Review: Walking With Dinosaurs

Walking With Dinosaurs comes roaring back on to our screens this Christmas, but Emma Sudderick thinks it should have stayed extinct.

This Christmas, the BBC did something it has needed to do for 10 years. It brought back the dinosaurs.

So what did I do? I forced my two younger cousins to come to the cinema and spend 2 hours watching animated dinosaurs migrating. My dignity was saved, until it became apparent that I enjoyed the film more than the children did.

This is probably very true for one very good reason, I still remember the thrill of seeing dinosaurs for the first time on my TV screen.  It didn’t matter to me that the storyline was limp at best or that the characters were completely stereotypical of a children’s narrative, I was just excited (to the point of nausea) that I was watching a film about dinosaurs for the first time in years.

Once I had got past this initial elation, I started to see its faults. The plot had very little substance and the characters had even less.

Image Credit: 20th Century Fox

The protagonist, a Pachyrhinosaurus (aptly named Pachy), is the runt of the litter, constantly being picked on by his elder brother. As every children’s protagonist should be, he is suitably erroneous in his and find himself in all kinds of mischief.

This mischief, by luck alone, leads him into a romantic affair with another dinosaur, Juniper. Gee, doesn’t this sound familiar? Then the great migration begins and along the way the herd are met with all kinds of difficulties, including CARNIVORES! Gah! The film has so much substance that you can almost sink your teeth into it! (Get it?)

What I hope to emphasise is that there is very little reason that you should go and see Walking with Dinosaurs. It is a relatively short film, made solely for children. Yet there is something charming about the production. Whilst looking at the elements of the film in isolation make it seem like a dire attempt at reigniting the dino-mania many experienced when the original documentary first hit our screens in 1999 (I know, I feel very old too. One could almost say, prehistoric…), the film left me with a feeling of immense fulfillment. It was comical, uplifting and educational all at once. What it lacked in eloquent script writing it made up for in nostalgia.

I ended up walking out of the cinema entirely satisfied and entirely in need of someone to remind me that I was an adult.

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Review: The Wolf of Wall Street

Rosy Blake finds an unsettling moral message at the heart of Oscar-tipped The Wolf of Wall Street.

After seeing the ‘The Wolf of Wall Street’ I was disappointed at the frustration I felt, but I’m now beginning to wonder whether that was the reaction Scorsese was trying to get from me all along.

Image credit: Hollywood Reporter

Based on his own memoir, the film follows the rise and fall of Jordan Belford (Leonardo di Caprio), a charismatic stock broker who founds his own brokerage firm, which, to put it mildly, does not operate entirely within the law.

The film depicts Belford’s ridiculously lavish and hedonistic lifestyle… excessively.  Most of the three hours is spent watching di Caprio snorting lines of cocaine, driving private helicopters, hosting office parties full of hookers, consuming numerous bottles of Quaaludes and generally indulging in every material extravagance money can buy. It could probably have been cut short by an hour and told the same story, although even the most ridiculous parts of the film are taken from his memoir; he did actually have to be rescued by the Italian navy after his multi-million dollar boat got caught in a storm.

Yet, with the recent financial crisis still fresh in the minds of many, the fact that the film seems to celebrate rather than condemn Belford’s actions is frustrating. Anyone would believe that if you’re clever enough, you can live such a lifestyle at the expense of society and essentially get away with it (spending a mere 22 months in prison) simply by betraying your friends.

Perhaps the unsavoury taste left in my mouth as the credits rolled in was exactly the message I was supposed to take away – that these things happen in the world of finance and that, in some cases, it is all too easy to get away with it.

Rosy Blake

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Review: Anchorman 2 – The Legend Continues

Hannah Butler gets a second helping of Anchorman.

Ron Burgundy and his imbecilic and mildly offensive news team return triumphantly onto our screens after an almost decade-long hiatus, in this sequel to 2004’s Anchorman: The Legend of Ron Burgundy.

