Absolutely Anything

For F*** Magazine

ABSOLUTELY ANYTHING

Director : Terry Jones
Cast : Simon Pegg, Kate Beckinsale, Robin Williams, Rob Riggle, Terry Jones, Terry Gilliam, John Cleese, Michael Palin, Eric Idle, Sanjeev Bhaskar, Joanna Lumley
Genre : Comedy
Run Time : 86 mins
Opens : 3 September 2015
Rating : NC16 (Brief Nudity and Some Coarse Language)

Because being Scotty in Star Trek and palling around with Tom Cruise in the Mission: Impossible movies just isn’t cool enough, Simon Pegg is granted infinite power in this sci-fi comedy. Pegg plays Neil Clarke, a schoolteacher who harbours a crush on his neighbour, TV station employee Catherine West (Beckinsale). A supreme council of aliens, having come across the Voyager probe satellite, decide to conduct a test to see if earth is worthy of being spared from total annihilation. One of the planet’s residents is chosen at random to be bestowed with the ability to make absolutely anything they wish happen. Neil just so happens to be the lucky person. As he comes to terms with his newfound abilities, he gives his pet dog Dennis a human voice (Williams) and has to fend off Catherine’s aggressive suitor, the American colonel Grant (Riggle). Neil soon finds out, as he must, that possessing all the power in the world isn’t as ideal as it’s cracked up to be. 

Absolutely Anything is directed by Terry Jones and is the long-awaited return of the legendary Monty Python comedy troupe to the big screen. Alas, the legacy of Monty Python and the Holy Grail, The Life of Brian and The Meaning of Life is too great for even Jones to live up to. While Absolutely Anything does have jokes that work and possesses a good cast, the gags often seem crass and silly instead of bizarrely inspired the way the best Monty Python bits did. Absolutely Anything is also highly derivative of other works – Jones admits to being inspired by the H.G. Wells short story The Man Who Could Work Miracles and the high concept comedy premise is very strongly reminiscent of Bruce Almighty. The scenes in which the high council of grotesque aliens (voiced by Python members Jones, Gilliam, Cleese, Palin and Idle) float about in their spaceship and deliberate the fate of mankind are sub-Hitchhikers Guide to the Galaxy sci-fi comedy. The film is highly reliant on computer-generated imagery, and the quality of the visual effects does leave something to be desired. 

Simon Pegg is as likeable as he usually is, though he can do the beleaguered everyman shtick in his sleep and has come up with far smarter comic ideas himself, when partnered with Nick Frost, whose presence here is missed. Kate Beckinsale is a serviceable straight woman; she and Pegg do not have great chemistry but it’s not a flat-out failure of a romantic pairing. Rob Riggle goes completely unhinged in a stereotypical portrayal of a loudmouth, gun-crazy American. Robin Williams, in his final performance, voices the loveable pooch Dennis. It’s an entertaining turn, but not the most memorable nor the most adorable talking dog we’ve seen – for this reviewer, that prestigious title still belongs to Dug from Up. Dennis is enthusiastic and silly, but there isn’t much of an opportunity for Williams to riff or improvise. Footage of Williams in the recording booth plays over the end credits, and it is extremely bittersweet to watch, a reminder of the actor’s infectious energy and sense of humour. 

Film critic Kevin Maher of The Times called this “certainly one of the worst movies ever made”. While we wouldn’t go that far, we will agree that this is a frustrating watch given the rich history of very funny material the Pythons have given comedy-lovers over several decades. This reviewer did laugh several times, but some of the material is quite cringe-worthy indeed. There are hints of the Pythons’ former glory, such as a scene in which Neil accidentally wishes that everyone who has ever died come back to life, leading to a very sudden zombie rampage. It sounds like a premise rife with possibilities, but Absolutely Anything does precious little with the age-old “be careful what you wish for” dictum. Just as Neil irresponsibly abuses his omnipotence instead of truly accomplishing anything significant, Absolutely Anything feels like a giant wasted opportunity for a truly funny romp. 

Summary: A far cry from the off-kilter comic brilliance of the old Monty Python movies, Absolutely Anything is only sporadically funny and often pointlessly embarrassing. 

RATING: 2 out of 5 Stars 

Jedd Jong 

Mission: Impossible - Rogue Nation

For F*** Magazine

MISSION: IMPOSSIBLE - ROGUE NATION

Director : Christopher McQuarrie

Cast : Tom Cruise, Jeremy Renner, Simon Pegg, Rebecca Ferguson, Ving Rhames, Sean Harris, Alec Baldwin, Zhang Jingchu

Run Time : 132 mins

Opens : 30 July 2015

Rating : PG13 (Violence And Brief Nudity)

These days, it seems that every year is the “year of the superhero” at the multiplex. From Kingsman: The Secret Service to Spy to The Man from U.N.C.L.E. and Spectre – not forgetting the fifth instalment in the Mission: Impossible film series - 2015 is well and truly the “year of the spy”. 

Here, we find CIA director Hunley (Baldwin) disbanding the Impossible Missions Force (IMF), leaving our heroes Ethan Hunt (Cruise), William Brandt (Renner), Benji Dunn (Pegg) and Luther Stickell (Rhames) in the lurch. Ethan crosses paths with the enigmatic Ilsa Faust (Ferguson), supposedly an MI6 agent deep undercover. Ethan uncovers evidence of the Syndicate, a “rogue nation” comprised of secret agents thought to be dead, the dirty underbelly of the dirty underbelly. With the treacherous Solomon Lane (Harris) in charge, The Syndicate’s tendrils reach far and deep. Pressed on all sides and with dangerous enemies in pursuit, Ethan and his associates embark on their most crucial mission yet.

In an age where hype counts a great deal, Mission: Impossible – Rogue Nation has not been hyped as much as other summer blockbusters. It also faces heady competition at the cinemas this year – Paramount shifted the film up from a Christmas release date to late July to avoid facing Bond film Spectre head-on. Helmed by Jack Reacher director Christopher McQuarrie, Rogue Nation proves the franchise has wind in its sails yet. This film series is unique in that there have been five different directors over five films, counting this one. McQuarrie manages to quickly find his footing, acknowledging the events of the previous film, tying it all together quite nicely (though there’s curiously no mention of Ethan’s wife). This is an exhilarating, superbly constructed action thriller, a palpable affection for and understanding of the genre evident throughout. 

          Structurally, perhaps it is a misstep to pile all the action set-pieces on to the front end of the picture, meaning the pace lags a little as the film nears its conclusion. That said, the set-pieces are uniformly marvelous, so credit to stunt coordinator Wade Eastwood and second unit director Gregg Smrz is due. Right out the gate, McQuarrie and star/producer Cruise show they mean business with an opening sequence in which Ethan clings precariously to the exterior of an Airbus A400 M, a stunt Cruise performed for real. The film doesn’t feature globetrotting so much as “globe-galloping” – From Belarus to Austria to Morocco in addition to the United Kingdom and the United States, the exotic locations and the scale of the film lend it a very appealing throwback quality to the heyday of spy-fi. The scene in which Ethan grapples with a Syndicate operative in the rafters of the Vienna Opera House while Puccini’s Turandot is in progress on the stage below is pure class. A white-knuckle sequence with Ethan swimming into an underwater data storage facility called the “Taurus” while holding his breath the whole time is strikingly unique, adding a futuristic touch that makes it seem as if Cruise has temporarily stepped back into Minority Report. There’s also the motorcycle chase that’s far less silly than the one in M:I II. All this is wrapped in Joe Kraemer’s electrifying musical score, which weaves in both the iconic Lalo Schiffrin M:I theme and Nessun Dorma. 

           His peculiar personal proclivities notwithstanding, Cruise has held his own as a megastar for decades while others have come and gone. From the moment he enters the movie – sprinting, of course - the 53-year-old shows no signs of slowing down whatsoever. The charisma, intensity, spry athleticism, it’s all intact. Cruise has had several duds in recent years (the baffling sub-Mission: Impossible flick Knight and Day comes to mind) but with Rogue Nation, his trademark star vehicle franchise remains right on track. 

The Mission: Impossible television series from the 60s had an emphasis on teamwork. The movies have certainly been all about Cruise, but it is great to see the returning IMF members back in the field. This film gives Simon Pegg’s Benji in particular a meatier role – since the character’s introduction in the third movie, he’s gotten a nice upgrade from the designated techie comic relief, an evolution which continues ahead in this film. Ving Rhames’ Luther Stickell, this team’s original techie, is back as well. While Jeremy Renner has a little less to do, spending the first half of the film duking it out with Alec Baldwin in front of a senate oversight committee, he gets his moments to shine too. Speaking of Baldwin, it was a little difficult for this reviewer to see him as anything but Jack Donaghy in some spy movie-inspired fever dream of Liz Lemon’s on 30 Rock. In future movies, it would be great to see some of the female IMF agents return – Maggie Q and Paula Patton on the same team would be awesome! 

