The Simpsons Movie (2007)

TV’s longest-running animated series gets a big-screen adaptation in this film, which is a few years old now, but still packs a pretty good comedic punch.

After Homer makes a massive error in judgment (no surprise to anyone who has seen even just a single episode of The Simpsons), the town of Springfield is declared the most polluted city in the history of the world by head of the EPA, Russ Cargill (Albert Brooks). As a safeguard, the town is enclosed under a massive impenetrable dome, and erased from all maps and satellite imagery.

When word gets out among the townspeople that Homer is to blame for their isolation, the entire town turns on the family, forcing them to go on the run (after they miraculously escape from the dome, of course).

Homer (Dan Castellaneta) and Marge (Julie Kavner).

The entire family moves to Alaska of all places, where they try to make a new life for themselves.

But when things become even worse back in Springfield, forcing Cargill to step up his plan to the next level - destroying Springfield altogether - the family must put aside their differences and return to Springfield to save both their home and the people they love.

The screenplay - written by several members of the writing team for the TV series: James L. Brooks & Matt Groening & Al Jean & Ian Maxtone-Graham & George Meyer & David Mirkin & Mike Reiss & Mike Scully & Matt Selman & John Swartzwelder & Jon Vitti - is clever enough, at least in the way it remains true to the spirit of the show. However, as a film, it falls a little short. The film is essentially three Simpsons episodes back-to-back, and the structure seems quite disjointed, particularly at the thirty- and sixty-minute points.

Bart Simpson (Nancy Cartwright) and Ned Flanders (Harry Shearer).

The quality of the animation, however, far exceeds that of the TV show. Rather than being drawn purely by hand - as the show was and is - the film has been animated on computers, allowing for shots and scenes that could not have been possible with hand-drawn animation. Also, the lip-synching is greatly improved with the use of computers, making this film feel just a little more realistic than the show has been or could ever be.

The voice cast are the same as on the TV series, again giving the film continuity to the series. And in this film, they are all truly in their element. There is a real camaraderie between the cast, which is clear in how the performances come across. Unlike most animated films, where actors record their own lines in isolation from their co-stars, these voices were almost certainly recorded together in one studio, as is the case with the TV series, giving extra realism to every moment, allowing cast members to play off each other’s performances.

Russ Cargill (Albert Brooks).

Hans Zimmer’s score is fantastic, which shouldn’t surprise anyone familiar with his work. There is even a leitmotif used for any scenes with Lisa in them, and each time it is heard, it is ever so slightly different, be it in instrumentation, tempo, rhythm, etc. Of course, the original theme is by Danny Elfman, but Zimmer has clearly made this score his own.

Director David Silverman has made a relatively enjoyable film here, one that is certainly required viewing for fans of the television series. If you haven’t seen it yet, check it out. You will certainly find something you can enjoy in its ninety-minute running time.

7 out of 10.

The Lion King (2019)

Another live-action remake of a classic Disney animated movie, this film follows the story of young Simba, the lion born to be king of the Pride Lands.

I'm sure most people are aware of the majority of the plot details of the film, as the animated version was released back in 1994, but I will give a brief description of the plot before moving on to the actual review.

Simba (JD McCrary) is the lion cub, born to parents Mufasa (James Earl Jones) and Sarabi (Alfre Woodard), who by his birth becomes the next in line to rule the kingdom. This pushes his uncle, Mufasa's brother Scar (Chiwetel Ejiofor) off the top spot, and Scar becomes insanely jealous of the future king.

With the assistance of three hyenas, Kamari (Keegan-Michael Key), Azizi (Eric André) and Shenzi (Florence Kasumba), he hatches a plot to kill both Mufasa and Simba, and take over the kingdom for himself.

Scar (Chiwetel Ejoifor) and his band of hyenas.

Unbeknownst to him, however, Simba is not killed, but escapes and grows up (and is now voiced by Donald Glover) with new friends, meerkat Timon (Billy Eichner) and warthog Pumbaa (Seth Rogen), until such time as he is ready to return and challenge Scar for the title of king. Assisted by old friend Nala (Beyoncé Knowles-Carter), and former royal advisor hornbill Zazu (John Oliver), he mounts a mission to overthrow the new, terrible regime Scar has put in place.

If you are a fan of the original film, there is plenty here to enjoy and remember, while at the same time, plenty to discover and experience that is new.

The screenplay, by Jeff Nathanson, is very well-written, with some of the more significant sections of the film being identical to the original, to the point that there were large chunks of dialogue I could quote from memory due to my repeated watching of the animated version all those years ago. But there is also plenty of new material here that - while the main structure of the plot and characters are the same - brings the film into a new century and opens it up to a whole new audience.

Simba (Donald Glover) and Nala (Beyoncé Knowles-Carter).

The songs, with music by Elton John and lyrics by Tim Rice, are the same as we all remember. Every one of the songs from the animated film are there, with the inclusion of a couple of songs previously only present in the Broadway musical of a few years later. There is also one brand new song - entitled 'Spirit' - sung by Beyoncé, because if you've got Beyoncé in your film, you'd better make sure she sings at least one song, right?

The score, as separate from the songs, has been composed by film-scoring royalty Hans Zimmer, and is - as you might expect - incredible. Again, large chunks of the score are incredibly similar to the original animated film, but often with slightly different instrumentation and arrangement. However, there are many new themes and melodies developed throughout this film, all of which fit well with the songs composed by Elton John, unifying the soundtrack together as one complete entity.

Calling this film live-action is a little deceptive, however. Technically speaking, the film is still animated, using CGI animation to create the animals. However, it doesn't look like an animated film, as the animation is made to look extremely lifelike and realistic, right down to the natural behaviour of each of the animals. The standard of the visuals is absolutely top-notch and does not look unrealistic at any point (that is of course when the animals aren't singing or talking).

Young Simba (JD McCrary), Timon (Billy Eichner) and Pumbaa (Seth Rogen).

Caleb Deschanel's cinematography is absolutely beautiful, with plenty of contrast between light and dark, and good use of shadow. The African landscape is stunning, breathtaking, beautiful, and serves as the perfect backdrop for this epic story. The animated animals seem right at home in the authentic world, which only adds to the realistic feel of the movie.

All of the voice performers have been well cast in their respective roles, and do an incredible job. James Earl Jones as Mufasa is a clear standout, which is probably to be expected, as he is reprising the role he voiced in the original animated film. Eichner and Rogen are fabulous as comic duo Timon and Pumbaa, and have an excellent chemistry together. All the songs are performed brilliantly as well, and - while the lyrics are the same - have an updated feel to them here.

Director Jon Favreau has done an amazing job bringing the original animated film to life in a whole new way. As I mentioned already, if you're a fan of the original film, you simply must watch this. If you're not a fan of the original, then there is probably something wrong with you (ha ha). I will certainly be watching this many more times to come.

8 1/2 out of 10.

X-Men: Dark Phoenix (2019)

The latest instalment in the hugely popular X-Men franchise, this film is perhaps the best of the lot so far.

I must be careful how much I say about the plot, as the film has not been in cinemas long, and I don't want to give too much away.

This film largely centres around the character of Jean Grey (Sophie Turner), as she comes to terms with her unique powers and the consequences they may have for her and for those around her whom she loves.

Jean first discovers her abilities when she is just a little girl (played in these flashback scenes by Summer Fontana). Sitting in the back seat of the car while her mother (Hannah Anderson) is driving - her father (Scott Shepherd) in the passenger seat - she changes the radio station because she doesn't like the music. The thing is, she turns the dial without touching it, purely with the power of her mind.

But it doesn't stop there. As she also has the power to read minds, there are so many voices going around in her head, it quickly becomes overwhelming, and she 'lashes out' emotionally, causing the car to veer into the path of an oncoming vehicle, resulting in a head-on collision.

She wakes up in hospital, and is met by Professor Charles Xavier (James McAvoy), who informs her that her parents were both killed in the crash, but that she can come and live with him. He has a school, he informs her, filled with other students like her, so different from those around them that they are unable to live normal lives, students who are learning to control their powers so they can be used for good.

Charles Xavier (James McAvoy) invites young Jean Grey (Summer Fontana)
to his school for gifted children.

Fast forward several years, and Jean (along with all the other X-Men) is older, and a little more able to control her powers. That is, until a mission to save the troubled Challenger space shuttle goes horribly wrong, and Jean now finds herself back where she started: unable to control her powers, and causing havoc to those closest to her.

You see, something - believed to be a solar flare - entered Jean in space, and now seems to be controlling her more than she can control it.

Charles and the other X-Men try to help her, but generally to no avail.

Any comic book movie worth its salt needs a decent villain, and this film has just that in the form of Vuk (Jessica Chastain), a shape-shifting being desperate to get her hands on whatever it was that has taken control of Jean Grey.

That's probably enough on the plot description front; if I go any further, I risk spoiling it too much.

Jean Grey (Sophie Turner) finds her new powers too difficult to control.

The screenplay, by director Simon Kinberg, is fantastic. All the characters we have grown to know and love from previous instalments of the franchise are here, including one of my favourites, Michael Fassbender as Erik/Magneto. The characters are all clearly defined in the script, and clearly delineated from one another. The tension, suspense, very occasional down moments, and action are all balanced beautifully from scene to scene; the film doesn't really let you relax for too long, it really is quite the thrill ride from start to finish.

To give you an idea of the scope and magnificence of the film's score, I need only mention the composer's name: Hans Zimmer. It should come as no surprise that the music is absolutely stunning if you've heard any of Zimmer's work before.

The performances of the entire cast are amazing; every single cast member is perfectly suited to their roles, some of them having played their roles through several films now. There is a scene - about fifty minutes in - between Hank/Beast (Nicholas Hoult) and Charles that is so raw, emotional and heartbreaking, it will bring you to tears. The level of their craft is so high, you will forget you are watching a film; it really does feel like we are intruding on a real conversation/discussion/argument.

Vuk (Jessica Chastain) tries to convince Jean Grey (Sophie Turner) to join her.

I could mention each and every one of the cast, and go into great detail on particular scenes in which they shine, but I don't have the time or the space to mention them all.

However, I must mention one more name. The surprise standout success of this film has got to be Summer Fontana. She brings to her character - young Jean - a wisdom and an internal struggle far beyond her years, and easily holds her own in scenes opposite James McAvoy.

Mauro Fiore's cinematography also deserves a mention here. The use of light and dark, and the contrast thereof, is truly beautiful. It truly feels like one is seeing panels of a comic book come to life; the framing of shots, and the angles from which they are shot, is so well planned. This is of course a collaborative process between the cinematographer and the director, and these two seem to work very well together.

Director Simon Kinberg has made an absolutely stunning film, a film that not only further expands the X-Men universe and deepens our understanding of the characters therein, but leaves the previous instalments in the dust. A must-see for any fans of the comics or previous films.

9 out of 10.

Chappie (2015)

Director Neill Blomkamp follows up his hugely successful film District 9 with this film about what it truly means to be human.

Set once again in Johannesburg, South Africa, we see a future that is perhaps not too distant, where rising crime has prompted a necessary change to the way policing is done in the city.

Tech company Tetravaal, headed by CEO Michelle Bradley (Sigourney Weaver), have developed robots to join the police force in fighting crime. The robots have far superior intelligence, follow standard procedure without fail, and cannot be injured in the line of duty.

These robots, designed by developer Deon Wilson (Dev Patel), do however occasionally require repairs, especially when they are shot at, and naturally run on batteries whose charge lasts about a week at a time.

There is only one person who doesn't like these new robots (apart of course from the criminal gangs throughout Johannesburg), and that is fellow Tetravaal employee Vincent Moore (Hugh Jackman).

You see, he had his own pet project he was working on before Deon came along and ruined it for him with his intelligent robots. Vincent - having been ex-military - had spear-headed a program known as 'Moose', whereby a human controller by means of a neural transmitter helmet could control an enormous killing machine from a suitably safe distance away from any dangers.

Deon, inspired by the response he gets from the local police at the success of his robots and the AI embedded in them, has been working on another AI in his own time. He hopes to create a robot that is actually self-aware, a robot that has true consciousness, and can learn, and express itself artistically or any other way it should choose to of its own accord.

One day, when a robot comes in for repairs, he seizes his opportunity. The robot in question has been shot at too many times, and is scheduled for demolition. There are far too many damages to it to allow it to serve in active duty any longer: its battery has fused into the mainframe and cannot be removed to be charged, so it only has a week left of life in any case.

But it is just the 'shell' Deon needs to test his AI in a real machine. So he takes it home (completely against company procedure, of course) and installs his own new software inside it.

Meanwhile, a local group of relatively low-level criminals, Ninja and Yo-Landi (played by real life hip hop artists Ninja and Yo-Landi Visser) and their partner, Amerika (Jose Pablo Cantillo) need a way to make a lot of money in a very short time. They are in debt to a crime boss, and have only a week to pay.

In a fit of total stupidity, they kidnap Deon (along with his police droid that is no longer a police droid but still looks like a police droid) and force the two of them to go along with their plan (I will leave the details of said plan for you to discover for yourself).

As the robot, who is christened Chappie (and played with incredible skill by Sharlto Copley), becomes more and more aware of himself and his surroundings, he 'grows' in his mental and physical capabilities, just as a human does from childhood into adolescence and then into adulthood.

The most wonderful thing about this film is the insights it provides into what it means to be truly human, to be truly self-aware and conscious. There are so many wonderful messages in this film, and so many things to think about and discuss with other viewers, and to even ponder over oneself.

The script - by Blomkamp and Terri Tatchell - is absolutely amazing. I have a suspicion there may be large sections of the film where the cast are improvising their lines and actions somewhat, as this is certainly what was done in District 9 - but there is still a very real sense of an overarching 'control' (for want of a better term) from the writers, as they preside over the story they ultimately want to tell, regardless of the individual minute details of the story and individual moments.

The music consists of two separate elements: the original score, composed by Hans Zimmer; and a bunch of original tracks, written and performed by Ninja and Yo-Landi, who also play Chappie's surrogate 'parents'. Both of these separate elements are handled exceptionally well. It should come as no surprise to any student of scoring for film that Hans Zimmer's abilities are incredible, and he is truly in his element with this film; the score is fantastic. And the original songs (and there are several) are also very good, adding so much detail to the feel and tone of the film.

The cast are all fantastic in their roles, in particular Hugh Jackman and Sharlto Copley. Copley, though never visible on screen as 'himself', breathes so much life and such a nuanced performance into Chappie, it will bring tears to your eyes (well, it did to mine, anyway).

This is such a great film, and I never tire of watching it.

8 out of 10.

The Da Vinci Code (2006)

Based on the best-selling novel by Dan Brown, this film takes the viewer on an extremely fast-paced adventure through Europe on a quest to discover the location of the Holy Grail.

Harvard professor and symbologist Robert Langdon (Tom Hanks) is approached at an event in Paris by a police detective who requests his help in solving a murder that has taken place in one of the galleries of the Louvre, as the victim has a series of strange markings on his body, and Langdon is believed to be one of the only people in Paris at the time who can make sense of the markings.

Langdon agrees, and soon finds himself on the run from detective Bezu Fache (Jean Reno), accompanied by police cryptographer Sophie Neveu (Audrey Tautou). Their running leads them through a series of clues and puzzles, eventually bringing them to Grail scholar Leigh Teabing (Ian McKellen).

Pursued at every turn by Fache – and also a crazed religious fanatic known only as Silas (Paul Bettany), the two are constantly changing direction, and running somewhere else to the next clue, or just to escape being killed for the information they are slowly gathering.

I’ll leave the plot there, as there are so many twists and turns throughout the film’s nearly 3-hour running time, that anything else I say would spoil things too much.

As an adaptation, the script by Akiva Goldsman from Brown’s novel works well. As a film, however, there is just too much going on all the time. I realise that in the novel there is a lot going on all the time, but to have it all in the film does feel a little overcrowded at times.

Of course, given the worldwide success of the novel, a film version was of course inevitable.

The cast are all fantastic in their roles, the standouts being Hanks and Tautou, whose on-screen chemistry is electric in all the right places. Their personalities and backgrounds complement each other perfectly, and it seems the two belong together for this adventure.

Ian McKellen also gives quite an impressive performance as Teabing, an interesting character who has set himself up in a very antagonistic position to the Roman Catholic Church (who incidentally were very scathing in their dislike of the novel, which probably only increased worldwide sales!). In fact, the character of Teabing can be summed up in one of his lines of dialogue: “As long as there has been a one true God, there has been killing in His name.”

Another performer who shines in this film is Alfred Molina, playing a bishop by the name of Manuel Aringarosa. But of course, Molina shines in just about everything he does, so as soon as I saw him on screen, I knew I was in for a treat.

Ron Howard’s direction works well, but is nothing spectacular. One gets the impression that any director who has directed a fast-paced thriller before could have pulled off exactly the same result; there is not really anything uniquely Howard-esque about this film, not in the same way as one might find in his other projects.

I would say the same about the cinematography and the music. The music is composed by Hans Zimmer – and clearly so, for those who are familiar with his signature sound – but could equally have been composed by anybody else.

As mentioned earlier, the script is virtually flawless, at least as far as the original source material is concerned. The pacing and dialogue are just as tight and full as that of the novel, which was an entertaining read. Though as also mentioned earlier, to translate this all directly to the screen seems a bit much to me. It is difficult to see where the creative team could have possibly made cuts, as everything in there needs to be there for anything to make sense, so I’m not sure what could have been done about this. However, I will say that it was a good thing I was watching this on DVD, because I needed to pause every 30 minutes or so and take a break, not because the film was long, but because it was full and my brain needed a rest!

I would not advise seeing this film for its historical or factual information, because there is very little of that. Most of Teabing’s views can be discounted purely on the basis of evidentiality or common sense.

I would however advise seeing this film for its entertainment and thrill value. It doesn’t let up even for a moment, and you will certainly be entertained (just not informed).

6 out of 10.