Minions Review
The Plot
Everyone’s favourite yellow servants get their own origin story! Minions sees Stuart, Bob and Kevin recruited by super villain Scarlet Overkill (Sandra Bullock) in her plan to steal the crown jewels in 1960s London.
The Good
Ever since Despicable Me entered the hall of animation fame thanks to the popularity of master villain Gru’s minions, the loveable babbling workers have won the world over and were even rewarded with a bigger role in Despicable Me 2. Now though, while we wait for the third instalment, fans are treated to even more antics in a prequel that offers just as many laughs as their previous two cinematic outings.
From the second the Universal logo rolls across the screen with the theme tune dubbed over by the minions voices, to the worthwhile post credits sequence , Minions manages to maintain the same consistency in enjoyable slapstick humor that made the previous Despicable Me films such a treat.
After an opening sequence which has almost slightly been drained of its humour thanks to it’s use in the trailers, Stuart, Bob and Kevin move on to London with highlights including constant tea drinking (of course) and a guest role for Queen Elizabeth.
Minions often use the guiding hand of a narrator and some more intelligible human characters to move the plot along, in spite of the fact that the Minions are at best capable of charming child like gibberish. Though of course the real secret of the Minions near universal appeal is that their entertaining physical gestures and emotional expressions are actually capable of communicating so much to audiences of any age.
The Bad
Unfortunately, compared to Despicable Me, the storyline is not as entertaining as the minions themselves. This is mainly due to the fact Bullock’s villainess just isn’t as fun as Steve Carell’s Gru. Where Gru is a villain with a soft gooey fatherhood center, Scarlet is just plain mean and lacks any redeeming likability.The lack of Gru hurts Minions, eventually making it feel less like an enjoyable standalone movie and more like an extended minions short that is just filling up the time waiting for Despicable Me 3.
The film is arguably at its best during the opening sequence showing the evolution of the minion and their need of a despicable master to serve in order to survive.Narrated by the soothing tones of Geoffrey Rush it demonstrates just effective the Minions slapstick antics can be when combined with inventive writing and clever visual gags. As the film ambitiously tries to stretch things into feature length proportions it inevitably relies more on the generic human characters surrounding the minions and loses the concise charm of the Minions short film. In truth the Minions truly work best either as background comedy relief or on their own in smaller doses.
The Ugly Truth
While it is consistently funny with some genuine highlights in it’s main 1960’s London storyline, Minions feels somewhat like a way for the profitable franchise to tread water while the studio continues working on the eagerly anticipated follow up to the sublime Despicable Me 2. Though of course, more Minions mayhem is always welcome…
Review by Johnny Ellis
Knock Knock Review
The Plot
When his wife and children are away for the weekend, family man Evan (Keanu Reeves) is visited and promptly seduced by two young girls, Genesis (Lorenza Izzo) and Bel (Ana de Armas). But the weekend takes a turn for the worse when they return the following night to wreak havoc on his life.
The Good
Eli Roth’s latest horror is perhaps his most mainstream yet. With it’s strongest asset being Keanu Reeves who, fresh from his turn as ass kicking John Wick, gets to sit back on the action in a role which at times allows us to see him in a much more restrained situation. And we’re not just talking about his being tied up for most of the film.
Of course, with this being an Eli Roth film, the gore is still very much around, however for the less trained stomach, Knock Knock is undoubtedly the safest option from Roth’s every growing back catalog of torture porn.
The Bad
For fans of Roth’s previous films however, the lack of gore is the least of it’s problems. Knock Knock is essentially a film of two halves, both of which are just as bad as each other. After a cringe worthy opening scene thanks to the over-use of an incredibly awkward ‘monster voice’ which Reeves’ Evan uses firstly to scare his children but then embarrassingly continues to use to try to seduce his wife into bed – A tactic which thankfully doesn’t work – the dialogue barely picks up.
Once the wife and kids are out of the story and the femme fatale duo of Lorenza Izzo and Ana De Armas enter, the film takes a turn for the worst in an incredibly long seduction sequence which feels like dialogue has been taken from an extremely painfully written porn film. It’s a sequence written so badly it makes Fifty Shades feel like Jane Austen.
