fantasy
Bakemono no Ko, translated as Monster’s Child, is making its English run under the name The Boy and the Beast. It is a gorgeous-looking film, but what separates it from the rest of the disposable moving images we’ve been subjected to this year is the grace with which it tells its story. I have been to the theaters a lot this year, but I have only been brought to tears a few times.
“The horror genre gets (us) in touch with our primal instincts as a people more than any other genre I can think of. It gives (us) this chance to … reflect on who we are and look at the … uglier side that we don’t always look at, and have fun with that very thing.” —Drew Goddard (IMDb) I may be a little late to the party (by about four or five years) but for those of you who have not yet seen Drew Goddard (writer and director) and Joss Whedon’s (writer and producer) The Cabin In The Woods be forewarned, this article contains spoilers.
I’m going to be honest and admit that 15 minutes into this film I didn’t want to watch any more. Which is strange, because usually I’m a glutton for punishment when it comes to films I don’t necessarily enjoy. I’ll quite happily sit through to the end, hoping for a change in direction or a ‘bigger picture’ reveal.
First released with Kung-Fu Master! in 1988, Jane B. Par Agnès V.
I love Joe Wright and while I was not overly interested in yet another version of the Peter Pan story, I was excited to see him take on Pan. But the very fact that it spent many more years in production than it probably should have, and the idea of Wright as a CGI movie director did make me uneasy. It turns out that I was right to feel that way, because while it must have been difficult to reinvigorate the Peter Pan story, the problematic production of Pan meant that this version of the story was always going to be something of a bust.
Immortality is a myth. This is a fact not only based on a reality standpoint, but also literarily. Ask anybody the first thing which crosses their minds when discussing the subject, and most likely mythical beings such as wizards, witches, vampires or superheroes would top the list.
Hereafter is a short supernatural film written and directed by Johnny Kenton. The product of a Kickstarter campaign, the film is about a young woman named Katcher (Lydia Wilson), who is called up to try out for a group called ‘The Guardians’. Who are they guarding?
Rejoice, all, for love and magic have been made real again and no longer confined to shallow movies that preach the wrong topics filled with two dimensional protagonists that do nothing but fulfill ageless and traditional characterizations. Cinderella manages to be the most refreshing new Disney movie out, by paradoxically undergoing the least transformation. Directed by Kenneth Branagh with the utilization of his perfectly suitable Shakespearean mastery, and supported by a cast of actors and actresses that look like they came straight out of the storybook, Cinderella is a delightful reiteration of the classic story that we’ve all grown to know.
The Tale of the Princess Kaguya tells the folklore of a Japanese princess born from a bamboo stalk in the heavens and raised as the child of an elderly agrarian couple. She lives and grows up rapidly right before our eyes, just like the bamboo from which she was bred. She was meant to live a more “normal” life, though, and is soon thrust into a lifestyle that contradicts her humble upbringings.
At this year’s Oscars ceremony, five worthy films vied for the coveted Best Animated Feature award. Of course, we all know the winner, but there was one nominee in particular that no one seemed to have even heard of, let alone seen. It was the outlier.
Into The Woods is a big screen adaptation of the Stephen Sondheim musical of the same name, adapted by the writer of the original musical book, James Lapine, and directed by Rob Marshall (of Chicago fame). The film boasts a number of successful actors in musical roles. When I first heard of the film, this was enough to pique my curiosity, but as the release date approached my enthusiasm for it lessened.
It is undeniable that the new millennium has seen fantasy novel adaptations reign supreme over Hollywood territory. It began in the year 2001 when the British again invaded America: now in the filmmaking industry.
Peter Jackson’s first Lord of the Rings trilogy is potentially one of the finest trilogies ever made. Each film in the series, from Fellowship of the Ring to Return of the King, are all solid masterpieces, containing beautiful cinematography, fine character acting, and iconic soundtracks by Howard Shore. The Hobbit series, on the other hand, is much more inconsistent.
What is it about the fantasy genre that we find so fascinating? Is it the lure of escapism, the feeling of delight one finds being transported to the various textured habitats of places such as Middle Earth, Westeros, or Hogwarts? Or marvel over the depictions of fabled historical retellings that have taken on mythic qualities over the years?
Dracula Untold tries to be a lot of different things – a PG-13 horror movie, a historical epic, a Gothic romance, a superhero origin story – and it does it all while at the same time trying to kick start an Avengers-style shared movie universe. Whether you call that ambitious or just the obvious product of too many cooks in the kitchen, it doesn’t succeed on every front. But remarkably enough, as a pure popcorn movie, it doesn’t completely fall apart, either.