Power Rangers (2017) film review

Year: 2017
Running Time: 124 minutes
Director: Dean Israelite
Writers: Haim Saban (based on "Power Rangers" created by), Matt Sazama, Burk Sharpless, Michele Mulroney and Kieran Mulroney (story by), John Gatins (screenplay)
Cast: Dacre Montgomery, Naomi Scott, RJ Cyler, Ludi Lin, Becky G., Bryan Cranston, Elizabeth Banks, Bill Hader (voice)

Power Rangers is now showing in the United States and Australia. Distributed by Roadshow Films in Australia.

In yet another 2017 action reboot,  the goofy and self-important Power Rangers attempts to target the teenagers of today, while at the same time unintentionally neglecting their first and loyal generation of fans.

Jason Scott (Dacre Montgomery) was always the cool kid at school, until a mindless prank ruins his future chances of doing anything incredible while he is still a senior. During his time in detention, he meets the recently outcast Kimberly (Naomi Scott) and eccentric Billy (RJ Cyler). His unlikely new friendships with these two lead the three of them to uncover the site of an ancient alien spacecraft, along with other fellow students Zack (Ludi Lin) and Trini (Becky G.). The five discover that they have been chosen to be the five Power Rangers who are to help Zordon (Bryan Cranston) protect the world from the evil Rita Repulsa (Elizabeth Banks). First, they must learn to work together to become who they are meant to be.

Power Rangers, which is based on the 1990's television show "Mighty Morphin Power Rangers", is stuck in a time-warp believing that it is still primarily targeting the same young audience that it once was. However, with taking on a project like this, director Dean Israelite and screenwriter John Gatins have an inbuilt responsibility to also cater for the faithful who were fans of "Mighty Morphin Power Rangers" in their childhood. As a result, Power Rangers works rather well as a film for teenagers with it's simplicity, basic dialogue and themes, characters and stereotypes that are relatable for the high school demographic.

However, this clear vision of the filmmakers to make a superhero film about teenagers for teenagers neglects the majority of Power Rangers audience members....those who watched, loved and were faithful to the television show a good 20 years ago. These long time fans will find the film and it's screenplay a little too basic and silly to completely enjoy. While the action sequences are impressive, there are definitely not enough of them to make the film particularly fun or entertaining to adults who are used to watching more challenging action films brought to us by Marvel and DC. However, there are still reasons to believe that this fragment of the audience has not been completely forgotten as there are a number of shout-outs to the original television series, including the famous "It's Morphin time".

What has most noticeably changed from the 1990's Power Rangers is that the 2017 Rangers are more diverse than they have ever been....and this isn't in regards to race. The filmmakers have made sure that all teenagers who feel as though they are out of place in the world feel inspired by watching Jason, Kimberly, Billy, Zack and Trini. The five rangers are all considered misfits as they do not fit in at their school and in a very The Breakfast Club-esque turn of events, are all part of their school's Saturday detention. However, despite their inability to fit in, they all do incredible things. Most notable of these new special qualities are that of Billy having ASD (Autism Spectrum Disorder) and Trini being acknowledged as queer.

While it is absolutely a step in the right direction having a teenage queer superhero, there is too little done with this to make a real impact and truly feel ground breaking. Director Isrealite told The Hollywood Reporter that he wanted the moment that Yellow Ranger Trini subtly reveals to her new friends that she is not straight to encourage teenagers to believe that "That's OK". However, there is so much more that could have been done with this scene and it's aftermath that would have made it much more of a triumph for the LGBTIQ community, especially for it's younger members. In the scene where Trini "almost" makes her confession, it is still unclear whether she has just revealed her true sexual orientation or not. Israelite says in The Hollywood Reporter article that she is still confused and questioning (as many teenagers are at that point of their life), but this part of the scene seems too vague to be considered powerful. Again, it is no doubt that Trini being acknowledged as queer is a very positive step for both the action film genre and high school sub-genre, but it was an opportunity that deserved to be made more of.

Unfortunately for Becky G.'s Trini, her character development is exceptionally weak which is a travesty considering how pivotal her role is to the film and to cinema. The same can be said for Ludi Lin's Zack, as it is Dacre Montgomery's Jason, Naomi Scott's Kimberly and RJ Cyler's Billy who certainly have more screen time and as a result, their characters are dissected a great deal more. Montgomery, Scott and Cyler all do rather well in their roles and know their characters well enough to give convincing and well-rounded performances.

Elizabeth Banks' villainous Rita Repulsa is a great disappointment. When she first arrives into the modern day, she is truly terrifying. If she had kept the same twisted, ancient features she has in her first few scenes throughout the whole film, Power Rangers would have been a great deal more thrilling. However, the longer the film goes on, the more unintentionally comical and weak her character gets with some atrocious lines of dialogue. In her final scenes, she really is nothing more than a 90's young adult television show villain and this does nothing for the film.

The masses who will be flocking to see Power Rangers for a piece of nostalgia from their childhood will be disappointed with what they see. The film and it's story have not grown up with their audience and while there is a slight element of fun in the film somewhere, it is one of the more forgettable reboots and remakes.

4/10

Trumbo (2015) film review

Year: 2015
Running Time: 124 minutes
Director: Jay Roach
Writers: Bruce Cook (book), John McNamara (screenplay)
Cast: Bryan Cranston, Diane Lane, Helen Mirren, Michael Stuhlberg, Louise C.K., Elle Fanning, Dave Maldonado, John Goodman, David James Elliot, Alan Tudyk, Roger Bart, Dean O'Gorman, Christian Berkel

Trumbo will be released in Australia on February 18 and distributed by eOne.

Trumbo is a stunning and riveting portrait of old Hollywood which brings to light the extreme injustice inflicted upon important and talented members of the filmmaking community out of fear of their conflicting political beliefs.

Eccentric screenwriter Dalton Trumbo (portrayed by Bryan Cranston) was a favourite among Hollywood studios in the 1940's with such credits to his name as Kitty Foyle and Thirty Seconds Over Tokyo. He was also well known for his vocal political beliefs which coincided with that of the Communist party and being a member of the Hollywood 10, a group of directors and screenwriters who were blacklisted after refusing to answer questions and name names in Congress. After being tried, convicted and sent to prison, the blacklist prevented Trumbo and fellow Hollywood 10 members from obtaining work in American cinema. As a result, Trumbo had to find a way to write and make money for his family without the Academy, Screenwriters Guild and the infamous gossip columnist, Hedda Hopper (Helen Mirren) finding out.

Jay Roach's first turn at directing dramatic film is an intriguing piece of cinema that only becomes more so as the film progresses. It's sense of intrigue drives this fascinating story which is an imprint of Hollywood history that captures the political climate of the time in both the Southern Californian movie town and the United States as a whole. With the onset of the Cold War, the United States held an increased sense of paranoia. Hence the concern with those who were Communist sympathizers, especially in the film industry where filmmakers have a greater ability to influence by way of their large scale of reach. Hollywood during this time was generally daunted by anything that was considered different in terms of filmmaking and the film industry people, so those who were Communists were part of a minority and ostracised.

Trumbo is a fine piece of old Hollywood nostalgia as it captures the time period and it's players splendidly and will be a treat to anyone who is interested in the American film industry's earlier years. The costume design by Daniel Orlandi for both men and women is truly splendid and captures the fashion of the late 1940's and then the early 1950's wonderfully. The landscapes and location shots of North Hollywood and Highland Park are extreme contrasts to the way they are now, as they are far more tranquil and peaceful in the film as the Trumbo family's neighbourhoods than in this century.

One of the main features of Trumbo that fans of the golden era will appreciate is that it shows the power that Hedda Hopper really had in Hollywood. Hopper was absolutely ruthless in her approach to obtaining information and getting exactly the outcome she wanted in any situation. She had the power to make or break people's careers and many of the stars chose to share exclusives with Hopper for her column to be on her good side. In Trumbo, Helen Mirren portrays her perfectly as Hopper was known for being able to switch from trying to obtain information by being charming to being manipulative and scheming. The film shows how her accessibility to some of the biggest names in Hollywood including Louis B. Mayer and John Wayne made her so powerful and how in this case she not only used the information for her column, but also to mould Hollywood into the way she wanted it.

Bryan Cranston is superb in the title role as Dalton Trumbo as his transformation into the screenwriter with all his eccentricities is a wonderful example of brilliant character acting. Towards the beginning of the film, it almost feels as though John MacNamara's screenplay has created a glorified version of Trumbo with his frequent long, meaningful speeches. However, when Louis C.K.'s character of Arlen Hird questions Trumbo as to why he has to "say everything like it is chiselled into a rock", this is the end of these long passages by Trumbo and one realises that this was really the way Trumbo spoke until he was tried and convicted. Cranston's Trumbo develops throughout the film and it is evident how his character changed and evolved as a result of the tumultuous events.

Trumbo has a number of old Hollywood figures featured in the film that many will recognise. There is a great use of archival footage of actual events and old films in which footage shot for this film of actors portraying certain characters is inserted in. While some of the actors playing characters who are based on real life figures may not exactly physically resemble them, it is incredible how each of them have mastered the mannerisms and voices of their real life counterparts. Michael Stuhlberg is an absolute standout as Edward G. Robinson. He gives a fantastic emotional portrayal as the actor who commits a rather despicable act in the eyes of his friends, but one forgives him when his heartfelt explanation is heard. David James Elliot's portrayal of John Wayne makes him perhaps not as likable as he was perceived, while Dean O'Gorman's Kirk Douglas does quite the opposite. O'Gorman embodies the Spartacus actor perfectly and is incredibly likable leading those who weren't alive in the 1950's to understand Douglas' appeal.

While Trumbo is not a proud look back at this time period in Hollywood, it is an accurate and fascinating biopic with a strong screenplay and wonderful performances which make it incredibly entertaining and enjoyable in it's nostalgia.

8.5/10

Godzilla (2014)

Year: 2014
Running Time: 123 minutes
Director: Gareth Edwards
Writers: Dave Callahan (story), Max Borenstein (screenplay)
Cast: Bryan Cranston, Aaron Taylor-Johnson, Elizabeth Olsen, Juliette Binoche, Ken Watanabe, Sally Hawkins, David Strathairn

GODZILLA is now showing in cinemas everywhere and is distributed in Australia by Roadshow Films.

There is just something about the giant, prehistoric lizard by the name of Godzilla that film makers see as an attractive challenge for themselves, and at the same time there is no denying it is a concept the public will always find enticing. This monster which terrorizes the major cities has inspired the imaginations of filmmakers and audiences alike since it's first appearance in the 1954 Japanese film Godzilla (Gojira). With each new film and television version, the makers have been faced with the constant dilemma of how to create the perfect monster film by achieving the right combination of amazing visuals, script and human character. The 2014 Godzilla has come with high expectations, especially in regards to it's visual impact considering it has been made in a time when computer generated images are more impressive and realistic than they ever have been before. Visually it is incredible and Godzilla himself is the perfect prehistoric terror. It is the beast that is magnificent, and the humans that are the pitfall of the film. If this was a film purely about the beast, it would be a great deal more successful than it is while it is trying to be a combination of that and human emotion and survival.

In Japan in 1999, a series of small aftershocks as a result of an earthquake in the Philippines are taking place and American Joe Brody (Bryan Cranston) is concerned that this activity could have a dangerous effect on the nuclear plant which him and his wife, Sandy (Juliette Binoche) work at. His suspicions are tragically confirmed when a disaster takes place at the plant and Sandy is among the fatalities. Fifteen years later, Joe and Sandy's son, Ford (Aaron Taylor-Johnson) is a US naval lieutenant and has just returned home to his wife, Elle (Elizabeth Olsen) and son, Sam (Carson Bolde) when he receives a call from Japan informing him that his father has been arrested for trespassing. Ford returns to Japan to bail out his father and return home as quickly as he possibly can, but Joe talks him into staying longer when he explains he was trying to get back to their old house as he believes the government are hiding something big. Joe and Ford find that they are in fact hiding something which they would do anything to not let the world know about, but it is only with Joe and Ford's help that they realise that there is an even bigger threat out there in the Pacific Ocean waiting for it's chance to surface.

The first 20 minutes of Godzilla gives the impression that this time they may have got it wonderfully right this time. The beginning sequence in which there is a montage of news stories and footage which end with a black and white shot of Godzilla stirring in the ocean is the perfect way to start the film as it pulls in the audience and creates intrigue and suspense as well as a slight nostalgic atmosphere. It is in this 20 minute time period of the film where the spectacle, screenplay and acting really create something special. The scene when Joe loses his wife is absolutely heartbreaking. There is a great deal of human emotion and Bryan Cranston is absolutely superb and Juliette Binoche brings the very best to her brief time on screen.

When the film reaches into the future, it still maintains it's high standard for a period of time. It is when the beasts appear that the interest in human emotion and relationships tend to lessen. Admittedly, the film is first and foremost about Godzilla and past Godzilla films and television shows have been more about the spectacle and action rather than the human side of things. However, this wouldn't have been as much of a disappoint if the first 20 minutes hadn't set the film up for a perfect combination of everything a film needs to be a success overall. The film after this period of bliss starts to consist of weak human relationships, emotions and restrictive acting, and not nearly enough Godzilla.

In order to make this Godzilla different story wise to past Godzilla's, writer Max Borenstein has obviously tried do something that hasn't been done before. In this case, it is not only Godzilla who is the only prehistoric creature in the film, but there are two other spider like reptile creatures which are called MUTO's which are fed by radiation. These MUTO's appear in the film a great deal more than what Godzilla does and even though these two creatures are interesting to look at, they do not compare to Godzilla. Godzilla truly is a sight to behold. The CGI which has gone into making this creature is truly amazing. Every little detail of him down to every scale on his body has been immaculately created. The size of the beast is magnificent and when situated next to landmarks such as San Francisco's Golden Gate Bridge makes him even more terrifying. Alas, there is really not enough of him as opposed to the MUTO's, who are nowhere near as impressive. The set design, especially that of the deserted Japanese town and the railroads, is also rather exquisite and impressive.

Bryan Cranston and Juliette Bincohe are indeed the stand-outs performance wise in the film. The other two actors who also should have given beautiful and emotional performances are Aaron Taylor-Johnson and Elizabeth Olsen. However, their performances are lack lustre and this is no fault of their own. Both actors have given incredible performances in the past and there is no doubt they are fine actors. Yet their roles in Godzilla are ones that call for emotion and depth, but both fall short. It really is uncharacteristic of the two actors and fault falls more on the way in which Gareth Edwards directs them as it really feels like the two have been restricted. Ken Watanabe's role as Dr. Ishiro Serizawa by all means the corniest. Every line he says is just so typical of his type of character in such a movie. It is as thought everything he says is a revelation or sorts and you cannot help but snicker when he announces "And we called it....Godzilla"

Godzilla is, just like the beast itself, a spectacle. The film gets your hopes up in a huge way at the start, but lets you down little by little with the weakening of the humans emotionally and nowhere near enough of Godzilla itself.

5.5/10