Lionsgate Plan Now You See Me 3

Now You See Me somehow managed to magic up a $350 million worldwide box office haul, ensuring Lionsgate rushed ahead with a sequel. Seemingly confident that the combination of card tricks, Jessie Eisenberg and James Franco’s brother was a safe bet the studio defiantly ignored mostly lackluster reviews.

With Now You See Me 2 not yet in cinemas Lionsgate CEO Jon Feltheimer has officially confirmed that “We’ve already begun early planning for Now You See Me 3″. 

Admittedly it’s hardy surprising given the success of the first film and heavy investment in the sequel that Lionsgate at least have some vague plan in place for how they might continue the franchise should the sequel pull a magic box office number out of it’s hat next summer.

Poltergeist Review

The Plot

After a family moves into a home that sits on a former cemetery, they soon become haunted by evil forces and must come together to save their youngest daughter when she’s taken captive.

The Good

Remaking a horror film as classic as Poltergeist was always going to be an idea which would provoke some worry. Released 33 years after the original, this remake does a perfectly fine job at updating it for modern audiences. The original story is still there, but with the addition of drones and a reality show ghost hunter in the form of Jared Harris to help things move along.

Thankfully it’s not a complete shot for shot remake and does actually try to bring something new to the story. One prime example being that when the family do start to take notice of the strange activities going on in their new not so humble abode, they start to work to get rid of it instantly, as apposed to, say, using your child as an experiment/plaything for the poltergeist (see the original for more…). With a plot that runs 20 minutes shorter, Poltergeist somehow manages to cram in more activity in than it’s predecessor. Though perhaps this might not have been the right way to go about it…

The Bad

Unfortunately it’s impossible to view Poltergeist without instantly bringing comparisons to the original, and because of this, it falls short. While it’s certainly brave of director Gil Kenan (Monster House) and writer David Lindsay-Abaire (Oz the Great and Powerful) to go a different way, the fact is that this remake barely constitutes a horror. Where the terror of the original came from the slow burning threat which is eventually paid off, this new version only manages to shock with the use of cheap jump scares.

The cast too don’t seem to be very invested or confident with the idea of it either. Sam Rockwell and Rosemarie DeWitt make for simple and uninteresting characters that seem bored with the script. Meanwhile the biggest highlight of the child actors is Kennedi Clements (whose biggest previous credit includes Jingle All The Way 2…) and this is only really because she’s the unfortunate child who gets taken in by the ghouls.

The Ugly Truth

Poltergeist should be respected slightly for not trying too hard to stay exactly like it’s original and instead trying to bring something new to a classic. However all attempts that are made are scuppered by cheap jump scares and a bored script.

Review by Johnny Ellis

It Remake Loses Director Cary Fukunaga

True Detective director Cary Fukunaga has officially left he planned New Line remake of Stephen King horror classic It. Will Poulter had previously been confirmed to play the evil fear monster  Pennywise, but he now may never get the chance to step into Tim Curry’ clown shoes.

Although production was due to start next month the remake has now officially been delayed indefinitely. It seems that without the guiding hand of the True Detective director New Line has lost confidence in the prospect of re-imagining the iconic Stephen King horror franchise.

Moomins on the Riviera Review

The Plot

The classic Finnish cartoon comes to the big screen in a story which sees the Moomins slip into the world of the rich and famous on the Riviera.

The Good

Though they’re not particularly well known these days, to many, the Moomins are instantly recognisable and bring a flood of nostalgia for those who grew up with the hippopotamus dopplegangers. Moomins On The Riviera serves as not only a nice introduction for the classic characters and a fitting reboot to bring them into the hearts of a whole new generation of young fans, but also as a brilliant way in which to introduce young ones to the cinema. While last years Paddington had this appeal too, Moomins drops the (in Paddington’s case, very mild) threat and instead leaves some charming animation which gives plenty for both adults and children to enjoy without the worry of anything too upsetting.

