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Fantasy

Mononoke back in theaters photo
20th anniversary, 76th birthday
Hayao Miyazaki (who is no longer retired from filmmaking) turns 76 years old on January 5th. His film Princess Mononoke turns 20 years old in 2017. To celebrate these two landmark occasions, GKIDS and Fathom Events are bringi...

9-min Great Wall trailer photo
9-min Great Wall trailer

9-minute trailer for Zhang Yimou's The Great Wall is more than just Matt Damon


Maybe the trailer is overcompensating?
Dec 01
// Hubert Vigilla
The old myth was that astronauts could see The Great Wall of China from space. A new 9-minute trailer for Zhang Yimou's The Great Wall has been released, and I'm pretty sure it can be seen from space. They have free wifi up t...

Review: Evolution

Nov 23 // Hubert Vigilla
[embed]220389:42858:0[/embed] EvolutionDirector: Lucile HadzihalilovicRelease Date: November 25, 2016 (limited/VOD)Rating: NRCountry: France The world of Evolution is mysterious from the get go, which is due largely to the coastal locale where the film is set. We don't know what year it is, or quite where this place is either. It's all so otherworldly, the sort of setting for tales, allegories, and de Chirico paintings. There are white stucco buildings built near the water, and the sand is black leading to the turbulent shore. It's beautiful in how stark it is. In the distance, there's a medical facility that looks like it was abandoned years ago, but boys and their mothers walk back and forth for periodic examinations. There are only grown women and young boys on this island. There are no men, there are no girls, and the mothers have a sinister uniformity about them. At night, the mothers leave their homes carrying hand lanterns and congregate near the water. The boys are just boys but are in the dark about their caretakers. The boys are raised on a diet of mashed kelp and something like worms, one of those foods that while heated in a saucepan still looks cold when it's served. Evolution centers primarily on Nicolas (Max Brebant) and his mother (Julie-Marie Parmentier), and what Nicolas discovers about this town and where babies come from. We follow him into the night, down long corridors, to water in the dark, and in the process participate in the act of discovery, unwrapping the allegory along with Nicolas, sharing in his repulsion and curiosity. Roughly midway through Evolution, this dive into the unknown slows, maybe too much for what's revealed about the mothers and their boys. Yet even what's revealed is just enough to suggest larger possibilities and delve deeper into the thematic territory of the movie--sex, childbirth, asexuality, violation, flesh, reproduction, biological processes. I sensed in the film's lull that Hadzihalilovic was signalling a move away from an explicit exploration of the plot and the machinery of the world to a series of ruminative brushstrokes, each one a deliberate move to the film's finale, which is more conceptual than visceral. In the immediate aftermath of Evolution, I felt a little let down, expecting more of a resolution to what's introduced early on. Yet the movie has this strange, lingering quality thanks to its pervasive otherworldliness. I mentioned Lovecraft and Cronenbeg earlier, but Hadzihalilovic makes this movie her own, invested with unique hobbyhorses and a fascinating sensibility. It's rare to see a movie that sticks around in your mind after an initial sense of disappointment. The fact I'm still thinking about Evolution, and deeper now than in the hours after the first viewing, have made me reevaluate Hadzihalilovic's languid pace, which unfolds with the same speed as a dream verging on a nightmare but never quite arriving there. Cinematographer Manuel Dacosse does a magnificent job in rendering these images and giving them such a haunting quality that I can't get several of them out of my head. Evolution's grown on me, like a skin graft or like coral, or maybe it's grown in me, like the stuff of recurring bad dreams.
Review: Evolution photo
Lingering, haunting, and yet
There's so much going for Lucile Hadzihalilovic's Evolution, a film expertly lensed from the deliberate first shot: looking up to the sky from underwater. From beneath, the ripples and waves on the ocean surface produce undul...

Review: Fantastic Beasts and Where to Find Them

Nov 17 // Alec Kubas-Meyer
[embed]220497:42908:0[/embed] Fantastic Beasts and Where to Find ThemDirector: David YayesRelease Date: November 18, 2016Rating: PG-13  In 1920s New York City, muggles are called "nomags," a shortening of "no magic." I mentioned this to a friend, who said that sounded more offensive than "muggle." I disagreed. I think we're desensitized to the word muggle, but it sounds pretty mean to me. (Not mudblood level, obviously (that one's awful).)  In 1920s New York City, the President of America's magic society is a woman, which means that this fanciful version of 1920s America is more progressive than actual 2016 America (though this wasn't 2016 New York City's fault). In fact, there are a lot of females in power in 1920s magic world. To some degree, it feels like the least realistic thing about the entire film. But that's neither here nor there. In 1920s New York City, Newt Scamander (a very socially awkward Eddie Redmayne) causes mayhem. He carries with him a suitcase. In the suitcase is a whole host of fantastic beasts. Unfortunately, some of them escape. He has to find them. Ultimately, that isn't what the movie is about. It's simply a way to get him entangled with the other zany characters, primarily two of them: Jacob Kowalski (Dan Fogler), a nomag who doesn't get Men In Black mind-zapped and so is forced along on a wild adventure featuring magic and things, and Porpentina Goldstein (Katherine Waterson), an ex-Auror who brings in Mr. Scamander for causing problems (mostly by not Men In Black mind-zapping Mr. Kowalski). Some others are involved in various forms.  Also, there's Colin Farrell AKA Percival Graves AKA a guy who can do magic with just his hand. Someone told me Voldemort could also do that (I know house elves can), but I don't remember that. I just remember him using his wand. Then again, Graves also uses his wand. And I have some questions. - Why can he magic without a wand, and why does no one seem impressed by that ability?- Why does he use a wand sometimes even though he doesn't need one?- Is it because he's dueling, and he can only deflect magic with a wand? - Someone just shouted "Take away his wand." Why? Would that impact him in any meaningful way? I have come to believe (in large part thanks to Film Crit Hulk) that if you only question something after the fact, then it doesn't ultimately matter. Many great films fall apart under close inspection, but in the moment, you're too caught up to notice or care. And so the movie is successful. On the other hand, if you think about the problems, that mean the film has failed to either keep my interest enough for me to not think about it, hide it well enough behind some sort of pseudo-logic that can keep me going for two hours, or both. Fantastic Beasts and Where to Find Them is a little bit of both. I was constantly asking questions throughout the film (in my head, I'm not a monster), and precisely none of them were answered. I'm not going to list them all here for you, but many of them boil down to, "Wait, so how does that work?" Nowhere is this more problematic than with the film's actual conflict: An Obscurious (sp?) is wreaking havoc on the city. Who is it? How can they stop it? New Scamander might know the latter but no one knows the former. It's probably related to the creepy anti-witch cult that the film keeps cutting back to, because that's the only reason we would be spending so much time with them. Anyways, once things are revealed and we see the Obscurious at work, the whole thing kind of falls apart. Someone might be able to explain this using overly technical language that will confuse me into thinking maybe it made sense, and others will say that it doesn't matter, this is for children, and I should stop being such a spoilsport... but really, I have so many questions relating to literally everything about it, and none of the answers I come up with are satisfying. The Harry Potter books have issues, but they're satisfying. They scratch an itch and do what you want them to do. Much of the time, Fantastic Beasts and Where to Find Them does too. Jacob Kowalski, for example, is a great character, and pretty much every scene with him in it was at least good if not great. I dunno why I liked him so much, but he's probably my favorite character in any Harry Potter story. Maybe it's because he's a Nomag and I liked seeing how a non-magical person really reacts to all of the craziness? I dunno. He's great. The actors in general are quite good. No more weird, wooden performances from children who were chosen before anyone knew if they could actually act. The dialogue, written by J.K. Rowling herself, is also fine. Many of my friends who did read Harry Potter and the Cursed Child complained that the dialogue was clearly not written by Rowling, so I expect they will enjoy this more. The pacing is off, and the movie is about 20 minutes too long, but those 20 minutes of meh are scattered throughout and not in one big, boring chunk. And though some moments may drag, some genuinely excite. There are a couple of thrilling action sequences (even if they're a bit contrived), and there are some genuinely inventive things, like some of the weirder Fantastic Beasts. I liked seeing the expansion of Harry Potter. I'm glad that this isn't another Harry Potter story. I like the idea of a series of spin-offs for the same reason I'm excited about all of the Star Wars Stories that aren't numbered episodes. And for all of my issues with this first installment, there are definitely things to like, and the good outweighs the bad. If you can see past the massive gaps in logic and just say "The wizard did it" and be content with that, you may very well love Fantastic Beasts and Where to Find Them. If you thought Harry Potter was dumb, this sure as hell won't change your mind. But if you're a fan (even a lapsed one), you should most certainly check it out.
Fantastic Beasts Review photo
I have some questions
On my right wrist is a scar given to me by the seventh Harry Potter book. I was abroad at the time, at a language school. The book had just launched, and my Turkish roomate (not my French or Croatian ones) got a copy. I asked...


Clueless Gamer: FF XV photo
Clueless Gamer: FF XV

Watch Conan O'Brien and Elijah Wood get bored and angry at Final Fantasy XV


"WHY WOULD SOMEONE PLAY THIS?!"
Nov 16
// Hubert Vigilla
The Clueless Gamer bits on Conan are a lot of fun to watch. Sure, Conan O'Brien isn't a gamer and is more of a snarky smart aleck, but his overall assessment of what he's seeing is brutally, acerbically honest. In case you mi...
J.R.R. Tolkien biopic photo
J.R.R. Tolkien biopic

J.R.R. Tolkien biopic Middle Earth coming from producers of Lord of the Rings


Hope it's not hours of battle scenes
Nov 07
// Hubert Vigilla
To put it politely, The Hobbit films were underwhelming. Yes, they were extremely successful at the box office, but that trio of movies was bloated filmmaking at its most bloated. They had nothing on The Lord of the Rings Tri...
Ithaca Fantastik photo
Ithaca Fantastik

Ithaca Fantastik is this week (November 9-13)


Genre movies in upstate New York
Nov 07
// Hubert Vigilla
Ithaca Fantastik starts this Wednesday, November 9th up in Ithaca, New York. The film festival is a showcase of genre movies from all over the world. This year's festival is bookended by two major Korean release. On opening n...

Review: Doctor Strange

Nov 02 // Hubert Vigilla
[embed]221002:43178:0[/embed] Doctor StrangeDirector: Scott DerricksonRating: PG-13Release Date: October 25, 2016 (UK); November 4, 2016 (US) There's a philosophical template to many martial arts stories: an arrogant, inherently talented person becomes an unruly disciple to wise master, trains in a martial art, confronts their weaknesses (typically the ego), and unlocks their better self through discipline and mastery. Many times the student will surpass their master through an act of invention--combining or creating fighting styles, for instance, constructing a new weapon, or some higher-level use of the imagination. Dr. Stephen Strange (Benedict Cumberbatch doing his Benedict Cumberbatch shtick) starts the movie as a hotshot neurosurgeon who's fame-obsessed and failure-averse. A near-fatal car accident causes severe nerve damage to his hands. He's got the shakes now. That's the end his lucrative career. Strange hears rumors of a monastery in Nepal that may be able to heal him. He travels to the east where he gets thrown into a world of sorcery, one at war with a former student named Kaecilius (Mads Mikkelsen). Like most Marvel villains, Kaecilius is sort of a non-entity--just a bad guy doing bad guy things. Tilda Swinton plays The Ancient One, the master of the monastery who teaches Strange the ways of sorcery and opens his eyes to the world and its possibility. Mordo (Chiwetel Ejiofor) offers an assist as a trainer, emphasizing strength and force. The only top-billed Asian actor is Benedict Wong who plays the stoic keeper of the arcane library. There's been a lot written in the last few months about the whitewashing of The Ancient One. I also foresee a lot of thinkpieces about cultural appropriation given how much of the movie feels like a kung fu film. I wasn't bothered by any of this, but everyone's mileage varies. There's enough that works in the film for me, and I think Swinton's air of otherworldliness and oddness fits with her character. When Doctor Strange is at its best, it's a fast-paced martial arts adventure that fills the screen with Escheresque imagery. Some moments have the vertiginous feel of Christopher Nolan's Inception or the finale of Interstellar, and others remind me a little of Alex Proyas' Dark City. There's an exhilirating chase through New York City streets in flux, where buildings and roads become a maddened, tilting, shifting clockwork world. When not spinning mandalas and fractals on screen, Doctor Strange recreates the blacklight psychedelia of Steve Ditko's comic book art. Director Scott Derrickson gives Doctor Strange its own visual grammar to differentiate it from the rest of the MCU. The film even finds a cool way of marrying the martial arts, the somatic components of spells, and the way magic manifests itself on screen. Unfortunately, Doctor Strange is a martial arts movie with badly shot fight scenes. The magic battles and traditional action is competent, allowing viewers to follow the actors on screen as the mirror-like gears of reality spin around them. Yet aside from one satisfying and inventive battle of astral projected forms (!), the fights are shot close up and with shaky cam, obscuring the choreography. It's a waste of Scott Adkins, who plays one of Kaecilius' goons. For all the philosophical lessons taken from Shaw Brothers movies, Doctor Strange ignores the practical lessons of quintessential Shaw Brothers directors Chang Cheh and Lau Kar-Leung. Derrickson could have easily pulled his camera back, kept it steady, and allowed the performer's in-camera movements and rhythms to define his shots and the editing. Characters in martial arts movies communicate who they are through their fighting style, and so action filmmakers should allow their characters to describe themselves in combat. And of course there's a not-too-good romance subplot between Strange and Christine Palmer (Rachel McAdams). It's there, it's not particularly engaging, and it's short enough. McAdams isn't given much to do, and there's not much reason to feel anything between Chrinstine and Strange. What is it about perfunctory love in movies? Does six minutes of a sketched romance really matter much? Platonic on-screen relationships are more satisfying than a forced romance, and they tend to be more dynamic. Stop trying to make romance subplots happen--it's not going to happen. Strange, The Ancient One, and Kacelius are so obsessed with time, its limits, and how it can be used. It drives their search for power. And on that note I felt like Doctor Strange could have benefited from an additional 10 minutes. (Maybe they could have shaved off some of that love stuff.) So much of this world is built up and breezed through that there's little time to breathe it in and appreciate what's there. Perhaps they wanted to keep the movie just under two hours, and yet that 10 minutes of breathing room could have opened things up a bit more. There's a major action sequence before the film's finale that occurs off-camera, which was a wasted opportunity for a classic martial arts set piece. Then again, given how they filmed the rest of the fight scenes, maybe it's for the best. There's a surprisingly good breather in the film between The Ancient One and Strange. The Ancient One ruminates as Strange listens, and the world around them achieves a gorgeous stillness. It's an unexpectedly thoughtful moment in the movie, thematically tied to characters and the overarching story and yet its own thing. Punching robots is fine, I guess, but I wouldn't mind more movies like Doctor Strange in the MCU. Good tea.
Review: Doctor Strange photo
Whoa--I know magic fu!
My favorite movies in the Marvel Cinematic Universe so far have been the ones that don't feel like standard-issue superhero movies. The Avengers was basic, and Avengers: Age of Ultron was a bigger, dumber, basic-er redux of t...

Deadpool director Tim Miller now working on the Sonic the Hedgehog movie

Oct 31 // Hubert Vigilla
If this doesn't get trapped in development hell, it will be Fowler's directorial debut. Aside from his work on animated shorts, Fowler's most notable credit is part of animation research and development for Spike Jonze's 2009 adaptation of Where the Wild Things Are. We reported on the live-action/CG Sonic the Hedgehog movie earlier this year. As it stands, the movie is still aiming for a 2018 release. What do you think about a Sonic film with this creative team? Is there someone else who should be at the helm? Are your dreams now tainted by this devilishy sexy image? Let us know in the comments. [via THR/Heat Vision]
Sonic the Hedgehog movie photo
Miller on as executive producer
Tim Miller recently left the sequel to Deadpool over creative differences with Ryan Reynolds, which included clashes over tone and the casting of Cable. As Deadpool 2 looks for a new director, Miller has set his sights on a n...

Ithaca Fantastik (November 9-13): Full lineup for 5th annual horror/sci-fi/fantasy film festival

Oct 27 // Hubert Vigilla
[embed]220990:43171:0[/embed] 24x36: A Movie About Movie Poster - Kevin Burke, Canada Alipato: A Very Brief Life of Ember - Khavn, Philippines/Germany Aloys - Tobias Nölle, France/Switzerland Another Evil - Carson D Mell, US [embed]220990:43172:0[/embed] Autohead - Rohit Mittal, India The Autopsy of Jane Doe - André Orvedal, UK Belief: The Possession Of Janet Moses - David Stubbs, New Zeland Creature Designers: The Frankenstein Complex - Gilles Penso & Alexandre Poncet, US Dearest Sister - Mattie Do, Laos [embed]220990:43166:0[/embed] Headshot - Kimo Stamboel & Timo Tjahjanto, Indonesia Here Alone - Rod Blackhurst, US I, Olga Hepnarova - Petr Kazda &Thomas Weinreb, Czech Republic/Poland/Slovakia/France Kiyamachi Daruma - Hideo Sakaki, Japan K-Shop - Dan Pringle, UK [embed]220990:43169:0[/embed] The Love Witch - Anna Biller, US Master Cleanse - Bobby Miller, US Miruthan - Shakti Soundar Rajan, India My Father Die - Sean Brosnam, US [embed]220990:43170:0[/embed] Nova Seed - Nick DiLiberto, Canada The Open - Marc Lahore, France Pet - Carles Torrens, USA/Spain Return of MIZUNO - Hikaru Tsukuda, Japan S is for Stanley - Alex Infascelli, Italy [embed]220990:43167:0[/embed] Sadako vs. Kayako - Koji Shiraishi, Japan Safe Neighbourhood - Chris Peckover, Australia/USA Seoul Station - Yeon Sang-ho, South Korea She’s Allergic to Cats - Michael Reich, US Terror 5 - Sebastian Rotstein & Federico Rotstein, Argentina [embed]220990:43168:0[/embed] Retrospective: Werewolf '81 Wolfen - Michael Wadleigh, US (1981) American Werewolf in London - John Landis, US (1981) Retrospective: The Known Unknowns The Naked Prey - Cornel Wilde, US (1965) Deliverance - John Boorman, US (1972) Long Weekend - Colin Eggleston, AUS (1978) Altered States - Ken Russell, US (1980) Aliens - James Cameron, US (1981) [embed]220990:43173:0[/embed]
Ithaca Fantastik 2016 photo
Genre cinema and retrospectives
The fifth annual Ithaca Fantastik film festival will be getting underway starting November 9th and running through the 13th. The festival specializes in horror, sci fi, fantasy, thrillers, and general genre weirdness. Over th...

Warcraft sequel photo
Warcraft sequel

Duncan Jones would still like to make Warcraft 2, comments on director's cut of first film


"Maybe I'm just being a masochist."
Aug 31
// Hubert Vigilla
Warcraft had a rough go critically but was able to make money thanks to the foreign box office (particularly China). While a sequel seems unlikely, director Duncan Jones is still game to make the movie given all of the time a...
Middle Earth photo
Middle Earth

Massive Hobbit/Lord of the Rings box set announced


What a stylish shelf
Aug 18
// Matthew Razak
Are you ready to lay down some serious money for three really great movies and three not as good movies? Then you'll want to head over to Amazon and sign up for an email alert for when you can buy "Middle Earth UCE (BD) [Blu-...

Review: Kingsglaive: Final Fantasy XV

Aug 15 // Geoff Henao
[embed]220778:43047:0[/embed] Kingsglaive: Final Fantasy XVDirector: Takeshi NozueRating: PG-13Release Date: August 19, 2016  Kingsglaive takes place in a fantasy world (Eos) made up of multiple countries that historically held magical crystals with extraordinary powers. In the present world, however, the kingdom of Lucis is the only nation to possess a crystal, which they use to create a force field to protect its citizens. The crystal grants powers through the Ring of the Lucii, which has traditionally been passed down the line of Lucis' kings. Meanwhile, the empire of Niflheim has used their advanced weapon technology to conquer all of the world's kingdoms, leaving Lucis as the only nation able to withstand its attacks. The film opens with an introduction to the world and its governmental mythos, specifically introducing us to Regis Lucis Caelum CXIII (Bean) and his son, Noctis, in the country of Tenebrae, where Noctis was recovering from an undisclosed near-death illness. However, their meeting is ambushed by Niflheim soldiers attempting to assassinate both Regis and Noctis, leaving the queen of Tenebrae murdered. Regis attempts to flee with Noctis and the Tenebrae princess, Lunafreya Nox Fleuret (played as an adult by Headey), but she decides to stay behind to protect her injured brother. Ten years pass, and the war between Niflheim and Lucis is still raging on. Regis has created an army force, the Kingsglaive, to protect Lucis against both monster and Niflheim attacks. Kingsglaive centers itself on three primary members - Nyx (Paul), Crowe, and Libertus. Nyx is the hero/savior type, Crowe is the stereotypical female badass, and Libertus is the well-meaning, but over-emotional friend. Sensing that Lucis will succumb to Niflheim's relentless attacks, Regis agrees to relinquish control over all of Lucis' territories outside of Insomnia, where the palace resides, and marry Noctis to Lunafreya, in order to sign a peace treaty. However, this peace agreement causes waves among the Kingsglaive that will change the face of Lucis forever. Gamers that have played modern Final Fantasy entries will feel at home with Kingsglaive's visuals. The entire feature feels like an exended cutscene taken directly out of the games. However, in saying that, it feels too gamey. While the film looks damned good, it never felt like it could stand toe-to-toe with any other Hollywood CGI feature film. Visual Works, the division within Square Enix that primarily developed Kingsglaive, has the ability to create something truly worthwhile, as seen in the multitude of action scenes and dating as far back as Advent Children. If only they had the freedom to create something new and original without the need to tie to a video game, but Final Fantasy: The Spirits Within still casts a large enough shadow to prevent Square Enix from taking that leap of faith. And it's this fear that ultimately holds the entire film back. Set as a prequel to Final Fantasy XV, many of the plot points and characters in Kingsglaive are meant to be Kingsglaive-exclusive and will probably have no real bearing or mention in Final Fantasy XV beyond easter eggs or "wink-wink" references to die-hard fans. Yes, Regis, Lunafreya, and the Niflheim antagonists will play large roles in the game, but Final Fantasy XV's main brotherhood of Noctis, Prompto, Ignis, and Gladiolus aren't present in the film outside of a post-credits scene. Kingsglaive is meant to set the tone for Final Fantasy XV's world and to flesh out themes and plots that were too large to be explored in the game proper, but I couldn't help but brush off how greatly unnecessary it is in the grand scheme of things. Will I appreciate Final Fantasy XV more because of Kingsglaive? Probably. Will you miss out on key story arcs and plot points in Final Fantasy XV if you skip Kingsglaive? Definitely not. It's a shame, too, because Kingsglaive does have the star power of Paul, Headey, and Bean to help make Kingsglaive better than what it's supposed to be; honestly, I feel these castings were meant to add surface-level levity and PR fluff to an otherwise average film. The performances themselves are pretty standard of what you'd expect from Headey and Bean, although Paul's performance had flashes of his ability to break out of the typecasting his successful take on Breaking Bad unfortunately left him.  It's hard to critique a multimedia tie-in of its own accord rather than how it stands on its own when said tie-in's purpose is to supplement the main product. It's because of this that Kingsglaive: Final Fantasy XV ultimately fails to stand up as a true self-contained piece. If Kingsglaive were to be shed of its relationship to Final Fantasy XV and given the space and freedom to tell its own story, this would be an entirely different review. As a gamer who will dedicate at least 100 hours into Final Fantasy XV, I can appreciate Kingsglaive for what it is. As a film critic, however, I can't look past Kingsglaive's inherent fluff factor. With that said, correlate your expectations of the film with you interest in Final Fantasy XV before you decide to devote time to watching the film.
Final Fantasy photo
Prequel: Final Fantasy XV
Gamers know the storied saga of Final Fantasy XV's decade-long production marred by platform changes, thematic upheavals, and personnel moves. It wasn't until this past spring that the scope of the Final Fantasy XV Universe w...

Kingsglaive: Final Fantas photo
Kingsglaive: Final Fantas

Watch the official trailer for Kingsglaive: Final Fantasy XV


I assume Sean Bean's character will die
Jul 24
// Hubert Vigilla
Earlier in the year we mentioned there'd be a CGI Final Fantasy XV movie as well as other spin-offs set in the world of the game. Now just two months before Final Fantasy XV's release, we have a full trailer for one of these ...

Review: Warcraft

Jun 08 // Matthew Razak
[embed]220615:42967:0[/embed] WarcraftDirector: Duncan Jones Rated: PG-13Release Date: June 8, 2016  I will say off the bat that I have not been involved in the Warcraft universe in many years, and even then only with the RTS games, but I'm assuming that there's a very in depth, thought out and complicated world in place by now. It may help the film a lot if you know about this world, but coming from an outsider's eyes the world of Warcraft (sorry) feels hollow and cliche. Maybe that's because the game's basis was originally much the same, but however the game's world has evolved the movie can't capture it, and it's commitment to trying to do that may be it's greatest weakness. We open on some impressively done CGI and motion capture orcs as we're introduced to Durotan (Toby Kebell), a chieftain who has reservations about the obviously-evil Gul-dan's plan to use a an evil green magic gate to invade the human world as the orc's world is dying. Evil plan executed, a small team of elite orc warriors, some corrupted by said evil green magic, enter the human world and begin to build a new gate so as to open a path for the rest of the orcs. The humans (and other Alliance creatures) quickly realize they're being attacked and call upon  powerful magic being The Guardian (Ben Foster) to help protect them. Things are amiss, however, and the battle rages on with knight Anduin Lothar (Travis Fimmel), magic guy Llane Wryne and sexy orc hybrid Garona (Paula Patton) taking the lead in orc killing.  The overarching premise is that there are good orcs out there. Durotan attempts to broker a peace with the humans as he realizes that Gul-dan's magic is evil and is what caused the death in the orc home world. It's clear this theme of telling both sides of a war is what Jones really wanted to do with the film, and at points he almost succeeds. There's a very interesting Game of Thrones political fantasy buried deep in Warcraft, but it never gets the chance to see the light of day. Warcraft has a pretty slavish dedication to the look and feel of the games, and that does it no favors. Instead of the awe-inspiring vistas of The Lord of the Rings the overall look of the film feels cheap. Armor and costume design feel like they were pulled out of a high-schooler's math class doodles, which, in fairness, most likely would be influenced by World of Warcraft. Sets are often small and fake looking and overall it just feels very cheap, like we're watching something out of early 00s SyFy. You've seen almost all of this before and done better.  It's especially odd because for the most part the orc stuff is absolutely fantastic. Character design, animation and setting all feel fresh and interesting. The motion capture and CGI technology for the orcs is spot on, though can sometimes hit the uncanny valley really, really hard. When that combines with the plastic-looking human world the entire affair feels like a shell of a fantasy world: empty except for pretty pictures and ideas too big to be executed well. The screenplay is unfortunately unbalanced as well. At points it actually shines, and you can see Jones' skills with handling genre material with a deft touch. The next moment its as clunky as as the massive orcs who are speaking it. Characters and their motivations get picked up and dropped as easily as the plethora of human knights thrown about by orcs. Massive plot points are glazed over and world creation often feels as if it was forgotten. Part of this stems from the film seeming to assume that we all have a basic foundation in Warcraft lore and part of it stems from the fact that sequels are blatantly already in the works. The story starts to stretch thin by the end and the conclusion really stops making much sense. It is far from the worst fantasy story ever put to screen by miles, but it never rings with the emotional power of truly great fantasy film making.  Jones does his best with his direction. It's easy to get into the action as he weaves together some impressive battle sequences, even using some top down aerial shots to reflect Warcraft's RTS roots. He actually does some really cool stuff that makes the film fun to watch even when it's not working as well as it could. It's just another way that glimpses of what the movie could be break out before being buried under the hollowness of it all. Have I used the term hollow enough? Warcraft isn't really a bad movie, it's a hollow one. It's surprisingly well executed visually at times, but there's nothing behind the pretty pictures. Its story is actually intriguing, but it never feels important. Its characters have depth to them, but it's never shown. Its not a mess because there is nothing to spill. The world of Warcraft (sorry, again) is a big, pretty, empty shell. 
Warcraft photo
Not one reference to Leeroy Jenkins
When Warcraft (then World of Warcraft) was first announced with Sam Raimi directing, I thought that was pretty perfect. Raimi has a deft touch for handling things that are slightly absurd. His almost tongue-in-...

Warcraft VFX photo
Warcraft VFX

Behind-the-scenes Warcraft footage shows ILM making lifelike orcs


Should've cast real orcs
May 18
// Hubert Vigilla
Here at Flixist, we've been both cautiously optimistic and also somewhat skeptical about the Warcraft movie. We like director Duncan Jones a whole lot, but we're still left a little cold about the movie given the various ...
Swiss Army Man photo
Swiss Army Man

The red band Swiss Army Man trailer has Daniel Radcliffe as a farting corpse with a boner


Friendship is magic, farts, boners
May 10
// Hubert Vigilla
The first trailer for Swiss Army Man was a zany delight. Paul Dano is saved from suicide and loneliness by a body washed ashore played by Daniel Radcliffe. Yet he is no mere corpse. Nay, Harry Potter is a magic farting corpse...

Review: The Huntsman: Winter's War

Apr 22 // Nick Valdez
[embed]220532:42925:0[/embed] The Huntsman: Winter's WarDirector: Cedric Nicolas-TroyanRating: PG-13Release Date: April 22, 2016 As its title suggests, The Huntsman: Winter's War shifts its main focus to its titular huntsman, Eric (Chris Hemsworth). Before the events of the first film, the Evil Queen Raveena (Charlize Theron) had a younger sister named Freya (Emily Blunt). After the death of her daughter, Freya gains ice powers and goes off to form her own kingdom (complete with a ban on love), kidnapping children and training them as huntsman along the way. Eric ends up falling in love with another huntsman, Sara (Jessica Chastain), but Freya puts a stop to that. Then seven years later (and after the events of the first film), Freya vows to get Raveena's magic mirror and take over Snow White's kingdom.  Just as with the first film, Winter's War oozes with style. While some of its visuals borrow heavily from other fantasy worlds (such as the design of the huntsman themselves), costume design is still top notch. Capitalizing on one of the better aspects of the first film, Raveena and Freya's outfits are outlandish and gaudy in the best way. And although it results in less gaudy but fabulous dresses, the set design has also received an upgrade. Scene settings are more varied and feel more inspired, such as the jungle look of the goblin's den (and the gold chained gorilla goblins), but there's a definite lack of budget that knocks the film's overall presentation down a peg. The film's CG isn't always seamless, but the film tries its best to make sure at least the central women look good. At least Winter's War succeeds in that regard. Because their looks are perfected, Theron and Blunt are free to chew the scenery as they see fit.  And boy does Charlize Theron run the show. It's just a shame that the film keeps her separated from Blunt for the majority of it. The scenes where she's allowed to cheesily tear into Blunt's Freya turns Winter's War into a fantasy version of Dynasty as the two actresses try to out soap opera each other. It's the only time Blunt seems bothered enough to try, and her scenes with Theron clearly make Blunt's performance ring hollow the rest of the time. At least Chris Hemsworth get more to do this time around. The first film was before his breakout in The Avengers, and now he's got this affable personality which helps ease some of Winter's War's more troublesome attempts at humor and personality. But while mostly everyone involved is having a good time, no one really seems to care about what they're saying. It's halfhearted throughout.  Winter's War is further crippled by its poor storytelling. When it succeeds it can be funny, or even compelling, but thanks to its need to clutch to the first film rather than reset everything, the film makes no damn sense for the first thirty minutes or so. Thanks to a weird flashback story then a time jump seven years into the future, everything is rushed. We're never given the time to invest in Eric and Sara's relationship because all we get between the two is a few make out sessions (that linger on for a bit too long) before they're separated. It doesn't help that Hemsworth and Chastain are clearly phoning it in. Their scenes together seem to take the longest, and their faux scottish accents are so heavy, they're almost parodic. These scenes make you wonder when Theron's going to show up again. Given that she's really only in the film for about 20 minutes, the wait seems even longer. Give up the ghost already and give us a full Charlize Theron ham sandwich, Universal.  The Huntsman: Winter's War is a piecemeal fantasy that's just other fairy tales duct taped together into a two hour project. There's clearly an underlying effort being drowned by everyone's apathy (there's not even an effort to keep background skeletons from looking like they were bought in one of those pop up Halloween shops), and Winter's War barely cares it exists. It just does.  Going in I was hoping Universal re-examined the Huntsman series and kept what worked and threw out what didn't. But it did the complete opposite. The Huntsman: Winter's War is less of what we want, and more nonsense we don't need. 
Winter's War Review photo
What is it good for? Absolutely nothing
Despite Kristen Stewart and director Rupert Saunders being pulled from the series after allegations of an affair, bumping up visual effects supervisor Cedric Nicolas-Troyan to debut as director, and the first film gettin...

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