What's it about?
In a crime-ridden near-future Johannesburg high tech police robots are put on the streets to clean things up. However, their creator has dreams of developing a truly sentient artificial intelligence, and opts to test his newly developed code on 'bot #22, which has been destined for scrap. Unluckily for him, he's kidnapped by a gang of criminals in-hoc to a crime lord for a hefty sum - and they want to use his skills and his sentient robot to facilitate their final heist.
Who would I recognise in it?
Sharlto Copley (voice and MoCap), Dev Patel, Hugh Jackman, Sigourney Weaver, Die Antwoord, and others.
Great/Good/Alright/Shite?
"Short Circuit" meets "RoboCop" by way of "District 9" ... did you dig those flicks? If you did, chances are you'll dig this too. Far better for a new film to take significant cues from earlier films and apply its own little something to it, than for movie fans to suffer yet another inferior remake. Numerous parallels can be drawn between "Chappie" and "RoboCop" in particular, but this is still unmistakably a Neill Blomkamp film - he even takes a few cues from his break out film "District 9"...
Click "READ MORE" below to continue the review...
Showing posts with label hugh jackman. Show all posts
Showing posts with label hugh jackman. Show all posts
Monday, 27 July 2015
Wednesday, 25 July 2012
Quadruple Bill Mini Musings: Booze, Bots, Aliens, and Body-swapping...
The Lost Weekend:
What's it about?
Billy Wilder's Oscar-snatching drama about a writer who is hopelessly addicted to alcohol, and finds himself alone with just his inner-turmoil and his bottle.
Who would I recognise in it?
It depends how well you know your 1940s cinema, but Ray Milland and Jane Wyman.
Great/Good/Alright/Shite?
While not as deliciously dark as Wilder's previous film Double Indemnity, nor as blackly comic as his iconic Sunset Boulevard, Wilder brings his trademark touch of class and incisive directorial skill to one writer's alcoholism. Naturally, the subject is dealt with to 1940s standards (although I'd wager it took away a few breaths upon its initial release), you might draw some parallels with the hopeless alcoholic in Leaving Las Vegas (a relatively more modern telling of a similar depressive tale of the battle with the bottle). It might split the audience - one man's seemingly cosy ending, is another man's rather more ambiguous fade out that uncomfortably comes full circle. Great, with a few softened edges.
Click "READ MORE" below for robo-boxing, gunslingers shooting up aliens, and projectile poo jokes...
What's it about?
Billy Wilder's Oscar-snatching drama about a writer who is hopelessly addicted to alcohol, and finds himself alone with just his inner-turmoil and his bottle.
Who would I recognise in it?
It depends how well you know your 1940s cinema, but Ray Milland and Jane Wyman.
Great/Good/Alright/Shite?
While not as deliciously dark as Wilder's previous film Double Indemnity, nor as blackly comic as his iconic Sunset Boulevard, Wilder brings his trademark touch of class and incisive directorial skill to one writer's alcoholism. Naturally, the subject is dealt with to 1940s standards (although I'd wager it took away a few breaths upon its initial release), you might draw some parallels with the hopeless alcoholic in Leaving Las Vegas (a relatively more modern telling of a similar depressive tale of the battle with the bottle). It might split the audience - one man's seemingly cosy ending, is another man's rather more ambiguous fade out that uncomfortably comes full circle. Great, with a few softened edges.
Click "READ MORE" below for robo-boxing, gunslingers shooting up aliens, and projectile poo jokes...
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