The simplistic storyline, in which the Moomins are split between their experiences with the upper class, brings a wonderful lesson for children to learn about the importance of wealth and fame. Thankfully too, the small voice cast, of which the two biggest names are Russell Tovey (Being Human) as Moomin and Tracy Ann Oberman (Eastenders) as Moomin mamma aren’t very distinguishable as particular ‘stars’ per se, which helps keep the characters of the Moomins as realistic as they can be for what are essentially cartoon hippopotami…

The Bad

Though it is certainly captivating, certain plot strands of Moomins do bring some rather worrying criticisms. A lot of the film focuses on the relationship between Snorkmaiden and Moomin and potentially gives off the idea that a young girl can’t be happy unless she has some sort of man in her life…

The Ugly Truth

Moomins On The Riviera is a beautifully animated and simplistically charming way to spend 80 minutes. While it does have the odd flaw in storytelling, it becomes quite futile to be too critical of it. If you’ve yet to introduce any young children to the cinematic experience, you can’t go wrong here.

Review by Johnny Ellis

McQueen Review

The Plot:

When British fashion visionary ‘Lee’ Alexander McQueen discovers a strange girl breaking into his studio late one night in search of a pretty dress, an unlikely bond forms between the tormented designer and his mysterious intruder. Instead of calling the police, the pair set out on a strange journey across London in search of beautiful fashion and meaning.

The Good

Leading man Stephen Wright gives a brilliant and consistently captivating performance as troubled genius Alexander McQueen. Carrying the weight of much of the production on his shoulders it’s a portrayal that trikes a perfect balance between vulnerability, creativity and danger. Aside from physically resembling the late fashion icon, Wright also captures the sharp contrast between swaggering confidence and fragility that defined much of McQueen’s work and life.

Glee star Dianna Agron easily proves her dramatic credibility with a role that is deliberately very far removed from campy high school musical adventures.  Armed with a memorable mid-Atlantic accent and other self- affected eccentricities, her character Dahlia is definitely a unique flower. It’s a performance that becomes more fragile and credible as the play progresses.

Tracy-Ann Oberman must receive special mention for her scene stealing turn as the ghost of Isabella Blow, McQueen’s real life patron, muse and close friend. Oberman delivers a note perfect caricature of the likeably absurd fashionista, lifting the spirits of both McQueen and the audience.

McQueen is a new production but it takes the full benefit of a soundtrack packed with well-known contemporary songs. From opening with a mournful string quartet version of Nirvana’s grunge anthem Come as you Are, the play is full throughout with recognisable and well-chosen mood setting musical accompaniments.

The production makes excellent use of inventive physical and visual effects to create an immersive world the spans London from fashionable shops to the very rooftops. The ensemble cast of elegant mannequin-like dancers serve an efficient dual role of both populating scenes and aiding in the impressive transformation of sets. From holographic projections to simple tricks of light and shadow, the production makes the world of McQueen suitably visually striking.

The Bad

The play carries honest warnings that its dark themes, language and provocative visuals aren’t suitable for younger audiences. It’s not a surprise that a play about an artist who delighted in pushing boundaries and embracing the darker side of life does precisely that. Morbid lamentations and semi-nude dancing mannequins might not be to everyone’s taste, but it probably would have appealed to McQueen himself.

Though the play is inventively staged and makes fine use of a minimalist space, at times the dialogue lacks equal subtlety. The initial scenes between Lee and his young intruder stutter at times, struggling to cram extra exposition into an already awkward situation. It takes a little time for the unlikely duo to find their rhythm.

Audiences may also be forgiven for leaping to the conclusion that Dianna Agron’s stilted voice and odd drawling accent are merely symptoms of nerves or bad acting. It’s only as the play progresses and she maintains these affectations that it becomes clear that it’s actually a deliberate performance and very much part of her character.

Overall it’s fair to say that those who dislike the pretentious self-importance of the fashion industry and especially lack sympathy for the torment of being a ‘great artist’ will find the plays characters and heavy handed subtext both distinctly unappealing. Some may perhaps also question whether it’s bad taste to base such a fictional and morbid production on real people who actually met with tragic demises.

The Ugly Truth

Overall McQueen is an impressive new production that boasts accomplished performances, inventive visuals and a soundtrack of familiar hits. Though its morbid themes might not appeal to everyone it’s actually a fitting tribute to a much missed British fashion icon.

Video Interview with Star Dianna Agron below: