi. Kaneshiro is effective as a noble figure forced into a bind and it certainly helps that he’s very easy on the eye. Zhang Ziyi continues to essay Yuzhen’s tenacity, and one of the film’s few genuinely heart-breaking moments is when Yuzhen agrees to have sex with sleazy businessman Peter (Lam) for a boat ticket. In the midst of the unpleasant act, she peeks through a small crack in the wall, looking expectantly at the ferry moored in the harbor.
The actual sinking of the Taiping is an adequately spectacular sequence of unfolding chaos, even if the computer-generated effects lack polish. The sets and practical effects are well done and it does feel like our protagonists are in legitimate danger. However, after more than three hours of build-up over two films, it’s far from sufficient payoff. We are aware that we sound like heartless beasts, baying for more carnage and less interpersonal drama, but the film’s selling point is, after all, the sinking.
With the conclusion of the two-part movie, Woo has created something that’s not so much sweeping and epic as it is waterlogged. Thrill at people folding paper cranes, composing love songs and taking very long walks through the tall silvergrass! Often unbearably, painfully cheesy, it’s difficult to truly appreciate the authenticity of crowd scenes such as mass student protests being broken up by the military police, and indeed the climactic disaster itself. Treacly and sentimental rather than emotional and containing far from enough spectacle for the slow parts to be tolerable, The Crossing is stranded adrift at sea.
Summary: John Woo’s attempt at re-creating an Old Hollywood-style wartime disaster epic ends up drowning in its own cheesiness.
RATING: 2 out of 5 Stars
For F*** Magazine
Director : Chris Columbus
Cast : Adam Sandler, Michelle Monaghan, Josh Gad, Kevin James, Jane Krakowski, Peter Dinklage, Brian Cox, Ashley Benson, Sean Bean, James Preston Roger
Genre : Comedy/Sci-Fi
Run Time : 106 mins
Opens : 13 August 2015
Rating : PG
Beloved characters from days of gaming past are no longer confined to arcade cabinets, rampaging through the streets and tearing across the skies in this sci-fi action comedy. When aliens invade earth in the guise of classic arcade characters like Galaga and Pac-Man, President Will Cooper (James) calls upon his childhood best friend Sam Brenner (Sandler) to combat the threat. Brenner was once a Pac-Man champion, but was beaten at Donkey Kong by his rival Eddie Plant (Dinklage), who is provisionally released from prison to help fight the aliens. Rounding out the team is the mal-adjusted conspiracy theorist Ludlow Lamonsoff (Gad), who has an unhealthy obsession with buxom video game character Lady Lisa (Benson). They answer to Lieutenant Colonel Violet Van Patten (Monaghan), who has helped develop cutting-edge light ray guns to use against the invaders. Brenner and his team, branded “The Arcaders”, are all that stands in the way of the disintegration of the planet.
Pixels is based on Patrick Jean’s 2010 short film that quickly became an internet sensation. It’s not the first good idea that has been completely mishandled by Adam Sandler and his Happy Madison production company, nor will it be the last. It’s an utter disappointment that Sandler got his hands on this – it may seem fashionable to hate on the actor/producer, but it’s completely understandable that many filmgoers are not swayed by his frat boy humour and his penchant for varying shades of prejudice in his movies. His lack of popularity is such that there have even been only semi-joking conspiracy theories that his films are elaborate money laundering schemes. Director Chris Columbus does not have a spotless track record, but having directed the first two Harry Potter and Home Alone movies, is more successful than Sandler oft-collaborators Dennis Dugan and Frank Coraci. This gave this reviewer a glimmer of hope that Pixels would end up better than other Sandler movies. This glimmer was quickly extinguished.
This is especially a shame considering the technical polish with which Pixels is made. The visual effects work, supervised by Matthew Butler and produced by Denise Davis, is excellent and some of the imagery is eye-catching and inventive. A battle against the Centipede from the Atari game of the same name is an absolute blast and the film makes great use of stereoscopic effects, with visual gags like the game scores floating off the screen. The sequence in which our heroes hop into kitted-out Mini Coopers (with the license plates “Pinky”, “Inky”, “Blinky” and “Clyde”) to fight Pac-Man in a high-speed skirmish on the streets of New York is plenty of fun as well, even if it owes a huge debt to Ghostbusters.
