For F*** Magazine
Month: October 2015
The Last Witch Hunter
For F*** Magazine
THE LAST WITCH HUNTER
Director : Breck Eisner
Cast : Vin Diesel, Rose Leslie, Elijah Wood, Michael Caine, Julie Engelbrecht, Ólafur Darri Ólafsson
Genre : Adventure/Fantasy
Run Time : 106 mins
Opens : 22 October 2015
Rating : PG13 (Some Violence)
Something wicked this way comes, and the only thing that can keep it at bay is the last witch hunter. Vin Diesel plays Kaulder, a warrior of the Order of the Axe and Cross who has dedicated his life to pursuing and incarcerating practitioners of dark magic. Kaulder lost his wife and daughter to the Black Plague and, having been cursed with immortality by the Witch Queen (Engelbrecht), has walked the earth for 800 years. His loyal scribe and handler, the 36th Dolan (Caine), is retiring and passing the torch to the rookie 37th Dolan (Wood). As the evil Belial (Ólafsson) carves a path of destruction through New York, Kaulder must team up with a witch, something he never thought he’d do. The “good witch” in question is Chloe (Leslie), the proprietor of a “witches only” nightclub. As he uncovers an ancient conspiracy, Kaulder must battle the powers of darkness to prevent a new plague from being unleashed in New York.
A “did you know?” factoid about Vin Diesel that always pops up is that he is an avid Dungeons and Dragons player and his old D&D character Melkor was a witch hunter. This might be the ultimate form of wish fulfilment for its star, but few others are likely to get anything worthwhile out of The Last Witch Hunter. A ho-hum urban fantasy adventure film that is content with trying nothing new, this is the very definition of uninspired. Recalling the Nicolas Cage duds The Sorcerer’s Apprentice and Season of the Witch, this tale of a mystical warrior waging a secret war that the hoi polloi are oblivious to is as rote as they come. Director Breck Eisner, whose most high-profile film so far is the 2005 flop Sahara, comes off as little more than a hired gun whose ambitions here do not extend past making Diesel look cool.
We’ve seen many films laden with heavy-handed exposition. In The Last Witch Hunter, practically every other line is heavy-handed exposition. The history of the secret order, the different powers witches possess, the tragic backgrounds of various characters, it’s all spelled out with much laziness and little finesse. The film’s screenwriters have a track record of hokey supernatural action flicks: Cory Goodman wrote Priest while Matt Sazama and Buck Sharpless penned last year’s Dracula Untold. The solitary hero, the ancient council of elders, the long-dormant evil about to rise again, it’s all frustratingly derivative. There are plenty of computer-generated creatures and landscapes and technically-speaking, the film is fine, with veteran cinematographer Dean Semler keeping the movie from looking too cheap. The practical makeup effects on the Witch Queen are detailed and creepy, but whether it’s swarms of bugs, swirling flames or thorny roots springing forth out of the ground, we’ve seen this all before in some form or another and there’s nothing really worth getting excited about.
Diesel doing the tortured action hero thing is as yawn-inducing as it sounds. Unlike the character of Riddick, there is scarcely any mystery to Kaulder. This is meant to be someone with a richly storied past, having witnessed things few would believe over his 800-year-long existence. Instead, Kaulder comes across as pretty boring and for an old hand at this witch-hunting business, he falls for some basic traps throughout the film. We get a sense of how noble he is through an offhand comment about how the Salem Witch Trials were wrong, and there are also frequent dream sequence flashbacks to Kaulder in happier times frolicking with his late wife and daughter in an effort to make us feel something for him. It doesn’t work.
Leslie’s Chloe fulfils the role of the woman who gets pulled into the hero’s quest by dint of possessing an item or skill he requires. There are moments when the alluring feistiness Leslie brought to the part of Ygritte on Game of Thrones can be glimpsed, but the character is mostly perfunctory. Through Chloe, Kaulder comes to learn that “not all witches are evil”, yet another shop-worn plot device. Leslie and Diesel also have no chemistry to speak of.
Caine is only in very little of the movie, playing the mentor figure in all but name because Kaulder is of course a lot older than he is. Diesel calling Caine “kid” is kind of amusing the first couple of times, but this dynamic doesn’t get fleshed out. A film of this type needs a charismatic villain, perhaps someone larger than life, but Engelbrecht and Ólafsson are non-presences as the Witch Queen and Belial respectively. Thanks to his perennially youthful demeanour, Wood is still playing the fresh-faced kid sidekick at 34. This is probably the most conventional project he’s taken on in his quirky post-Lord of the Rings career.
