Transcendence (2014)

Will Caster (Johnny Depp) has been developing a self-aware AI for many years, with the help of his wife Evelyn (Rebecca Hall). He has relied also on the groundbreaking work of several colleagues in the field, such as personal friends Max Waters (Paul Bettany) and Joseph Tagger (Morgan Freeman), among others.

When our story begins, Will is giving a presentation to potential investors about the future of AI, and how it can advance not only the human race, but also technology in general, and indeed the wider world.

However, there is also a vigilante group who have been targeting AI researchers across the country, and even around the world. One of the members of this group - present at the event - shoots Will in the foyer after the seminar.

Will is fortunate that the bullet merely grazed him, so at first it seems like he will be okay and make a full recovery. However, the bullet was laced with polonium, so slowly but surely, his internal organs and nervous system begin to shut down, and he is told he has only a few months left to live.

Will Caster (Johnny Depp), Evelyn Caster (Rebecca Hall) and Max Waters (Paul Bettany).

As he faces the end of his life, and Evelyn faces the rest of her life alone, they come up with a 'terrible' - at least it is terrible to everyone who knows them, the two of them see no issue with it - plan; that is, to upload Will's consciousness to the computer they have been developing the AI system on, so that he can not only continue to live on - in a digital form - but AI as a concept can continue to develop.

The vigilante group, however - led by a young intern named Bree (Kate Mara), who had worked with Max in the past - continue their campaign against all advancement of AI technology.

Their crimes - they have already killed a number of researchers - are investigated by FBI Agent Buchanan (Cillian Murphy), with assistance from Joseph Tagger.

I'll leave the plot description there for now, you can experience it for yourself if you so choose.

Joseph Tagger (Morgan Freeman).

The screenplay, by Jack Paglen, is clever enough. The characters are reasonably well-defined, and there are plenty of plot twists to keep you guessing and keep you interested until the film's conclusion. That being said, a lot of the plot points are relatively standard for a film in this genre, so there aren't a lot of surprises for anyone used to films of this nature, but it is still interesting enough to keep you watching.

Mychael Danna's score likewise is relatively standard for the genre. It's not bad, in fact, it's fine for what it is, but there isn't anything too adventurous or outlandish in the score or the instrumentation. The music is suited well to the film, however, with all the major significant emotional points highlighted well by the addition of music. The film doesn't feel overscored at any point, either, which is good.

The production design, by Chris Seagers, is excellent, transporting the viewer directly into the middle of the film's world and environment. From tech servers to a post-apocalyptic world, everything has been created to suit the film, and it does so to a tee.

Agent Buchanan (Cillian Murphy).

Cast performances are again standard for the genre. Johnny Depp is perhaps not as good in this film as he has been in others, then again, he doesn't have a lot of screen time, so it's harder to judge for certain. While there may not be a lot of emotion or rise and fall in his voice for most of the film, for most of the film, he is nothing more than an AI interface, so this actually works well.

Rebecca Hall gives an amazing performance as Evelyn, particularly in the more intense emotional moments, when one assumes she is delivering her performance to an empty room - without the benefit of another actor to 'bounce off' emotionally - which only adds to the impressiveness of what she can convey.

Director Wally Pfister has made a fairly standard science fiction thriller here, that is certainly enjoyable enough to warrant more than one viewing. I have seen this film a few times now, and it still affects me each time, so that must be saying something. If you haven't seen it, it is certainly worth a watch; there is plenty to think about and discuss afterwards.

7 out of 10.

Sweeney Todd: The Demon Barber of Fleet Street (2007)

Based on the Broadway musical with a book by Hugh Wheeler, and music and lyrics by Stephen Sondheim, this film tells a dark story of revenge, and certainly does not glamourise the concept.

Sweeney Todd (Johnny Depp) returns to London after some time away. The last time he was in London, he worked as a barber, one of the best in the city. He was married and had a young daughter named Johanna.

But before he went away, his wife died, and his young daughter - still just a baby - was taken by Judge Turpin (Alan Rickman) and raised as his ward.

