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REVIEW: The Grey Holy Sh#t.  That was intense. I was literally shaking at some points in what has become probably the best movie so far of the new year, and probably the best man vs wild film to come out in ages. The Grey follows a pack of survivors who find their plane crashing in the middle of nowhere. With the icy cold winter threatening to starve them and freeze them, they confront a pack of monstrous wolves who have made the territory their home. Liam Neeson fills in the role of Ottway, a hard as rock everyman who leads the group of doomed survivors. He seems to be creating an awesome niche for himself as the middle-aged action hero, and this role probably cements him as one of the biggest bad asses in the world. Forget Chuck Norris and his PG-13 crap on Expendables, you never fuck with Neeson. He has such gravitas in his acting and voice, but balances it out with such vulnerability that he creates layers of empathy rarely felt in survival movies. What’s more, Joe Carnahan (Narc) directs a movie that is surprisingly smart and almost philosophical. One would think that asking questions of the meaning of life and having bouts with existentialism would bog down an action-survival film, but no. Rather it creates an atmosphere of very human emotions, and makes us really know the survivors and how they question their very survival. This accomplishes what very few similar movies does, it makes us really, really root that these poor sods make it back home. But the entire way there is laced with a haunted atmosphere, a frigid wasteland that makes you cringe with every step. The sound work here is brilliant, and you could feel your fingers freezing in every scene. The wolves, and action moments are spectacular, wonderfully paced so that you are never let off. The entire movie barrages you with almost unbearable tension that there are moments that you just want to grab a knife and cut that thread just to get it over with.  There are movies out there that I love that I may not recommend to everyone. Sometimes, I know their taste in movies just wouldn’t fit my recommendation. This is a film that defies that, because I don’t care what kind of movies you like, you watch this movie, you will be on the edge of your seat. And until that crescendo of a finish, you won’t stop gripping your handle bars and sipping into your drink just to tear your eyes away from the intensity on screen. Oh, and whatever you do… STAY UNTIL AFTER THE CREDITS. Liam-f@ckin-Neeson 9/10

REVIEW: The Grey

Holy Sh#t. 

That was intense. I was literally shaking at some points in what has become probably the best movie so far of the new year, and probably the best man vs wild film to come out in ages.

The Grey follows a pack of survivors who find their plane crashing in the middle of nowhere. With the icy cold winter threatening to starve them and freeze them, they confront a pack of monstrous wolves who have made the territory their home.

Liam Neeson fills in the role of Ottway, a hard as rock everyman who leads the group of doomed survivors. He seems to be creating an awesome niche for himself as the middle-aged action hero, and this role probably cements him as one of the biggest bad asses in the world. Forget Chuck Norris and his PG-13 crap on Expendables, you never fuck with Neeson. He has such gravitas in his acting and voice, but balances it out with such vulnerability that he creates layers of empathy rarely felt in survival movies.

What’s more, Joe Carnahan (Narc) directs a movie that is surprisingly smart and almost philosophical. One would think that asking questions of the meaning of life and having bouts with existentialism would bog down an action-survival film, but no. Rather it creates an atmosphere of very human emotions, and makes us really know the survivors and how they question their very survival. This accomplishes what very few similar movies does, it makes us really, really root that these poor sods make it back home.

But the entire way there is laced with a haunted atmosphere, a frigid wasteland that makes you cringe with every step. The sound work here is brilliant, and you could feel your fingers freezing in every scene. The wolves, and action moments are spectacular, wonderfully paced so that you are never let off. The entire movie barrages you with almost unbearable tension that there are moments that you just want to grab a knife and cut that thread just to get it over with. 

There are movies out there that I love that I may not recommend to everyone. Sometimes, I know their taste in movies just wouldn’t fit my recommendation. This is a film that defies that, because I don’t care what kind of movies you like, you watch this movie, you will be on the edge of your seat. And until that crescendo of a finish, you won’t stop gripping your handle bars and sipping into your drink just to tear your eyes away from the intensity on screen.

Oh, and whatever you do… STAY UNTIL AFTER THE CREDITS. Liam-f@ckin-Neeson

9/10

My Top 10 Films of 2011

A bit late to the running, but here it is. A list of movies that whacked me the most throughout the year. I’m very surprised, because I came into the year expecting to be stuck in a cycle of pleasurable geekasms from all the superhero movies coming out, but none of them made my top 10.

Also, I usually have a clear frontrunner in my yearly favorites, but I got stuck this year- for the longest time I just couldn’t decide. Take note that all of my top 5 were at one point being considered for the top spot, which either says two things: a.) It’s been that good a year for movies or b.) I should shut the hell up and stop trying so hard to look sophisticated.

