See – Oz: the Great and Powerful

It’s a film that’s worth seeing in 3D, but not worth paying the extra price of admission to do so. 2 out of 5 stars.

Being whipped through a tornado from a black and white Kansas to a brightly coloured Oz; it’s a scene we all know. But rather than the magical transition the classic film brought to our screens, its new prequel does so in a way that is visually jarring.

 

That’s probably the best word to describe Oz: the Great and Powerful, ‘jarring’. Another is ‘ok’. The film is a colourful romp through a magically familiar land, but without the wonder of the classic film it tries to imitate. Don’t get me wrong, the film isn’t bad, it’s just not particularly good. It won’t be one you’ll be able to watch on television once a year with your family.

What gave The Wizard of Oz such beauty was seeing the world through the eyes of a naïve and trusting Dorothy, who had no ill-will towards anyone she met (unless both herself and her dog Toto were threatened of course). However the new lead Oz (James Franco) was a greedy con-man, and as such twists Oz (the land, not the character) into a lesser world. One such example is the munchkins, who are perhaps the biggest representative Oz has, are used for a cheap laugh in the form of Nook.

The cast did well with what they were given, but what they were given was little. Zach Braff was a stand out performance, bringing his classic JD charm to the film as a winged monkey. However Mila Kunis was an ill-fitting cast choice. It is the first time I can recall wishing she was not in the movie. Although she brings a moment of true sadness towards the end of the film, for the majority she is (to bring back that word) jarring.

I suppose to end, I must say that Oz: the Great and Powerful is a prequel that seems to favour making references to its classic predecessor and setting up the ending as perfectly as possible for The Wizard of Oz, everything a prequel should do, but by making sacrifices to what should be a good story, and diluting the wonder that should be the land of Oz.

~Josh Benjamin

*All images are sourced from imdb.com

See – Priest

Enjoyable but predictable, Priest is almost a remake of Stewart and Bettany’s last collaboration. 3 of 5 stars

Director Scott Stewart and British actor Paul Bettany team up again once again to bring us Priest, a sci-fi/horror film based on the Korean comic of the same name. However, it seems the two did not learn from the last project they worked together on, as the film is almost identical to last year’s Legion. Predictable and all together too serious, the film fortunately can still be enjoyed as a guilty pleasure action movie.

Focussing on the titular character Priest, part of a sect of supernatural warriors trained by the church to be their ultimate weapon in the war against vampires, the film goes o great lengths to show how these past heroes are now shunned and feared by a society that feels it no longer needs them. Yet no attempt is made to explain why the Priests have super-human abilities; rather it is assumed the audience is familiar with the comic books.

Visually Priest is brilliant. The fights are well choreographed and look natural, despite their super-human nature, and the film was clearly directed with the visual effects in mind, not simply as an afterthought, which is to be expected from a veteran visual effects developer like Stewart. The cities presented bring to mind Blade Runner, cyber-goth masterpieces created with modern cgi technology. Unfortunately the film is only available in 3D, which bumps up the ticket cost without adding anything to the appearance, the only noticeable effect an occasional blurring of what should have been crisp, clear action shots. That the movie was delayed from 2010 until the second half of 2011 to be converted to 3D only adds salt to those wounds.

However the plot is exceedingly predictable, and within 15 minutes of the film starting (including the 5 minute history lesson at the beginning of the film), any sci-fi/horror fan will have predicted every clichéd ‘twist’ for the entirety of the film. As such, the suspense that the film tries to build flops, and it’s left riding on the cheap thrills of creatures leaping from the shadows.

Bettany does a good job of conveying the seriousness of his character, but that is all he seems to be allowed to display. For those who have seen his ability to portray a dry, sarcastic humour in A Knight’s Tale, Wimbledon, or even as J.A.R.V.I.S. in the Iron Man films, it’s disappointing to see him once again locked into a single emotion character identical to that he played in Legion.

Co-stars Maggie Q (Die Hard 4.0) and Cameron Gigandet (Twilight), who play a regretful Priestess and young, in-over-his-head sheriff Hicks respectively, fail to make much of a connection with the audience, serving more as plot points than characters in their own right, but this too feels as though it is simply due to failings in the script. Gigandet in particular appears to be hampered by the seriousness of the film, with a character that has comedic potential for one-liners.

That said, Karl Urban (Star Trek, The Bourne Supremacy) as primary antagonist Black Hat brings his character to life, portraying a darkly humorous sociopath who actually feels deadly. Whether talking about souls or conducting a town’s massacre, Urban fills his character with passion and sinful fun.

