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Phoenix FM Film Review – 9.7.2016

This week sees the release of Now You See Me 2, The Legend of Tarzan, and The Neon Demon.

Now You See Me 2 (which should have been called Now You Don’t, etcetera etcetera)

Following the events of the original, Now You See Me 2 sees the Four Horseman on the run and working for a sociopath tech giant. Starring the cast of the original (minus Isla Fisher), plus additions from Daniel Radcliffe and Lizzy Caplan.

It’s important to address NYSM2 as a sequel to the original; it is as ridiculous and incoherent as the first, but far less watchable. Where the original has the perfect 3 act structure of both a narrative and a magic trick (set up, turn, prestige), NYSM2 is far more make it up as you go, which is more difficult to control and add intrigue, leaving the end result more tiresome than the first.

The second also is saturated and twists and turns, some of which are spoilt by the marketing (Michael Caine), and some just not interesting whatsoever.

Not to say there’s nothing to like; NYSM2 has several enjoyable sequences, the vault card flinging scene in the trailer being the most enjoyable, and this will appeal to those who enjoyed the more bombastic set ups from the original. In addition, I think NYSM2 has a better appreciation for magic, its history and its place in society, as well as the subtly of difficult tricks, and the comparison to the bigger set ups.

Flawed, occasionally dull and often ludicrous, Now You See Me 2 knows what it is, completely incoherent and absurd, but has fun with it’s over the top script and performances, Radcliffe being one of the highlights.

The Legend of Tarzan

At this point the million and first Tarzan Movie, David Yate’s new Legend of Tarzan sees Tarzan after living in the jungle and meeting Jane, and now living as an English nobleman. Drawn back to Africa by the king of Belgium, Tarzan must reawaken his primal self to fulfil a plot too complicated to explain.

And to be honest, that’s actually the best thing about LoT, there is originality here. It has historical grounding surrounding when Belgium ruled the African Congo, and the fact that this is a new version of Tarzan gives it some intrigue from the get go.

It just doesn’t go. There is an attempt to approach some pretty serious themes, like elephant hunting and slavery, but the fact that this is at its heart an action film detracts from this massively, and it never gels. Also as an action film it’s not as epic as other similar films, and I was never impressed by the vine swinging, animal fighting and such.

There’s also the romance between Tarzan and Jane. It’s not interesting enough to carry the film. Alexander Skarsgard also has a hard time bringing a sense of likeability to his sombre, even zen character.

Not that there isn’t anything to like, Margot Robbie is wonderful, Christoph Waltz does his thing, and Samuel Jackson is clearly having fun.

Its bleakness removes it’s fun and exoticism, and it’s not as effective in its action, themes or character, and though more ridiculous, Now You See Me 2 is the more enjoyable popcorn flick of the week.

The Neon Demon

Nicolas Winding Refn’s new film follows Jessie, played by Elle Fanning, as a 16-year-old girl seeking to gain access to the fashion world in L.A., where her radiance is immediately noticed and causes those around her to obsess and hate her.

I’ve now had a chance to look at other reviews of TND and there’s been an interesting result. It definitely isn’t for everyone, and I concur. If you’re squeamish it is a hard watch, and if you need more than just style it’s a hard watch. Even then it’s a difficult experience.

Firstly, it is a beautifully constructed film. Story by Refn himself, and based on his own persona, there is clearly as much of a tortured individual present as there is an outlook onto the fashion industry. Natasha Brier’s cinematography entrances the film with brilliant colour (to match Refn’s colour-blindness I assume) and striking imagery. Cliff Martinez’ score is also integral to the feel and effectiveness of the piece, a thumping tempest of electronic sounds, matching the robotic-ness of the script and other models as they seek to attain maximum beauty.

I don’t think that TND is as overt as others think. Where Refn is not subtle with his framing (using mirrors, lack of emotion and heavily stylised sequences), this is part of what makes TND so poignant. Yes, it has been said before that the fashion industry is viscous and unrelenting, this is in the foreground of TND. But its overtness is used to distract from the real crux of the issue. The message of TND is blandly stated because it is an accepted fact. Refn wants us to accept that no one in the fashion industry is truly human, and the obsession with beauty is corruptive, but what TND is actually trying to point out is that this is the norm.

One masterstroke of the film Is using a character first pictured as a creepy pervert, and makes him a likeable guy, thereby demonstrating the landscape of this world, and the true villainy of the others.

Another is the sudden turn to graphic horror at the halfway point. I think you will either go in for it or you won’t. I read it quite well, and reacted the way that’s intended, with pure disgust. Though I wouldn’t say fear, it is truly disturbing.

Elle Fanning is stellar. Her biggest problem is that she is not as immaculate as the film needs her to be to emphasise the other models mediocrity (and therefore jealousy). The film is filled with commendable secondary performances, and I can’t think of a single character that doesn’t present something with meaning, but again the heavy stylisation is a barrier to nuance, another example of TND’s bluntness.

It’s not perfect, its biggest problem is the lack of narrative thread, and it’s a film that’s quite easy to get bored in. It is, however, a fascinating piece of work, and on repeat viewings should present a vastly different outlook.

 

Hear my reviews on Between The Lines, Saturdays at midday.

You can follow me on Twitter @HayzeeJr

Subscribe to our newsletter!
One a month, no spam, honest

Now on air
Coming up
More from Film
More from Phoenix FM


Phoenix FM Film Review – 9.7.2016

This week sees the release of Now You See Me 2, The Legend of Tarzan, and The Neon Demon.

Now You See Me 2 (which should have been called Now You Don’t, etcetera etcetera)

Following the events of the original, Now You See Me 2 sees the Four Horseman on the run and working for a sociopath tech giant. Starring the cast of the original (minus Isla Fisher), plus additions from Daniel Radcliffe and Lizzy Caplan.

It’s important to address NYSM2 as a sequel to the original; it is as ridiculous and incoherent as the first, but far less watchable. Where the original has the perfect 3 act structure of both a narrative and a magic trick (set up, turn, prestige), NYSM2 is far more make it up as you go, which is more difficult to control and add intrigue, leaving the end result more tiresome than the first.

The second also is saturated and twists and turns, some of which are spoilt by the marketing (Michael Caine), and some just not interesting whatsoever.

Not to say there’s nothing to like; NYSM2 has several enjoyable sequences, the vault card flinging scene in the trailer being the most enjoyable, and this will appeal to those who enjoyed the more bombastic set ups from the original. In addition, I think NYSM2 has a better appreciation for magic, its history and its place in society, as well as the subtly of difficult tricks, and the comparison to the bigger set ups.

Flawed, occasionally dull and often ludicrous, Now You See Me 2 knows what it is, completely incoherent and absurd, but has fun with it’s over the top script and performances, Radcliffe being one of the highlights.

The Legend of Tarzan

At this point the million and first Tarzan Movie, David Yate’s new Legend of Tarzan sees Tarzan after living in the jungle and meeting Jane, and now living as an English nobleman. Drawn back to Africa by the king of Belgium, Tarzan must reawaken his primal self to fulfil a plot too complicated to explain.

And to be honest, that’s actually the best thing about LoT, there is originality here. It has historical grounding surrounding when Belgium ruled the African Congo, and the fact that this is a new version of Tarzan gives it some intrigue from the get go.

It just doesn’t go. There is an attempt to approach some pretty serious themes, like elephant hunting and slavery, but the fact that this is at its heart an action film detracts from this massively, and it never gels. Also as an action film it’s not as epic as other similar films, and I was never impressed by the vine swinging, animal fighting and such.

There’s also the romance between Tarzan and Jane. It’s not interesting enough to carry the film. Alexander Skarsgard also has a hard time bringing a sense of likeability to his sombre, even zen character.

Not that there isn’t anything to like, Margot Robbie is wonderful, Christoph Waltz does his thing, and Samuel Jackson is clearly having fun.

Its bleakness removes it’s fun and exoticism, and it’s not as effective in its action, themes or character, and though more ridiculous, Now You See Me 2 is the more enjoyable popcorn flick of the week.

The Neon Demon

Nicolas Winding Refn’s new film follows Jessie, played by Elle Fanning, as a 16-year-old girl seeking to gain access to the fashion world in L.A., where her radiance is immediately noticed and causes those around her to obsess and hate her.

I’ve now had a chance to look at other reviews of TND and there’s been an interesting result. It definitely isn’t for everyone, and I concur. If you’re squeamish it is a hard watch, and if you need more than just style it’s a hard watch. Even then it’s a difficult experience.

Firstly, it is a beautifully constructed film. Story by Refn himself, and based on his own persona, there is clearly as much of a tortured individual present as there is an outlook onto the fashion industry. Natasha Brier’s cinematography entrances the film with brilliant colour (to match Refn’s colour-blindness I assume) and striking imagery. Cliff Martinez’ score is also integral to the feel and effectiveness of the piece, a thumping tempest of electronic sounds, matching the robotic-ness of the script and other models as they seek to attain maximum beauty.

I don’t think that TND is as overt as others think. Where Refn is not subtle with his framing (using mirrors, lack of emotion and heavily stylised sequences), this is part of what makes TND so poignant. Yes, it has been said before that the fashion industry is viscous and unrelenting, this is in the foreground of TND. But its overtness is used to distract from the real crux of the issue. The message of TND is blandly stated because it is an accepted fact. Refn wants us to accept that no one in the fashion industry is truly human, and the obsession with beauty is corruptive, but what TND is actually trying to point out is that this is the norm.

One masterstroke of the film Is using a character first pictured as a creepy pervert, and makes him a likeable guy, thereby demonstrating the landscape of this world, and the true villainy of the others.

Another is the sudden turn to graphic horror at the halfway point. I think you will either go in for it or you won’t. I read it quite well, and reacted the way that’s intended, with pure disgust. Though I wouldn’t say fear, it is truly disturbing.

Elle Fanning is stellar. Her biggest problem is that she is not as immaculate as the film needs her to be to emphasise the other models mediocrity (and therefore jealousy). The film is filled with commendable secondary performances, and I can’t think of a single character that doesn’t present something with meaning, but again the heavy stylisation is a barrier to nuance, another example of TND’s bluntness.

It’s not perfect, its biggest problem is the lack of narrative thread, and it’s a film that’s quite easy to get bored in. It is, however, a fascinating piece of work, and on repeat viewings should present a vastly different outlook.

 

Hear my reviews on Between The Lines, Saturdays at midday.

You can follow me on Twitter @HayzeeJr

Subscribe to our newsletter!
One a month, no spam, honest

Now on air
Coming up
More from Film
More from Phoenix FM


Phoenix FM Film Review – 9.7.2016

This week sees the release of Now You See Me 2, The Legend of Tarzan, and The Neon Demon.

Now You See Me 2 (which should have been called Now You Don’t, etcetera etcetera)

Following the events of the original, Now You See Me 2 sees the Four Horseman on the run and working for a sociopath tech giant. Starring the cast of the original (minus Isla Fisher), plus additions from Daniel Radcliffe and Lizzy Caplan.

It’s important to address NYSM2 as a sequel to the original; it is as ridiculous and incoherent as the first, but far less watchable. Where the original has the perfect 3 act structure of both a narrative and a magic trick (set up, turn, prestige), NYSM2 is far more make it up as you go, which is more difficult to control and add intrigue, leaving the end result more tiresome than the first.

The second also is saturated and twists and turns, some of which are spoilt by the marketing (Michael Caine), and some just not interesting whatsoever.

Not to say there’s nothing to like; NYSM2 has several enjoyable sequences, the vault card flinging scene in the trailer being the most enjoyable, and this will appeal to those who enjoyed the more bombastic set ups from the original. In addition, I think NYSM2 has a better appreciation for magic, its history and its place in society, as well as the subtly of difficult tricks, and the comparison to the bigger set ups.

Flawed, occasionally dull and often ludicrous, Now You See Me 2 knows what it is, completely incoherent and absurd, but has fun with it’s over the top script and performances, Radcliffe being one of the highlights.

The Legend of Tarzan

At this point the million and first Tarzan Movie, David Yate’s new Legend of Tarzan sees Tarzan after living in the jungle and meeting Jane, and now living as an English nobleman. Drawn back to Africa by the king of Belgium, Tarzan must reawaken his primal self to fulfil a plot too complicated to explain.

And to be honest, that’s actually the best thing about LoT, there is originality here. It has historical grounding surrounding when Belgium ruled the African Congo, and the fact that this is a new version of Tarzan gives it some intrigue from the get go.

It just doesn’t go. There is an attempt to approach some pretty serious themes, like elephant hunting and slavery, but the fact that this is at its heart an action film detracts from this massively, and it never gels. Also as an action film it’s not as epic as other similar films, and I was never impressed by the vine swinging, animal fighting and such.

There’s also the romance between Tarzan and Jane. It’s not interesting enough to carry the film. Alexander Skarsgard also has a hard time bringing a sense of likeability to his sombre, even zen character.

Not that there isn’t anything to like, Margot Robbie is wonderful, Christoph Waltz does his thing, and Samuel Jackson is clearly having fun.

Its bleakness removes it’s fun and exoticism, and it’s not as effective in its action, themes or character, and though more ridiculous, Now You See Me 2 is the more enjoyable popcorn flick of the week.

The Neon Demon

Nicolas Winding Refn’s new film follows Jessie, played by Elle Fanning, as a 16-year-old girl seeking to gain access to the fashion world in L.A., where her radiance is immediately noticed and causes those around her to obsess and hate her.

I’ve now had a chance to look at other reviews of TND and there’s been an interesting result. It definitely isn’t for everyone, and I concur. If you’re squeamish it is a hard watch, and if you need more than just style it’s a hard watch. Even then it’s a difficult experience.

Firstly, it is a beautifully constructed film. Story by Refn himself, and based on his own persona, there is clearly as much of a tortured individual present as there is an outlook onto the fashion industry. Natasha Brier’s cinematography entrances the film with brilliant colour (to match Refn’s colour-blindness I assume) and striking imagery. Cliff Martinez’ score is also integral to the feel and effectiveness of the piece, a thumping tempest of electronic sounds, matching the robotic-ness of the script and other models as they seek to attain maximum beauty.

I don’t think that TND is as overt as others think. Where Refn is not subtle with his framing (using mirrors, lack of emotion and heavily stylised sequences), this is part of what makes TND so poignant. Yes, it has been said before that the fashion industry is viscous and unrelenting, this is in the foreground of TND. But its overtness is used to distract from the real crux of the issue. The message of TND is blandly stated because it is an accepted fact. Refn wants us to accept that no one in the fashion industry is truly human, and the obsession with beauty is corruptive, but what TND is actually trying to point out is that this is the norm.

One masterstroke of the film Is using a character first pictured as a creepy pervert, and makes him a likeable guy, thereby demonstrating the landscape of this world, and the true villainy of the others.

Another is the sudden turn to graphic horror at the halfway point. I think you will either go in for it or you won’t. I read it quite well, and reacted the way that’s intended, with pure disgust. Though I wouldn’t say fear, it is truly disturbing.

Elle Fanning is stellar. Her biggest problem is that she is not as immaculate as the film needs her to be to emphasise the other models mediocrity (and therefore jealousy). The film is filled with commendable secondary performances, and I can’t think of a single character that doesn’t present something with meaning, but again the heavy stylisation is a barrier to nuance, another example of TND’s bluntness.

It’s not perfect, its biggest problem is the lack of narrative thread, and it’s a film that’s quite easy to get bored in. It is, however, a fascinating piece of work, and on repeat viewings should present a vastly different outlook.

 

Hear my reviews on Between The Lines, Saturdays at midday.

You can follow me on Twitter @HayzeeJr

Subscribe to our newsletter!
One a month, no spam, honest

Now on air
Coming up
More from Film
More from Phoenix FM


Phoenix FM Film Review – 9.7.2016

This week sees the release of Now You See Me 2, The Legend of Tarzan, and The Neon Demon.

Now You See Me 2 (which should have been called Now You Don’t, etcetera etcetera)

Following the events of the original, Now You See Me 2 sees the Four Horseman on the run and working for a sociopath tech giant. Starring the cast of the original (minus Isla Fisher), plus additions from Daniel Radcliffe and Lizzy Caplan.

It’s important to address NYSM2 as a sequel to the original; it is as ridiculous and incoherent as the first, but far less watchable. Where the original has the perfect 3 act structure of both a narrative and a magic trick (set up, turn, prestige), NYSM2 is far more make it up as you go, which is more difficult to control and add intrigue, leaving the end result more tiresome than the first.

The second also is saturated and twists and turns, some of which are spoilt by the marketing (Michael Caine), and some just not interesting whatsoever.

Not to say there’s nothing to like; NYSM2 has several enjoyable sequences, the vault card flinging scene in the trailer being the most enjoyable, and this will appeal to those who enjoyed the more bombastic set ups from the original. In addition, I think NYSM2 has a better appreciation for magic, its history and its place in society, as well as the subtly of difficult tricks, and the comparison to the bigger set ups.

Flawed, occasionally dull and often ludicrous, Now You See Me 2 knows what it is, completely incoherent and absurd, but has fun with it’s over the top script and performances, Radcliffe being one of the highlights.

The Legend of Tarzan

At this point the million and first Tarzan Movie, David Yate’s new Legend of Tarzan sees Tarzan after living in the jungle and meeting Jane, and now living as an English nobleman. Drawn back to Africa by the king of Belgium, Tarzan must reawaken his primal self to fulfil a plot too complicated to explain.

And to be honest, that’s actually the best thing about LoT, there is originality here. It has historical grounding surrounding when Belgium ruled the African Congo, and the fact that this is a new version of Tarzan gives it some intrigue from the get go.

It just doesn’t go. There is an attempt to approach some pretty serious themes, like elephant hunting and slavery, but the fact that this is at its heart an action film detracts from this massively, and it never gels. Also as an action film it’s not as epic as other similar films, and I was never impressed by the vine swinging, animal fighting and such.

There’s also the romance between Tarzan and Jane. It’s not interesting enough to carry the film. Alexander Skarsgard also has a hard time bringing a sense of likeability to his sombre, even zen character.

Not that there isn’t anything to like, Margot Robbie is wonderful, Christoph Waltz does his thing, and Samuel Jackson is clearly having fun.

Its bleakness removes it’s fun and exoticism, and it’s not as effective in its action, themes or character, and though more ridiculous, Now You See Me 2 is the more enjoyable popcorn flick of the week.

The Neon Demon

Nicolas Winding Refn’s new film follows Jessie, played by Elle Fanning, as a 16-year-old girl seeking to gain access to the fashion world in L.A., where her radiance is immediately noticed and causes those around her to obsess and hate her.

I’ve now had a chance to look at other reviews of TND and there’s been an interesting result. It definitely isn’t for everyone, and I concur. If you’re squeamish it is a hard watch, and if you need more than just style it’s a hard watch. Even then it’s a difficult experience.

Firstly, it is a beautifully constructed film. Story by Refn himself, and based on his own persona, there is clearly as much of a tortured individual present as there is an outlook onto the fashion industry. Natasha Brier’s cinematography entrances the film with brilliant colour (to match Refn’s colour-blindness I assume) and striking imagery. Cliff Martinez’ score is also integral to the feel and effectiveness of the piece, a thumping tempest of electronic sounds, matching the robotic-ness of the script and other models as they seek to attain maximum beauty.

I don’t think that TND is as overt as others think. Where Refn is not subtle with his framing (using mirrors, lack of emotion and heavily stylised sequences), this is part of what makes TND so poignant. Yes, it has been said before that the fashion industry is viscous and unrelenting, this is in the foreground of TND. But its overtness is used to distract from the real crux of the issue. The message of TND is blandly stated because it is an accepted fact. Refn wants us to accept that no one in the fashion industry is truly human, and the obsession with beauty is corruptive, but what TND is actually trying to point out is that this is the norm.

One masterstroke of the film Is using a character first pictured as a creepy pervert, and makes him a likeable guy, thereby demonstrating the landscape of this world, and the true villainy of the others.

Another is the sudden turn to graphic horror at the halfway point. I think you will either go in for it or you won’t. I read it quite well, and reacted the way that’s intended, with pure disgust. Though I wouldn’t say fear, it is truly disturbing.

Elle Fanning is stellar. Her biggest problem is that she is not as immaculate as the film needs her to be to emphasise the other models mediocrity (and therefore jealousy). The film is filled with commendable secondary performances, and I can’t think of a single character that doesn’t present something with meaning, but again the heavy stylisation is a barrier to nuance, another example of TND’s bluntness.

It’s not perfect, its biggest problem is the lack of narrative thread, and it’s a film that’s quite easy to get bored in. It is, however, a fascinating piece of work, and on repeat viewings should present a vastly different outlook.

 

Hear my reviews on Between The Lines, Saturdays at midday.

You can follow me on Twitter @HayzeeJr

Subscribe to our newsletter!
One a month, no spam, honest

Now on air
Coming up
More from Film
More from Phoenix FM