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Archives for : Sam Worthington

Clash of the Titans (2010)

Posted by :Chris On : April 8, 2010
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Category: Movie Reviews

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April 7, 2010

Director: Louis Leterrier

Starring: Sam Worthington, Liam Neeson

Release Date: April 2, 2010

It’s All Greek to Me

Let me get this out of the way first: I have not seen the original Clash of the Titans.  Because of this, I’m—obviously—unable to compare this remake with the 1980′s flick that so many people have fond memories of.  clash_of_the_titans_movie_poster_sam_worthington_medusa_head_01I must also explain why I chose to experience the latest vehicle for now Hollywood commodity Sam Worthington the old fashioned way (which, of course, would be within the realm of the two dimensional).  Knowing that most 3D endeavors are typically laden with the worst sort of filmmaking gimmicks, I wanted to give this one the chance to “wow” me without waving the tail of a giant scorpion in my face or having a larger-than-life Kracken tentacle bearing down on me as I inhaled popcorn.

So, how does this over-the-top tale of Greek gods and mythical beasts fare?  Really well, when one considers the fact that it was meant to be nothing more than a B-movie set in a long-forgotten world that plays within its own set of clearly defined rules.

If someone enters Clash of the Titans expecting high art, then A) they haven’t seen a single one of the previews for the film, B) they’ve watched any one of the Lord of the Rings movies one too many times or C) they’ve somehow managed to snuff out their inner child.  What we get here is essentially a watered down version of the God of War video game series: the character of Perseus isn’t nearly as well developed as the ash-covered anti-hero Kratos, but he’s infinitely more likable.

After watching his surrogate family perish at the hands of Hades, the demi-god (who’s the son of Zeus) seeks revenge on the overly malicious god of the underworld.  As he encounters the citizens of Argos—a town that’s doomed because of it’s blatant refusal to worship the inhabitants of Mt. Olympus—Perseus’ motivations slowly shift toward the humane, and, after it’s all said and done, he does emerge an enlightened protagonist.  The word “enlightened” should be taken with many grains of salt, though, as this is character development of the most barebones variety.  Titans is a movie that, despite its gargantuan scope, is strangely episodic in nature.  Depending on your expectations, this is either a good thing or a bad thing, but, given the implicit nature of the movie, I found it to be entirely appropriate.

As one would imagine, this doesn’t meant that Titans is entirely without fault.  It does become a little tedious to watch Perseus hurl himself from one exotic/mysterious locale to another, and we hardly get to know any of his companions before they’re impaled, dismembered, or turned to stone.  And at 106 minutes, the movie feels like it ends prematurely (there’s also the long-anticipated confrontation with the oft-alluded to “monster of epic proportions,” which, like a number of other scenes, is over far too quickly).

Still, this is a movie that’s all about temporarily excusing reality and soaking up some beautifully crafted eye candy.  In that regard, Clash of the Titans is just the sort of light-hearted fluff that most moviegoers are able to appreciate.

redstar114redstar114redstar114 out of 5

–Chris Flowers

Rated PG-13 for fantasy action violence, some frightening images and brief sensuality.

Check out a trailer for Clash of the Titans:

Avatar

Posted by :Chris On : December 18, 2009
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Category: flowerspix, Movie Reviews

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December 18, 2009

Director: James Cameron

Starring: Sam Worthington, Zoe Saldana, Sigourney Weaver

Release Date: December 18, 2009

It’s a Whole New World

Finally, after a year of hype and endless speculation about what effect it would have on the motion picture industry, James Cameron’s Avatar has arrived.  avatar_poster_2Having finished watching it not more than an hour ago, I’m here to spell it out for you: go see this movie immediately.  It’s a breathtaking spectacle, and one that’s almost impossible to process in one viewing.  Avatar is nothing short of revolutionary, serving as a visual opus for the ages and a guiding light for the future of filmmaking.  So, now that I’m done heaping unconditional praise on Cameron’s grand return to the multiplex, let’s break this thing down.

Exhibit A: the story.  If you’ve read any of the early reviews of the film, you’re aware of the fact that many critics have declared Avatar a success solely on the technical front.  This was something that worried me as I excitedly donned the yellow 3D glasses issued me by my local Regal Cinema, but not even 15 minutes into the film all of those fears had dissolved.  The story is solid all around, and it features a number of standout performances.  I have to tip my hat to Zoe Saldana first and foremost.  Saldana plays Neytiri, a member of the Na’vi species that inhabits the planet Pandora.  Working just beneath the photo-realistic surface of a CGI…er-hem…”avatar”…she manages to elicit the strongest emotional response from viewers by really making us care about the welfare of her people.

I have to be honest: going into this, the premise seemed a little too Dances With Wolves (and thus in grave danger of succumbing to cliche and, of course, the resultant eye-rolling).  Thankfully, though, the story is presented with enough originality to stand on its own.  Cameron nicely balances what can only be described as National Geographic-esque documentary footage with the story of a budding romance between Jake Sully (Worthington)—a marine with a chip on his shoulder—and Neytiri.  There’s also the presence of a greedy corporate executive and a hardened military Colonel, both of whom execute their respective roles admirably. The narrative is completely absorbing, and only on very brief occasions does it falter and break the trance it has on the audience. These moments come in the form of treatises on global warming and the many ways “terrorism” can be defined, and they are indeed noticeable when they arrive (mainly because they’re in such sharp contrast to the otherwise engrossing story line). Cameron, it seems, works best when he’s dealing with broader philosophical concepts (see Terminator 2: Judgment Day).  There are also a handful of other “Oh, that’s convenient” moments, but these are also few and far between.  Really, the tale Cameron spins for us is very well constructed.  It’s all logical, and despite how fantastic some of the things you see on screen may seem, you still believe in their existence.

Which brings me to the effects.  In a word, they’re phenomenal.  I’m always hesitant to use the word “ever” when writing a review—I think long and hard before actually including it in anything I write—but Avatar is the most beautiful movie I’ve ever seen.  Even though the Na’vi are entirely fictional, they look real.  I mean, really real.  This is also the case with every other organism inhabiting Pandora.  The success of what you see on screen is due mainly to the fluidity of movement (especially in the case of the Na’vi); the sense that it’s all “organic” pervades every frame, and the attention paid to detail is mind-boggling.  It’s clear that Cameron is really enjoying mulling over the intricacies of a piece of Pandoran fruit, for example (especially when Jake’s avatar takes a big bite out of it), and we can’t help but be swept up in the grandiose nature of it all.  In one particular scene, where Jake and Neytiri are running across a phosphorescent/bioluminescent mold of some sort, things verge on sensory overload (and I mean that in a very, very good way).

The use of 3D is, of course, intergal to the convincing nature of what you’re seeing, and there are no gimmicks here.  Unlike past movies where objects stick out and threaten to poke you in the face, the third dimension is subtlety (yet effectively) utilized in Avatar.  As a matter of fact, it won’t be long before you forget that you’re wearing dopey yellow sunglasses.  When people call this film a viewing experience, that’s exactly what it is: an experience.  I can talk about it ’til I’m blue in the face, but you won’t really understand until you strap yourself into the center of the theater and dive headlong into the entirely believable world that Cameron and company have created.

And, as with any good James Cameron movie, there are plenty of “awweeesoommmeee!” action moments.  Again, I think it’s futile for me to try and describe them, but they rival anything from his earlier entries (yes—that includes Aliens and T2). Especially great is the epic final battle, as is a heart-stopping chase scene that occurs early on between Jake and an indigenous beast.

If ever there were a movie that you absolutely must see on the big screen, this is it.  And, if it’s at all possible, see it in IMAX.  You can thank me later.

redstar2redstar2redstar2redstar2redstarhalfout of 5

–Chris Flowers

Rated PG-13 for intense epic battle sequences and warfare, sensuality, language and some smoking.

Check out a trailer for Avatar:

Terminator Salvation

Posted by :Chris On : June 27, 2009
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Category: Movie Reviews

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May 22, 2009terminator-salvation-poster

Director: McG

Starring: Christian Bale, Sam Worthington

Release Date: May 21, 2009

***Minor Spoilers Below***

I’ve been looking forward to this movie for a long time. When I heard that none other than Batman himself would play John Connor, it came as a welcome relief (especially after it had been revealed that McG–director of such gems as Charlie’s Angels 1 & 2–would helm the project). Tonight, I finally got what I and every other Terminator fanboy has been dreaming of for a long time: a feature film set in the post-apocalyptic world that was only hinted at in the previous Terminators.

So, is Terminator Salvation any good? Is it worth paying $10 to see on the big screen? Yes, I believe it is. But don’t get too excited. Despite doing a lot of things right, this film has its fair share of problems.