Image credit: CNN

Happily married to former rival Veronica Corningstone (Christina Applegate), Ron (Will Ferrell) faces the tough choice between love and ambition when Veronica is promoted just as he is fired. Unable to cope with Veronica’s success, Ron leaves the family home and winds up back in San Diego, where the opportunity arises to join the Global News Network, the world’s first 24-hour news channel.

Enter Ron’s loyal news team: Brian Fantana, Champ Kind, and of course, the wonderfully irritating yet endearing Brick Tamland, who join Ron in this challenge of making the graveyard shift their route back into the big time.

Of course, the danger of leaving such a vast length of time before introducing a sequel is that if, like my friends and I, you’ve been spouting Anchorman quotes since Year 8 and consider the film to be something of a classic, it’s going to take something pretty spectacular to make you forget that you “love lamp”, and forcibly remove you from the “glass case of emotion” you’ve been trapped in since film one.

However, if a spectacle is what you’re after, a spectacle is certainly what you’ll get in Anchorman 2: The Legend Continues.

We’re talking shark attacks, rolling RVs, and Will Ferrell playing jazz flute whilst figure skating. Chuck in some surprising guest cameos towards the end, and Anchorman 2 ends up just as far-fetched, daft yet hilarious as we’d expect from the original.

Basically, if you’re after sophisticated, politically correct entertainment, it’s probably best to give this a miss. However, if you enjoyed roaring and cringing along with the first Anchorman, chances are this won’t disappoint.

Hannah Butler

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Review: Death Comes to Pemberley

Emma Sudderick is underwhelmed by the latest Austen incarnation.

Image credit: BBC

Death Comes to Pemberley had all the elements to make it an ideal Christmas holiday addiction; the desire which overcomes us all to be Inspector Barnaby when watching crime mysteries, the eloquence of Elizabethan England which makes you want speak as though you inhaled the dictionary as a young child, and of course, Mr Darcy.

Based on P. D. James best-seller, it follows the lives of Elizabeth and Fitzwilliam Darcy six years after their marriage which concluded Austen’s Pride and Prejudice. Everything seems dandy in their lives until Elizabeth’s younger sister, Lydia, and her contemptuous husband, Mr. Wickham, return.

From then on it is a spiral of deceit, murder and a lot of pre-Victorian lawyering which I didn’t really understand.

Yet with all its costumes, its familiar characters and its slightly hued cinematography which every recent period drama appears to fantasize about, the three part crime-thriller-come-love-story appeared to kill Pemberley in more ways than one.

Most importantly, it introduced yet another Mr Darcy into our fantasies. Whilst the debate of ‘Colin Firth Vs. Matthew Macfadyen’ has been frustrating Jane Austen lovers since 2005 when Joe Wright’s adaptation of Pride and Prejudice was released, it has been somewhat engrossing trying to decide which has captivated our hearts most:  the water-logged white shirt of Firth or the rain-sodden peacoat of Macfadyen.

Matthew Rhys as yet another Darcy. Image credit: The Telegraph

Suddenly, we have a third party who is neither the family favourite actor nor the morose introvert which we best associate with the name Mr Darcy. That isn’t to say that Matthew Rhys’ portrayal is unsavoury, but rather that it lacks…gumption.

Indeed, even Elizabeth lacked much of her mettle which makes her so lovable as a protagonist. In fact, rather than transform Pride and Prejudice, what Death Comes to Pemberley has done is fantasised about it. The series is less of an adaptation than a day dream complete with the sly tell-tale humour of a 21^st Century production.

From this perspective it is very easy to see why Death Comes to Pemberley is a feat of genius. After all, the BBC merely did what every reader does to their favourite books and say “what if?”.

Despite its disheartening attempts at reigniting Austen’s literature, Death Comes to Pemberley managed to captivate a massive audience (at least for three evenings anyway) with its panache and excitement. Still, it will probably be forgotten within a few months and exiled to the television graveyard that is BBC Three.

Emma Sudderick

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Review: The Bridge Series 2, Episodes 1 & 2

The new pick of the Scandi-noirs has Callum Burroughs intrigued.