This might have worked with a different plot and different characters, because the characters are generally very unlikeable. Sandler stars as a ne’er-do-well home theatre system installer, his ego overwhelmingly apparent as he’s cast himself as the underdog who is “the only man for the job” and is eventually adored by the public as an international hero. Kevin James is the least believable movie president since Charlie Sheen in Machete Kills. Granted, it’s supposed to be a joke, but the casting of a credible actor as the President would have given the film at least some grounding, because if it’s all a joke, then the stakes are diminished.
Josh Gad plays the stereotypical basement-dwelling, mouth-breathing nerd, who actually seems to have some very serious issues that we’re supposed to laugh at instead of be concerned about. It’s a shame that the character is as loathsome and unimaginative a caricature as he is, since Gad has displayed a fair amount of charm in other roles. Peter Dinklage is similarly wasted as the show-boating Eddie Plant, who was apparently modelled after real-life Pac-Man and Donkey Kong champion Billy Mitchell. Dinklage is clearly having a lot of fun in the role, but his character is so repulsive that’s it’s difficult to enjoy his performance. Part of Eddie’s terms in order to help the government fight the aliens is that he gets to have a threesome with two unlikely female celebrities, a joke which is followed up on instead of being treated as an absurd and offensive request.
This brings us to the lead female character, Michelle Monaghan’s Lt. Col. Van Patten. We’re left picking at scraps, and at the very least, this reviewer is grateful that there’s a woman in a position of power in the film and Monaghan carries herself with as much dignity as she can. Of course, there’s an inane romantic subplot involving Van Patten and Brenner, complete with the “they start out hating each other!” romantic comedy arc. Ludlow’s slobbering obsession with the Red Sonja-esque Lady Lisa is nauseating, and one of the takeaways of the film is that women are trophies who can be won and owned. On top of that, there are multiple casual sexist remarks, such that the film’s atrocious attitude towards women is impossible to ignore. Not content with being flagrantly misogynistic, Pixels also tosses in a stereotypical portrayal of Pac-Man creator Toru Iwatani (Denis Akiyama) and a nigh-incomprehensible, buffoonish British Prime Minister (Penelope Wilton). A scene set in India takes place in front of the Taj Mahal, because how else are audiences supposed to recognise that it’s India otherwise?
Pixels is Adam Sandler’s attempt to hop on the geek bandwagon in a bid to cash in on the retro nostalgia trend. The film bombed upon its opening in the U.S., another blow for Sony just as the studio has been reeling from a massive cyber-attack. This could have been excellent in the hands of someone with a genuine love for classic arcade games, a passion that was palpable in Wreck-It Ralph, which was fuelled with lots of heart and had jokes that were actually funny instead of offensive and cringe-worthy. Animated sci-fi comedy series Futurama also did the “aliens attack earth in the guise of video game characters” plot way back in 2002 – and, needless to say, far better. It’s truly a shame that all Pixels amounts to is Adam Sandler hurling barrels at the audience for two hours.
Summary: Pixels has Adam Sandler’s grubby fingerprints all over it, smearing a fun premise and some engaging visuals with crass, tasteless jokes and unlikeable characters.
RATING: 1.5 out of 5 Stars
Live from Nerd HQ – Geeking out with Zachary Levi
As published in Issue #67 of F*** Magazine
[San Diego Exclusive] by Jedd Jong
Superman Lives, Superman Dies, Superman Lives Again – The Death of Superman Lives: What Happened? Jon Schnepp and Holly Payne interview
As published in Issue #67 of F*** Magazine
F*** speaks to the filmmakers behind The Death of Superman Lives: What Happened?, the documentary that lifts the veil on the bizarre Superman movie that almost was.
By Jedd Jong [San Diego Exclusive]
For F*** Magazine
Director : Josh Trank
Cast : Miles Teller, Michael B. Jordan, Kate Mara, Jamie Bell, Tim Blake Nelson, Reg E. Cathey
Genre : Comics/Action/Adventure
Run Time : 100 mins
Opens : 6 August 2015
Rating : PG (Some Violence)
Change is coming, whether we like it or not, with Marvel’s original superhero team getting a do-over in this reboot. Reed Richards (Teller) is a brilliant young misfit who has spent most of his life tinkering away on a teleportation device. Nobody really gets him, except for his best friend Ben Grimm (Bell). Dr. Franklin Storm (Cathey) sees the potential in Reed and awards him a scholarship to the Baxter Institute. There, he gets to work alongside Dr. Storm’s daughter Sue (Mara) and disgruntled genius Victor Von Doom (Kebbell) on a scaled-up version of his experiment. Dr. Storm enlists his hot-headed son Johnny (Jordan) to help out. Together, they crack the code to inter-dimensional travel. A journey to the alternate dimension, code-named “Planet Zero”, alters their physical forms in unfathomable ways. Reed, Sue, Johnny and Ben must learn to use their newfound abilities for good and defend the earth from Victor, who has become the monstrous villain Doom.
The first two theatrically-released Fantastic Four movies are generally regarded as goofy, disposable fluff – silly and cringe-worthy but not outright disasters. Therefore, it makes sense that director Josh Trank of Chronicle fame wanted to steer the Fantastic Four in a more credible direction. Here’s the thing: the Fantastic Four are inherently goofy – and that’s fine! They’re a dysfunctional sitcom family with superpowers and it’s right there in the title – “fantastic”. This take seems to want to be as mundane as possible. We’ve arrived at a point where comic book movies no longer need to be embarrassed of their roots, and films of this subgenre have achieved considerable success by embracing the source material and being smart with how they go about adapting the comics. Fantastic Four tries to reject the silliness but becomes all the sillier in spite of this. This is not an uneventful film, but it feels like one. It lacks the crucial element of escapism and entertainment a movie of this kind needs, the buzz-words of “serious” and “grounded” be damned.
What is even more frustrating is that the film does not fall flat on its face in abject failure. There are aspects that work and that are intriguing. The screenplay by Simon Kinberg, Jeremy Slater and Trank is formulaic, but attempts to give its titular characters a fair bit of character development and have them become more than cartoon characters. Unfortunately, all the exposition makes this seem tedious rather than credible. Also, the visuals are extremely underwhelming. Following the logic that the team’s outfits are “containment suits” rather than superhero costumes, they look very dull. Reed’s suit is supposed to have a homemade feel to it, but that doesn’t make the slinkies on his arms and legs any less ridiculous. Planet Zero feels like a walk-through attraction at a theme park rather than an immersive, treacherous landscape. The Thing doesn’t wear pants. We’ve all heard the jokes, but it does seem like it would’ve been really easy for Trank to avoid the ridicule aimed at this aspect by just giving him pants. Dr. Doom probably suffers the most, looking like he’s covered in glowing gangrene and sporting a comically oversized hood. Many people have left the theatre after a superhero film thinking it would be really cool to own a collectible figure or statue of the characters as they appear in that film. It’s safe to say pretty much nobody will leave Fantastic Four thinking that.
One of the biggest aspects of this reboot that fans seized on was the cast. Nobody really resembled their comic book counterparts and on the whole, everyone just looked too young. To this reviewer’s surprise, the cast wasn’t too much of an issue. As an origin tale, perhaps it doesn’t hurt that they’re all a little younger. It may be a serious take on the whole, but there are still nice moments of levity when the team members are together. Miles Teller’s Reed is appropriately awkward and nerdy, just like Reed is in the comics. Kate Mara makes for a far more credible scientist than Jessica Alba did. The change of Johnny Storm’s ethnicity really wasn’t much of a sticking point for this reviewer, beyond feeling like an alteration merely for the sake of political correctness. Michael B. Jordan’s Johnny is impulsive and showy, but not to an annoying extent.
The casting that really doesn’t work is Jamie Bell as Ben Grimm. We can’t wrap our heads around how anyone looked at Billy Elliot/Tintin and said “there’s our resident big guy”. Apparently, he was cast because he’s the physical opposite of The Thing, which is kind of missing the point of the character, but that’s not Bell’s fault. Reg E. Cathey, a younger and more affordable Morgan Freeman, is a competent Obi-Wan-style mentor figure. Toby Kebbell’s Victor Von Doom barely makes an impact, which is a shame considering how compelling a villain he was as Koba in Dawn of the Planet of the Apes.
Marvel Studios has been churning out superhero blockbusters that have generally been well-received by both fans and critics and have managed to be upbeat on the whole while still packing in sufficient emotion and some depth. Fox wants to hang on to the film rights for the Fantastic Four – that’s the primary purpose this film was made and nobody is going to be fooled into thinking otherwise. We all know it – the property would be handled better at Marvel/Disney. It’s been said before but it bears repeating: The Incredibles is likely the best Fantastic Four movie we’re ever going to get. To go a little more recent, Big Hero 6 did the “science-loving pals become a superhero team” thing with more panache as well. This version is not terribly made, it has its moments and the cast does have pleasant chemistry with one another, but it’s still very much a disappointment.
Summary: This take on the Fantastic Four wants desperately to be regarded seriously, and for the most part, fails. That should’ve been a four-gone conclusion.
RATING: 2.5 out of 5 Stars
For F*** Magazine
Director : Bill Condon
Cast : Ian McKellen, Laura Linney, Hiroyuki Sanada, Hattie Morahan, Patrick Kennedy, Milo Parker
Genre : Drama/Mystery
Run Time : 104 mins
Opens : 6 August 2015
Rating : PG
Sherlock Holmes – he’s the greatest detective who ever detected, the greatest sleuth who ever sleuthed and the greatest crime-solver who ever, uh, solved crimes. In this film, we find Sherlock (McKellen) in his twilight years. It is 1947 and a 93-year-old Sherlock has long since retired from detective work, living in a remote farmhouse in Sussex with housekeeper Mrs. Munro (Linney) and her young son Roger (Parker). Holmes has taken up beekeeping, harvesting royal jelly in the hopes of improving his failing memory. He makes a trip to Hiroshima, meeting up with plant enthusiast Matsuda Umezaki (Sanada) in search of the fabled prickly ash, which Sherlock hopes will prove more effective in staving off senility than the royal jelly. In the meantime, he revisits his final case, the case that brought about his self-exile, a case involving the mysterious married woman with a peculiar obsession (Monahan).
The Guinness Book of World Records lists Sherlock Holmes, originally created by Sir Arthur Conan Doyle, as the “most portrayed movie character”. The iconic detective has been played by over 70 actors in more than 200 films and to call Sir Ian McKellen a worthy addition to that pantheon would be an understatement. The character has been through myriad interpretations in his nearly 130 years of existence and Mr. Holmes can stand alongside the recent contemporary re-imaginings of the character, each take bringing something different to the table. This film is based on Mitch Cullin’s novel A Slight Trick of Mind, adapted by screenwriter and playwright Jeffrey Hatcher. Modern audiences have grown enamoured with the BBC series featuring Benedict Cumberbatch’s mercurial, misanthropic Sherlock paired with Martin Freeman’s harried everyman Dr. Watson. Here, we find that Sherlock and Watson’s partnership has dissolved and that Watson has been writing fictionalised accounts of Sherlock’s cases. This is Sherlock at a point of his life that we don’t see too often, but he is by no means less interesting a character.
The film is slowly paced and while there is an element of mystery, it is intended that the audience be captured not by a whodunit but by the enigma of the title character himself. There is a sense of scope to the tale, which sees Sherlock visit a post-Second World War Japan. A moment in which he sees a woman scarred by radiation poisoning and stops in his tracks, shaken, is effectively haunting. A good deal of the film is spent on the bond the elderly Sherlock forms with the precocious Roger, played by Milo Parker, a child actor very much in the Thomas Brodie-Sangster mould. This relationship is given meaningful development rather than being superficially twee. The primary conflict arises from Mrs. Munro’s concern that her son is spending too much time with Sherlock and chasing intellectual pursuits when she means for him to live and work at an inn her sister runs. This feels believable and earned.
The film also takes a meta-fictional look at the cultural impact of Sherlock Holmes, with Sherlock directly addressing the depiction of him wearing a deerstalker hat and smoking a pipe, calling these mere embellishments of Watson’s illustrator. In an amusing scene, Sherlock goes to see a movie based on a book Watson has written about him – the actor playing Sherlock in this film-within-a-film is portrayed by Nicholas Rowe, who played Sherlock in 1985’s Young Sherlock Holmes. There is the sense that Sherlock himself is struggling to parse where the legends end and the real person begins. McKellen is able to bring out many colours in his portrayal of Sherlock, fleshing out the character rather than presenting a mere assemblage of tics. Because the use of his mind has been so important to him all his life, it is all the more heart-rending to see Sherlock come to grips with his waning faculties.
Director Bill Condon paints a picture of Sherlock in which whatever cases the character is working on are secondary, with Sherlock Holmes, “the man beyond the myth” as the tagline puts it, at the fore. For those itching for a whodunit and who derive satisfaction at seeing the great detective unravel labyrinth mysteries, Mr. Holmes won’t quite do the trick. However, as a character study and commentary on the cultural impact of Sherlock Holmes, it is intimate, well-acted and emotional.
Summary: Once you’ve come to terms with the fact that Mr. Holmes is a character piece rather than a thrilling mystery, it’s easy to embrace Ian McKellen’s stirring portrayal of the iconic detective.
RATING: 3.5 out of 5 Stars