The latter half thankfully picks up a bit in its dialogue, but unfortunately feels like it would be much better suited in a straight to dvd thriller. It’s almost a shock to the system to know that this came from Eli Roth and is especially disheartening to know that this came after the incredible The Green Inferno – one of the highlights of last years Film4 Frightfest and a film that to this day still hasn’t had a proper release in the UK, while Knock Knock is allowed to almost ruin the good name of Roth in a mere 99 minutes.
The Ugly Truth
Keanu Reeves is arguably the only good thing in this poorly written film that somehow came from the mind of a director who was at the top of his game last year with The Green Inferno. Unfortunately Reeves is unable to do much with his character thanks to the story which screams potential, leaving for an unimpressive feeling that hopefully won’t completely ruin Roth’s career…
Review by Johnny Ellis
Amy Review
The Plot:
A comprehensive documentary exploring the rise and tragically fatal fall of musical sensation Amy Winehouse, featuring intimate home videos and in-depth interviews with those closest to the notorious British singer.
The Good:
BAFTA winning filmmaker Asif Kapadia has impeccable credentials as a documentarian. His 2012 Ayrton Senna documentary skilfully assembled a mesmerising portrait of the flamboyant racing star’s life and tragically early death from a rich tapestry of archival footage. With Amy he adopts a similar approach to exploring the life and death of a very different pop culture icon, singer Amy Winehouse.
Largely assembled from previously unseen home movies shot by her friends, manager and family the film follows Winehouse from being discovered as a teenager with a surprisingly soulful voice to her untimely death at just 27. It combines these intimate moments with carefully inserted commentary from those closest to the singer. This emotional testimony is both painfully candid and increasingly poignant as the film progresses towards its inevitably sombre conclusion.
It’s perhaps surprising that for a celebrity figure already so massively overexposed by invasive tabloid, tv and paparazzi coverage that the film is able to present audiences with any genuine sense of previously unseen intimacy. In particular the early footage of the star as a 16 year old Jazz obsessed but otherwise ordinary teenager, may add a different perspective for some to the tragic public caricature she became.
The film charts her explosive career as in just a handful of year’s and two albums she went from being an unknown soulful voice to one of the most acclaimed and recognisable singers on the planet. At the same time the film confronts the sad toll her personal demons and substance abuse took on her mind and body.
The film explores the stark juxtaposition between lucrative musical success and the painfully obvious self-destructiveness that accompanied it. Though it may be a sadly familiar tale of seemingly cliché rock and roll excess, it’s interesting to see such a detailed personal narrative of the experience.
The Bad:
Though undeniably impeccably well-crafted as a documentary, Amy is perhaps unlikely to radically alter pre-existing perceptions of the singer and her tragically early demise.
The film adequately documents the progression of the young singer’s seemingly evident emotional issues into a downward spiral of self-destructive addiction, fuelled at least in part by the pressures of relentless public scrutiny. However the film doesn’t really ever offer any great revelations of insight into the reasons for this tragic trajectory.
The Winehouse family and particularly Amy’s father Mitch have subsequently disowned the documentary, partly due to its clear assertion that his infidelity and absence during her formative years was a key factor in her depression, eating disorder and substance abuse. The singer literally says as much in her own words. The wider accusation that her family and drug addict husband contributed to and then perhaps even greedily avoided dealing with her chronic problems clearly wasn’t appreciated either. Even if true this isn’t a particularly subtle or shocking revelation.
Likewise the film draws casual attention to Amy’s openly self-professed reluctance to be famous and the inevitable impact that constant media coverage had on her crumbling physical and mental state.
The film takes a generally sympathetic tone towards its troubled subject, but audiences may not necessarily share that sentiment. For those who celebrate Winehouse for her vocal talent and brash personality there will be others who find those abrasive qualities more obnoxious and have far less sympathy for her self-destructive behaviour. Some will undoubtedly still see the singer as someone who selfishly squandered her gifts, good fortune and remarkable opportunities.
The Ugly Truth:
For fans of the British singer and anyone somehow unfamiliar with her life and musical achievements this expertly crafted documentary will provide a sincere tribute and comprehensive account. Anyone already less enthusiastic about her music or unsympathetic to her personal problems may find this less compelling viewing.
Review by Russell Nelson
Idina Menzel World Tour Wembley Concert Review
The Set List
Defying Gravity , Don’t Rain on My Parade, Brave, I Stand, The Wizard and I, River, Love For Sale/Roxanne, There’s No Business Like Show Business/Anything Goes/ Everything’s Coming Up Roses, Still I Can’t Be Still, Creep, Take Me or Leave Me, No Day But Today, Always Starting Over, Let It Go.
Encore: Child, Tomorrow.
The Good
Tony Award winning theatre icon Idina Menzel is now a record breaking global superstar, adored by generations of fans around the world as the voice of Frozen Disney princess Elsa. After Oscar glory and the unprecedented pop culture phenomenon of Let It Go, it’s fitting that Menzel fulfills one of her own admitted life ambitions to play to a delighted crowd in Wembley Arena.
Menzel has a staggering vocal power which burst from the stage with every note of every ballad. There’s a deep rich tone to her voice and an unashamed theatricality to her performance, honed through years of Broadway and West End productions. She’s a true show stopping diva, of a caliber rarely seen.
Playing to over 10,000 people tonight in the cavernous arena, the ever undaunted Idina delivers a crowd pleasing section of familiar songs that serves almost like a musical autobiography. The set combines ionic tracks from productions like Rent and Wicked with covers that pay heartfelt homage to Menzel’s own musical influences.
Opening with Defying Gravity gives audiences the instant satisfaction of hearing the definitive version of Elphaba’s uplifting ballad. Though many talented performers have followed in her footsteps, nobody ever truly matches Wicked’s original star Menzel. Idina speaks with fond passion about the all the productions that made her a star. It’s especially poignant to hear her pay an emotional tribute to Rent creator Jonathan Larson before delivering a tear stained version of No Day But Today. These are the songs that won Menzel a devoted following before she ever became ‘Disney famous’, and they clearly mean just as much to her as her fans.
Menzel has a close connection to her fans and there’s no better way to show that than by literally rushing off the stage to sing among and with them. During a jaunty rendition of Take Me or Leave Me, Idina races around the crowd to duet with stunned fans, before dragging some of the most talent singers back on stage with her. It’s a perfect embodiment of the beautiful spirit of community and mutual love that often distinguishes theatre stars from their pop and rock star counterparts.
Menzel is fully aware she’s part of a proud legacy of bold stage divas and she pays frequent homage to that with covers of classic songs by Ethel Merman and Julie Styne. More contemporary covers of acts like Radiohead, The Police and Joni Mitchell prove to show Menzel’s own range as an artist and unsurpassed skill as a vocalist.
Of course for most fans, the true bucket list moment of the night is undoubtedly helping Menzel proudly blast out a belting rendition of Let It Go. It’s the song which single handily made her an instant household name around the world, beloved by children and relieved parents alike. Live, she attacks the endlessly played song with joyous enthusiasm. Indeed, the true secret of the song’s unique success and global appeal is that it encapsulates the spirit of bold anthemic optimism embodied in much of Menzel’s work. Let It Go is a song defined by Idina Menzel, not just a song that defines her.
It’s hard to imagine any encore that could possibly surpass the power ballad might of Let it Go, but closing out a set with Tomorrow from Annie is a beautiful way to leave audiences indeed.
The Bad
Younger fans may be a little traumatized to learn that when she’s not letting it go as Queen Elsa, Menzel also has a habit of letting f-bombs go on stage. Menzel’s between songs chatter is endearingly sassy and frequently foul mouthed. Though admittedly it’s highly amusing and quite charming for the mostly adult crowd to see Menzel knowingly show off in front of fellow grownups for a change.
The fiercest critics might point out that Menzel mostly sings material written by other people or borrowed from other artists. But that would do a cruel disservice to the transformative power of her unique voice and emotional performance. For example, when Menzel delivers her heart wrenching version of Radiohead’s Creep, backed by the heavenly crescendo of a big band, it’s fragile and triumphant in ways which arguably eclipse the original version.
