Rise of the Planet of the Apes

I’ll start with a confession…I, Neil Gardner enjoyed the Tim Burton remake of the original film. OK, the ending was silly, but the ape affects were good, the storyline faithful (ish) and Helena Bonham-Carter made for one curiously attractive simian (which mirrored, somewhat, the original book’s almost-relationship between man and ape) Anyway, I just wanted to say that, clear the air and now we can move on.

Rise of the Planet of the Apes is a very clever film indeed. Fears of remake-hell have been consigned to the rubbish-bin of internet paranoia, as Rupert Wyatt’s film is a prequel. But before you get visions of Gungans and trade disputes, this is one prequel you will be VERY happy to sit through. A superb ‘how it all began’ plot, with a plethora of nods to the original movie (not the Burton one, shame!) the film deals with the dual storylines of ape ascendency and the slow downfall of mankind.

As with the original film(s), there is very little of Pierre Boulle’s novel in here. Some themes do survive, including vivisection and research, inter-species relationships and superiority complexes. I for one would like to see a film version of the book, just to see what it could be like. And if anyone were to do it, Rupert Wyatt and the WETA Workshop team should do it, because with Rise of the Planet of the Apes they have brought us a masterpiece of live-action and CGI-as-reality. The motion-capture techniques WETA have been pioneering since Lord of the Rings come to the fore here, with not one, but numerous fully-rendered, stunningly realistic digital ape characters. Led by a career-defining performance by the superb Andy Serkis, the motion-capture artists are the real stars of the film. Working in concert with WETA’s animators, this team of stunt-people and performers bring to life an army of apes that at no time seem fake or plastic. This is the first CGI heavy film I have seen where the effects matte in perfectly, and where the HD nature of Blu-ray doesn’t show up the deficiencies of the CGI process.

The plot follows the birth of chimpanzee Caesar (played by Serkis), genetically altered and ‘rescued’ from the lab by a scientist (an underwhelming James Franco) who is trying to cure Alzheimer’s. As the ape grows and ages, his intelligence grows with him, leading Franco to try the drug out on his ill father, who rapidly recovers from his Alzheimer’s. All goes well for several years, with Franco meeting and falling in love with a “sexy” zoo vet (Freida Pinto) and Caesar getting ever-more intelligent. But, as predictable as the pointless ‘love story’ is, so too is Caesar’s sudden anger management breakdown and subsequent removal to a handily local ‘ape sanctuary’. The sanctuary not only recuses/imprisons chimps, gorillas and orang-utans, but also British actors, as both Brian Cox (not the nerdy physicist) and Tom Felton (being just as nasty as he was as Draco Malfoy) are pretty much locked in, not just as ape-keepers, but also as bad-guys (I do hope Felton gets to stretch himself sometime soon, I would hate for such a promising talent to be resigned to generic bad guy roles). From here on in Caesar learns about the ‘plight of apes’ and the story builds towards the inevitable escape and revolution. Throughout there is a subplot about how the human race is slowly being infected and wiped out by the same drug that has caused the apes’ increased intelligence, as well as a brilliant but subtle nod to the original Charlton Heston film and how that movie’s events are set in motion.

So…does this ever-so-clever prequel work? Yes, it does…oh boy does it! In spades. This is one of the finest films of recent years, with an impressive merging of physical and digital effects, stunning performances from Andy Serkis and his ape troupe, and a storyline that gets just about everything right. John Lithgow gives the movie heart as the father with Alzheimer’s, and the issues surrounding animal testing are never painted as purely black and white. Does the movie need the Franco/Pinto love story…no. Are there occasional “WHAT?!” moments…yes. But do these small mis-steps matter…no, not at all! This is a superb film that entertains from the very first minute to the closing credits (don’t miss the great use of a map over the end credits to progress the death-of-humanity plotline). I for one hope there will be a sequel to this prequel. More Andy Serkis is never a bad thing. And who knows, maybe we’ll get to see the death of sappy love sub-plots as well as the death of mankind?! We can only hope.

The Blu-ray has one of the finest images I have yet seen, with a wonderful audio track. The usual problem of HD Blu-ray showing up the matte lines with CGI is much less of an issue in this presentation (although there is a slightly dodgy helicopter shot towards the end!) The apes look real…seriously, they do. You will not be disappointed with how this film looks and sounds, and it could even become a go-to disc for showing off your system to friends and family.

The disc includes several interesting making of documentaries, including a fascinating behind the scenes look at the finale bridge scene and how WETA worked with multiple motion capture artists outside (a world first), plus a much-deserved “The Genius of Andy Serkis” feature which, as the name suggests, waxes lyrical about what an incredible actor and performer Mr S is (and I should know, I had the pleasure of directing him in a 13-part comedy drama audio series back in 2007, and he was excellent, and yes, a very nice bloke too!)

So, if you are looking for a great film, that will suit just about anyone’s tastes, that will engage your brain and entertain the rest of your body, Rise of the Planet of the Apes is one to go for. The revolution has begun, and this time it is furry with long prehensile arms.

Post from: SciFind

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X Men First Class DVD Cover - Click to order with AMAZON.CO.UK

To date we have had four instalments in the X-Men franchise, the three X movies and Hugh Jackman’s Wolverine film. With all that on-screen history in place, can First Class fit it to the continuity? Vaughn’s movie side-steps these problems by taking us back to the formation of the X-Men, telling the twin tales of Professor X and Magneto, and re-writing the origin story for a new generation. This is a classic James Bond movie, hidden under a layer of SciFi and X-genes.

The re-casting of the two leads works particularly well, as do the younger incarnations of Mystique, Beast and Havok. Less successful are young Banshee and the ‘lesser known’ Angel, Darwin and Azazel. Banshee comes across as a failed Ron Weasley clone, while Azazel makes great use of Nightcrawler’s special FX, but has none of his charm, impact or interest.

The movie itself, takes elements of the classic comic storyline The Hellfire Club, updating the Sebastian Shaw character and Emma Frost’s “White Queen” to the level of big bads. Kevin Bacon does an admirable job as Shaw (and I am told by my German fiancé that his German is pretty darn good, which makes a change for Hollywood!), but Emma Frost never sets the screen alight. She fails to ooze the sexuality and arrogance that the comic book character has, and while January Jones is certainly a good-looking woman, she doesn’t really fit the image we all have of Miss Frost…close, but no diamond-tipped cigar.

The movie itself is a joyride, never taking too long over the exposition, getting on with the action. It is chock full of lovely set-pieces and some great cameos. The mixture of character arc and OTT Armageddon plot works well, and the reinvention of the Prof X/Magneto backstory is well handled.

But the film does have a tendency to trip up. From Emma Frost’s diamond form suddenly being able to be damaged/cracked (something that is impossible in the comics), to confusion over what can and can’t be controlled by Magneto. For those who have come new to the X-Men, these things make no difference. It is just a shame that for such a lovingly crafted movie, these small points are missed.

The big finale, while including some spectacular scenes, suffers from the same limitation that so many modern films and TV shows suffer from…that of the HD Bluray experience showing up the CG effects. In the big set-pieces you suddenly lose realism, as the CGI is thrust in your face and the impressive HD image shows up every matte line and missed shadow. It is not terrible, but still there needs a better connection between the production process and the viewing experience.

X-MEN: FIRST CLASS, UK ONE-SHEET POSTER

The ending does bring a wonderful cameo from Michael Ironside (he’s rock!) and an interesting take on who caused Prof X to lose the use of his legs. As endings go, it is a lovely setup for further films.

The Bluray is a strong package at a decent price. The image is superb and the audio is blisteringly good. A few extras adorn the disc, but still less than you might expect. It seems BD’s still use more of their capacity for a better film experience, and I can’t say I mind. DVDs were starting to have far too much additional material, much of it terribly produced. I am enjoying these ‘less-is-more’ BD releases.

All in all, X-Men First Class is a great film for home viewing. Be warned it does include scenes and dialogue suited for older children upwards, there are a few bits you might not want your younger kids to see/hear (a brilliant Wolverine cameo being the highlight). In my opinion First Class joins X-Men 2 at the top of the class for brilliant movies. X-Men 1 was a bit of fun but light on anything more substantial, and X3 was entertainingly distracting. Wolverine passed the time but missed the point of who and what Wolverine is entirely (baring the superb opening montage) and as usual Liev Schreiber out-acted his own leading-man.

Well worth a watch…so grab some popcorn and a drink and sit back and enjoy.

Post from: SciFind

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The Thing - Prequel comes to Blu Ray and DVD.

Usually I try not to judge a film by pre-release internet gossip and hate, but in the case of “The Thing” there is a serious case of ‘the elephant in the room’. In this instance, the elephant is 30 years old and has flailing tentacles and a penchant for killing people in nasty ways. So let us address the issue…is “The Thing” (2011) a remake or prequel to “The Thing” (1982), and does it do the original justice? Internet haters will tell you this is a pointless remake/rehash/re-burn of Carpenter’s much-loved original. And indeed, there are countless scenes in the new film which either homage or rip-off the original, depending on your point of view. Do these scenes make it any less a film? Well, surprisingly, as an avid fan of JC’s original, I find myself saying no…I really don’t care that they are similar to the 1982 film. In many was it feels much more like loving homage than plagiarism. They aren’t the same scenes, but they do look and feel similar, but then that is no surprise since the film-makers were trying to achieve that very end, a loving tribute to the ‘82 edition, while telling their own story. And here is the crunch…this is not either a prequel OR a remake…it is both!

The new film aims to tell the backstory to why the Norwegian science base was found destroyed at the start of JC’s movie, and why a huskie was being hunted, and just who these people were. Since it is the same alien, in the same environment, of course there will be similarities in how it kills and the ways that the humans fight back. Antarctic bases would naturally have similar equipment, and scientists would think along similar lines when considering ways to fight and detect the creature. I actually think it is in the prequel storytelling that the film-makers have achieved something original and exciting. As a fan of the 1982 original I was fascinated by the destroyed base and the strange corpses. And now we have the backstory, and the loving ways that the new film leads up to each of the old film’s reveals are testament to the new crew’s love of the old movie. For me, the two films work very well together and should not be considered and ‘either/or’.

That dealt with, let’s look at “The Thing” as a Blu-ray movie. The picture quality is superb, with the contrasting bright white Antarctic vistas and dark, moody interiors displaying well. This is a movie that makes strong use of light, both off-screen and on (the vivid colours thrown around the sets by flares, torches and flame-throwers are superbly handled.) As usual though with HD and Blu-ray, sadly the CGI effects don’t always come across so well, with the annoying return of occasional matte issues where the CGI doesn’t blend with the physical world very convincingly. Fast movement of the CGI effect, or layered fire effects tend to suffer the most. It is not as bad as some recent HD TV shows (who might as well have had an anime artist draw thick black lines around everything!) but it is something of a bugbear with me…surely we have the computing ability to fix these issues by now? Maybe it is just cost-cutting?

Let us look at the other big issue when thinking about “The Thing”…the monster effects. In 1982 the effects were ground-breaking and heart-stopping. While they look dated today, we can still recognise and appreciate the genius and beauty of these physical effects. Surely any new “The Thing” would be over-reliant on CGI, and therefore lose the honesty and beauty inherent in physical monster fx? Well, the new movie does use CGI, yes. Sometimes it is subtle, to build up layers of fire or add to the monster’s capabilities, and sometimes it is in-your-face, such as a crashing helicopter. It is nice to be able to report that the film has tried to use traditional physical men/women-in-suits for as much of the action as possible, augmenting the shots on film with CGI. In fact, an old acquaintance of mine, Alec Gillis, is head monster-wrangler on the film, and as usual his in-camera work is superb. But that said, the monster (in all its various guises) doesn’t have that punch or true body-horror that the JC original had. This may be the passage of time, and seeing so many more body-shock movies…there is little here we haven’t seen before (the Hellraiser movies in particular), but at least the interactions with the actors has some weight, the monster never comes across as a ‘plugged-in’ CGI afterthought.

As for the cast, it is nice to see so many Europeans in an American film, and while Mary Elizabeth Winston’s character is no Ellen Ripley, she does a good job as the centre of the film. One massive gold star goes to the script-writers who kept the storyline free of any romance or love or sex, etc… I’ve been asking for years why no movies ever dared remove romance and relationships from the plot entirely…but here we have that rare beast. Thank you! While most, if not all the characters are instantly forgettable (and interchangeable) it is fun working out which one will die next (and how!) The end gets a little confusing with too many similar-looking men with beards running around, dying, returning as monsters, dying again. And just what happens to our heroine is anyone’s guess.

Throughout though, the Blu-ray experience is a good one. A strong image backed by an excellent audio track. A little less ‘monster screaming’ would have been nice, but who am I to say how much a metamorphosing alien monster would scream? All in all, this is a good looking film that will keep you entertained. It ties in with the original very well, yet tells its own story. It is a little forgettable, and does nothing for the evolution of sci-fi horror. But it is a refreshing slice of old-school cinema, told with passion and love by its makers.

Not a lot of extras on the disc, but you do get a couple of not-too-short documentaries/PR fluff. Both go behind the scenes, one looking at how the new film ties in with the original, and the other a more general behind the scenes with some interesting stuff about using fire and stunt people.

I would be very happy to have “The Thing” sitting on my Blu-ray shelf alongside “The Thing” – which will I watch more often? Possibly the original…but then I now have the choice of a semi-regular “The Thing” double-bill, and THAT is an exciting prospect!

Post from: SciFind

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War Of The Arrows Blu Ray

Released on the 30th April via Cine-Asia, this is billed as Korea’s first epic archery action movie. Directed by Kim Han and winner of numerous international film awards “War of the Arrows” certainly features some epic archery. But first, the plot:

“Orphaned as a child, Nam Yi overcame tragic loss to become the most accomplished hunter and archer of his generation. When his beloved Korea comes under attack from Chinese imperial forces, he returns from the forest to discover that his sister, and only living relative, has been taken into slavery by Manchu invaders. Now faced with the most daunting challenge of his life, he must fight to reunite his family and prove his courage against the greatest archers’ history has ever known”

With a massive 7.5 million tickets sold in South Korea, and 11 awards to its name, you might be mistaken for thinking “War of the Arrows” is a perfect slice of Asian action cinema…but sadly it isn’t. Don’t get me wrong, there is a lot to enjoy about this movie, and the archery (both real and CG) is stunning. But, alas, like so many so-called epic movies, this film is a game of two halves. The first half, setting up the story and introducing the characters, is dreadfully slow, ponderous and chock full of pointless verbiage. The opening scene has been shot using a handheld technique which, unfortunately, hasn’t had the benefit of basic image stabilisation and as such is extremely difficult to watch. The film quality also varies during the opening scene (possibly for artistic reasons) which also detracts from the viewing pleasure. Which is a real shame, as this opening scene, with its ‘kids in peril’ theme and copious amounts of swordplay and archery is the most exciting thing to happen in the initial 40 minutes.

“Plays like a John Woo film with bows and arrows”

Let us move on from the tedious and, frankly, overlong opening half and get to the nitty gritty. About half way in the Manchu invaders attack our hero’s village and kill and pillage and generally destroy the peace of an otherwise dull and lifeless wedding ceremony…huzzah! From here on out the film lives up to the hyperbole: “Plays like a John Woo film with bows and arrows” (Neo). It really does. The invaders capture the villagers and march them off as slaves towards China, and our hero (in typical redemption for past misdeeds style) races after them, dispatching Manchu bad guys with a variety of kick-ass archery moves. But it isn’t plain sailing for our hero…he gets his fair share of arrows aimed at him, some with ingenious arrowheads. Director Kim Han uses a mixture of real and CG archery, but revels in some quite exquisite physical body effects. This is old school and new school FX coming together in happy unison. On a film like this you really need to feel the weight of the action, the heft of bodies hitting the ground and the closeness of the arrows…and boy do they manage it here. There is, quite simply put, some astonishing action sequences in the second half of this film. Sure, the plot is still simplistic and obvious, you are never shocked by what comes next, but you will be pleased with how it appears on screen. And this is no quick rescue either, our hero and his accomplices have a heck of a battle on their hands, and a great deal of death to wade through.

The beautiful scenery and the superb FX all shine through

So, is the film worth buying, especially on Bluray? While I really didn’t enjoy the first half of the film, the wait for the second half was well worth it. While you can skip to the best bits, it does have some redeeming reasons to watch from the beginning (even though you’ll be wishing the film to get a move on at times). The bluray transfer is certainly beautiful (once you get past the strangely filmed opening sequence) although some of the handheld camerawork does mean action scenes are shaky, fast and hard to follow. The beautiful scenery and the superb FX all shine through, and the use of sound is fantastic. The film is in Korean with English subtitles, and the disc features commentaries, galleries, a making of showcase and a behind the scenes feature. In the pantheon of modern Asian ‘epic’ movies, it doesn’t quite live up to the likes of “Hero”, and it isn’t quite as epic as “Brotherhood”, but it certainly achieves its aims to be an unapologetic love-song for the age of bows & arrows. I’ve not seen a film like it before, and pacing/plot problems aside, I would be very happy to watch the film again (and look forward to the next film from the same team).

Post from: SciFind

Go To Blazes DVD

January 30^th 2012 sees the release on DVD of the classic British comedy GO TO BLAZES, on its 50^th anniversary. This is a perfect example of how 1960s British comedies, Ealing comedies no less, brought joy and pleasure to millions. It tells the tale of three loveable ne’er-do-wells, Bernard (Dave King from The Long Good Friday), Harry (Daniel Massey from Bad Timing) and Alfie (Norman Rossington from The Longest Day) who keep failing in their smash-n-grab burglaries, but one day come upon the idea to use a fire engine as the perfect getaway vehicle. Of course, being an Ealing comedy, slapstick, japes and a constantly unravelling plan all get in the way of success, as does the gorgeous Maggie Smith (The Prime of Miss Jean Brodie, Harry Potter) who plays a French/Cockney fashion designer. Throw in to the mix a peach of a mad-scientist/pyromaniac played with relish by Robert Morley and plenty of fire engine antics and you have a perfect cure for what ails you.

The story is simple, but a lot of fun. Watching these foolish chaps have to learn to become real firemen is hilarious, while all the time you can enjoy the sights of London in the early 1960s…we played the old favourite game of “Oooh, that’s, um, that’s….oooh” while trying to spot streets we knew, or half built landmarks that we take for granted today. Maggie Smith (always a favourite in this household) is sexy and sophisticated, bringing some much needed glamour to an otherwise ‘blokey’ film, but don’t be fooled, she’s not there just to look pretty, there is a wonderful subplot involving her shop and an insurance claim, and she gets to show off some of those incredible acting chops she is so highly regarded for. This is high farce, true British comedy classic and perfect viewing for all ages. It will bring a big smile to your face, and is just the tonic after a long tough working week. I have to disagree with some other reviewers who say this film doesn’t stand up to many of the other Ealing comedies or the Carry On series. Personally I find this film tighter, more specific in its comedy, better written and broader in ambition than many of those other films. It also has very little of the infantile and sexual ‘comedy’ that pervades so much of the 1960s British comedy film catalogue…such a nice change, and one for the better.

But but but…a 50 year old film, transferred to DVD in the HD world of today…is someone having a laugh? Well, surprisingly, no. This is a beautiful upscale, with vibrant colours, a killer audio track (mono 2.0 not surround, but it really doesn’t matter) and absolutely no sign of film degradation or noise. To put it bluntly, it is a gorgeous viewing experience. The reds of the fire engines spring out of the TV, with no bleeding or softness. If I had to find fault, it is that on two or three short occasions there is either a strange rippling effect (such as on a close-up of a fire engine bell), or an off-putting wide fisheye lens effect. The first I am sure is an artefact of the up-scaling/restoration process and can be forgiven easily (it happens once) and the second comes from the original film and the lenses used, the odd quality being more manifestly obvious on a large wide HD TV. Again it doesn’t detract from the enjoyment of the film. This is the film’s first ever release on DVD and it is a corker. Well worth watching. Be warned though, the DVD has no extras so it may feel a little expensive in this world of bonus features, triple-play packs and 3D releases. Is it worth buying? If you are a fan of Ealing/British comedies I would say buy it immediately. If you are looking for a good enjoyable film to rent, go for this one. As a casual purchase, the price feels a little steep, but you most certainly get a great movie for your money.

GO TO BLAZES is a wonderful example of British comedic film-making at its finest. Superb actors, fun script, all the fun up there on the screen and no padding in sight. The only downside is you’ll start thinking about buying your own fire engine…now, is there an ebay for old fire engines…

Post from: SciFind

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Arrietty Blu-ray

Based on the popular children’s story “The Borrowers” by Mary Norton (published 1952), Arrietty tells the tale of tiny people who live alongside, under and around human beings, borrowing items that they need and trying hard to avoid being seen. In the Ghibli version, the story takes place in semi-rural Japan, where a young boy, Sho, has moved to live with his grandmother to rest up before he has a major heart operation. One night he spots Arrietty and her father borrowing some sugar and so starts the story proper, as he tries to find her again and strike up a friendship, while Arrietty’s parents panic and decide it is time for them to move home. I won’t reveal any more of the story as you should have the chance to enjoy the way it slowly unfolds for yourself.

So let’s dive in to the BD itself. First off, unlike the other recent Ghibli BD releases, this copy of Arrietty comes with just one bonus feature, an opportunity to watch the entire film using the original storyboards (rather nice actually). Now, this may be because it was a review disc based on the single BD version, but it felt rather light for a BD release. Considering the noteworthy UK cast of acting luminaries, an extra on the UK casting, recording, etc… would have been nice. There were no trailers for other Ghibli titles, and strangely, no sign of the traditional ‘blue’ Ghibli logo screen. Somehow, without these things the disc felt lacking. There are two versions of the film available on BD…I think the review disc is the ‘vanilla’ single disc edition, as the listing for the Deluxe Collector’s Edition includes many more extras, including the promotional video for the beautiful music by Cecile Corbel. So it looks like the Deluxe Edition is the one to go for if you are a die-hard fan (that would be me then!) with the plain version being a great buy for the kids.

Picture quality is, as always with a Ghibli release, exquisite, ranging from fully vibrant sunshine-laden gardens, to shadow-infested torch-illuminated under the floorboards living. The sense of scale and size in Arrietty’s world is breath-taking and the artists have excelled themselves in making the two worlds fit together so beautifully. I have a small bugbear, as I do with ALL films/TV shows where there is a small world and a large world interacting….it is this, why slow down the giant human hands when seen from the smaller Borrower perspective? They are smaller people, but they don’t perceive the world around them moving at a different speed, otherwise EVERYTHING bigger than them would appear to be in slow motion, including rain drops, flowing water, birds, cats, etc… Plus Arrietty would hear Sho speaking at a slower rate and lower pitch. There is an inconsistency within the film over this issue, and while it in no way diminishes the story or the enjoyment of the film, it does betray a rare lack of care and attention from the Ghibli team.

Sadly the sound mix suffers from a similar problem. 99% of the sound is a pure delight. From the sumptuous songs and score by Cecile Corbel (see, another Ghibli film without Joe H doing the music!), to the soundscapes of gardens and dolls houses, the overall production is genuinely well done. The surround mix works particularly well in building a sense of space and scale when then two worlds collide. However, there is 1% that, for me, fails. I mentioned this when I reviewed the film on its cinema release, and rather hoped the problem was the fault of the sound system in the viewing rooms, but alas, it remains on the BD mix as well. And again, it is one of scale and acoustical physics. When we hear the world from Arrietty’s perspective there is an inconsistency with levels and speed. Sometimes the sounds e.g. clock ticks are at ‘human scale’ and so are slowed down slightly and made a lot louder (even though they are still the same distance away…so would they really sound louder and slower to smaller ears?) but at other times e.g. thunder and lightning, the sounds are kept as how a human would hear them, even though we are perceiving them from the Borrower perspective. Why the inconsistency? Yes, sound is as important a tool for storytelling as anything visual, and in the instance of the clock ticking, or the first few raindrops hitting, there is a justification for dramatic use of sound. All I would hope for is that such skilled storytellers as Ghibli would find a more consistent and balanced approach to their sound design. This may, of course, be something no-one else picks up on (especially kids), and I mention it only because it irked me twice now, and beyond these minor quibbles, I can find nothing to dislike about this BD release of Arrietty.

Destined to become another much-loved Ghibli masterpiece, to sit alongside Spirited Away, Howl’s Moving Castle, My Neighbour Totoro and Ponyo, Arrietty is a wonderful film that is perfect for children of all ages, and a real treat for older Ghibli fans. It straddles the two styles of Ghibli, the fantastical and the human, and does so with consummate ease, a soft touch and a beauty that is rare outside of the Totoro-factory. And unlike so many Western films, Ghibli are not scared to end their movie with so much of the story still to tell…we get just a small snapshot of Arrietty and Sho’s stories, it is tantalising, but still manages to sate out appetites. Miyazaki and his team continue to create escapist fantasies that educate and entertain, but most of all, make us feel warm and happy. I heartily recommend Arrietty as a purchase on BD…just go for the Deluxe Edition if you can afford it, the extras are better!

Post from: SciFind

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Whisper of the Heart stands up to the more famous films, and can sit alongside them in the pantheon of ‘great animated movies’.