A tepid production line affair, The Last Witch Hunter is an attempt at spinning yet another franchise for Diesel, because the tiny indie project that is the Fast and Furious films apparently isn’t paying the bills. The mythos is half-baked and this doesn’t feel like a substantial world waiting to be explored. The Last Witch Hunter isn’t based on a series of books, comics or video-games, but it still smacks of a crippling lack of originality and audiences will return from this hunt empty-handed.
Summary: Vin Diesel fails to conjure up any magic with this generic urban fantasy adventure flick that ought to be far more entertaining than it actually is.
RATING: 2 out of 5 Stars
For F*** Magazine
In-Spectre Gadget: Paying Attention to Q
As published in Issue #69 of F*** Magazine, Singapore
We pay some attention to James Bond’s trusted Quartermaster
By Jedd Jong
The Bond films have always been packed with adventure, danger, glamour, women…and yes, gadgets! The nifty devices at James Bond’s disposal have always been part of the series’ appeal, and there would be no gadgets without Q, the head of MI6’s Q Branch who arms Bond with all the tools he needs for each mission. It became customary for Bond to visit Q’s lab, where Q would demonstrate his inventions and sigh disapprovingly at 007’s immaturity and recklessness. While the focus is usually on the gadgets themselves, with Spectre’s release imminent and Q set to play a fairly significant role in the proceedings, let’s place the attention on Q himself.
In Goldfinger, the character was first referred to as “Q” and would be known by that title in the films that followed, with one notable exception: In The Spy Who Loved Me, Soviet agent Anya Amasova calls Q “Major Boothroyd”. Q was characterised as somewhat of a curmudgeon, often impatient with Bond’s juvenile antics. Goldfinger introduced Q’s immortal line, “I never joke about my work, 007,” which was Q’s response to Bond’s incredulous reaction when he is told that the Aston Martin DB-5 has been equipped with an ejector seat. Q was also prone to muttering an exasperated “pay attention, 007!” or “oh grow up, 007” on many an occasion.
Q: “That’s putting it mildly, 007!”
STGCC 2015: Adam Hughes interview
As published in Issue #69 of F*** Magazine
F*** talks to pinup artist extraordinaire Adam Hughes at STGCC
For F*** Magazine
Bridge of Spies
For F*** Magazine
BRIDGE OF SPIES
From F*** Magazine
Director : Joe Wright
Cast : Levi Miller, Garrett Hedlund, Hugh Jackman, Rooney Mara, Amanda Seyfried, Leni Zieglmeier, Adeel Akhtar, Cara Delevingne, Jack Charles, Na Tae Joo, Nonso Anozie, Kathy Burke, Kurt Egyiawan, Lewis MacDougall
Genre : Adventure/Fantasy
Run Time : 112 mins
Opens : 8 October 2015
Rating : PG (Some Frightening Scenes and Violence)
The boy who would never grow old is also apparently the well that would never run dry, as here we are with yet another return to Neverland, this time to see how Peter Pan began. Peter (Miller) is an orphan in World War II-era England, who alongside his best friend Nibs (Lewis McDougall) bedevils the strict nuns who run the orphanage, holding out hope that his mother will one day return for him. One night, Peter gets spirited away via flying pirate ship to the magical realm of Neverland, where he is forced to work in the mines run by the flamboyant, tyrannical Blackbeard (Jackman). Peter befriends fellow miner James Hook (Hedlund) and along with Smee (Akhtar), they escape the mines. They run into Tiger Lily (Mara), princess of the Piccaninny tribe, who helps Peter discover his destiny and unveils the mysterious truth about Peter’s mother. With Blackbeard closing in, Peter must overcome his doubts and embrace his place as Neverland’s saviour.
Since Peter Pan’s creation by author J.M. Barrie in 1902, the character and the mythos has been adapted and reinterpreted innumerable times for the stage and screen. Pan hops aboard the “revisionist fairy-tale” bandwagon, recounting Peter’s secret origins. “This isn’t the story you’ve heard before,” the opening voiceover by Peter’s mother Mary (Seyfried) proudly proclaims. The thing is, the embellishments add very little to the story as we know it, with allusions to events that will unfold later on coming off less as knowing winks and more as on-the-nose insertions. Peter Pan’s early days as an orphan give the story a Dickensian spin and the visual of a flying pirate ship taking on RAF and Luftwaffe fighter planes during the Blitz is fun, but ultimately relatively pointless. That’s a good way to sum up Pan – “fun, but ultimately relatively pointless.”
Director Joe Wright set out to craft a family-friendly live-action fantasy adventure, and it turns out there aren’t that many of those in theatres these days. It is a positive sign that Pan avoids being dark and grim and embraces the joy that has become associated with Peter Pan. Visually, it is pretty to look at, production designer Aline Bonetto crafting some dazzling mini-worlds. However, it isn’t anything radically inventive, the look of Neverland’s various environs owing a lot to previous versions of the story and other fantasy films. Complaining about computer-generated imagery has become tiresome in and of itself, but the synthetic feel of the settings and creatures undercuts the whimsy and wonder the film is aiming for. There is a frustrating lack of soul behind the visuals, and this reviewer found himself switching off at times because there wasn’t anything to, pardon the pun, hook on to. The most egregious offenders are the skeletal Neverbirds, which look like rejects from The Nightmare Before Christmas and are straight-up cartoony in appearance, never seeming like they convincingly inhabit the landscape.
There are things about the film that work, chief of which is the title character. Australian child actor Miller is a revelation as Peter, fearlessly holding his own opposite Jackman and the other adult cast-members. There’s a fine blend of confidence, impishness and vulnerability in his performance which made this reviewer never question that he was the right choice to play Peter Pan. Miller also has enough personality such that he doesn’t come across as a too-cutesy production line Disney Channel moppet. There’s a messiah element to this interpretation of Peter – his mother is even named “Mary” – but that symbolism isn’t very meaningfully explored. Wait, Mary Darling was the mother of Wendy, John and Michael…it can’t be the same Mary, can it? This is confusing.
Jackman appears to have been paid in scenery, which he wolfs down with gusto, going the full Tim Curry as Blackbeard. He’s clearly having the time of his life, rocking the over-the-top Jacqueline Durran-designed costumes. He even gets to lead a chorus of miners in singing Nirvana’s Smells Like Teen Spirit – a delightfully bizarre anachronism that effectively highlights the “outside of time” nature of Neverland. There was never any question as to whether or not he would be entertaining and Jackman’s sinister glee papers over some of the cracks in the well-worn story.
Captain Hook is reimagined as a charming rogue very firmly in the Han Solo mould, with Hedlund drawling and smirking his way through the part. Hedlund is pretty bland, lacking the dangerous charisma that should hint at Hook’s destiny as Peter’s arch-nemesis. The “friend-turned-enemies” plot device is kind of tired and is yet another example of an attempt to put a spin on things that is only semi-successful at best.
Mara is also quite stiff as Tiger Lily, the Princess Leia to Hook’s Han, even though she does get to partake in the action. There was a degree of controversy surrounding the casting of a, well, lily-white actress in the part, seeing as the Piccaninny Tribe are analogous to Native Americans. In the film, the tribe is composed of various ethnicities and we even get Korean actor Na Tae-joo as martial arts fighter Kwahu, who seems awfully reminiscent of Hook’s iconic Rufio. It’s a shame that the role was whitewashed, since there really is no justification for Tiger Lily not being played by a person of colour, especially given the dearth of roles in Hollywood for actors of Native American origin. On the other hand, the typically-white Mr. Smee is played by Adeel Akhtar, a British actor of Pakistani origin. Akhtar displays solid comedic chops, his Smee doing a fair amount of the expected bumbling about.
Under the guise of reinventing the story of Peter Pan, Pan walks a well-trodden path, presenting a bog-standard hero’s journey/chosen one plot that just happens to be set in a fantastical location. There are entertaining sequences, a few genuinely creative sparks and good performances, but the CGI-heavy visuals are insufficiently enchanting and screenwriter Jason Fuchs doesn’t make many worthwhile additions to the mythology. “To live will be an awfully big adventure,” Barrie famously wrote. We guess a medium-sized adventure will have to suffice.
Summary: A middling fantasy adventure that never quite takes flight, Pan is another revisionist fairy-tale that doesn’t fully justify its existence, but should be fun enough for the tykes in the audience.
RATING: 3 out of 5 Stars
Infinity Times Three: Disney Infinity 3.0 Launch
Oops, just realised this is pretty late. Anyway, here’s my coverage of the launch of the Disney Infinity 3.0 video-game:
As published in Issue #68 of F*** Magazine
F*** leaps into the toy box and emerges in a galaxy far, far away at the Disney Infinity 3.0 Edition launch
By Jedd Jong
|Lead character designer Jeff Bunker Inset: Han Solo|