Rating: PG Length: 1h 41 Release: 19.8.1994 Dir: Chuck Russell About: An eclectic foursome of aspiring teenage witches get more than they bargained for as they lean into their newfound powers.
The cast was spot on, especially the four corners of the new Coven. While we perhaps didn’t get as much background on all of the individual players as I would have liked, its a testament to the actresses that I wanted to know more about each one.
David Duchovny was an excellent choice as the ‘spooky’ new man in Lily and her mum’s life. He’s again a character I would have loved to have seen a little more of.
The character of Timmy, while at the outset seems like a stereotype, becomes this relatable and refreshing look at the antidote to toxic masculinity.
In the same week that Lily Allen attempts to break the taboo on female self love, The Craft Legacy presents us with a casual masturbation scene. Something I would not expect from an American film and again is something that is powerful, empowering and handled so very well.
The trio of brothers are not developed enough and lack any development. There’s something lacking that gives them purpose. In fact, I would go so far to say that the biggest flaw of this film is its character development. When it comes to the brother’s; they disappear by the time we get to the final act. Which is no bad thing because I couldn’t really tell them apart. They all had that moody Edward Cullen thing and I can’t even recall if any of the three spoke in full sentences.
It is not necessarily the casting I have an issue with, but I do feel like MM’s character should have been one of the original coven. I almost feel, by the time the credits roll, the character was originally written with one of the original actress’ in mind, but they chose to pass. I mean, just take a look at the actress playing Lily and tell me she doesn’t look like the offspring of Sarah’s Robin Tooney.
With David Duchovny, I do feel like they were going for a Lost Boys sort of approach, but there was a lack of commitment to really make it work or have it impact the plot in any way.
One of the defining, or iconic, aspects of the 1996 original was that epic soundtrack. At one point, I had thought the soundtrack that everyone listened to was a thing of the past, but then Guardians of the Galaxy came along and reminded us all of what we were missing. Maybe its a sign that this film is for a younger audience, but as the target demographic of the original; we’re watching it too and this music flatlined.
Sequel, soft reboot, cash-in reboot? Well, the creators have given their word that it’s a sequel and, if you’ve seen the trailer, that seems to be confirmed. My issue being the nods to the original are too heavy handed to be considered ‘Easter eggs’ and the diversions from the original story lack any sort of quality to elevate it from being a pale imitation.
It’s not long enough for what was trying to be achieved. It’s way too long, too bloated and lacks any connection to the characters. I feel as if this idea would have been executed in a better way in a mini series of 10 or more episodes. Basically the Locke & Key treatment. Make the brothers more involved and give the audience more of a reason for these girls to be the outcasts. Give me more Timmy and give his story a resolution.
It was a fair watch and relatively painless. Unfortunately, I do feel like this is suffering from a similar fate to Prometheus in the sense that the decision to make it a sequel came way to late in production and those like-minded will feel a little cheated out of that ‘legacy’ aspect.
Rating: 12A Length: 2h 31 Release: 16.12.2020 Dir: Patty Jenkins About: Wonder Woman navigates the 1980s, meets old friends and faces off against new enemies.
The film gets the 80s aesthetics right. The mall sequence was rather brilliant and not only something that is iconic of the 1980s, but iconic of 80s movies. This part of the film, out of everything, felt most like a homage to the original tv series.
Kristen Wiig really impressed me. While meek and goofy Barbra was well within Wiig’s wheelhouse, and reminiscent of her past roles in things like Paul and Ghostbusters, it was the evolution into Cheetah that shows much more depth and range. While she may be known more for her comedy, I definitely want to see her in more serious roles.
Well, Hans Zimmer most definitely phoned this one in. His soundtrack feels so recycled that if I were to close my eyes at points in this movie, I’d have sworn I’d put on Inception.
While we’re on music, you place a film in the 1980s and don’t utilise the amazing catalogue the decade has to offer? Believe me, in a film that gives us Jafar after his final wish and Quantum Leap’s Sam, we need some cheesy 80s electric tunes.
The prologue in which we see young Diana back at home and facing off against other Amazonian warriors, is utterly pointless and has no payoff. It, for me, is at odds with the rest of the story. Plus its totally wrong. Diana didn’t cheat. It was a bullshit lesson that had microscopic links to the main plot.
