Thursday, 31 October 2013

Special Halloween Post: "Pacific Rim" FanFiction - "The Tale of the King Kaiju."

For this special Halloween post, I am presenting my Fan Fiction. This is a Fan Fiction piece that I wrote for my iWrite class at Auckland University of Technology (AUT) in Auckland, New Zealand. My Fan Fiction is a psyedo-prequel and sequel to Guillermo del Toro's "Pacific Rim" (2013). This Fan Fiction begins as a prequel telling the story of young Mako Mori and before her eventual tragedy as told in the film. I hope you enjoy and Happy Halloween!


EXT. JAPANESE HOUSE - NIGHT

SUPERIMPOSE: TOKYO, JAPAN. CHRISTMAS EVE - IN THE NOT SO DISTANT FUTURE.

THUNDER AND LIGHTING, RAIN AND SNOW CLASH IN THE DARK, DREARY NIGHT.

THE CAMERA SLOWLY TRACKS UP TOWARDS A CHILD'S ROOM - A JAPANESE VERSION OF "JINGLE BELLS" IS PLAYING IN THE BACKGROUND - SHE IS PLAYING WITH A TOTORO STUFFED TOY. HER FATHER ENTERS THE ROOM AFTER HEARING HIS DAUGHTER TALK TO THE TOY. THE GIRL'S NAME IS MAKO MORI. THIS IS THE STORY OF HER CHILDHOOD BEFORE IT WAS ALL LOST.


Mako's father (in Japanese):

Mako, will you please stop playing with that silly toy? Go to sleep.


THE GIRL DISAGREES WITH HER FATHER THAT TOTORO IS NOTHING BUT A STUFFED TOY.


Mako (in Japanese):

Don't call him a toy!


THE FATHER RESPONDS WITH A BIT OF SHOCK. NOT BEING ABLE TO UNDERSTAND HIS DAUGHTER'S DISOBEDIENCE AND HER CHILD-LIKE COMMITMENT TO A TOY.

Mako's Father:

I beg your pardon?


Mako:

He is not a toy. Totoro is real.


Mako's Father:

Really? Well, Mr. To-to-ru has to say good night.


THE FATHER TAKES THE TOY AND PLACES IT ON THE CHAIR IN FRONT OF HER BED.

Mako's Father (Cont.):

Remember you have to be asleep when he comes down the chimney.


Mako:

It's not even possible to fit down a chimney, father.


Mako's Father:

Oh, he has his ways.


Mako:

Then I will wait up. I want to watch him do it!


Mako's Father:

Nonsense.


Mako:

Okay, I want a story then.


Mako's Father:

No stories tonight.


Mako:

Just one. And then I'll go to bed right away. I promise.


SO HER FATHER TELLS A STORY ABOUT THE ORIGIN AND LEGEND OF THE KING KAIJU.




Mako's Father:

A special story for a special night for a special young girl. This is an old story. Perhaps one of the first stories ever told. It is said that at the dawn of time, man and beast lived together on the very same planet. But man had been created with a hole in his heart. A hole that no possession of power or knowledge could fill. In his infinite greed, man dreamt of expanding his dominion over the entire Earth.


THE CAMERA ZOOMS TO THE COLD, DARK, BLACK, DEARY NIGHT. OUTSIDE THE CHILD'S BEDROOM WINDOW AND FADES INTO A WORLD WHERE THE STORY IS ILLUSTRATED BY JAPANESE ANIMATION (OR 'ANIME'). IT IS SO VISUALLY CREATIVE THAT THE AUDIENCE IS LED TO BELIEVE THAT THE STORY AND THE REST OF THE MOVIE ITSELF IS EXCITING AND NEW...


Mako's Father (Cont.):

So it came to pass that a bitter war began. The blood of many beasts and monsters was spilt in that war with man. King Baron, the king and guardian of all creatures watched the slaughter with dread and despair. But one day, a dark shadow descended upon the King. "Who dares enter this chamber uninvited? Speak!" said the King. "My lord" said a sorcerer. People thought of him as a holy man but he was dangerous. Consumed by his hatred for King Baron and his reign, he sold his soul to destroy the throne forever. So he had offered to summon the King Kaiju. 10 times the size of an ordinary kaiju and that could not be stopped. His royal advisors begged him to agree. "You must. Our victory will be assured,” said his advisors. The King agreed and followed the advice. Not another life will be lost. "Summon me this King Kaiju,” the king said. So a magical spell was cast that would allow a portal to open and summon the King Kaiju. “Go! Go and fulfill your dark deeds against the King and his throne once and for all!” said the sorcerer. "I am King Baron, the master of the King Kaiju. Is there anyone who disputes my right to unleash this creature to defeat our enemy - man?" In his throne room no one challenged him nor uttered a word.


Mako:

But wait, what if someone challenges him? Would they have a fight?


Mako's Father:

Most likely, a challenge must be answered. But do you want to hear the end of the story or not?

Mako:

Yes, please.


Mako's Father (Cont.):

The world changed, and the next time the humans marched, they felt the earth tremble beneath their feet and saw the sky darken with a monstrous shape. The King Kaiju knew no bounds, had no remorse and felt no pity. Felt no loyalty or pain. It extinguished all life, not knowing the difference between man, woman, child and creatures. The victory was won and so a royal feast and party would be held. But King Baron's heart grew heavy with regret for his victory was gained at too high a price. So he decided to end this madness once and for all. He invited the sorcerer over to a dinner held in his honor. Not knowing that his dinner was poisoned and that the dinner guests consisted of the land's most ruthless killers, bounty hunters and assassins. He was poisoned, clubbed, stabbed, beaten, castrated and finally drowned in a river. Before he died, he uttered his last words: “You dare kill me? By the dark powers vested in me, I curse YOU. Mark my words; you and your reign will be dead within a fortnight. I will not rest until I see the end of the King and his throne forever!" His body was burned and the King Kaiju was now left powerless and master less. The creature was sent back to the portal from once it came. But from that moment on, the spark of the unhappiness among the land turned into a flame that would soon destroy the King and his throne forever. Thus King Baron was executed by his own people. Shortly after his death, a truce was called, man would keep to the cities and magical beings would own the forests and seas. This truce would be honored by their sons and the sons of their sons until the end of time. So the King Kaiju lay dormant, locked inside the portal. Waiting and there it is to this day, awaiting the day for the portal to open again and for a new master. Silent... still... and indestructible.




Mako: 

What does it mean ''indestructible''?


Mako's Father:

Indestructible... Means no one can destroy it. Now, time to say good night and go to sleep.


Mako:

Wow! Not even by you, father? 


Mako's Father:

Not even by me.

HE TUCKS HIS DAUGHTER INTO BED AND STARTS TO SING HER A LULLABY VERSION OF "ALWAYS WITH ME." SHE SLOWLY STARTS TO GET SLEEPY AND THUS CLOSES HER EYES.

Mako:

It is just a story, right father?


Mako's Father:

Is it now?


Mako:

It can't be real.


Mako's Father:

Well, my little girl. I am sure, that someday, you'll find out.


SHE ROLLS ONTO HER RIGHT AND SHE STARES AT THE WINDOW AND WHAT IS OUTSIDE AND WONDERS OF WHAT IS TO COME. CUT TO BLACK. A SHORT PAUSE. ROARING AND DESTRUCTIVE SOUNDS HEARD.


THE END?


Tuesday, 29 October 2013

Film Review: "Captain Phillips" (2013).




The poster’s tagline reads "Out here, survival is everything." This describes perfectly what Captain Phillips is all about. This action thriller is directed by Paul Greengrass. The film is a multi-layered examination of the true story of merchant mariner Captain Richard Phillips and the 2009 hijacking of the U.S.-flagged container ship Maersk Alabama in the Indian Ocean led by Abduwali Muse and his crew of Somali pirates. The first American cargo ship to be hijacked in two hundred years. The screenplay by Billy Ray is based upon the book, A Captain's Duty: Somali Pirates, Navy SEALs, and Dangerous Days at Sea (2010), by Richard Phillips with Stephan Talty.

On April 8th, 2009, the cargo ship Maersk Alabama, bound for Mombasa, Kenya, with 17,000 metric tons of freight on board, was attacked by a small group of Somali pirates using a Taiwanese fishing vessel, the Win Far 161, that they hijacked just two days earlier. Crewed by merchant marines, who despite their name were unarmed, and captained by a lifelong sailor named Richard Phillips, the Maersk Alabama attempted evasive manoeuvres, but not to avail. It was soon boarded by four corsairs, who seized the ship and Captain Phillips, and took him hostage. The rest of the crew shut down the ship's power, thwarting the invaders' plans to sail away with it, and managed to take one of the pirates hostage themselves. A tense stand-off followed; an exchange of prisoners went wrong, and the pirates escaped the ship into a lifeboat. They took Phillips with them, and a game of cat and mouse ensued. Only, instead of a cat, the US Navy deployed two warships. Eventually, on April 12th, after an ordeal lasting four days, Captain Phillips was rescued, and the Somalis were shot dead and its captain taken into custody for trial.

It is - through director Paul Greengrass's distinctive lens - simultaneously a pulse-pounding thriller, and a complex portrait of the myriad effects of globalization. The film focuses on the relationship between the Alabama's commanding officer, Captain Richard Phillips, and the Somali pirate captain, Muse. In the film, Phillips and Muse are set on an unstoppable collision course when Muse and his crew target Phillips' unarmed ship; in the ensuing standoff, 145 miles off the Somali coast, both men will find themselves at the mercy of forces beyond their control. The film stars Tom Hanks and Barkhad Abdi. Hanks gave the finest performance of his career as the title character, and Abdi gave an intense, chilling and brilliant debut performance as the Somali pirate captain, Abduwali Muse.

Potent and sobering, Captain Phillips is even more gut-wrenching because the outcome is already known. While difficult to watch, director Paul Greengrass' film has been made with skill and treats the subject matter with respect, never resorting to the aggrandizement of which Hollywood has sometimes been accused. Especially effective because of Hanks, who portrays the real-life captain of the doomed cargo ship who volunteers on behalf of his crew to be taken hostage with bravery to extraordinary circumstances. To conclude, it’s one of the most moving films of the year.

Simon says Captain Phillips receives:


Monday, 21 October 2013

Film Review: "Prisoners" (2013).




The tagline of the film reads "Every moment counts", and it most certainly does in Prisoners. This thriller is directed by Denis Villeneuve. The plot focuses on the abduction of Keller Dover's and Franklin Birch's two young girls in Pennsylvania and the resulting search to find them. Dover takes matters into his own hands as the police pursue multiple leads and the pressure mounts. But just how far will this desperate father go to protect his family?

The film stars Hugh Jackman, Jake Gyllenhaal, Viola Davis, Maria Bello, Terrence Howard, Melissa Leo, and Paul Dano. Jackman gave the best performance of his career, as he plays the father of one of the missing girls and does whatever it takes to find them. Gyllenhaal has never been better with his portrayal as Detective Loki. It was a truly compelling, subtly layered portrayal of a man tasked with the impossible and driven by the demons of his own past. Gyllenhaal has given a myriad of outstanding performances throughout his career. But his work in this film achieves a new level of complexity, as reflected in the rave reviews the film has received. Davis gave a great performance especially in the emotional and grieving moments in the film. Bello gave one of her finest performances as she plays the loving mother of one of the two girls who becomes emotional unstable and spirals into despair as the plot moves forward. Howard gave an emotional performance as he played a character that spoke on behalf of the audience as he questions Jackman's character on how far he is going. Leo gave another wonderful performance as the old aunt of the suspected victim with a secret to hide. Finally Dano gave a remarkable performance that was almost the equivalent to a classic Hitchcock character such as Norman Bates from Psycho (1960).

Haunting, suspenseful, and masterfully acted, Prisoners has an emotional complexity and a sense of dread that makes for absorbing and disturbing viewing worthy of a classic Hitchcock thriller would. Thanks to a strong performances from Hugh Jackman and Jake Gyllenhaal and smart direction from Denis Villeneuve, it hits the mark as a tense, uncommonly adventurous thriller. But what exactly is the movie saying about all this? It could be that torture is always morally culpable, that it never elicits anything of value – or it could be that it is dirty work that gets results. But, in the end, the film is unforgettably relentless in asking moviegoers if Keller has gone too far. And, by extension, asking us how far we would go. The scenes in this film are beautifully framed and Villeneuve gives a taut direction for every scene. To conclude, possibly, Villeneuve has done his best work yet here. A decent thriller that's ultimately saved by its stellar performances and absolutely enthralling last act. It's hugely entertaining and exceptionally involving. The result is a typically memorable Hitchcock thriller, with great dialogue, building tension, and innocent people forced to get themselves out of trouble on their own.

Simon says Prisoners receives


Tuesday, 15 October 2013

Film Review: "The Family" (2013).





"Some call it organized crime. Others call it family."
This is The Family. This crime comedy film directed by Luc Besson; adapted by Besson and Michael Caleo; based on the French novel Malavita by Tonino Benacquista. The film follows the Manzoni family, a notorious Mafia family, who are under the witness protection program and are relocated to Normandy, France and want to change their lives. But fitting in soon becomes challenging as their old habits die hard.

After its publication in 2004, the novel was optioned as one of the two films developed under EuropaCorp and Relativity Media's new deal. Benacquista did not want to be very involved in the development of the film. During writing, Besson and Caleo remained faithful to the book as possible. For casting, under Benacquista's request of casting American actors, Robert De Niro, Michelle Pfeiffer, Tommy Lee Jones, Dianna Agron, and John D'Leo were cast in the roles of Fred Blake/Giovanni Manzoni, Maggie Blake/Maggie Manzoni, Robert Stansfield, Belle Blake/Belle Manzoni and Warren Blake/Warren Manzoni respectively. Originally only credited as producer, it was only after the casting of De Niro and not being able to find a suitable director that Besson finally stepped up to helm the project. Principal photography began in August 2012 and was completed in October 2012. Filming took place in the locations of both Gacé and Le Sap in Normandy, and in New York City. Some of the filming also took place L'Aigle and at Cité du Cinéma in Saint-Denis.

The film stars Robert De Niro, Michelle Pfeiffer, Tommy Lee Jones, Dianna Agron, and John D'Leo. The cast gave rather weak performances to the point where their characters were no longer characters, but rather caricatures.

It's silly and it doesn't add anything to your life, besides giving us only a superficial view on the lead characters. On the other hand, The Family is entertaining enough. The script is funny, at times, like most of the scenes and dialogues. You'll have a good time watching a family getting into one trouble to the next. It is the kind of funny French film with some entertainment. A very silly but fun crime comedy film about a crime family trying to rebuild their lives when their past comes back to kick them in the ass. A fun ride. With some French cheese at times, but on the whole entertaining enough with a few laughs. The plot isn't intellectually challenging as much as it is somewhat flat. Besson has created a movie that is obvious one minute and impenetrable the next. However, it's not as funny as I thought it might be. The film's main crime is inducing some stupefying boredom with little payoff in the end. In the end, it's mildly entertaining, it takes a forgiving audience to overlook the rainbow of flaws and to convince themselves that they are having some fun watching the flick. The movie's hit-to-miss ratio is hardly Olympic caliber, but Besson deserves credit for chutzpah. Not the disaster most critics described it to be, but unlikely to restore Besson's luster.

Simon says The Family receives:



Tuesday, 8 October 2013

Film Review: "Gravity" (2013).




The tagline of the poster reads "Don’t let go”, which is exactly what this Summer’s epic Gravity is all about. This space drama/thriller film co-written, co-produced, and directed by Alfonso Cuarón. The film centers on a brilliant medical engineer, Dr. Ryan Stone, and a verteran astronaut, Matt Kowalsky, who work together to survive after an accident leaves them adrift in space on Stone's first and Kowalsky's last shuttle mission. Left completely alone - tethered to nothing but each other and spiraling out into the blackness of space.

Cuarón wrote the screenplay with his son Jonás and attempted to develop the project at Universal Studios, where Alfonso had co-written and directed Children of Men for Universal in 2006. The project was in development there for several years, but the studio placed it in turnaround. Warner Bros. acquired the project, which in February 2010, attracted the attention of Angelina Jolie, who had rejected a sequel to Wanted (2008). Later in the month, she passed on the project, partially because the studio did not want to pay her $20 million fee, which she had received for her latest two movies. She also passed on the project because she wanted to work on directing her Bosnian war film, In the Land of Blood and Honey (2011). In March, Robert Downey, Jr. entered talks to be cast in the male lead role. In mid-2010, multiple actresses including Marion Cotillard, Scarlett Johansson, Blake Lively and Natalie Portman tested for the female lead role. Finally Warner Bros. then approached Sandra Bullock for the role. In November 2010, Downey left the project. In the following December, with Bullock signed for the co-lead role, George Clooney replaced Downey. A big challenge for the team was the question of how to shoot long takes in a zero g enviornment. So the film had languished in development hell for four years, because the film's ambition - in terms of the cinematography, visual effects, and realistic "story atmosphere" of outer space - proved to be too challenging and Cuarón had to wait for the technology to be far more advanced and progressed to meet his vision; that was finally realized in 2009 with James Cameron's Avatar (2009). Eventually the team decided on using CGI for the space walk scenes and automotive robots for the interior space station scenes to move Bullock's character around. This meant that shots and blocking had to be planned well in advance in order for the robots to be programmed.

Cuarón, cinematographer Emmanuel Lubezki, and visual effects supervisor Tim Webber decided that they couldn't make Gravity as they wanted to by simply using traditional methods. So the film was filmed digitally. Principal photography on the film began in late May 2011. Live elements were shot at Pinewood and Shepperton Studios in the United Kingdom,with the visual effects supervised by Tim Webber at Framestore in London. The 3D was designed and supervised by Chris Parks. The majority of the 3D was created through stereo rendering the CG at Framestore with the rest post converted, principally at Prime Focus, London with additional conversion work by Framestore. Prime Focus's supervisor was Richard Baker. Filming began in London in May 2011. The film contains about 200 or so cutaways, which is significantly less than most films of this length. Most of Bullock's shots were shot with her inside of a giant mechanical rig. Getting inside said rig took a significant amount of time so the actress opted to stay in it for up to 9 to 10 hours day, communicating with others only through a headset. The setup was the basis of what Cuaron would describe as his biggest challenge, which was how to make the set feel inviting and non-claustrophobic as possible. The team attempted to do this by having a massive celebration when Bullock would arrive on set each day. They also nicknamed the rig "Sandy's cage" and gave it a lighted sign that reflected this.

The film stars Sandra Bullock and George Clooney as surviving astronauts from a damaged Space Shuttle. The performances were phenomenal and riveting. Bullock did an outstanding work in the film and it was a stunning and emotionally layered performance that shows once again why she is one of Hollywood’s most respected and popular actresses. Bullock spent six months in physical training to prepare for shooting while reviewing the script with Cuarón in meticulous detail. Cuarón said, "More than anything else, we were just talking about the thematic element of the film, the possibility of rebirth after adversity." They worked out how she would perform each scene, and her notes were included the pre-vis animation and programming for the robots. Their conversations covered every detail of the script and Bullock's character. "She was involved so closely in every single decision throughout the whole thing," Cuarón said. "And it was a good thing, because once we started prepping for the shoot, it was almost more like a dance routine, where it was one-two-three left, left, four-five-six then on the right. She was amazing about the blocking and the rehearsal of that. So when we were shooting, everything was just about truthfulness and emotion." James Cameron, best friend of Cuarón and a huge fan of the film, said Bullock's work is more impressive than the technology that supported it. "She's the one that had to take on this unbelievable challenge to perform it. (It was) probably no less demanding than a Cirque du Soleil performer, from what I can see." And of the result, he said, "There's an art to that, to creating moments that seem spontaneous but are very highly rehearsed and choreographed. Not too many people can do it. ... I think it's really important for people in Hollywood to understand what was accomplished here."

Gravity is arguably one of the most dramatic and horrendous spaceflight stories ever told. Cuarón lays off the manipulation to tell the hyper-real story of a shuttle mission going wrong in painstaking and lively detail. It’s absolutely thrilling the way that it unfolds with perfect immediacy, drawing viewers into the nail-biting suspense of a spellbinding story. To conclude, it’s a powerful story, one of the year's best films, told with great clarity and remarkable technical detail, and superbly acted with raw emotion and realism. It's easily Cuarón's best film.

Simon says Gravity receives: