Divergent

ON DVD NOW

Director: Neil Burger

Stars: Shailene Woodley, Theo James, Jai Courtney, Kate Winslet, Zoe Kravitz, Miles Teller and Ashley Judd

Released: 11^th August

Teen fiction is hot property. However while the books themselves may have been widely successful, it’s luck of the draw to see which ones translate well onto screen. You have the popular romance novels Perks of Being A Wallflower and The Fault In Our Stars making waves at the box office with both critics and fans alike, while sci-fi/fantasy series Twilight and The Hunger Games franchise have made billions and gone on to become some of the most successful films of all time making stars of their cast.

While Sci-fi thrillers are a big draw to the young audiences, they are also a tough sell. The Golden Compass, Percy Jackson and The Mortal Instruments have all had a tough time at the box office each with less successful results.

Divergent is the next offering, taken from Veronica Roth’s best selling debut novel that has now spawned two sequels.

Set in an alternate post-apocalyptic world 150 years in the future where Chicago has been cut off from the outside world and split into factions of society, Tris Prior (Shailene Woodley) has come of age and must decide which one she wants to be a part of. Will she be in Abnegation (selfless), Amity (peaceful), Candor (honest), Dauntless (brave) or Erudite (intelligent)? While each person is free to choose which one to join (and many stay within their parents faction), once chosen it is your new family for life (“faction before blood”) and you cannot switch back.

Tris was raised alongside her brother in Abnegation, but has always felt different from those around her and struggled to fit in and adjust to a single form. When her test result proves that she has an aptitude for more than one faction, she is labeled ‘Divergent’. This is a problem, as according to the smart Erudites, the totalitarian-like group of the factions that consider themselves elite above the rest and lead by Jeanine (a scheming Kate Winslet), a Divergent is a liability to the system and something that needs eradicating.

For fear of being discovered and killed she tries to blend in by joining the action loving Dauntless group led by Four (Theo James) and Eric (Jai Courtney), all the while continuing to keep her identity a secret for fear of her life.

You’d be forgiven for dismissing this as a copycat Hunger Games (female lead, dystopian society, romance), and in truth there are many parallels. Tris is a much weaker, innocent lead however who struggles with the big physical tasks. She is not a natural fighter or leader and is in danger of being thrown out of Dauntless with no skills and no future. Hunger Games’ heroine was in the thick of it from the start and was a natural hunter meaning she could use her life skills in the tournament– less training, more immediate action and tasks. The similarities from both franchises are obviously evident given that Divergent’s filmmakers wanted to hitch onto the blockbuster ride and launch another successful series.

The set design is very bland. ‘Chicago’ doesn’t have anything going for it or for that matter anything to distinguish it as being Chicago at all, while the colours are completely washed out. It feels like a large factory warehouse in the middle of the desert, the scope and scale of the place completely lost. Those who haven’t read the books have been given no explanation for the setting, the history and why there seems to be nothing on the side of the great wall. Perhaps this plot flaw will be dealt with on the next one.

Director Neil Burger, whose previous films included the slightly drab The Illusionist and the bizarre Limitless has dropped out of taking on the sequel, with Time Travellers Wife Robert Schwentke taking over.

While perhaps the story is in itself the problem narratively speaking the cast are still terrific. Woodley is continuing to impress as a leading lady, and although she doesn’t yet have the charisma of a Jennifer Lawrence or Kate Winslet she does well here and for the part of Tris, bringing a warmth and genuine humour to an otherwise serious story. Speaking of Winslet she makes a great villain as the morally delusional Jeanine, though her part is small she certainly brings some star quality.

Other members like Ashley Judd, Maggie Q, Miles Teller and Zoe Kravitz do a good job enriching the backing characters, while Theo James is an adequate romantic lead.

Insurgent is already in development so perhaps a fresh director will breathe a different life into a possible worthy franchise.

                                                                                                       

VERDICT: * * *

A little lackluster, it’s not quite the blockbuster everyone hoped for – but it’s still a fun action romp. Book fans will be sufficiently happy, and with a great cast it’s done well enough for Insurgent to get the green light for next year.

Divergent is out on Blu-Ray and DVD now. Insurgent will be released next year. 

Dawn Of The Planet Of The Apes

Director: Matt Reeves

Stars: Andy Serkis, Toby Kebbell, Jason Clarke, Gary Oldman, Keri Russell, Kodi  Smit-McPhee

Released in UK: 17^th July

It’s praise indeed to say that this modern part-reboot is charting to be better than Charlton Heston’s adventures with the apes in the sixties. Rarely are ones expectations succeeded when it comes to sequels, especially when it’s the follow up to a smash hit action thriller that surprised all the critics when it burst onto screens in 2011.

What a joy it is then to find an intelligent and worthy action romp that not only succeeds where the first took off, but is leaps and bounds ahead in the technical department from all the other competitors for the crowning glory of best blockbuster this summer. Matt Reeves (Cloverfield), who took over from Rupert Wyatt has taken the difficult task of continuing a growing franchise opportunity and flourished with the task at hand, producing a beautiful and exciting film.

San Francisco. It’s been ten years since the events of Rise Of The Planet Of The Apes, and mankind has been all but completely wiped out by the deadly simian virus. During this decade electricity has gone and what little survivors are left immune from the virus have banded together in safety in the city centre, while the apes, led by the genetically altered super-chimp Caesar (Andy Serkis) have built a haven home in the woods. Relations between human and ape remains in tatters, both are mistrustful of each other.

When a small group of humans, led by Malcolm (Jason Clarke) venture into the apes territory in a bid to resuscitate the abandoned hydroelectric dam to restore power, the apes and humans are once again brought back into conflict. As tensions between the two sides continue to worsen, war is on the cusp.

DOTPOTA is an exceptionally brilliant and intelligent action sequel. From the damp and moody landscapes of the luscious forest, the raindrops on the apes fur to the ravaged and overgrown San Francisco the details are a visual delight.

The apes however are immaculate. Once again Andy Serkis proves he is the master of motion capture performance, as his Caesar has gown light years ahead of his counterpart from 2011. Caesar now has a mate and family, while he has also taken lead of the hundreds of apes who escaped captivity to live free. He is at his most powerful and strongest peak. A leader, protector, hunter, father and teacher he has established himself as the alpha ape in a strong haven community. While Serkis has established his Caesar, the star standout performance here is the brilliant Toby Kebbell as Koba. Mistrustful of humans after spending a lifetime caged as an experimental lab rat, he is tortured and bruised both physically and mentally, vengefully hateful of humans and with a passion for wiping them out all together. However Kebbell’s performance is not caricature villain, more sympathetic and tragic lost soul you feel sympathy for such a creature. Such was the importance of the role that they required not just stunt performers but an actor of depth and stature to take over the role of Koba from the original, and it shows in abundance.

Much praise to the WETA team for capturing these performances and blending them into the apes. The eyes, the mannerisms and the posture.

The ground basis for the way the apes live is also a mentionable thrill. It was a genius move to keep the sign language as the main form of contact between the apes. While a few have learnt to speak the odd English word, they use it rarely and only when necessary, almost as if it’s beneath them to use their enemies form of communication. Most notably Caesar’s son Blue Eyes, who refuses to speak, and when he final does (an absolutely beautifully acted little scene between Andy Serkis and Nick Thurston) he mutters only a few words that make his father smile.

The apes have evolved into a powerful species, and you can understand the life they have literally built for themselves is worth protecting and fighting for. They have founded schooling at their camp, teaching English (orang-utan Maurice is notably the wiser and more patient of the apes who takes a great interest in learning) while they have also learnt how to ride and use guns. The guns being used in the final battle scenes. Motion capture aside, the special effects themselves are on a top par. Explosions, fights and gunfire galore.

Two fab little scenes show just how intelligent Koba has become, firstly seeing a continuing scene where he outwits two bumbling humans with a comical turn only to turn deadly within a flash, while the other sees him jump into a moving tank, which then takes you on a 360-degree ride. It’s all thrilling fast moving and clever stuff.

Time and time gain, you forget you are watching CG and immerse yourself into the life of the apes, only being reminded at times that they are not real. The quality of the motion capture is astounding and certainly stunning.

There are a few moments where you are pulled out the fantasy. The baby chimp has not had quite as much detail or thought put in and looks quite fake, while it’s completely inconceivable to believe these apes would have learned to horseride into battle, let alone involving fire and flaming jumps at that.

Another weakness in context is the humans. While the apes are so beautifully constructed, the script department has forgotten to give any real scope to the humans. There’s wasted talent and a wasted opportunity, given that the apes are so fantastic you’re left rooting for them anyway.

The complete lack of female characters is a ridiculous oversight. The one woman (played perfectly adequately by Keri Russell doing her best in a poorly constructed role) is pretty pathetic and has to be the sweet, gentle, nurturing element. Why? The only other female in the entire film is Caesar’s mate Cornelia, played by Judy Greer, though it’s virtually impossible to tell any distinctive actor is actually playing the role. This is in no way Greer’s fault, just again another poorly constructed female role with nowhere to go.

The human men meanwhile are no better written either. Clarke is fine, as the kindly Malcolm but nothing special, while poor Gary Oldman is lumbered with a silly part and with nothing to do other than look clever. While there is a nice scene when he momentarily gets to see a picture of his lost family on a crushed ipad, but then the moment is gone in a flash. More details like that would have worked well to establish a more rounded character that we could actually care about. Why not a single human character from the first film was brought back is puzzling, (James Franco for example was out of the equation when Wyatt dropped out). It’s easy to suggest the virus killed them all, but the new human characters are just not worth caring about.

With the third in the franchise hopefully to be green lit, (continuing growing numbers at the box office, plus a very positive reception from the critics have all but guaranteed another), the apes will undoubtedly be returning before long. With the superb technological advancing of special effects (thanks to Peter Jackson’s WETA team) restoring faith in the idea of intelligent and well designed blockbusters, lets hope the script writers take more care with all their characters next time and deliver a perfect Apes film to surpass them all.  

VERDICT: * * * *

A powerfully charged, fun and brilliantly executed sequel. While the humans needed more attention, WETA have outdone themselves once again with motion capture is at it’s best, so good you forget it’s CG! Two stunning performances from the brilliant Andy Serkis while Toby Kebbell excels as the dangerous but sympathetic Koba.

Dawn Of The Planet Of The Apes was released in the UK in July and is still showing in cinemas nationwide. Rise Of The Planet Of The Apes is available on Blu-Ray and DVD.

Belle

Director: Amma Asante

Starring: Gugu Mbatha-Raw, Tom Wilkinson, Emily Watson, Sarah Gadon, Sam Reid, Miranda Richardson

Released in UK: Friday 13^th June

The painting of Dido Elizabeth Belle alongside her cousin Lady Elizabeth Murray caused quite a stir when it was first presented in the 1700’s. The image of a beautiful young black woman dressed in fine garments next to that of her white female companion was one of a kind. Pictures of the era were full of black men and women, however they were always depicted as slaves or servants and mostly looking up at the white subject in owe as a statement of their power status.

The picture of Dido and Elizabeth however is of equality, friendship and beauty.

This very picture triggered an interest in the British Bafta-award winning director Amma Asante who has released a semi-biopic feature film about Dido, presented in this moving romantic period (Jane Austen inspired) drama.

1769. Belle (Mbatha-Raw) is the daughter of an aristocratic Royal Navy admiral (a brief appearance by Matthew Goode) and a slave mother. When her mother dies, he unusually acknowledges her and takes her back to his family in London where their initial response is of utter confusion and shock. Given the name ‘Dido’ by her new family, she is taken under the wing of her Aunt and Uncle, The Lord and Lady Mansfield (Watson and Wilkinson) and raised as one of their own alongside her cousin Elizabeth Murray (Gadon). However Dido struggles with identity, as her colour continues to single her out in society.

The painting hung at Kenwood House until 1922, but in a grossly insulting and shocking turn of events, Dido’s name was scrubbed off and the very memory of her name disappeared. So for years people had no idea of the identity of the dark woman in the picture. Was she a servant or was she an aristocrat?

Dido was only very recently re-identified in the painting in the 1980’s, an incredible find considering its history. There is very little information about the life of Dido, however recent publishing’s by Paula Byrne and Fergus Mason, no doubt triggered by the interest in this film, will provide more background into the life of this amazing woman.

The very reason for the film being titled Belle and not Dido was as Asante puts it herself  ‘to honour her mother.’ Dido was the name given to her by her adopted family, not at birth.

The particular themes recognised are valued in this film, closely that of slave trade of the times. Did’s Uncle was also Lord Chief of Justice, and presided over cases of slavery including the Somerset ruling, and then the Zong case where more than 140 slaves were throw overboard a trading ship purely to claim insurance for their loss. Lord Mansfield’s particular affection for Dido alters and shapes the choices he makes, and indeed that of British Law altogether.

In Belle, Dido is treated with contempt by many of those she came into company with. While her family loved and cared for her, the colour of her skin, being that of mixed race or ‘mulato’ as it was once called, caused much talk. Much of this contempt is targeted by the wealthy Ashford family, led by the deliciously scheming Miranda Richardson and her elder son James (Tom Felton), who shows nothing but utter contempt towards poor Dido. Though she was loved and treated well at home, she was still not even allowed to eat with her family when they entertained (too lowly to dine with company and yet too wealthy to dine with the servants), completely alienating her.

The only love Dido experiences outside of her family, comes in the form of dashing John Davinier (Sam Reid), an idealistic young vicar’s son who falls for Dido when he begins an apprenticeship for Lord Mansfield.

Mbatha-Raw (who herself is half English, half South African) plays Dido with such an elegance and poise, she would have made a perfect candidate for any Jane Austen story, however with a lack of stories that have someone like her as the main character, this is her first chance in a leading role.

Much praise also goes to the magnanimous Tom Wilkinson in a superb performance and one of the finest in his recent repertoire, showing Lord Mansfield as kindly and honourable.

Any fault lies with the fact that pacing is a little slow and that it also deviates from historical facts. In reality Dido went on to marry a French steward, and as a single wealthy woman at the time, she would not have embraced a man in public. It would have been a scandal. Just a few romantic liberties taken to please a modern day audience, which Asante has acknowledged.

It’s also a shame to once again see poor Tom Felton type cast as a villain. He seems to be eternally stuck in the shadow of his evil counterpart from Harry Potter Draco Malfoy. It would be a pleasant change to see him have the opportunity for other diverse roles.

Asante has pulled a brilliant team together, from the script to the costume and music. She is dedicated to telling her story, though admitting making a lighter romantic piece less heavily laden with the racial and slavery issues. 12 Years A Slave this ain’t, but it is a beautifully constructed drama, showcasing some excellent talent, both on and off screen.

VERDICT: * * *

This lovely piece is a refreshing twist on the Jane Austen yarns we’ve come to know and love, telling a captivating story about race, equality and love in a very unforgiving and prejudiced society.

While Wilkinson’s performance is brilliant, leading lady Mbatha-Raw’s tough and moving performance is perfectly cast here. Expect to see a lot more from her.

Belle opens nationwide in UK cinemas 13^th June