Todd has returned to London with only one thing on his mind: revenge.

Sweeney Todd (Johnny Depp) and Judge Turpin
(Alan Rickman).

Returning to his old place of business, he finds the downstairs shop is now a pie shop, run by the eccentric Mrs. Lovett (Helena Bonham Carter), who is finding business difficult given the shortage of good quality meat for her pies.

With Todd's thirst for revenge, and Lovett's desperate need for pie filling, the two hatch the most evil of plans. Any and all of Todd's customers who come to him for a shave have their throats slit by his razor, and their bodies are sent down to the floor below, where they are turned into meat for Lovett's pies. Yes, you read that right, I warned you the story was dark.

Their first victim is the charlatan Pirelli (Sacha Baron Cohen), a rival barber who sells a concoction called "Pirelli's Miracle Elixir", which he claims can regrow hair on a bald head. Pirelli recognises Todd from his previous life, and threatens to expose him. Furious, Todd kills him, and their sinister plan is underway.

Todd takes on Pirelli's former apprentice, a young boy named Toby (Edward Sanders), as his own apprentice, and little by little, begins to do away with customer after customer, all the while trying to get back his daughter Johanna (Jayne Wisener), who is in turn being pursued by potential wooer Anthony (Jamie Campbell Bower).

Mrs. Lovett (Helena Bonham Carter) and Toby (Edward Sanders).

Meanwhile, Lovett's pie business is flourishing, with customers queueing around the block for her latest pies, completely unaware what - or who - they are consuming.

The screenplay, by John Logan, follows the plot of the original musical quite closely, with only a few minor changes. A few of the songs from the musical have been omitted (I assume for time considerations), but overall, the plot and flow has been maintained. It is good to see that all of the best songs from the musical are still there, including my personal favourite "A Little Priest".

Sondheim's songs - apart from those few omissions - are still intact, and as magnificent as ever. The cast - at least the ones who sing - do a great job in their performances. Baron Cohen in particular does an incredible job as Pirelli, but the chemistry between Depp and Bonham Carter - admittedly established over many previous projects together, in collaboration with director Tim Burton - is fantastic, and the two of them can both sing well.

Pirelli (Sacha Baron Cohen).

The cinematography, by Dariusz Wolski, is very good, with the majority of the film in near-total darkness. There are plenty of shadows, and plenty of darkness, as one would assume given the themes of the film. Combined with Dante Ferretti's production design, this works to convey the seedier side of Victorian London in a truly immersive way.

The performances of the entire cast are fabulous, and the cast's ability to sing - admittedly some very difficult songs in terms of vocal range - is brilliant. The majority of the 'dialogue' is sung, so an ability to sing was clearly a prerequisite in terms of casting, but everyone seems quite comfortable in their roles.

Director Tim Burton - quite possibly the best choice to bring such a macabre story to the screen - has done an incredible job, and made one of Sondheim's more obscure musicals much more accessible to a wider audience. It may be an incredibly uncomfortable film to watch, but it is nonetheless brilliant.

9 out of 10.

What's Eating Gilbert Grape (1993)

A beautiful film that shows the strength of the bonds of family.

Gilbert Grape (Johnny Depp) has a pretty rough life. Living in a small town in the middle of nowhere, Iowa, most of his day is taken up with working in the local grocery store, as well as looking after his younger, profoundly disabled, brother Arnie (Leonardo DiCaprio).

Sure, he has help from sisters Amy (Laura Harrington) and Ellen (Mary Kate Schellhardt), and the love and support of their mother Bonnie (Darlene Cates). But given that his mother hasn’t left the house since their father died many years earlier, and has become more and more overweight to the point that she doesn’t even leave the couch, she isn’t as much help as he would like.

Add to this existence a sordid affair with married woman Betty Carver (Mary Steenburgen) and being a friend to handyman Tucker (John C. Reilly), and it seems that his life couldn’t get any more difficult.

And Arnie is incredibly difficult to care for. His eighteenth birthday is fast approaching, and yet he is unable to do virtually anything for himself.

It isn’t until new girl Becky (Juliette Lewis) and her grandmother come to town - after their camper breaks down just outside the city limits - that Gilbert’s life starts to look like it may have some good in it after all.

The screenplay - written by Peter Hedges and based on his own novel - is very good. The characters are all clearly defined and all have a very rich history with one another and with the town. The pacing of the film is just right, and nothing feels as though it doesn’t absolutely need to be there.

Sven Nykvist’s cinematography is incredible, with beautiful sweeping shots of the scenery throughout, and unique shots and camera angles abound. The whole film - despite some of these wide shots of the Iowa landscape - feels incredibly intimate, and the viewer feels very much a part of the action, with plenty of close shots and moving camera.

Björn Isfält’s music is used very sparingly, and to great effect. There is a theme - or leitmotif - that is used several times throughout the film, any time that Gilbert and Arnie are sharing a particularly tender moment. The theme varies in its instrumentation each time, but it is nevertheless the same, and serves to ground the entire story around these two brothers, whose love for one another is one of the strongest central themes of the film.

The performances of the entire cast are absolutely incredible, in particular Depp and DiCaprio. DiCaprio was nominated for an Academy Award for Best Supporting Actor, and with very good reason. Sadly, he missed out on the award, as it was given instead to Tommy Lee Jones for The Fugitive, which I believe was a mistake; this performance was far superior. He did, however, win a Golden Globe for his portrayal, which is so incredibly realistic, but also is pulled off without the slightest hint of caricature or mockery.

Another standout performance is that of Darlene Cates, playing the mother to this family. Her love for all her children, but particularly Arnie, is shown so strongly at various moments (I won’t go into detail, I’ll let you discover those for yourself if you haven’t already seen this film) that it brings tears to your eyes.

In fact, I must confess I spent most of the film in tears; the performances of the entire cast are just so realistic and heartfelt, and the script is just so damn good.

Lasse Hallström - who I must admit I only knew previously from the film Chocolat, though he has directed many other great movies - has made an amazing film here, a film that should have received many more awards and accolades than it did. I for one know I will be watching this many more times, and I would advise you to do the same.

9 out of 10.

Fantastic Beasts and Where to Find Them (2016)

It’s time to return to the wizarding world created by J. K. Rowling of Harry Potter fame. But this film has nothing to do with the boy wizard or even Hogwarts School; it takes place about 70 years before Harry came along.

Dark wizard Gellert Grindelwald (Johnny Depp) has been forced into hiding. Magical authorities around the world are on the lookout for him to bring him to justice, but to no avail.

Meanwhile, a dark and sinister force is terrorizing New York City. It is into this environment that a young magizoologist named Newt Scamander (Eddie Redmayne) enters.

Scamander is writing a book about the care and proper treatment of magical creatures. (Astute Harry Potter fans will recall that Scamander’s book was actually one of the books on the first-year syllabus at Hogwarts. In fact, J. K. Rowling actually later wrote this book too to raise funds for Comic Relief UK). With him, he carries an enchanted briefcase that houses many of these creatures, creatures that MACUSA (Magical Congress of the United States of America, the American equivalent of the Ministry of Magic) have deemed dangerous and illegal.

After an altercation with No-Maj (American English for Muggle) Jacob Kowalski (Dan Fogler), Scamander finds himself being pursued by former Auror Tina Goldstein (Katherine Waterston). Escaping the clutches of MACUSA and Auror Graves (Colin Farrell), Scamander and Jacob take shelter with Tina and her sister Queenie (Alison Sudol).

When several of Scamander’s magical creatures escape the briefcase and are let loose on the streets of New York, the group must find them and get them back into the case before MACUSA find them and kill them.