Although not a film for fans of true horror movies, Priest provides a fresh take on the far too prevalent vampire films of recent times, and is a must see for anyone desiring visual effects action. Just don’t go in expecting any intricate plotlines or unforseen developments.

~Josh Benjamin

(All pictures are sourced from IMDb)

Hear – Fenella by Fenella

When she mentioned that she had her own album, it was a passing comment like any other in the conversation, and I almost missed it. However it caught my attention, and when I searched it out on the web, what I found completely blew away the notions I had of my fellow journalism student.

Fenella is an album that you will want to listen to through a pair of headphones and your eyes closed. The five-track EP seems to be so filled with intimacy that even when alone, playing the songs through car or stereo speakers seems far too public for the private lyrics of Fenella Wagener.

The new artist showcases her impressive vocal talents, moving from a deep melodic voice to a higher crescendo, perfectly executing the love serenades that the majority of the album consists of.

The first track, I’m Coming Home, is where you find most of the intimacy of the album. Filled with passion, it’s not a song that asks you to sing along with it, but listen and share in the feelings it lays out. Influences of Adele and Taylor Swift echo throughout the song’s lyrics and melody, a pop love song with hints of country music charm. Looking into the future, this is a song that will feature on every tour performed.

Followed by It’s Just a Kiss, the album gains a bit of attitude and beat. No longer private, the song invites you to sing along in the car and drum your fingers on the steering wheel. Again the song recalls Taylor Swift, this time mixed with punk-rocker Avril Lavigne. A fun song, it’s full of pep without crossing the border into a Katy Perry-like candyland.

After that the album seems to stall, producing another two love songs (Never Give Up and Love Me This Way) that seem to breeze by. It is here that the EP seems to lose its passion and become obvious that it’s an album designed to showcase her talents, which is does well. The songs are well structured and the vocals and still great, but they lose their uniqueness and passion.

All is not lost however, and Raise Hell picks up the pace again and sends you back to the 90’s, with a Shania Twain-esque track that brings back the attitude and finishes the album on a high note, which genuinely leaves you desiring more. At just under twenty minutes long the album feels short and ends abruptly, but considering the cheap price (AUD$7) is good value for your money.

Fenella moves beyond simply showcasing the skill set of a new artist, and becomes a wonderful introduction for a passionate singer/songwriter who holds within her a lot of potential.

~Josh Benjamin

See – Terri

Indie studio ATO brings us a charming story written by Patrick Dewitt, ‘Terri‘. The film breathes new life into the coming of age genre that have been crossing the screens in the recent years, mixing believability and a sweet humour that is more reminiscent of ‘Juno‘ as opposed to the slapstick comedy of ‘Superbad‘ or ‘Sex Drive‘. Coupled with the brilliant directing of Azazel Jacobs and a cute musical score that repeats throughout the film, ‘Terri‘ showcases how an indie film can delight its audience.

However, it is Jacob Wysocki in his film debut as the titular character Terri who gives the story the life it possesses. A gentle giant who finds comfort solely in pyjama suits and beans on toast, he is a social outcast due to his immense size and odd traits, and makes no effort to shed his misfit status.

Befriending his principal, Mr Fitzgerald (John C. Reilly) creates and opening for Terri to express himself, and allows friendships to eventually develop with fellow outcast Chad (Bridger Zadina) and former popular girl Heather (Olivia Crocicchia). What is refreshing about this film is that Terri himself is not pushed towards change, but rather it is his nature that inspires others to grow.

Wysocki manages to portray the contrasts that make up the character of Terri seamlessly, displaying a someone who knows and is comfortable with who he is, but at the same time views himself as a monster. Similarly, he moves from the great age Terri displays in his caring for his dementia-stricken uncle (Creed Bratton), to his emotional youth and innocence when Heather’s drunken seduction attempt paralyses him with fear.

“When I first read the script, I thought, I have this issue and so does everybody else. You don’t have to be a fat kid to not fit in,” states Wysocki on the ‘Terri’ homepage. “The workload alone was tough, because there are only a few scenes that Terri is not in. And the subject matter was difficult”

Obviously the film isn’t perfect, with the first ten minutes being more confusing than funny, and a few slow points in the film. But considering this is a film in which nothing much happens, it moves at a nice pace that is easy to follow, and even treats matters such as under-age drinking and mental illness with a gentleness that flows through the film. For anyone who wants to see a film in which they can remember their own awkward high school moments but at the same time feel good about themselves, ‘Terri’ is a must see.

~Josh Benjamin

*All photos are taken from the trailer, which can bee seen here.