Image credit: BBC

At a depressing time where various high level security organisations are able to monitor your every move, where the weather appears to have been designed by mocking, sadistic children and where, for many the grey month of January is synonymous with grey days and exams, it is important to think of positives.

Evidently this scenario is perfect for the latest instalment of every young, liberal, euro-loving tv hipster’s favourite genre. Scandinavian drama.

Yes, since the arrival of The Killing and Borgen to our screens from our former Viking cousins, we have become accustomed to dark and often chilling scenes of Nordic crime and death live in our homes. It is not however all doom and gloom, as The Bridge returns for a second series on BBC 4.

The Bridge’s first series was met with interest, the next in the stellar line of Norse television and it didn’t disappoint. Despite the arguments that these excellent TV dramas should be scheduled at better times on BBC 1 or 2 to gain new audiences, the show continues on BBC 4.

The Danish/Swedish production was smooth and compelling, combining two different natural psyches in our two protagonists Martin Rhode (Kim Bodnia) and Saga Noren (Sofia Helin), the Danish and Swedish (respectively) police officers charged with investigating the confounding case of one body, with one person’s torso and another’s legs found on the Oresund bridge which connects Copenhagen and Malmo.

Striking attention to detail, inherent political symbolism and intent as well as various degrees of social commentary, The Bridge was seen as an adaptation of the apparently decided differences between Danes and Swedes. This has recently been replicated plot and all for British audiences with Sky’s The Tunnel, which features Britain and France as the key countries involved.

Troubled teens – Julia Ragnarsson as Laura. Image credit: BBC

This second series starts, rather surprisingly with a boat, or as Saga is at pains to point out a ship due to its size and length etc, thank you Saga. As many people’s hearts were palpitating, the director thought it wise to have the ship begin to sail toward the bridge, despite calls from the harbour master to avert its course. Why didn’t it change course?! Ah: there’s no crew, cue intense music and the beginnings of another series full of mystery.

This second offering was as expected full of the same intrigue as the first episode, though we feel much stronger interest in some of the new characters, whilst sympathising with the plight of the old.

The exposition of some of the key emotional issues in daily life, love and loss are keenly explored throughout the relationships on screen and as the plot remains as gripping as ever, while the idea of having what appears to be a cell of domestically based and driven murderers is chilling, and their cause is of course one of interest, knowingly or not to everyone on the planet.

The Bridge is at pains not to take strong sides over the environmental issue, especially as Scandinavia is one of the few places with a strong ecological record over the last few decades and are constantly moving to improve their emissions and pollution statistics.

Having said this, the view given of the environmental movement and especially of activists is relatively bleak and if anything a bit dismissive.

Evidently some of the more startling aspects will begin to take shape as part of an overarching investigation that crime dramas tend to specialise in. As the series begins to flower, we’ll no doubt be treated to some of the best that Scandinavia has to offer.

Callum Burroughs, Online Music Editor

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Review: Frozen

Adam Smith finds plenty to warm his heart in Frozen.

Two films about female liberation came out this week. One was Blue Is The Warmest Colour, which will be critically acclaimed because it’s about the plight of a teenage French bisexual girl with tasteful nudity. The other is Frozen, which will be critically acclaimed for being wonderful.

A film with plenty to offer for adults as well as kids
Image Credit: Disney

Loosely based on Hans-Christian Andersen’s The Snow Queen, Frozen is a love story between two sisters (not like that) who become separated after the future ice-empress Elsa (played by Idina Menzel) hurts her sister Anna (Kristen Bell), and the only way to save her has the byproduct of erasing all memories of Elsa’s icy powers.

Elsa is then put under house arrest to stop her powers from hurting anyone else, leaving Anna confused about why her sister is suddenly giving her the cold shoulder.

To really double up this emotional torment, the sisters’ parents are killed in a storm, leaving Elsa to grow up into a sort-of perpetual puberty – confused and repressing all emotion (replace ‘emotion’ with ‘ice powers’) – and Anna to become an 18-year-old woman with all the innocence and naivety of a seven year old.