2012 is already proving to be an exciting year for Miyazaki/Ghibli fans, with their latest movie, Arrietty just released on BD, and several older titles slated for release later in the year. However, I was particularly excited about the release of Whisper of the Heart, the 1995 Miyazaki scripted, Kondo directed film based on the manga of Aoi Hiiragi. Why? Well, let us take a step back for a moment and examine Studio Ghibli…best known for its lustrous fantasy adventures and fairy-tale settings, the studio is often thought of in the West in terms of films such as Ponyo, Totoro, Spirited Away, Howl’s Moving Castle and Pom Poko. As a die-hard Ghibli-ite, I adore these movies, their richness of style and story-telling, their (mostly) female protagonists, and their true originality. If ever you are feeling down, pop Totoro on and you’ll be smiling again before you know it. But for me, my real appreciation of Ghibli came when I started to watch their more ‘human/adult’ output…films with less (if any) fantastical creatures and fairy-tale landscapes and more true-life themes, messages and settings. Yes, all Ghibli films introduce us to morals, ethics and alternative viewpoints, and the quirkiness of the characters and situations within these films helps the pill go down. But it wasn’t until I saw movies such as Grave of the Fireflies, Ocean Waves, My Neighbours the Yamadas, Only Yesterday and Whisper of the Heart, that I could understand just how different Miyazaki and his team were as story-tellers, and how far Western animation has to come to catch-up and to be able to feel confident to be able to tell such stories.

So, back to Whisper of the Heart. The film tells the story of schoolgirl Shizuku Tsukishima and her search for a purpose in life. As she is heading towards high school and possibly university, she has big decisions to make, but she is uncertain of the path to take. One day, she follows (or is she led by?) a large cat through the suburbs of Tama New Town (a suburb of Tokyo) eventually reaching a beautiful neighbourhood and a small antique store. Within the store is a beautiful ornamental grandfather clock, being restored by the aged store-owner, as well as a small statue of a cat, called The Baron (small spoiler alert – the large cat and The Baron reprise their roles in the film The Cat Returns…keep an eye out for small clues as to their motives).  The store is also home to a boy who has been borrowing all the same library books as Shizuku…something she finds faintly romantic. He is an apprentice violin maker, due to head off to Europe to study.

The film tells of the blossoming romance between the two, and Shizuku’s attempts to define her future as a writer, while stumbling through the early steps of her first ever relationship.

So is it any good? Yes. Honestly, truthfully it is a superb, funny, clever, heart-warming film that makes you laugh and think and consider. A Ghibli film with no fantasy creatures and a suburban setting may sound dull, but I promise you this is far from that. Every character is brought to vivid life, not just through some sumptuous artwork, but through exquisite character-study, scripting and interaction. From the disinterested and distracted academic parents and ‘been-there-done-that’ older sister, to the old store owner and his musician friends, everyone in this film feels real, alive and relevant. The two leads (although this is mostly Shizuku’s film) are relatable and avoid the whininess of Western youth protagonists. Seiji (our young violin maker) is possibly a little too perfect, a little too eager…but then we are seeing him through Shizuku’s eyes, and for her this boy is all these things and more.

For those who prefer their movies with more Miyazaki magic (now THAT could be a marketing sell-line, surely?!) don’t despair. The Tama New Town setting, from winding hillside roads, schools and offices, to old stores, strange alleyways and steep stairways is beautifully drawn, holding a mysterious air of newness and oddity. It may not be the lush countryside of Totoro, but it is what is left of the Tama Hills from Pom Poko, which offers a fascinating insight in to the evolution of the region. And if fantasy really is your lynchpin, fear not, as Shizuku writes her first story (about the life of The Baron) her imagination takes her on a fantastical journey, featuring some of the most beautiful and remarkable landscapes you’ll find in any Ghibli film.

For me, Whisper of the Heart stands up to the more famous films, and can sit alongside them in the pantheon of ‘great animated movies’. This is because it is exactly that…a great movie that just happens to have been animated. It might work as a live action film, but a lot of the warmth, personality and mystery would be lost, I fear. Once again I’ll assert, as I have with so many Ghibli films, that this is a film only Ghibli could have made, and made such a success of.

So we’ve ascertained it is worth watching…so is it worth watching on shiny new Bluray? I am happy to report that the BD/HD conversion is a success. The colours are vibrant without any sign of washing-out or bleeding, the age of the film doesn’t show in any way, and the soundtrack is beautifully rendered (it is that rarest of beasts, a Ghibli film with music NOT by Joe Hishaishi!) I’m not sure if it is just me getting used to BD releases, but I did feel that this conversion wasn’t quite as stunning as the Nausicaa disc, but it could also be that the previous DVD releases were so clean that there doesn’t appear to be such a step-up in quality. Suffice to say, the film looks and sounds amazing, you get a small but decent selection of extras, including some beautiful step by step artwork, and the usual (sadly not updated but great pieces of archive) Ghibli trailers.

It is fantastic to see Whisper of the Heart being released so early in the cycle of Ghibli BD releases. Sadly the director, Yoshifumi Kondo passed away in 1998 so we were deprived of his genius, vision and storytelling. A possible successor to Miyazaki was lost that day, but we have Whisper of the Heart to remember him by, and this BD release is a fitting tribute to a talented individual. So pop that shiny disc in, sit back and let yourself be immersed in yet another masterpiece from Studio Ghibli.

Post from: SciFind

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Based on the classic kid’s fantasy story “The Borrowers”, Studio Ghibli’s lastest animated masterpiece tells the story of Arrietty, a tiny girl, living with her family underneath an old cottage in the country. Arrietty and her family survive by ‘borrowing’ things from the humans who live in the house, such as food and old left-over knick knacks. While their home is beautiful and comfortable, the borrowing can be dangerous and they must always hide from the giant humans. Once there were many such families, but now it is just Arrietty, her mother and father, and a near-feral boy who lives off the land. In the film, a young boy comes to live at the cottage, owned by his grandmother, in order to rest before having a major heart operation. He catches a glimpse of Arrietty and slowly builds a friendship with her. However, the housekeeper also discovers the little people, and sets about trying to capture them.

After the Totoro-esque simplicity and innocence of Ponyo, this is Ghibli heading back in to more contemplative and serious territory. It is a stunningly beautiful film, with vibrant colours and shamelessly revelling in long, slow shots of the cottage, the garden and the hidden world of the borrowers. In style and tone it is closer to Howl’s Moving Castle, Only Yesterday and even Grave of the Fireflies. Don’t get me wrong, this is very much a film for kids of all ages, but it is more mature, more considered than Ponyo. And while it focuses once again on a young female protagonist, the viewpoint feels less childlike than previous Miyazaki stories. Both the young characters act far more adult than the actual adults around them!

So, in a story about tiny people, scale is going to be all important. And in Arrietty the animators have done a grand job of conveying the differences in size between the human world and the borrower world. The transitions between the two are handled with care, and the interactions between the humans and borrowers feels believable and to scale. The only time the issue of scale comes a cropper is in some of the sound design. For 90% of the film the sound design is exquisite, helping to bring to life the two worlds, as well as when crossing from one to the other. However, while the designers have done a good job in adjusting the relative volume of items between the ‘large’ and ‘small’ worlds, they have done so inconsistently. For example, when Arrietty is exploring the human house one night, a nearby mantle clock ticks heavily and loudly (as one expects when heard from the perspective of a tiny pair of ears). But later, when Arrietty is sitting alone while a rain storm (with appropriate giant rain drops) rages around her, the sound of the rain drops hitting the ground are as humans might hear them, but not the thunderous KABOOM the sound design has led you to expect. This is a minor niggle, but in a film with such attention to detail, it seems strange to have such inconsistencies.

I saw the UK dub, which was, as with most recent Ghibli films, superbly handled and well-cast. This is a film that relies on the imagery to convey the plot as much as, if not more so, than the dialogue. And while the core cast handled the lines with consumate ease, Arrietty and her mother being singled out for particular praise, I feel that something may have been lost in translation somewhat. There is a sense that the lines needed to be just a bit longer, as though the adapter had tried to stick to a ‘less is more’ approach. This is best illustrated by the sick little boy, Sho, who I kept wanting to say just one more sentence, or add just one more phrase. Of course, in his case, this may be indicative of his illness. But I wonder if it is more to do with the style of drama Miyazaki is attempting to produce. And that, in the Japanese original, the paucity of dialogue, the Pinter-esque pauses, make more sense? It doesn’t overly detract from the movie, and certainly is no fault of the cast. It is a very British cast, which is interesting. Famous names, yes…but not Hollywood superstars in any sense.

Arrietty is a must-see for any Ghibli fan. It doesn’t disappoint and continues the studio’s proud history of family films that work on multiple levels. It will entertain your kids in magical ways, but will keep adults enthralled as well. It is a quiet, emotional, beautiful, moving, thoughtful and simple tale…very much Ghibli at their best.

Neil Gardner

Post from: SciFind

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My Neighbours The Yamadas - Double Play (Blu-ray + DVD)

The first thing you need to know is that this film looks unlike anything else in the Ghibli movie collection (although very similar to the Ghibli tv shorts The Ghiblis). In fact, it looks like nothing else you’ve ever seen on the big screen. Unlike the usual stunning mixture of traditional hand drawn animation and cgi you’ve come to expect from a Ghibli title, Yamadas looks more like an animated sketchbook. It is as though an animator’s ideas pad has been brought to life. The screen is a wash of white which is brought to life by beautiful hand drawn inks and water colours. But images fade off at the edges, colours wash away, there is little or no shading, almost no depth or perspective. In one way, the style is simplistic and basic. But the genius of Yamadas is that this approach allows the characters and plot to hurtle to the forefront. Don’t let me undersell the animation though. This is no exercise in student film-making, or a parody of a more traditional style. At times the complexity of the scenes and action are breath-taking. From bob-sleighing newlyweds, to sailing into a mighty ocean storm, Yamadas is a masterclass in animation. It manages to be endearing, amusing, sympathetic, outrageous and exciting. It may take a few minutes for you to adjust to the look and feel of this film but stick with it because what follows is pure Ghibli magic.

The film itself is a collection of moralistic tales, following the family life of the Yamadas: mother and father, grandmother and two kids. It is often slapstick, very often hilarious but also full of pathos and cleverly realised advice for a successful family life. The Yamadas are a dysfunctional family, but unlike a Western film, our Ghibli friends offer us a more genteel form of dysfunction. They argue, bicker, fight, annoy, anger, aggravate and so much more. But they obviously love each other and it is how to balance the difficulties of family life with the love of each other that the film focuses on.

Of the many vignettes, some that particularly stand out include: leaving the youngest child at the shopping centre and panicking about where she has gone; mother and grand mother suffering from apathy and poor memory; facing up to noisy bikers and fantasising about being a superhero; father and son baseball; fighting over the remote control; and many others. There is bound to be at least one that resonates with your own experiences of family life!

As the tales fly by, you learn to love this ridiculous family, with all their individual and group faults. You will laugh along with their adventures in family-life and bit by bit you will fall in love with this energetic, unusual and all together different approach to animated storytelling.

So…does the bluray edition offer anything new, anything worth spending money on? Well, for one, it is a beautiful transfer, allowing the inks and watercolours to shine. Instead of blocks of colour, in this edition you can make out the finer details of the animator’s art. From fine gradations of colour, to every pen and brush stroke. It seems odd to suggest that a high definition version of such a simple looking film should be superior or worth the investment, but I really do recommend this bluray edition. With a superb English dub, starring many of the American actors who have appeared on numerous Ghibli dubs, and the original Japanese audio track (always well worth listening to), this is a beautifully mastered disc.

As for bonus features, once again I feel a little short changed, but whether this is down to the exclusion of material, or simply because there isn’t anything new to add, I don’t know. I would like to see the marvellous Optimum Releasing commission some new material for these editions. There are plenty of Amime and Ghibli experts and fans who could contribute to new documentaries and features. I for one would love to see something by Jonathan Clements (check out his brilliant book on the anime and manga trade, Schoolgirl Milky Crisis). It is about time the ultimate Ghibli documentary was made…come on Optimum, make us fans happy, we’ll buy more discs!

So, to sum up…bizarrely I feel more inclined to recommend Yamadas than I do Laputa. Hang on, no…I happily recommend them both as exciting, original and perfect movies for the whole family. But Yamadas feels like it has profited more from the hi-def process than Laputa. I may be wrong, but Yamadas on bluray is a real step change from the DVD version. But let me suggest this…Ghibli fan or not, buy both these releases, you really won’t be sorry.

As for the Yamadas…I hope we’ll see more of their adventures. But if Optimum could dig up some more classic Panda, Go Panda episodes first, I’d be a really happy chap!

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Available for the first time in high definition on Blu-ray Double Play courtesy of Studio Ghibli and master animator Hayao Miyazaki Laputa: Castle In the Sky is an imaginative tale full of mystery and adventure.

Let me confess at the very start of this review, that I am an unashamed Studio Ghibli fanboy. It was Spirited Away that began my relationship with anime and manga, and I’ve been ravenously devouring every Ghibli morsel as soon as it becomes available.

Laputa was the second Ghibli movie I saw, and on that first viewing I truly fell in love with the studio, and Hiyao Miyazaki’s work. It is easy to see why he is referred to as the Walt Disney of the East, but I think he is much more than that. He is certainly Disney, but also Lassiter, Lang, Tolkien, Blighton, Rowling, and so many others. It is a very Western thing to try and pigeon hole someone or liken them to one other person, but what Miyazaki and his team do is more akin to whole swathes of Western talent.

So…on to the review of the 2011 Bluray release of Laputa. Unlike previous Ghibli bluray releases, I wasn’t blown away immediately by the transfer. While it is definitely an improvement on the DVD, it doesn’t feel like the sea change we got with Nausicaa or Ponyo. The colours are vibrant and well defined, the sound is clean with a decent mix, but somehow, for some reason, I just didn’t get the wow factor as I sat down to view the disc.
Now, this isn’t a reflection on the brilliance of the film or the plot. Laputa holds up to multiple viewings easily…and this must have been the 14th or 15th time I’d watched it. I’ve only ever had one beef with this Ghibli masterpiece, and that is that I find it a little too long. It is made up of a large number of set pieces, all of which are exciting, character driven and necessary for he plot. But by the time our heroes finally reach the mysterious Laputa, I feel like I need a break for five minutes to get my second wind.

Laputa – Castle in the Sky

I don’t want to spoil the film for anyone who hasn’t seen it yet…but if you’ve seen Howl’s Moving Castle or Ponyo you will immediately feel at home with this movie. It is hand painted and hand animated and has that unique Ghibli feel of warmth and friendship, fantasy and reality…all mixed together to tell a tale that will resonate with children and adults. If the only Ghibli film you’ve seen is Spirited Away then you may find this one a little more basic in it’s style and pacing, but give it a try and soon you’ll come to appreciate Miyazaki’s tone and approach to story telling. This is a lovely entry into the world of Ghibli, from which you can move on to some truly wonderful films.

As for whether this makes for a good bluray purchase…well, as a fanboy I have to say yes, it does, as it is certainly the best version of the film you can own. The English dub is superb, but you also get the original Japanese audio (well worth listening to). While the disc isn’t overly burdened by extras, there are a couple of nice documentaries and some behind the scenes material, as well as the usual Ghibli previews. But I wonder if now is the time for Ghibli to release one or two of it’s big hitters. I think we need to see My Neighbour Totoro, Howl’s Moving Castle or Spirited Away…something to really show off what Ghibli can do in High Definition. It is wonderful to own this film in a definitive edition, but I can’t say it is as exciting a release or improvement in picture quality as Nausicaa was. I would love to see what Spirited Away can look and sound like on Bluray disc…so come on Optimum, stop making us wait, let’s see those big films!

Laputa – Castle In The Sky is a must have for all Ghibli fans, and a definite good investment for any anime fan, and especially for anyone looking for an exciting adventure film for the kids (of all ages!). Let’s hope it is soon joined by a few more of it’s stablemates.

Post from: SciFind

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