You know the Sentence Game? It’s similar to Mad Libs, but there’s no crib sheet. First person writes a sentence based upon a prompt, folds the paper over so you can’t see what’s written and passes it on. This keeps happening until all the prompts are used and then someone reads the mess of a story out. That was this film. Only, I didn’t find it nearly as funny.
Steve! What the fuck man. Okay, great we get Chris Pine gracing our screens again. Whoop! At what cost? The sacrifice and loss from the first movie is compromised and, I’ll be honest, how he’s there in the first place feels really cheap. I was also very disappointed “Oh boy” wasn’t uttered. It also pisses me off that the guy whose body gets taken over gets more closure than Wiig’s Barbra. Seriously, what the fuck is it about the 1980s doing Barb dirty. People, What about Barb?
Second gripe about Steve. Once Steve is in play, it feels like such a retread of the first film. His reintroduction creates a limitation. It’s boring, its done. It also means that if he ‘dies’ again, I’m not caring. To be fair, this is where Marvel gets it wrong too. When you make your character deaths meaningless (looking at you Loki), I refuse to invest. Also, what the fuck is it with these Wonder Woman films getting the strong female wrong? In the first movie she emasculates. This one she becomes physically dependent on Steve. Blurk!
Why was it set in the 1980s if it was going to be sanitised of all the joy the 80s had to offer. Other than Pine’s fish out of water Schtick, it had no value. To me anyway. Yes, I get that there’s the whole plot in which Pascal’s Max is trying to gain ownership of oil, but this is not a commodity that’s exclusive to that decade. For me, the Suez Crisis of the 1950s is what I immediately think of when it comes to ‘historical oil’.
There are enough people out there loving this movie for you to make up your own mind, but for me it’s too long, too pointless and left me feeling grumpy. I wish I’d rewatched Chopping Mall(1986) instead.
Rating: PG Length: 1hr 35 Release: 12.6.2020 Director: Kenneth Branagh About: Artemis Fowl is a 12-year-old genius and descendant of a long line of criminal masterminds. He soon finds himself in an epic battle against a race of powerful underground fairies who may be behind his father’s disappearance.
This is my Harry Potter. The one literary franchise that I’ve been waiting two decades to see transferred to film. I watched it as soon as it was physically possible. How could I not?!
The visual world building is stunning. Especially when we oh-so-briefing see the fairy world.
There’s a wonderful scene between Holly and Artemis that hints at the deep rooted friendship that they develop over the series in the books.
There are some brilliant one liners and I cheered loudly at the often used ‘D’arvit’ in the book.
Most of the problems come from the presentation of the characters. When the original source gives you well developed characters and complex relationships, there’s no excuse for the lacklustre and undeveloped characters presented.
The dynamic of Artemis and Butler is wrong. Too wrong as it makes Artemis weak and too wrought with emotion for him to be the closed of genius I’ve spend so much time with.
While I love Judy Dench as Root, it removes one of the most empowering storylines for me, and many young women. Holly’s biggest story arc centres around her being the first female LEPrecon officer and how her success or failure would determine future recruitment. Instead we’re given a over zealous youngster. Her spark, spunk and frustration of being the poster girl is all gone and it makes me so sad.
I don’t understand Josh Gad’s “I am Batman” narration. It’s a really odd framing for the whole story, especially when it’s pay off doesn’t really work. Actually, forget the Batman impersonation, I just wish they’d scrapped the narration completely. Speaking of Josh Gad, they really did have a wonderful set up for Mulch to ask Root if her first name was Samantha. They squandered it.
When Holly Short is described in the books as having hazelnut coloured skin, I’m massively pissed that in 2020 we are still subjected to whitewashed protagonists. Yes, I’m sure we can argue that this film is diverse in its casting, but Holly Short is one of the leads. That shits not cricket.
They killed Artemis’ mother! What the fuck man?! You just erased the potential for the franchise to …. wait, this film isn’t getting a sequel let alone a franchise. However, I’m gutted that the twins don’t and won’t exist in the world.
As a book adaptation, its an abomination. Eoin Colfer literally couldn’t have written a better film-ready story, but it was stripped of everything. Its almost as if those involved didn’t read the source material. Fans will most definitely feel short changed.