The Ugly Truth
Idina Menzel is a delightful diva with a powerhouse voice big enough to dominate any stage and enchant any audience. Working her way through a well-chosen hit list of show tunes and show stoppers she gave London an unforgettable night and a flawless dive masterclass.
Independence Day Resurgence Full Details
The long delayed sequel to 1996 alien invasion blockbuster Independence Day now has an official title as announced during a 30 minute live streamed press conference with the cast and director Roland Emmerich. It’s Independece Day: Resurgence. Explaining what that ominous title means here’s the official synopsis:
We always knew they were coming back. After INDEPENDENCE DAY redefined the event movie genre, the next epic chapter delivers global spectacle on an unimaginable scale. Using recovered alien technology, the nations of Earth have collaborated on an immense defense program to protect the planet. But nothing can prepare us for the aliens’ advanced and unprecedented force. Only the ingenuity of a few brave men and women can bring our world back from the brink of extinction.
Director Roland Emmerich explained that the near apocalyptic events of the first film has created a “post-world-war” generation who are globally united against a common threat.
The new film features almost the entire cast of the original seeing Jeff Goldblum, Judd Hirsh, Vivica A. Fox, Brent Spinner and Bill Pullman reprise their roles alongside a new generation of starts that includes Liam Hemsworth and Maika Monrow.
Liam Hemsworth is playing a new character Jake Morrison who became a fighter pilot after losing his parents in the 1996 attack. During the press conference the Hunger Games star explained a bit more about where we find Jake at the start of the film.
He eventually joined the military and ended up in the best of the best of the best of the fighter pilots. And he made a bad mistake, a bad decision, and put someone’s life at risk, and got the great job of driving this Moon Tug, which is basically a forklift on the Moon. Where he gets to move around different pieces on the Moon. Which is not really an exciting job for a fighter pilot like himself. He’s a pretty energetic guy, he likes to do exciting things. That’s not exciting.
Maika Monrow is playing President Whitmore’s now grown up daughter Patricia. She has followed in her father’s footsteps to become a fighter pilot and is also working in some capacity for the current president. Sela Ward who plays the new President Lanford, elaborated a bit on how the world has changed since the first invasion:
[She’s] Entirely different [from Bill Pullman’s President Whitmore]. It’s a totally different political landscape. She’s tougher, more decisive, not afraid to use force, she’s more aggressive. She’s a very different animal because it’s a very different time. We’ve been preparing for twenty years for the inevitability of an invasion. We don’t know by whom or when. So there’s a very different climate in terms of the tenor of the movie. Especially for the president.
Things have also changed a lot for former stripper Jasmine (Vivica A. Fox) who is more respectably employed as a hospital administrator. Her son Dylan (played by Jessie Usher) has grown up in the shadow of world saving surrogate father figure Capt Steven Hiller (Will Smith), trying to emulate him.
Will Smith is obviously the only major cast member to survive the initial invasion who won’t feature in the sequel, despite initially appearing to be enthusiastic about rebooting the franchise that launched his big screen career. It was initially planned for the father son dynamic of Dylan and Capt Hiller to be a central theme in the sequel, but that won’t be the case now Smith has dropped out.
Explaining Will Smith’s apparent change of heart about starring in the sequel Director Roland Emmerich basically blamed the disastrous experience of After Earth.
In the very beginning, I wanted to work with him and he was excited to be in it but then after a while he was tired of sequels, and he did another science fiction film, which was his father-son story, so he opted out.
At least Smith’s cigar buddy Jeff Goldblum is back as computer genius David Levinson, who is now in charge of Earth Space Defense, the global organisation protecting the planet.
The planet isn’t just being protected by Goldblum’s trademark awkward fast talking. Following victory in the first film, mankind has combined salvaged alien technology with our existing weaponry. The result is new ships like the Moon Tug that Liam Hemsworth drives and advanced fighter jets armed with better shields and alien engines/weaponary. Pictures below:
Independence Day Resurgence is set for release in June 2016 and filming is already well under way, Till then check out the official press conference below: