Ocean’s 8

Rated: M

Directed by: Gary RossOcean's 8

Story by: Gary Ross

Screenplay by: Olivia Milch, Gary Ross

Produced by: Steven Soderbergh and Susan Ekins

Executive Producers: Michael Tadross, Diana Alvarez, Jesse Ehrman and Bruce Berman

Starring: Sandra Bullock, Cate Blanchett, Anne Hathaway, Mindy Kaling, Sarah Paulson, Awkwafina, Rihanna and Helena Bonham Carte with James Corden and Richard Armitage.

 

Girls chewing gum and six pounds of diamonds doesn’t always create sparkle.

Described as on offshoot to the Ocean’s series: 11, 12, 13 (directed by Steven Soderbergh), director and screenplay co-writer Gary Ross has created Ocean’s 8: the female version with connection through Danny Ocean’s (George Clooney) sister, Debbie (Sandra Bullock), who’s coming to the end of her jail sentence.

Time well-spent as she’s planned a homecoming of stolen bling and revenge.

I missed the whole Ocean’s franchise, so in preparation, I watched the three with low expectation.  Thinking the films an excuse for all-star self-congratulation.

The first, Ocean’s 11 (2001) was good, funny. And aside for the flip phones the film has dated well; the humour a surprise. The second, Ocean’s 12 (2004) was clever and the third, Ocean’s 13 (2007) was smart and yeah, funny.  I even woke up in a good mood expecting more of the same with Ocean’s 8.

But with all the previous expectation, I was left feeling flat, the humour contrived, the characters, bland.  Which is surprising with such an outstanding cast.

Sandra Bullock as Debbie the sister was cool, but a little too cool, wilting beside the sparkle of Cate Blanchett as ex-partner in crime, now night club owner, Lou.

And there were holes like a lack of motivation for the other six characters to get involved in the heist – I felt lonely so I did it?!

And who’s the Fence again?  Tammy (Sarah Paulson)?  Who does Tammy fence to?

How does Nine Ball (Rihanna) hack into The Met’s system?

Amita (Mindy Kaling): Because you don’t have your mother watching?

The Irish clothing designer, Rose (Helena Bonham Carter) in debt to the IRA?  Well, OK, that makes sense.

And don’t forget skateboarder, Constance (Awkwafina)…

Ocean's 8

Instead of clever, we get Nine Ball painting her toe-nails mid-heist.

Anne Hathaway as Daphne Kluger AKA the damsel, smarter-than-she-looks, celebrity showed some personality; but really, the clever was shallow because there wasn’t enough to make the heist difficult.

Which is crazy to say because the whole movie’s about stealing $150 million in diamonds in the form of the Toussaint necklace created by Cartier.  A masterpiece kept in a vault underground.

To steal the piece, the necklace needs to be taken from the vault, the opportunity created by convincing Cartier to loan the Toussaint to Kluger to wear to the extravagant Costume Institute Benefit at The Met.

Debbie has spent five years, eight months and 12 days planning this heist, but like Lou watering down the vodka in her night club, the story felt weak.

I’m not saying Ocean’s 8 is a bad movie; there were some fun moments and times of clarity like Lou asking Debbie, ‘He told you the truth?

‘The only way to con a con.’

But a film that relies heavily on dialogue needs a little more depth.

Why do people do anything?  Revenge, yes, and money – but what I felt was boredom; like the motivation of most of the characters.  Maybe I should go steal something.

My Friend Dahmer

Rated: MMy Friend Dahmer

Written & Directed by: Marc Meyers

Based on the book ‘My Friend Dahmer’ by: Derf Backderf

Produced by: Jody Girgenti, p.g.a., Marc Meyers, p.g.a., Adam Goldworm, p.g.a., Michael Merlob, Milan Chakraborty

Starring: Ross Lynch, Anne Heche, Dallas Roberts, Alex Wolff, Tommy Nelson, Vincent Kartheiser, Harrison Holzer and Miles Robbins.

 

Based on the true story of serial killer, Jeffrey Dahmer, My Friend Dahmer is a tense and creepy examination of Dahmer’s life before he became a murderer.

Reminiscent of the tone used in J. D. Salinger’s, ‘The Catcher in the Rye’ there’s a constant tension with signs of Dahmer’s compulsions apparent in his obsession of collecting road-kill to then soak in acid to collect the bones: external behaviour symptomatic of his increasingly disturbed mind.

