Review: Battleship

Rating: 12a

Duration: 131 mins

Much like Michael Bay, Peter Berg bastardises the Hasbro name for both filmic and monetary purposes, albeit to a lesser extent with his latest big budgeted film, Battleship. It may be early on in the year for said blockbuster types, but at around $200m someone must have been extremely confident that this would appeal to the masses, or simply didn't care once it had been green-lit.

So far, Battleship appears to have done its job; having strolled to the top of the UK box office with ease. However, the way one approaches this film can bare relevance, especially surrounding the 'willingness' factor.

What Berg dishes up is a cheesy, action packed and utterly brainless maritime romp, with the likes of Liam Neeson,  RiRi and John Carter (that's provocative pop princess Rihanna and Taylor Kitsch to you and I) to take us on an epically silly journey.

Whereas the likes of Robocop and Starship Troopers were presented with a whiff of satirical mockery, you'd be seriously tested whether Battleship in fact does the same. Indeed, if this is meant to be a tongue-in-cheek take on the sci-fi genre, then this oceanic farce really hits the spot: the goofy lines and character actions are, at times, hilarious as viewing it as self parody will generate a lot of laughter throughout.

However, the other (and probable) perception is that this is a genuine attempt to make a serious film, which is a somewhat disturbing notion indeed. Surely an entire cast and crew can't make such a laughably daft movie and not see right through its paper-thin nothingness, or can they?

There's a very basic plot in that a fleet of ships, headed by Admiral Shane (Liam Neeson), are out conducting naval training exercises when a series of objects fall from space and crash into the ocean. Navy wild man Alex (Kitsch), is heavily involved alongside Raikes (Rihanna) in taking down whatever hostilities come their way. Suffice to say that shit hits the fan once they boisterously begin to poke around.

RiRi screams constantly when holding a massive weapon

Using the term 'heavily involved' for these two characters is no understatement, either. Alex and Raikes are not only overtly placed as the film's heroes, but astonishingly they can do pretty much anything that needs to be done: from operating everything aboard the entire ship, to their impeccable hand-to-hand combat, to precise weapons training, to superior intelligence (debatable); the pair put past all-action champions like Arnie and Van Damme to utter shame. Again, this makes for some entertaining viewing as we see there's literally nothing these characters cannot do (besides act).

Another fantastic addition is the use of product placement. These completely random shots that separate some action sequences are priceless. Take for example a scene of destruction: we cut to a shot of a young girl holding a drink from Subway towards the camera, before we simply cut back to the action. Brilliant stuff.

Mr. Kitsch showing off the ship's additional gun

Regardless how you read Battleship, one thing is for sure: it's a bad film. But look beyond this and will yourself to believe it is meant to be like that, and you'll take something completely different from it. Surprisingly the 131 minute running time doesn't drag, which is a credit to the movie.

VERDICT: To summarise: Battleship is loud, dumb and utterly brainless. If you approach it thinking that it is intentionally mocking itself in the most subtle of pastiches, then you're likely to happily embrace and enjoy the experience.

N.B. If you're insistent on a serious, straight-up critique, then minus a star. However, look at it in the vein of Paul Verhoeven and you'll laugh your way through this comical farce with great pleasure; in which case, add one on.

Exclusive: The Avengers Collection (Stills)

The Avengers movie isn't out until the end of April, but to celebrate the release, here is the latest collection of action figures to tie in with the film. Below are a few exclusive photos and I'll admit, I'm not overly into action figures at the ripe old age of 27, but they do look pretty detailed and rather cool.

Blu-ray Review: The Debt

Based on an Israeli film from 2007, this American remake of The Debt is penned by Kick Ass scribes Matthew Vaughn and Jane Goldman and is directed by period drama enthusiast, John Madden (not to be confused with the ageing NFL ex-pro and commentator).

With the original gaining little attention at the time, the heavyweight ensemble of this version alone earns it more attention and not just because it stars the legendary Helen Mirren. She's joined by rising talent Jessica Chastain, who plays the younger version of her, as well as the likes of Tom Wilkinson, Ciarán Hinds and Sam Worthington, too.

The story takes place in 1997 where Rachel (Mirren) is thrust into the media spotlight as she (and more so her daughter) promotes her book of memoirs from her time serving in the mid 60's as a Mossad agent in Israel, as she- along with team members Stephan (Tom Wilkinson) and David (Ciarán Hinds) - attempt to track down and capture Nazi war criminal Dieter Vogel (Jesper Christensen). 

The story frequently shifts from one time period to the other; as we witness the younger versions of the trio (including Marton Csokas as Stephan and Sam Worthington as David, respectively) undertake their mission as an intriguing plot and tense thriller unfolds.

Notably, the acting is great, especially with the talent involved, however their questionable accents are the obvious flaw in an otherwise strong array of performances. Whilst it would seem Chastain has been in pretty much everything in 2011, this is by no means one of her stronger contributions, yet she competently portrays an emotionally layered role convincingly, with worthy support from Csokas and Worthington at her side. What unfolds is a dangerous game of secrets, lies and cover ups as a gripping against-the-clock scenario presents itself. What's more is that the central characters embark in an emotionally provocative love triangle that has repercussions both in 1965 as well as 30 years later.

The script is well written and tightly structured, as the bulk of the plot takes place during the 60's; the decade switches aren't as confusing or poorly executed as one might expect, but are expressed coherently and should avoid disorientating viewers.

VERDICT: The Debt ultimately lacks that killer touch and the level of high suspense that transforms it from a great thriller to a superb one. However, solid acting coupled with a well paced exploration of its character arcs prove that sometimes a remake can succeed, as Madden invites his audience to experience the thrills and intensity this has to offer.

DISC EXTRAS:

A Look Inside The Debt
Every Secret Has A Price: Helen Mirren In The Debt
Feature Commentary With Director John Madden & Producer Kris Thykier

Very disappointing if truth be told, with only a couple of minutes of interviews and footage that are repeated in both the featurettes.


FILM:       ★★★★
EXTRAS: ★★


The Debt is out now on Blu-ray & DVD.

Competition: Win The Debt on Blu-ray!

Starring Jessica Chastain, Helen Mirren, Tom Wilkinson, Sam Worthington and Ciarán Hinds, The Debt is a  gripping and intense thriller that boasts a superb cast and engaging story to boot.
With the imminent release of the film, The Littlest Picture Show is giving YOU the chance to WIN one of TWO copies of the film on Blu-ray!

HOW TO ENTER:

STEP 1: FOLLOW me on Twitter here and TWEET the following:

COMPETITION: WIN THE DEBT on Blu-ray! RT & FOLLOW @littlestpicshow to enter! Details here: http://tiny.cc/29h63 #competition #film #bluray


STEP 2: Follow this blog (click 'follow' at the top left of the page) to keep track of my latest reviews, articles & future competitions!

NOTE: If you are not on Twitter, then you can email the above quote to mike@thelittlestpictureshow.co.uk with 'THE DEBT COMPETITION' as the subject title.

TERMS & CONDITIONS:

Entries must be in by January 26th .
The winners will be randomly selected and notified on January 27th.
Open to UK residents only.
No cash alternative.

9 Awesome Movie Posters

Review: War Horse

Rating: PG
Duration: 146 mins

With the release of War Horse comes a new year. It's a film that will conveniently be fresh in everyone's mind just in time for Oscar season. Do not mistake intention for coincidence, mind, as Spielberg emerges from a successful 2011 with Tin Tin to begin the year with his adaptation of the beloved 1982 novel penned by Michael Morpurgo, as well as the acclaimed theatrical play of the same name.

However, one must take into account that this is based on a children's book, and the content is just that: from the off-set Spielberg plays it overly safe, with too many scenarios that feel anything but threatening or genuine, as the glossy construction of the backdrops and lighting remind us that we're in the midst of a movie world. 

The translation from page to big screen can debatably be deemed successful. Indeed, War Horse will entertain and appeal if you are visiting the cinema with the family on a care-free Sunday afternoon, whom have the capacity to embrace the unadventurous, secure nature of the story. If you don't fall into such a category and plan on seeing this as a precursor to a Friday night pub visit, you'll end up so deflated that you'll skip the beers and head straight home to weep in the corner of the utility room.

Undoubtedly, Spielberg shouldn't be discredited for a decade-long dip in an otherwise glittering career, either; renowned for directing some of the most enchanting movies of the 20th Century, his ability is unquestionable, yet his latest epic feels as if it's simply going through the motions. It relies upon an unadventurous audience happy to embrace Spielberg on reputation alone, who will watch in awe as he constructs a mundane and continuously safe narrative, and one that never once strays into even half-daring territory.

The biggest problem, aside from Spielberg showing his dealt hand right from the beginning is the drab pacing as, considering the 146 minute length, it noticeably drags. Furthermore, the characters he gives to us are so one dimensional that we never even begin to engage with or relate to them.

Having said that, War Horse is competently directed and produced: some visual aspects looks delightful thanks to some wonderful cinematography and a compelling, if not memorable score courtesy of John Williams adds for some atmosphere, but it never ventures from its overtly constrained boundaries, nor does it change into a higher gear when it needs to.

Arguably the best scenes are the ones that focus on the physical nature of war: the build up to enemy encounter as troops emerge from the WW1 trenches is vaguely reminiscent of Saving Private Ryan, which is where the similarities end. These well produced segments are unfortunately weighed down with an uneventful narrative and whimsical characterisation that plods along, as it fails to convince.

Emotionally, the acting never quite connects, as we are gifted an ensemble of British talent such as Peter Mullan, David Thewlis, Benedict Cumberbatch, Tom Hiddlestone and lead, Jeremy Irvine, but instead feels like a who's-who merely fighting for advertising space. What doesn't translate particularly well is how an emotionally complex, caring protagonist is demonstrable through the eyes of a horse. Unwisely, Spielberg decides to force physical expression and emotion where it simply cannot and should not exist: one memorable shot sees Joey (the horse) turn to glance behind him; a sad glint in his eye, followed by a troubled grimace. Priceless. Possibly a bad case of wind, but either way such portrayal doesn't bode well if one is to believe the story and buy into it without it appearing ridiculously contrived.

In short, we never witness any genuine danger or conflict: the entire film fails to challenge its audience, instead relying on family-friendly securities with a horse’s plight that seems impervious to harm as virtually everyone emerges unscathed: it's too damn considerate for its own good.

VERDICT: War Horse is typically classic in its Spielbergian storytelling, but never builds any momentum. At times it is pleasant and can be perceived as enjoyable on the most basic of levels. It boasts a talented cast that aren't utilised in a movie that gracefully, yet safely translates as a largely uninspiring tale. Ultimately it's far too comfortable and lazy, and Spielberg knows it.

One final note: look out for the comic relief in the form of a farmyard goose: a real contender to pip The Artist's Uggie the dog to the accolade of Most Charming Performance by an Animal.