Swedish actress Rebecca Ferguson, best known for her leading role in period series The White Queen but otherwise not a big-name star just yet, was apparently hand-picked by Cruise to star in Rogue Nation. Her Ilsa Faust is meant to remain an enigma throughout, ostensibly an ally yet someone we are never sure whether or not to fully trust. There’s a femme fatale element she doesn’t overplay, as well as a sophistication and intelligence that Ferguson balances out the requisite sex appeal with. Still, she doesn’t quite stand out as strikingly as, say, Eva Green did in Casino Royale. We’ve seen villains like Sean Harris’ Solomon Lane many, many times in this genre – he’s the quietly menacing guy pulling the strings, playing everyone from a distance. It’s not an outstanding character, but he’s functional and his part in the grand scheme of things makes sense.

McQuarrie, who co-wrote the screenplay with Drew Pearce, weaves an intricate plot of gambits and double-crosses which the audience has to make a conscious effort to follow, but which stops a safe distance from being pointlessly convoluted. It harks back to a bygone era of stylish spy movies, but is also a straight-ahead contemporary thriller rather than self-reflexively playing with the tropes of the genre the way Kingsman and Spy do. The chases, shootouts, fisticuffs, daredevil Houdini escapes, ticking bomb suspense and Cruise’s unwavering star power - Rogue Nation has it all.

Summary: Carried by a propulsive momentum and packed with meticulously-assembled thrills, going Rogue has never been this entertaining.

RATING: 4 out of 5 Stars

Jedd Jong

The Boxtrolls

For F*** Magazine

THE BOXTROLLS

Director : Anthony Stacchi, Graham Annable
Cast : Isaac Hempstead-Wright, Elle Fanning, Ben Kingsley, Simon Pegg, Richard Ayoade, Nick Frost, Jared Harris, Tracy Morgan
Genre : Animation
Opens : 11 September 2014
Rating : PG
Running time: 100 mins

We know we’re not alone in mishearing the lyrics to Nirvana’s Smells Like Teen Spirit as “here we are now, in containers”. Orgeon-based animation studio Laika brings us the story of loveable, misunderstood beings - in containers. Evil, greedy pest exterminator Archibald Snatcher (Kingsley) misleads the residents of Cheesebridge into believing that they are plagued by subterranean baby-eating monsters called the Boxtrolls. The Boxtrolls, so named because they “wear” cardboard boxes, are really harmless tinkerers who collect discarded knick-knacks to build their own amusing doodads. The Boxtrolls raise a baby, whom they name “Eggs” (Hempstead-Wright), as one of their own. An adolescent Eggs discovers the world above and has to learn how to fit in as a regular boy, the precocious Winnie Portley Rind (Fanning) becoming his friend and teacher. Eggs and Winnie have to convince the populace of Snatcher’s deception to save the Boxtrolls from being completely wiped out as Eggs learns how he came to be cared for by the Boxtrolls.

            Based on Alan Snow’s fantasy novel Here Be Monsters!, The Boxtrolls is Laika’s third feature film, following Coraline and ParaNorman. Short of location filming on the surface of the planet Venus, stop-motion animation has got to be the most painstaking way to make a movie ever. With every movement needing to be tactilely manipulated, every tiny costume hand-stitched, every minute prop machined, it’s easy to see why it’s not a commonly-seen form of animation in theatres today. While the stop-motion work in The Boxtrolls is enhanced with computer animation, everything still has that quaint handmade feel to it. The studio manages to marry the old-fashioned with the cutting edge, using 3D printed parts in their puppets. The effort and care taken to craft Cheesebridge, the Boxtrolls’ domain below and all the inhabitants within is readily apparent and is something moviegoers should cherish, standing in sharp contrast with the production line feel of a film like Planes: Fire and Rescue. So, hats off to directors Graham Annable and Anthony Stacchi, lead animator (and Laika CEO) Travis Knight and all the artists and technicians involved.

            Just like the two films before it, Laika has wrangled a wonderful, predominantly British voice cast for The Boxtrolls. Isaac Hempstead-Wright, best known as Bran Stark on Game of Thrones, plays Eggs as a sweet, amiable, slightly lost fish out of water – it’s a good performance, though there are times when he can sound a little stiff. Elle Fanning is entertainingly headstrong and off-kilter as Winnie and follows in her older sister’s footsteps, Dakota Fanning having played the title role in Coraline. It is Ben Kingsley who truly steals the show with his rumbling, sneering turn as Archibald Snatcher. Combined with the grotesque character animation (that allergic reaction Snatcher has looks truly disgusting), Kingsley gives life to a vile, despicable villain who recalls the most memorable baddies from British children’s literature. The Child Catcher from the film and stage adaptation of Chitty Chitty Bang Bang seems to have been a major source of inspiration. Nick Frost and Richard Ayoade are expectedly comical as two philosophical lackeys, with Tracy Morgan as the demented third henchman. Also noteworthy are the veteran voice actors who provide the Boxtrolls’ vocalisations, including experienced animated monster/creature portrayers Steven Blum and Fred Tatasciore.

            The message in The Boxtrolls is one we’ve seen before in family films – “different is good”. However, it is articulated in a sincere, charming manner here. The sweetness and fuzziness is balanced with gross-out moments that will have kids going “eww – but yeah!” There’s also some social commentary, with the aristocrats in charge of running Cheesebridge deciding that a giant wheel of Brie is a better use of their money than a children’s hospital and with Snatcher hankering after a white top hat, a symbol of status and power. While it doesn’t quite reach the heights of visual invention that Coraline did and it is not as emotional and poignant as ParaNorman, that Laika magic is in full force in The Boxtrolls. Stick around for a mid-credits scene in which Mr. Trout (Frost) and Mr. Pickles (Ayoade) wax existential as the truth about the nature of their very being is revealed.

Summary: Laika keeps the flame of stop-motion animation burning bright with a warm, very funny, beautifully-crafted film, served with a side of the weird and gross.

RATING: 4 out of 5 Stars

Jedd Jong

Star Trek Into Darkness

For F*** Magazine, Singapore

STAR TREK INTO DARKNESS

Director: J. J. Abrams
Cast: Chris Pine, Benedict Cumberbatch, Zachary Quinto, Zoe Saldana, Karl Urban, John Cho, Simon Pegg, Alice Eve, Peter Weller, Bruce Greenwood
Genre: Sci-Fi, Fantasy
Run Time: 123 mins
Opens: 16 May 2013
Rating: PG-13

With 2009’s Star Trek, director J. J. Abrams had set a course for the future of the series with a film that thoroughly invigorated what was, up to that point, largely seen as a flagging franchise. References to Star Trek in popular culture had been relegated to jokes about basement-dwelling man-children squinting through coke-bottle glasses, and it was a widely-held stereotype that “Trekkies” (the preferred term is apparently “Trekkers”) just weren’t ‘cool’. Love it or hate it, Star Trek ’09 made the series accessible to the masses and perhaps the sexy young cast, the action sequences and the lens flares were just a way of helping the movie-going public at large let down their collective guards and learn to appreciate this cornerstone of science fiction through new eyes.

With Star Trek Into Darkness, Abrams and his cast and crew continue to blaze a trail through the cinematic cosmos. We begin right in the middle of the action, just as the preceding movie did – only this time, we follow the crew of the Enterprise as they embark on a misadventure on the planet Nibiru. Kirk (Pine) and Bones (Urban) get pursued by angry spear-wielding natives as Sulu (Cho) and Uhura (Saldana) lower Spock (Quinto) into an active volcano on the brink of eruption in order to neutralize it with a cold fusion device. Just another day in the office for them, then.




Kirk and company return to Starfleet Headquarters in San Francisco, where the higher-ups are none too happy about the recklessness they displayed on Nibiru. This is interrupted by a new threat: an unstoppable one-man terror cell who goes by the name of “John Harrison” (Cumberbatch). Kirk leads the crew of the Enterprise in pursuit of Harrison, armed with 72 photon torpedoes and with newbie Dr Carol Marcus (Eve), daughter of Starfleet head Admiral Marcus (Weller), on board. Chief Engineer Scotty (Pegg) is suspicious of the contents of said weapons but his concern is initially unheeded. What follows is a dangerous quest that takes our heroes to the Klingon homeworld of Kronos (or Qo'noS), leading them to the discovery of the torpedoes’ secret payload and the truth behind John Harrison’s beef with Starfleet.