At the same time, a group that call themselves Second Salem, headed by a fanatic named Mary Lou (Samantha Morton), are trying to hunt down and kill witches and wizards. Mary Lou and her many adopted children, including Credence Barebone (Ezra Miller) and his young sister Modesty (Faith Wood-Blagrove) hand out leaflets to people on the street, and hold protest rallies in public, calling for an end to the magical population, whom they believe are responsible for all the recent unexplained events terrorizing the city.

I really can’t say any more about the plot, as there are so many twists and turns, it wouldn’t be fair to you for me to continue.

Fans of the Harry Potter films will find much to love about this film, as it has a very similar feel and tone to it. This is mainly due to the sheer number of people who worked on the Potter films who have returned to work on this one.

Director David Yates (who directed several of the later Harry Potter films) returns to the helm, and has made a film that is so close to the Potter films and indeed the wider wizarding world, it just feels right. The screenplay is written by J. K. Rowling herself, rather than being adapted from a book. This is an original screenplay, and as such, means that watching this film for the first time, everything comes as a surprise, as only Rowling knows what’s yet to come (this is said to be the first of five films).

Production designer Stuart Craig also returns, and again, has done a fantastic job. The sets and locations are all incredibly detailed, and it really feels as though we are back in 1920s New York, rather than on a studio lot.

Of course, the hard work of costume designer Colleen Atwood also adds to this overall effect. The costumes are beautiful, while not being over-the-top and ridiculous. Every last detail has been thought of here, and it pays off immensely.

The score (by James Newton Howard) is also perfect for the film. As the film opens, we hear the Potter theme (as composed by John Williams) for only a few seconds, before the music transitions to a new theme, highlighting the fact that we are in the same wizarding world, but we are here for a whole new adventure that has little to do with the earlier films.

Performances by the entire cast are well executed, with Eddie Redmayne and Dan Fogler certainly being the standouts. I for one can’t wait to see where these characters end up in the upcoming installments, at least, the ones who are still with us at the end of the film (not saying too much, no spoilers here!).

Wait … I almost forgot to mention the visual effects. The effects in this film (and naturally, there are an awful lot of them) are absolutely seamless, which of course only serves to ground us even more in this magical universe.

All in all, this is a fantastic film (no pun intended), and I am sure I will be watching it many more times (mainly to ease the wait for the next four films!).

8 1/2 out of 10.

Into the Woods (2014)

All your favourite classic fairy tales collide in this feature film adaptation of the Broadway musical with songs by Stephen Sondheim and book by James Lapine.

The intertwining of the various plot lines and characters is quite intricate, and I won’t go into great detail of them all here, but you are definitely in for a treat.

Or that would be true if you were just watching the show on Broadway. But somehow, this film version doesn’t quite measure up, despite an all-star cast, and usually brilliant director.

The show itself is very good, with clever dialogue and staging, and of course (as with any occasion when Sondheim puts pencil to manuscript paper) fantastically creative music that pushes boundaries and lyrics that boggle the mind with their incredible rhyming schemes.

Unfortunately, the same cannot be said of the film version. This feels like a mostly unnecessary addition to the ever-growing catalogue of Broadway show to film adaptations, and very few of the cast deliver their best in my opinion. (Please feel free to disagree with me in the comments, or whatever; I always appreciate the opportunity to discuss films and put my position to anyone who will listen, even if we may not see eye to eye on everything).

James Corden and Emily Blunt (playing a baker and his wife) - both of whom have proved themselves before in musical roles - fail to steal the show in the way these characters should. Rather, their bickering and arguing just becomes more and more tiresome as the film goes on, and their performances more and more grating.

Even those oft-lauded royalty of film, Meryl Streep and Johnny Depp, are less impressive than their previous films might lead one to believe.

The film is quite dark throughout (I mean dark as in low-light, in a cinematic sense), which while it suits the underlying themes of the show overall, feels a bit much after two hours of near darkness.

The only saving grace of this film version in my view is the music, which is of course identical to the music of the Broadway show.

If you get the opportunity to see this film, I wouldn’t necessarily suggest you take it. If you get the opportunity to see it performed on stage, make every possible effort to take it; you will enjoy yourself so much more.

5 out of 10.