Terminators 1 & 2 are hailed as classics of cinema. Terminator 3, on the other hand, was weighed down by cornball humor and an oddly confined tone, but it stuck to the Terminator “formula” and, for the most part, it worked. Terminator Salvation (TS) is a different beast altogether. It’s a piece of filmmaking with epic aspirations that sets out to document the war against the machines at a critical point in its history–a time when the fragmented human Resistance is capable of dealing a devastating blow to Skynet. And, in many ways, that’s exactly what TS is: a documentary. As much as I don’t appreciate some of his previous efforts (not to mention his apparent lack of a surname), McG has done a really nice job of lending a Children of Men/Saving Private Ryan tone to the battle scenes found in TS. In fact, there are times where you’ll find yourself gripping the arm of your seat as you become completely absorbed in the haze of bullets, explosions, and hulking machinery that’s hellbent on eradicating humanity. While this is certainly a strength of the film, it also serves to highlight a major weakness: namely, a disappointing lack of characterization.

You’d expect John Connor to be the protagonist of TS, but, for better or worse, he’s not. Marcus Wright, a character we’re introduced to at the start of the movie, has a mysterious past. He’s on deathrow for murder, but before his sentence is carried out he agrees to donate his body to Cyberdyne Systems for research purposes. During his execution (which occurs in the pre-war society we’re all familiar with), the screen fades to white. Jump to the year 2018, and Marcus emerges in a barren, shrapnel covered desert, having apparently been unconscious during the previous 15 or so years of destruction and war that has gripped the planet. Oddly, when Marcus is informed of the current state of things by Kyle Reese, he seems to readily accept the notion that a computer system has become self-aware and that such a large amount of time has passed since the date of his supposed execution. Other than a few extremely brief (and superficial) tidbits of information that are revealed as the story progresses, this is literally all we know about Marcus. 

He turns out to be a character that’s simply brimming with potential, but his background and motivations aren’t explored in any real depth. Probing the notion of what it is to be “human” is something that has defined the Terminator series, and that, coupled with brilliantly choreographed action sequences and a serious treatment of the science driving the mythos (not to mention some terrific acting on the part of everyone involved), is exactly what made Terminator 2 one of the best pieces of science fiction ever put to celluloid.

The character of John Connor is only adequately portrayed here by Bale, and we don’t really learn anything new about him. In fact, I was a little surprised in regards to his initial responses to some of the things he encounters in the film, especially considering everything he experienced in Terminators 2 and 3 (I’ll leave this comment purposely ambiguous for the sake of keeping spoilers to a minimum).

There are also a few illogical moments in TS, such as Connor jumping out of a rapidly moving aircraft into a turbulent sea and suffering no ill-effects, and Skynet arming its San Francisco base of operations with what appears to be minimal defenses. These aren’t enormous problems with a film that has the scope of TS, but if you start to tally up these “yeah, right” moments, it does become a little much.

But then you’ve got the action sequences. Trust me when I say they are, on the whole, glorious. These, paired with an intimate level of detail that constantly references the previous Terminator films, are what saves TS from falling apart. As mentioned earlier, there are times when you’ll feel like you’re in the middle of a full-scale war. There are other moments that are wholly reminiscent of Terminators 1 & 2, such as a concluding battle that somehow manages to efficiently mesh the ending sequences of both of the aforementioned movies. We even see how Connor receives the facial scars his older self has in the brief clip of the future provided in the opening of Terminator 2. Of course, there are several lines of dialogue taken straight out of the previousTerminator flicks, and though some might find this a bit hokey, I think it works well (and it ultimately helps TS find its “Terminator tone” after a few scenes where it seems to be having a minor identity crisis). Heck, even the opening credits is a direct replication of the scrolling letters from the first Terminator. 

The end result of all this left me with mixed feelings of nostalgia, excitement, and aggravation–I liked the fact that TS knows how to effectively allude to the previous films without being repetitive, but I would’ve loved more scenes like those where humanity (the Resistance and civilians alike) is engaged in full-on war. You know, the types of moments that allows TS to stand out as something entirely different than what we’ve seen before.

I have hope for the future of the Terminator franchise. TS is an extremely promising movie that doesn’t quite deliver on everything that it sets out to do, but I think the inevitable sequels could, with a little luck, result in the hellish, thought-provoking Terminator universe that James Cameron first revealed to us some 25 years ago.

redstar1redstar1redstar1 out of 5

 

–Chris Flowers

Rated PG-13 for intense sequences of sci-fi violence and action, and language.