Now, this is how you make a summer blockbuster. A tentpole sci-fi action flick doesn’t have to be two hours of mind-numbing, cacophonous dross. Abrams, along with writers Roberto Orci, Alex Kurtzman, Damon Lindelof and the countless others involved have brought us a film that is fresh, relentlessly exciting and overflowing with white-knuckle action, and none of this at the expense of a compelling story or well-drawn characters. From the very first minute, this reviewer was yanked right into this fantastical world. Abrams all but announces “buckle up, because it’s going to be one hell of a ride” – and what a ride Star Trek Into Darkness is.




The Star Trek series has a magnificent legacy and has had an immeasurable impact on the genre, and to chuck all that away for all flash and no substance would be something of a crime. That’s not the case here. Sure, there seems to be barely a minute to stop and catch one’s breath, but that’s probably preferable to a film that drags on and on any day of the week. The film has no shortage of pizazz in the form of stunning visual effects work, witty banter and edge-of-your seat near misses galore. Despite having “darkness” in its title, this flick is far from dour or depressing. References, homages and shout-outs are skilfully weaved into the fabric of the story and some may disagree, but this reviewer feels this iteration of Trek actually is very respectful of what went before – just not slavishly so.

One of the many things the first film got right was its casting, with the Enterprise staffed not by a troupe of impressionists, but by actors who got the spirit of the characters they were portraying but weren’t afraid to put a bit of a spin on things. The opening sequence is a brilliant way to reacquaint audiences with the characters without an exposition-heavy recap. We get the sense that these guys are family now, and like any family they have their idiosyncrasies, but they certainly feel more at home on the bridge, in the engineering bay or wherever than they did as fresh faces in the first film.



In this movie, Captain Kirk truly comes into his own as leader of a starship crew and father to his men, Pine further proving there’s more to him than just his handsome mug. Sure, Kirk’s still the brash, womanising guy we all love (we catch him in bed with two be-tailed alien sisters) but there is character growth to be had. The ever-uneasy friendship between Kirk and Spock also gets a fair amount of play, and there are some great moments between the two, ranging from casual brickbats to a pretty dramatic bit near the end of the film. Quinto conveys Spock’s struggle to get in touch with his human side, his resistance to emotion driving a wedge between him and Uhura, but never hits us over the head with this.




Just as in the earlier film, everyone gets a chance to strut his or her stuff – for example, Sulu even gets to be acting captain. Simon Pegg as Scotty and Karl Urban as Bones in particular stand out in this one, both bringing different brands of comic relief to the proceedings while functioning as far more than merely “the funny guys”. Bones mentions that he once performed a Caesarean on a Gorn and delivered octuplets. It’s a funny bit that’s also a nice nod to the original series.  Speaking of alien species, there’s a tribble which turns out to be integral to the plot. This is also brilliant.

Of course, the attention is square on Benedict Cumberbatch as the villain of the piece. Suffice it to say that fangirls of his (who call themselves “Cumberbitches”) will not be disappointed. The guy is a riveting actor, one who knows when to chew just the right amount of scenery in order to not come off as silly. There has been a spate of more “intellectual” villains in blockbuster movies as of late, but Cumberbatch does enough to differentiate himself from the bunch and Harrison isn’t just all brains and no brawn – he single-handedly takes on a Klingon patrol in one action sequence.




Star Trek Into Darkness is such a thrill that this reviewer left the theatre kind of breathless, but also really pumped. It’s a big, big movie, but not the kind that’s an extravagant insult to the intellects of audiences everywhere. Abrams has crafted a sequel that ups the game and elicits cheers, laughter, goosebumps, excited fist-pumping and even a tear or two at all the right moments. And isn’t that warp effect just so sparklingly beautiful?

SUMMARY: J. J. Abrams has assembled everything needed for an involving, supremely entertaining big-ticket picture and somehow made it even more than the sum of its parts. It’s such an impressive ship that even Scotty would be jealous.

RATING: 5 out of 5 STARS

Jedd Jong

Paul

For F*** Magazine, Singapore

PAUL

2011 Release

Starring: Simon Pegg, Nick Frost, Kristen Wiig, Seth Rogen (voice)

Director: Greg Mottola

            Ever since 1982’s E.T.: The Extraterrestrial, everyone has wanted to have an alien as a best friend – sometimes a friendly alien is more fun than a vicious invasion. 19 years later, British comedy duo Simon Pegg and Nick Frost give us “E.T.” for grown-ups. They star as two British nerds on a pilgrimage to the San Diego Comic Con, and who go on a road trip to fabled UFO hotspots. On the way, they pick up escapee alien Paul (voiced by Rogen), meet trailer park-owner Ruth (Wiig) and evade Man-in-black agent Zoil (Jason Bateman).

            This movie is first and foremost a celebration for nerds everyone, a joyous ode to geekdom. Nerds need not be ashamed of themselves, and this film shows that they have the capacity to be awesome. Loving references to science-fiction favourites are scattered throughout the movie, Star Wars, Close Encounters of the Third Kind, Star Trek, The X-Files and more get nice nods. The best part is that there’s a real story, and good characters that go on a journey and finish the film changed people (and aliens).

            Pegg and Frost share an easy bromance that is carried over from their cult hits Shaun of the Dead and Hot Fuzz. Their comic timing seems almost synchronised, but they wisely do not hog the limelight, allowing the supporting characters to shine as much as they do. They also prove themselves capable of serious acting during some dramatic moments. However, there are moments when there’s a rift between their style of humour and the more accessible, crasser material that Superbad director Mottola brings to the table.

Kristen Wiig makes for an interesting love interest as the one-eyed Ruth, but the film attempts to deal with the theme of science vs. religion and gets a little wobbly there. Jason Bateman is an interesting casting choice as the steely and no-nonsense Agent Zoil and Sigourney Weaver is actually quite scary as his boss, “The Big Man”. Watch out for the obligatory Aliens reference.

Seth Rogen’s laid back voice is a good fit for the foul-mouthed, pot-smoking Paul. The thing that’s interesting is that not only has Paul been influenced by our pop culture, he’s made his mark on it too, hence a scene where he advises Steven Spielberg via telephone about the special abilities he should give to E.T. The visual effects work is commendable, Paul seeming like a real character and possessing very expressive, liquid eyes.  

Even for those who aren’t sci-fi aficionados, Paul is a genuinely funny joyride packed with a good amount of belly-laughs. Of course, it helps a little if you know your pop culture references, but the enjoyment isn’t contingent on that.

SUMMARY: An ode to the joys of being a nerd, Paul is carried by Simon Pegg and Nick Frost’s chemistry. It’s a whooping good time and is one of the better comedies this year so far.

RATING: 3.5/5 STARS

I was interviewed by the guys from CTV Movie Mania (Ngee Ann Polytechnic) after watching the film.

The Chronicles of Narnia: The Voyage of the Dawn Treader

THE CHRONICLES OF NARNIA: THE VOYAGE OF THE DAWN TREADER

2010

Starring: Skander Keynes, Georgie Henley, Ben Barnes

Directed by: Michael Apted

20^th Century Fox/Walden Media

          

  After The Chronicles of Narnia: Prince Caspian, released in the summer of 2008, Disney dropped the franchise. The reasons are not entirely clear, but speculation is rife that the film lost out to the heady competition that season and didn’t make as much money as Disney would’ve liked. Thankfully, 20^th Century Fox has picked up the series and  with The Voyage of the Dawn Treader, we return to the magical land of Narnia.

            The Pevensie siblings Edmund (Keynes) and Lucy (Henley) are living in Cambridge during the Second World War, with their precocious but annoying cousin Eustace Scrubb (Will Poulter). Edmund and Lucy are pulled back into the world of Narnia, with Eustace as an unwelcome tagalong.

            The three children board the Dawn Treader, the finest vessel of the Narnian kingdom, and Edmund and Lucy reunite with King (formerly Prince) Caspian (Ben Barnes) and the swashbuckling talking mouse Reepicheep (voiced by Simon Pegg). Caspian tells them that he is searching for the Seven Lost Lords of Narnia; noblemen who had been banished from the kingdom after Caspian’s evil uncle Miraz usurped the throne.

            Edmund and Lucy jump straight into the adventure, while Eustace continues to irk the crew with his reluctance to participate and his refusal to believe in the world of Narnia. Along the way, the crew of the Dawn Treader must deal with slave traders, invisible mischief-makers, sea serpents and an ominous mist that, like the symbiote in Spider-Man 3, brings out the dark side in those in its thrall.

            The film’s trailers piqued my interest mainly because of the ocean setting. The C.S. Lewis-written source material offers much cinematic potential, especially since the makers of the film have decided to go 3D. Sure enough, the film looks gorgeous with its added visual dimension, creating an adequately immersive world.

            While the first two films seemed to offer up a Narnia that felt more real, Dawn Treader gives us a Narnia that seems more theme-park-esque, the titular ship itself reminiscent of Steven Spielberg’s Hook. That is not necessarily a bad thing though; the film retains a buoyant, family-friendly style mood throughout as opposed to the slightly gritty Prince Caspian, and the darker moments are not overwhelming and are well-handled.

           

In the world of visual effects, we seemed to have reached a level where computer-generated characters can hold their ground against live-action actors with acceptable believability. The actors have to be commended for various scenes where they must interact with nothing. Reepicheep looks even better than he did in the film’s predecessor and holds up to extreme close-ups with good facial expressions and nicely-textured fur.

            This instalment is more “adventure” and less “action”, taking a break from the more brutal fantasy violence of the second. The climactic battle with the sea serpent is still a good action sequence though.

            Since messiah-figure Aslan the lion (voiced by Liam Neeson) deemed that the older Pevensie siblings Susan (Anna Popplewell) and Peter (William Moseley) had learnt all they needed to learn from Narnia, the two only appear in brief cameos, and the film is carried by Keynes and Henley.

            Henley has blossomed into a young woman and it does take a while to get used to seeing the cutest Pevensie sibling all grown up, but she maintains the character’s likeable demeanour and childlike wonderment and seems destined to be an ideal leading lady. The film’s subplot dealing with Lucy’s insecurity when it comes to her appearance and her desire to look as beautiful as her sister is handled a tad clumsily, but that is not Henley’s fault.

Keynes, who in the first two films at times verged on irritating as a third wheel to the sibling team, steps up to the plate as the de facto second-in-command to King Caspian, and does a good job. He is no longer an awkward teenager and the two earlier trips to Narnia have seasoned the character into a competent warrior.

            Ben Barnes seems to have improved quite a bit from his stiff-at-times turn in the previous film. He has grown into the role of Caspian and plays well off the Pevensie siblings; they often banter like close friends. It’s quite a relief that Caspian doesn’t stew over his shortcomings as a king, though the story does adequately address the ruler’s struggles. Will Poulter as Eustace is unlikeable to a fault, and it is to his credit that he manages to make the audience despise him utterly, as the character edges towards a possible redemption.

            Simon Pegg, filling in for Eddie Izzard, is a remarkably fun Reepicheep, lending good vocal comic timing to the role. The other main voice role is that of Aslan, and just as he did in the first two films Liam Neeson sounds fatherly, wise and firm yet kind. However, don’t expect to see a lot of Aslan, as he has a fairly minor role in this film.

            Unlike in the first two films, there doesn’t seem to be a solid antagonist for the siblings to work against. The story is more episodic, as the crew of the Dawn Treader sail from small adventure to small adventure, perhaps like levels in a video game. Therefore, the movie feels like it lacks a solid narrative backbone, even though the “levels” are all quite enjoyable.

            Taking over from Andrew Adamson, director Michael Apted (of Gorillas in the Mist and The World is Not Enough fame) treats the film more like an action adventure and less like a fantasy, but has a firmer grasp cinematically on the material, compared to Adamson whose experience was mainly in animation.

            There is, unfortunately, one trait that all the three Narnia films made so far share, the hard-to-shake feeling that it is not an important motion picture event and rather a semi-epic. The theme park feeling comes up again, and for all its visual spectacle and fine performances, this adaptation doesn’t seem to be as grand as the source material deserves.

            The Chronicles of Narnia: The Voyage of the Dawn Treader ultimately makes for a good holiday season family outing at the cinema, and is a fitting end to the Pevensie trilogy-only time will tell if the remaining four books will make it to the screen. It’s not a game-changer as far as fantasy films go, but it is more than passable as an adventure movie and is something everyone, young and old alike, can enjoy.

           

RATING: 3.5/5 STARS