Based on Derf Backderf’s critically acclaimed 2012 graphic novel, Derf writes from personal experience after attending high school with Dahmer.  Before finding out about Dahmer’s confession, Derf (his character in the movie played by Alex Wolff) considered his high school experience to be like everyone else’s.

Film writer and director, Marc Meyers asks, ‘What are those forces in one’s life that sculpt and define us? How do we become who we become? Why does one teenager find promise and his friend, meanwhile, enters adulthood broken?’

This isn’t a violent or gory film, but a character study of suspense.

Following Dahmer (Ross Lynch) through senior-high, pre-1978, the audience is shown the typical teen struggles as the isolated, unusual Dahmer is adopted by a group of boys who find his antics hilarious.

Surrounded by girls ‘aggressively’ out of their league, team-Dahmer create a high-school legend as Dahmer throws epileptic-type fits in class, in the hallway; random moments that disturb and amuse. And the antics of making Dahmer their mascot is genuinely funny, in an adolescent kind of way.

That’s what’s so unsettling about the film: the ordinary nature of kids in school being typical.

Everyone grew up with a kid like Dahmer.  But what was it that turned a kid-made-famous in school by chucking fits for attention, all for the entertainment of his new mates, into a serial killer, ultimately confessing to the murder of seventeen men and boys?

Meyer’s focusses on the characters, allowing the story to speak without flash, without overt violence like blurring the image of a gutted dog, the impression enough to evoke the heart-rending response.

This isn’t a true-crime investigation with detectives and interviews, instead, the depths of Dahmer are explored showing his struggle to connect, showing there’s wit and humour buried beneath the cold exterior.

You can see the tipping of his compulsions versus his want to be with friends changing depending on the difficulties he faces at home with his mother’s mental illness (outstanding performance of Joyce Dahmer by Anne Heche) and his parents divorcing.

His father, Lionel Dahmer (Dallas Roberts) tries to understand the bizarre behaviour of his kid, to make the effort to encourage change like buying Dahmer a set of weights to get him out of the road-kill death hut and to maybe meet a girl.

And you can see Dahmer trying yet failing to fight against his needs.

This kid is twisted and it’s difficult yet fascinating to watch.

There’s a curiousity out there, to watch the makings of a serial killer.  But this isn’t one of those sensationalised dramatic thrills.

My Friend Dahmer is more of a quiet observation made all the more disturbing through a setting of the ordinary.

 

 

Gringo

Rated: MA15+GRINGO

Directed by: Nash Edgerton

Written by: Anthony Tambakis

Produced by: Rebecca Yeldham

Director of Photography: Edu Grau

Starring: David Oyelowo, Charlize Theron, Joel Edgerton, Thandie Newton, Yul Vazquez, Sharlto Copley, Amanda Seyfried.  

 Filmed on location in Mexico City, Veracruz, Tulum, Chicago and Los Angeles.

The Edgerton Brothers have reunited to make a film about the majesty that is people’s comeuppance.

Harold (David Oyelowo) works for his mate from university, Richard (Joel Edgerton), at a company that uses a formula to create marijuana in tablet form, Cannabax: manufactured in Mexico (while waiting on those not-quite-legal laws to turn in favour); the American firm residing in Chicago.

Harold’s a nice guy; he has that ‘underdog thing’ going for him. 

His mate Richard and partner in business (and sometimes pleasure), Elaine (Charlize Theron) – not so much.

So, when Harold’s sent to Mexico, this time joined by the two dubious partners, they don’t think twice about leaving Sanchez (Hernán Mendoza) the manager of the Mexican lab, to deal with the train of destruction when they decide they don’t need to sell product to The Black Panther cartel anymore.  And when Harold gets knocked off his rails in their wake, instead of paying a 5 million ransom for his release, Richard sends his mercenary-turned-humanitarian brother Mitch (Sharlto Copleyit) to extract him from a situation involving kidnapping, torture and the dreaded question of which is the Beatles best album.

Classic Edgerton, characters are thrown into life or death situations, some their own doing, others thrown under the bus because everyone’s expendable, particularly the nice one’s who, ‘never grew a pair’.

It’s hard not to have high expectations after the previous collaboration of the Edgerton Brothers to create award winning, The Square (2008).  

Nash Edgerton also edited and produced a recommendation of mine, The Magician (2005) – a edgy and dark humoured mockumentary about an ex-army contract killer filmed in Melbourne, see, Nat’s ‘If you haven’t watched you’re in for a treat’ list.

Here, the usual Edgerton authenticity is given way to create a classier film, although, I wouldn’t call Charlize Theron’s character, Elaine classy with details like her red lipstick always left on the rim of a glass; her cut-throat business acumen where anything can be done to get the right decision doesn’t equal classy, but she sure is smooth.

And seeing Joel Edgerton as an equally smooth talking genuine A. hole was a point of difference to his previous roles: usually the muscle, sometimes with heart but always down-to-earth.

It’s the adorable Nigerian, Harold, lost in Mexico that keeps the movie pulling along (with some added funny moments), and it does feel like pulling to get all the characters in place, like the rock guitarist drug mule Miles (Harry Treadaway) and his aptly named girlfriend, Sunny (Amanda Seyfried); and Harold’s wife, Bonnie (Thandie Newton) chewing through money while cheating… 

Gringo does get there, eventually.

To get the satisfaction of seeing the end result, time is needed to dig through the layers of character giving a different feel to the usual action thriller. 

But like Harold, the story rises making Gringo a worthwhile journey.

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Tully

Rated: MTully

Directed by:  Jason Reitman

Produced by: Jason Blumenfeld, Jason Cloth, Diablo Cody

Written by: Diablo Cody

Starring:  Charlize Theron, Mackenzie Davis, Ron Livingston.

When I first watched the trailer for Tully, I was horrified. True story. My first impression being that I was headed for a film dealing with all that’s wrong with childbearing. My suspicion was that with such a beginning, there was only one way it could end. An ode to motherhood.

Now, here is the thing. Of all people this film could have been assigned to, I was the less qualified for the job for I am childless and proud to be so. But if there is something I enjoy more than a challenge is to be proven wrong.

Tully is much more than a mother’s journey to cope with the unexpected. It is an ode, yes, but to the individuals lying within and how society looks down upon them in the face of struggle. Brave, spirited women risking their bodies, their careers, their whole lives to bear the next generation. Unrecognised, underrated, unknown.

This film reunites director Jason Reitman, writer Diablo Cody and star Charlize Theron, all of whom previously collaborated on Young Adult (2011), and has been referred to as Juno’s sequel. Probably because both these films portray pregnancy with a realistic yet magical insight.

Tully has been subject to some controversy surrounding its depiction of postnatal (or postpartum) depression and other mental illness. Those that take issue with the portrayal of these subjects do so because the conditions are never specifically named and because they feel that there isn’t enough treatment shown on-screen. Those that champion the film feel that it is more accurate for not naming the condition, since postnatal (or postpartum) depression is severely under-diagnosed, and that the film actually does a service by causing debate about these under-discussed topics.

Charlize Theron gained 50 pounds for the role. She adhered to an excessive diet of junk food, processed foods, In n Out Burger, and milkshakes. Theron would eat macaroni and cheese at 2 a.m. to help keep on the weight. Theron said that her youngest child had mistaken her for being pregnant, given the extensive weight gain, and that it took a year and a half for her to be able to shed the weight.

For me, the moral of the story is that I was dead-wrong. If there is something I learnt watching Tully is that motherhood is not a blessing nor a curse. It is an adventure of the self between who we are and who we could become. If we dare.

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Midnight Oil 1984

Rated: MMidnight Oil 1984

Writer, Director:  Ray Argall

Producers:  Rachel Argall, Ray Argall

Starring :  Peter Garrett, Rob Hirst, Jim Moginie, Andrew James, Martin Rotsey, and Peter Gifford.

 

In 1984 as Australia faced the turmoil and uncertainty of political conflicts, systemic poverty, mega powers flexing their nuclear muscle, and the home-grown unwashable stain of a nation’s refusal to acknowledge the legacy of racism towards its indigenous culture – Midnight Oil embarked on a national tour of their album Red Sails in the Sunset and unified a nationwide voice of protest with their music.

Ray Argall’s documentary, Midnight Oil 1984 gives candid unseen angles and film footage of Midnight Oil at the height of galvanising social change through their music that hit the top of Australian and International music charts. Argall’s lens muscles into the action of sardine packed audiences – the audiences packed because of entrepreneurial self-promotion – in sweaty pub venues with no air conditioning and walls and ceilings dripping with honey thick sweat.

Argyll’s lens dips into the wide mouthed stares of audiences, witnessing social change at the windmill circling arms of a 6’4 gyrating maniac lead singer, as he unifies them together in songs of protest.

I too stood like a stunned possum in headlights the first time I saw Peter Garrett live in the 80’s with Midnight Oil, at New Zealand’s, Sweetwater’s Music Festival – where they played alongside UB40, Psychedelic Furs, Toots and the Maytals and others – I too gaped, at what I thought was a gyrating maniac.

He looked like someone had rented his body for the weekend, an alien perhaps or a rogue angel on a vacay down under in New Zealand, an alien or angel, who in their haste to jump in the body, had lost the manual and now had no clue how to steer the 6’4 convulsing kinetic frame that was Midnight Oil’s charismatic and out-of-this-world, lead singer, Peter Garrett.

Director Ray Argall’s, Midnight Oil 1984, delivers up a powerful moving snapshot, of a time when one of Australia’s greatest rock bands, collided with Australian politics and delivered the voice of the common people to a world stage.

Intimate backstage scenes permissible through Argyll’s lens reveal a very unrock and roll off stage lifestyle – hot tea beverages are sipped between sets, yogic stretching by Garrett on the floor of a minimalist and functional dressing room – not a band rider in site; kilometer-upon-kilometer-long jogging tracks for Drummer Rob Hirst, as he gets body ready for his marathon on stage drumming performances. His drum kit nailed to the floor at every performance.

The band’s reputation was built on intense live performances, where they leapt on to stage and tore the places apart with their energy and the political rage of their lyrics.

Newspaper archives and recent band member interviews offer welcome backstory and give insights to the meteoric and controversial ascension of Peter Garrett into the political arena.

The legacy of Midnight Oil with their fight songs, social conscience and their unique stage presence chiseled the landscape of Australian rock history and changed a nation with what they bought to the stage.

Enigmatic and indefinable, for me Garrett vibrates with the stage presence of a rogue angel, and once seen he changes you for having looked and stared. Fellow band member, Drummer Rob Hirst, and Garrett’s friend of 45-years agrees, that whatever it is that Garrett does on stage, it cannot be called dancing, but whatever it is, it works.

Outside In

Directed by:  Lynn SheltonOutside In

Produced by: Duplass Brothers (Jay and Mark)

Written By: Jay Duplass, Lynn Shelton

Starring: Edie Falco, Jay Duplass and Kaitlyn Dever.

Jay Duplass and Lynn Shelton have created a story that goes straight to the heart and soul.

Outside In is a film about human flaws and how mistakes from the past affect our future.

After twenty years behind bars, Chris (Jay Duplass) attempts to readjust to small town life. But nothing is what it used to be. Life has moved on and we follow his struggle as he tries to catch up and find his place.

Carol (Edie Falco) is Chris’ beacon of light. Someone he desperately holds onto in a strange world he no longer recognises.

Chris’ advances on Carol transform their need for human connection into something deeper. Their relationship becoming their raison d’être.

The melancholic scenery of Granite Falls and the adverse elements, rain and fog, throughout the film set the mood of the story.

A particular scene left a lingering impression on me, when Chris finds his collection of cassettes and VHS videos in the garage. For I didn’t see the meaningless objects he left behind but a heartbreaking analogy. That of a man unable to fit in our ever-connected yet dehumanised world.

Lynn Shelton is a director and actress, known for Humpday (2009), Laggies (2014) and Your Sister’s Sister (2011).

Jay Duplass (along with his brother, Mark Duplass) first made a name for himself writing and directing several award-winning short films. His first feature film was the Sundance 2005 breakout hit “The Puffy Chair,” which went on to win the Audience Award at SXSW and receive two Independent Spirit Award nominations.

Mark Duplass is an actor and producer, known for, Safety Not Guaranteed (2012), Creep (2014) and, The One I Love (2014).

Fresh, clean and uncomplicated. Outside In made to the Official Selection of the Toronto International Festival in 2017 and won the Vision Award at the Sun Valley Film Festival in 2018. Other nominations include the Game Changer Award at SXSW Festival and the Dragon Award at Goteborg Festival.

Outside In is part of the Contemporary Selection of the American Essentials Film Festival among other interesting independent films such as Kodachrome and Pet Names.

Most of the titles are Australian premieres drawn from Toronto, Sundance, Rotterdam and SXSW, some of the most prestigious independent film festivals.

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Avengers: Infinity War

Rated: MAvengers: Infinity War

Directed by: Anthony Russo, Joe Russo

Based on the Marvel comics by: Stan Lee, Jack Kirby, Jim Starlin, George Perez, Ron Lim, Steve Ditko, Joe Simon

Screenplay by: Christopher Markus, Stephen McFeely (with input from James Gunn)

Produced by: Kevin Feige, Mitchell Bell, Ari Costa

Executive Producers: Victoria Alonso, Louis D’Esposito, Jon Favreau, James Gunn, Stan Lee, Trinh Tran

Starring: Robert Downey Jnr, Chris Pratt, Chris Evans, Chris Hemsworth, Zoe Saldana, Tom Hiddleston, Benedict Cumberbatch, Chadwick Boseman, Paul Bettany, Elizabeth Olsen, Mark Ruffalo, Karen Gillan, Tom Holland, Josh Brolin, Scarlett Johansson.

Emerging a shaky shadow of my former self after watching the last tantalising scene following the credits for Avengers: Infinity War, I was reminded of some dialogue in one of my favourite films, The Princess Bride. The grandfather has been reading a book to his sick grandson who asks, “Who kills Prince Humperdinck? At the end. Somebody’s got to do it.” The grandfather replies, “Nobody. Nobody kills him. He lives.” The grandson replies, “You mean he wins? What did you read me this thing for?”

And that is exactly how I felt after seeing Avengers: Infinity War. Obviously I don’t want to spoil this film for other fans who have invested the last ten years of their lives building a sense of rapport and family around these Marvel characters across an 18-film arc, but to say I left the cinema feeling the opposite of uplifted isn’t giving too much away (hopefully). At least I wasn’t sobbing into my popcorn like some others in the packed audience.

The film opens fairly much straight after the last scene of Thor: Ragnarok, and from there the action and unfolding plot never let up. It’s safe to reveal that the main focus of the film is centred on the galactic overlord Thanos, who is after all six Infinity stones, whose combined power would allow him to unleash his insane plan across the known universe. Of course some of these stones are currently in the possession of a few of the Avengers, whose lives are imperilled as a result.

The Avengers try to prevent Thanos’ audacious plan from being realised, as we jump across continents on Earth and around far-flung locations scattered throughout the cosmos, re-meeting those heroes we have come to identify as our friends, the people in whom we have invested so much of our emotional energy. I’ve seen all 18 movies in this Marvel cinematic universe at one time or another but don’t consider myself an expert, but I found the plot reasonably easy to follow, and from the bits of exposition anyone not overly familiar with Marvel’s films should still be able to follow the main story line.

The film is awesome in the sense of being a major cinematic event, full of light, action, a majestic score, and breathtaking, incredible special effects, as well as a clever screenplay that ensures the characters get to interact with others, have a moment to shine, and plan their line of defence. The pace seldom lets up while the rare quiet moments between characters are welcome and genuinely heartfelt, their willingness to possibly sacrifice themselves for others is nobly heroic, while the snippets of humorous dialogue lighten the sense of impending gloom.

Even the CGI Thanos (played by Josh Brolin) is convincingly lifelike, unlike that Steppenwolf guy from the Justice League movie, so he’s not your typical 2D evil villain dude. The fact that I could even understand if not condone the rationale for Thanos’ actions speaks volumes for how well his character was developed and portrayed.

One critic thought the film was “funny”, but perhaps they were referring to some of the much-needed humorous exchanges, especially involving the Guardians of the Galaxy crew (whose dialogue was provided by GOTG director James Gunn), since this film overall was not funny in tone, but rather increasingly WTF? and emotionally devastating. If ever a film needed a part 2, this is it, so I hope Infinity War Part 2 is being made right now, otherwise “I will be seriously put out”, to quote Prince Humperdinck.

Gurrumul

Rated: PGGurrumul

Written and Directed by: Paul Damien Williams

Produced by: Shannon Swan

Co-producers: Geoffrey Gurrumul Yunupingu, Mark T Grose, Michael Hohnen

Score by: Michael Hohnen, Geoffrey Gurrumul Yunupingu, Erkki Veltheim

Indigenous Liaisons: Susan Dhangal Gurruwiwi, Johnathon Yunupingu, Geoffrey Gurrumul Yunupingu

Interviewees: Susan Dhangal Gurruwiwi, Michael Hohnen, Mark T Grose, Daisy Yunupingu (dec), Djuŋa Djuŋa Yunupingu, Terry Nyambi Yunupingu (dec), Erkki Veltheim, Geoffrey Gurrumul Yunupingu.

On the 25th of July 2017, Geoffrey Gurrumul Yunupingu passed away, aged 46.

In Yolngu lore the name, image and voice of the recently departed is retired from all public use.  A very rare exception has been made by Gumatj and Gälpu clan leaders for this film.

Three days before his death, Geoffrey Gurrumul Yunupingu approved this film. It remains unchanged since this time.

All I could feel watching the life of Gurrumul was thankfulness.  To have a door opened into his world was an experience full of wonder; like a light was shone on a culture unseen or misunderstood.

Gurrumul is more than a documentary about music or a musician – the film gives insight into the Yolugu culture.

Growing up in the Galiwin’ku community on Elcho Island off the coast of Arnhem Land, Gurrumul became the highest selling Indigenous artist in history.  Gurrumul is a documentary about his rise to fame and how the meek was able to travel and reach out with his music to touch people around the world.

Gurrumul was born blind.  Living in a community filled with music and ceremony, Gurrumul embraced singing and the guitar (beautifully played even though held up-side-down), because it made him happy.

His family felt bad for him because they thought he could never travel far from home.  But never underestimate.

With the help of Michael Hohnen and Mark Grose and their record label, Skinnyfish Music, Gurrumul became a household name.  But it was more than the music that held Michael and Gurrumul together, they became close friends – they became brothers.

It was hard going for Skinnyfish Music, dealing with an artist who refused to speak, where English was his fourth language.  It wasn’t about the fame or the money – it was about keeping the stories of his life alive.  There had to be something to resonate, to have meaning, otherwise – what’s the point?

It’s so refreshing to see someone who values the land, the animals in it; family and keeping the knowledge of the world and why we’re in it, alive.

Gurrumul’s aunty speaks about death, about life – where does it start?  Where does it end?

Watching Michael try to explain to the media in interviews what the saltwater crocodile means to Gurrumul – that it isn’t an animal to represent his people – that he is the saltwater crocodile, was amusing and fascinating.

It’s such a gentle unfolding I didn’t realise how strong the rising of emotion in response to the purity of his voice, the calling in the telling of his story in song.  Even in a different language I could still feel the meaning.  I’m getting teary writing about it.  Not from sadness but the exposure to such honesty of feeling.

There’s a brilliance in showing Gurrumul within a world so different to his own: being away from family, not speaking about himself – always Michael speaking on his behalf – because the Indigenous don’t speak about ‘l’, it’s always, ‘we’.  So, to leave on his own to go solo was a huge step.  But his to take; his life to share.

To have the opportunity to experience the world of Gurrumul, to be allowed into his community; into the life of such a private man from such a secluded community was to have my eyes opened (including that saltwater croc second eyelid!).

And the warmth of Michael and the team who put the documentary together have shared of piece of themselves for others to also see and enjoy.

A truly rewarding experience.

Sherlock Gnomes

Rated: GSherlock Gnomes

Directed by: John Stevenson

Screenplay by: Ben Zazove

Produced by: David Furnish, Steve Hamilton Shaw, Carolyn Soper

Executive Producer: Elton John

Voices provided by: Emily Blunt (Juliet), Johnny Depp (Sherlock Gnomes), James McAvoy (Gnomeo), Michael Caine (Lord Redbrick), Chiwetel Ejiofor (Dr Watson), Maggie Smith (Lady Blueberry).

 

With a vocal cast of A-grade actors most other films can only dream about, those entertaining garden gnomes are back in a sequel to the 2011 animated comedy Gnomeo and Juliet, which borrowed freely from Shakespeare’s Romeo and Juliet.

 

Sherlock Gnomes, the 3D computer-animated comedy sequel, you guessed it, uses a lot of the ideas and characters from Sir Arthur Conan Doyle’s classic crime sleuth Sherlock Holmes, along with his partner Dr Watson and nemesis Professor Moriarty, to investigate the mysterious disappearance of garden gnomes.

 

Since the first film the gnomes have been forced to relocate to a new garden in London, where Juliet is so focused on getting everything sorted out or tidied that she has little time for Gnomeo, who tries to keep the romance alive in their relationship.

 

This situation helps to emphasise the importance of not taking what you have for granted, with Gnomeo and Juliet’s relationship subtly mirroring that of Sherlock and Watson, although the latter relationship is not romantic but more a partnership based on friendship and intellect. It takes a major threat to make Sherlock appreciate Watson’s equal contribution to their crime-solving escapades.

 

Adults accompanying their children don’t miss out entirely on being entertained, as there are plenty of references throughout the film to classic Sherlock Holmes stories and characters, not that the mostly young audience will be aware of this!

 

While this film has a fairly straight forward plot, what distinguishes it from other animated fare is the way it doesn’t dumb down the clues, which are quite complicated for Sherlock Holmes to figure out, ensuring audiences are kept engaged and guessing throughout its entirety.

 

Children will be entertained by the colourful and varied inanimate objects that come to life, and how they interact with each other. The backgrounds are beautifully realised and the animation of the characters is suitably cartoonish as one would expect. The film is quite fast-paced and seems to cram a lot of action, plot and subsidiary characters into its running time, so at least it doesn’t drag.

 

The catchy soundtrack music is provided by Sir Elton John, the executive producer, who also sings some of the songs, along with other artists who do cover versions from some of his extensive catalogue.

 

I haven’t seen the first film, but I gathered from my young companion’s comments that unlike Gnomeo and Juliet, which was apparently light and fun with some nice puns and an entertaining supporting cast, Sherlock Gnomes is darker, with less use of the supporting cast from the previous film and more focus on solving the crime, fixing mistakes and renewing relationships that are endangered. Younger viewers may find some of the scenes slightly scary, such as those involving the gargoyles (which look large and menacing but whose personalities balance out their appearance) or Moriarty’s penchant for destroying garden ornaments (although this is never done on screen).

 

While this film is obviously aimed at a young audience, the presence of such skilled vocal talent, along with lots of sly references to Sherlock Holmes, will hopefully ensure that adults will be entertained as well and not feel punished by having to sit through this animated offering.

 

Truth Or Dare

Rated: MTruth Or Dare

Directed by: Jeff Wadlow

Screenplay by: Michael Reisz and Jillian Jacobs & Chris Roach & Jeff Wadlow

Story by: Michael Reisz

Produced by: Jason Blum

Starring: Lucy Hale, Tyler Posey, Violett Beane, Sam Lerner, Hayden Szeto, Landon Liboiron, Sophia Taylor Ali, Nolan Gerard.

Like the college students who thought it was a good idea to go to Mexico, party-on and pick up a stranger (Carter (Landon Liboiron)), to follow said stranger out to the middle of nowhere to an abandoned convent to play, Truth or Dare – I’m sure the premise of making a movie based on a deadly version of Truth or Dare seemed like a good idea.

But the story just did not hold up.

There was some shocking horror in the film – as one-by-one the group of friends who seemed like they’d be friends-for-eva were forced to play the game, or die: coupled-up Penelope (Sophia Taylor Ali) and Funk (Nolan Gerard) the beauty and the doctor (AKA the alcoholic and the drug dealer), Ronnie (Sam Lerner) the duffus who was the only genuinely funny one out of the them all; super cute lover-boy, Lucas (Tyler Posey) and girlfriend Markie (Violett Beane) forming a love triangle with best buddy and main character, Olivia (Lucy Hale), destined to be the beard of gay buddy Brad (Hayden Szeto): it’s a classic teen formula of kids on vacation that goes horrifically wrong; I hate to say it, reminding me of the Final Destination franchise.  The bad late ones.

The idea of a trickster demon, Callux, possessing the players making them play either Truth or Dare and digging under the belly to secrets and hidden humiliations of the kids should have been interesting, but I lost interest because the characters seemed soft: the lead-up to each character forced to take their turn weak because the dialogue didn’t stand up so the actions weren’t believable.

With new horror films pushing the boundaries of the genre, Truth Or Dare felt like a repeat of what’s been done before, even a backward step because previous releases like Scream or Final Destination felt fresh.

Sure, the idea of Truth or Dare was new, but there was too much going on to make the most of the idea – and the many complications of the many relationships felt superficial ‘til in the end, it was hard to believe any of it:

‘You’re such an idiot.’

‘What can I say, you do that to me.’

It was a push to get to the end.  And watching, you could feel the drifting.

Cut the whole story in half, spending more time on half the characters would have made a better film as there was good material and good ideas but truthfully, in the end, you couldn’t dare me to believe – wow, see how bad?!

I would have thought killing off annoying college students would have been more fun – it wasn’t.

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