 Eventually Elsa’s powers are revealed to the public, and anyone who is even remotely familiar with Frankenstein or X-Men or super-people films in general can see how this pans out.

Elsa escapes to the icy mountains and sings one of the best Disney songs ever written, unfortunately putting the kingdom in a state of perpetual winter as she, metaphorically, breaks through puberty and ‘snowgasms’ (the imagery is really strong, and Elsa becomes much more feminine and adult as a result of this outburst) an entire ice castle.

 Most of the problems of this film come from the advertising.

What was shown in posters to be some missable Dreamworks clone is all wrong, but because of some real left turns the film takes at the end the film can’t give you anything in its trailers, relying instead (I imagine) on the word of mouth from the first few parents whose are humouring the children, and reviews.

A Snowman?! Sunbathing?! Classic!
Image Credit: Disney

As advertised, there is a romance between Anna and Hans, the prince of a nearby kingdom, but when you are watching it and feel that it might be tacked on, I’d keep hold of that.

This is as much of a breakthrough of the Disney formula as it is a traditional Disney film, and damned hard to classify. This is the sort of pastiche we haven’t seen since Shrek, with the bonus that it’s unlikely to descent into terrible sequels (Shrek 3 and 4, I mean. Shrek 2 was great). Even Olaf (Josh Gad), the snowman in love with the idea of summer, is charming in every scene he’s in.

It’s not a perfect film; the pacing at the beginning is a bit off as it’s never explained how the city is running if its leading royalty are locked in their castle. Also, Elsa and Anna losing their parents feels a bit like overkill, especially so early into the film. But these are minor complaints that I had completely forgotten by the last quarter of the film, which blows Tangled out of the water and nearly hits Pixar level brilliance. It’s a parabolic graph of Disney magic. This is one you don’t want to miss.

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Review – The Hobbit: The Desolation of Smaug

Carmen Paddock reviews Peter Jackson’s second adaptation of the Hobbit.

Image credit: Metro

The second installment of Peter Jackson’s Middle Earth trilogy clocks in at 161 minutes, slightly shorter than its predecessor (and all three of The Lord of the Rings) but still ample time for thrilling action sequences; high adventure across forests, rivers, towns, and mountains; and one massive dragon.

The Hobbit: The Desolation of Smaug will almost certainly delight fans of the franchise with its fast-paced plot, fantastic performances, and excellent art direction and effects.

Once Howard Shore’s haunting music and New Zealand’s stunning scenery are combined, the familiar atmosphere immediately immerses viewers in Middle Earth and the adventures at hand – a testament to Jackson’s and his team’s artistic coherence.

The film begins with a flashback to an introductory scene only heard about in the books.  It then largely picks up where An Unexpected Journey ends, following the dwarves on their continued escape from the band of Orcs led by Azog the Defiler.  Without giving too much away, the ensuing journey takes the party across amazing landscapes, to exciting new places, and into contact with a host of colourful characters – elves, men, shape-shifters, and dragons.

Although Jackson keeps the core storyline intact, those who have read the books, may find a few of the plot changes – some quite egregious – a source of contention and consternation.  The action culminates in terrible suspense; those who have not read the book will have to wait another year to see how that cliffhanger turns out!

Image credit: The Times

The performances are strong throughout the immense cast.  Martin Freeman’s impeccably-timed and precise mannerisms are perfect for Bilbo, and he convincingly portrays the hobbit’s increasing boldness and ingenuity alongside his growing attachment to his new-found ring.

Richard Armitage is once again a compelling, dynamic Thorin; no one aspect of his character – his stubbornness, charisma, power lust, courage, and developing rapport with Bilbo – overpowers another, highlighting both his heroic side and his deep flaws.

The rest of the dwarf company are all fully-developed characters – standouts include Ken Scott as Balin, Graham McTavish as Dwalin, Stephen Hunter as Bombur, and Aidan Turner as Thorin’s impetuous nephew Kili.

Sir Ian McKellen’s Gandalf is a classic, while Orlando Bloom reprises Legolas and is every bit the beloved wood elf of before.  He is joined by Lee Pace as his father, Thranduil, and Evangeline Lilly as Tauriel, a female elf warrior of Peter Jackson’s creation.

Pace creates a nuanced portrayal of a king desperate to defend his people against the growing darkness, while Lilly impresses as a bold, powerful, and utterly competent heroine.  Her addition to the story is quite welcome.

Luke Evans’s Bard and Stephen Fry’s Master of Laketown vary slightly from their book counterparts, especially in their relation to one another, but the two actors flesh out the characters nicely.

Oscar-worthy: Benedict Cumberbatch voices Smaug.
Image credit: Total Film

And no actor review would be complete without mention of Benedict Cumberbatch, who voices both the dragon Smaug and the Necromancer of Dol Goldur.  Despite two different voice modifications, both are noticeably  Cumberbatch – a refreshing touch of recognition amidst the CGI visual performances.  And what a deep, commanding voice it is!

The cinematography keeps the film’s mis-en-scene almost indistinguishable from earlier installments.  A nice artistic touch is varying the shots by location depending on the quality of each: the filming in Mirkwood is dizzying while the Woodland Realm is dreamlike and Erebor is vast and sweeping.

On the whole, the visual effects are successful, the only downfall being that the computer generated Orcs seem less menacing and more ‘plastic’ than their prosthetic, human-acted counterparts found throughout The Lord of the Rings.

Smaug, however, is a phenomenal creation.  At once recognisably and traditionally dragon-like, yet also entirely unique (his movements had an almost bat-like quality), he is a marvel of computer designs, and possibly worth a visual effects Oscar all on his own.

Despite serious departures from original plot details, The Hobbit: The Desolation of Smaug is a solid, enjoyable, and thrilling continuation of a decades-long franchise.

Although the final chapter, out in December 2014, cannot come soon enough, leaving the fantastic Middle Earth of Peter Jackson’s meticulous creation will be a difficult goodbye.

Carmen Paddock

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Review: The Polar Express

Throw away Love Actually, sod It’s a Wonderful Life, Thomas Davies says we should all be watching The Polar Express this Christmas.

Image credit: Collider

Do you remember when you were younger and you were anxiously going to bed waiting for Santa to come down the chimney and deliver all your presents? Do you remember what that felt like? That’s the kind of feeling I get when I watch The Polar Express – for it’s a film that brings back the great part of Christmas: the feeling of it.

It’s a really simple story. A skeptical boy (Daryl Sabara) is whisked away on a train to the North Pole to visit Santa himself (Tom Hanks). His adventures on the train, from delivering a lost ticket to rescuing his friend are a joy to watch and they certainly excite. The beautiful visuals help to transform the landscape from a train ride into a breath-taking experience.

What’s great about The Polar Express is that it isn’t abstract or satirical as some other Christmas films are; it’s a true Christmas story in the old-fashioned sense of the word. It takes you away from reality and lets your inner child come out.

It’s this magic that makes it all the more poignant. The character of Billy, a child who has never had Christmas, is heart-breaking in this film. It reminds us what Christmas could and should be; gathering around with friends and family, celebrating for one day of the year, hearing carols ring out, the simple joy of knowing somebody cares. That’s what I call Christmas.

It’s not a film that is on everybody’s Christmas watch list, but The Polar Express is a fantastic film. It encapsulates the best of the Christmas spirit by bringing the magic of this special holiday and letting you embrace it. Escape from family feuds, commercialism, finances and board The Polar Express, you won’t regret it.

Thomas Davies

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Review: Walking Dead

Adam Turnbull finds The Walking Dead infectious.

With the mid-season finale of The Walking Dead approaching, viewers are expected to be both clinging to their seats in suspense and holding back the tears as a main character’s death is rumoured.

Ever since Season Three’s finale, there was always doubt as to whether Season Four would live up to the high standards that had been set. However, this October, Season Four exploded onto our seasons with absorbing storylines, heart racing action and just as much blood and guts as before.

The talented writers have proven that in a world of madness and opposition, from both the living and the dead, a sense of community is still possible. Throughout the seasons, viewers have grown to see Rick (Andrew Lincoln) and the group as a second family.

The unpredictable storylines commonly cause both shock and tears amongst fans. The most prominent scene for me was Lori’s (Sarah Wayne Callies) death in Season Three, which was a devastating blow to both the group and viewers. It resulted in Carl (Chandler Riggs), having to take charge and kill his now zombie mother. Rick was left engulfed in mourning and depression as a result of losing his wife and having to raise a now motherless baby. However, rather than tearing the group apart, it made them closer, making their survival even more important.

Image Credit: AMC

Season Four so far has seen Carol (Melissa McBride) being unpredictably banished by Rick, for doing what she thought was best for the group’s survival, as well as a mysterious flu academic taking over the group, most prominently Glenn (Steven Yeun), who, without antibiotics, could die (and you guessed it, turn into a zombie).

After The Governor’s disappearance, fans have awaited his return and the consequences it will have on the group. Fans were given an insight into where he went during episodes six and seven. He is shown as having lost everything and everyone. However after monitoring the prison, Rick and the group, he is now back with a new group and longs for revenge.

The Walking Dead has never disappointed with its midseason finales. Norman Reedus (Daryl) promises the midseason finale will be “mind blowing, we thought last season was real good. This seasons crazy good. It’s nut’s, you’ll love it.”

With expected intense storylines and rumours of looming deaths. It has never been a better time to hibernate, prolong essays and deadlines and catch up with The Walking Dead. I can promise you, you will not be disappointed.

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Review: Homeland Series Three

Claire Danes remains brilliant as the troubled Carrie
Image Credit: Showtime

Laura Hutchinson goes crazy for Carrie in series three of Homeland

After the climactic end to the second season of Homeland, with the CIA headquarters the target of a terrorist bomb attack, the return of the third series, which started earlier this Autumn, was much anticipated.

We are teased by the noticeable absence of man- on-the-run Nicholas Brody (Damian Lewis) from the outset. He has appeared in only two episodes so far, leaving an audience slightly unsatisfied but undoubtedly hooked.

With the focus gone from the protagonist who usually commands our screens, we are confronted with those who are left behind in Washington D.C. This series so far has acted as more of an exhibition of the effect that the events of previous series had on the characters, allowing a chance for the actors to conduct a deeper personal exploration of their roles.

As always, the acting is first class, with multiple Emmy winner Clare Danes leading as the erratic but brilliant Carrie Mathison. Carrie, heartbroken, tormented and disgraced, seeks justice for ex-lover Brody, whilst the American government cling to him for someone to blame the disaster on.

Saul Berenson (Mandy Patinkin), Carrie’s CIA mentor and trusted friend, re-establishes himself as one of the cast’s most valuable actors, whilst also moving into Brody’s recently frequented spotlight as the new male lead.

Now acting director of the CIA, in the first few episodes he convinces viewers that his new found power has gone to his head, aiding Carrie’s submission to a psychiatric unit and betraying her reputation on worldwide television, seamlessly changing his soft and supportive characteristics from series one and two, to a character far more authoritative and unyielding.

Convict in Caracas
Image Credit: Showtime

But like every great thriller, this series is filled with twists and surprises, and his damnation of Carrie is all within a grander plan, one of many cleverly constructed plot lines.

The Brody family are also further put under the microscope this series, revealing a broken home and a damaged daughter. The strain of having your father being branded ‘America’s most wanted’ is all too much for teenager Dana Brody (Morgan Saylor), who amongst other things, attempts suicide, steals a car and runs off with her boyfriend from her therapy group.

Although the pace and action of the series so far seems a little stilted, under no circumstances can it be considered the ‘calm after the storm’.

The thrill, suspense and psychological intensity is as present as ever, and with new characters and complex storylines being introduced on a weekly basis.

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