So here they are:

1.) Hugo


I don’t think it’s the best movie of the year. But I think it’s got the most heart. And when I walked out the cinema, I was stunned and intoxicated with cinema and the world of storytelling. I ran home and immediately started thinking of the possibilities, of my own life and of my own craft. Would I ever be as good?
 What could I do to break in to this wonderful medium? Why did I eat that burrito with extra hot sauce? But most of all it made me feel magical. And I can’t remember the last time a movie’s made me feel that way. Thus the top spot.

2.) Drive


Probably the sexiest, leanest and most unexpected gems of the year, Drive just bashed my head in from the opening moments until the heart-thumping finale. Taking a plot that would have fit perfectly with the popcorn Transporter series and reworking it into an almost operatic tale of woe, this movie is probably the most gorgeous piece of cinema to come out this year. Take note, bring heart medications. Your heart may be fine, but it won’t be after this movie.

3.) The Artist


Like Hugo, this is a love letter to the world of movies, but the difference lies in that The Artist takes the form of the movies it dedicates itself to. For all intents and purposes, The Artist is a silent movie from the forgone era of cinema. And what would seem like a cheap trick at first instantly transformed into the most charming movie of the year, with breakthrough performances from the two leads and one impossibly cute dog (seriously, I’d throw away my life for that dog), The Artist channels the wonder of the classics and might be the top contender for the Best Picture Oscar.

4.) The Girl with the Dragon Tattoo


Can’t believe that a David Fincher murder-thriller adaptation of this amazing bestseller has become one of the most overlooked and underrated film of the year. After being snobbed at the awards for last year’s Social Network masterpiece, Fincher deserves better. While not as good as his last year’s entry nor his classic thriller, Se7en, The Girl with the Dragon Tattoo is nonetheless an unrelenting, uncompromising and dangerously violent movie that shows Fincher in his best element. Using cinematography and music that are breathtakingly beautiful and spine-chilling, Fincher crafts a superb films that hinges closer to the heart of the book than it’s Swedish counterpart. Mara Rooney is amazing to watch, and is an instant sensation as the popular heroine, Lisbeth Salander

5.) Tinker Tailor Soldier Spy


Sometimes the best spy movies are exactly that: A lot of spying. No C4’s with the power of a hundred grenades, no exploding helicopter, no dual pistols blasting in midair… just quiescent tension lingering in the air of a quiet room. Every motive in doubt, every character in question, this movie plays power-house cast against each other, forgoing powerful emotive acting and instead using a more subtle, and refined craft. Gary Oldman puts in one of his most calmest roles, but who knew you could convey so much thought in a single glance.

6.) The Adventures of Tintin


The only animated film to crack my top ten comes from neither Pixar nor Dreamworks. Instead, it comes from the maestro himself, Steven Spielberg. Teaming up with Peter Jackson to create what is very well the spiritual successor of his Indiana Jones saga, Kingdom of Crystal Skulls be damned (ironically old Stevie also teamed up with a different bearded, chubby, visual effects legend for that series).  Perhaps the only time I’ve actually been wowed by motion-capture animation, this films is all candy and all adventure. A non-stop ride that instantly reminded me of Raiders of the Lost Ark, Tintin is a thrill ride wrapped in some of the most gorgeous renderings I have ever seen. I can’t wait to see the series continued in with the same kinetic force and unabashed glee.

7.) Mission Impossible: Ghost Protocol


The biggest popcorn film of the year didn’t come out in the summer. Instead it featured an aging action star, an animation director with no live-action experience, a brand name most people have considered past it’s prime and a relatively unknown supporting cast. Instead, we’ve got some of the most jaw-dropping action sequences in recent memory, culminating in a nerve-racking skyscraper climb in Dubai that just begs to be seen in full IMAX glory (Seriously, not since The Dark Knight has there been a movie that just NEEDS to be seen in an IMAX screen, and yes that includes the mostly overrated Avatar). And best of all, Director Brad Bird (Finding Nemo) has established himself as a director to watch out for and Tom Cruis is back with a vengeance.

8.) The Descendants

Most family dramas can end up being pretentious, if at least well-intended Oscar bait. But Descendants surprised me by avoiding either being preachy or melodramatic. Instead it tackled it’s tale with an amazing amount of grounded realism, charming goofiness and a whole lot of heart. Featuring an outstanding turn by George Clooney that may very well net him that long-deserved Oscar, The Descendants is a wonderful movie of family ties and tradition that strikes just the right chords.

9.) Midnight in Paris


A return to form for Woody Allen, Midnight in Paris is a film of nostalgia, a love letter to a bygone era so nostalgic, it can even be considered unhealthy. Which is exactly the theme of the movie, featuring a cast of characters that just melds perfectly into Woody’s little universe. Charming, hilarious and intelligent, Midnight in Paris is essentially Woody’s love letter to Paris as Manhattan was to New York.

10.) Rise of the Planet of the Apes


I admit I was a bit hesitant with this film. Using Andy Serkis as Caesar was a stroke of genius, but the horrific memory of the Tim Burton remake was still replaying in my head. Thankfully, this movie forgoes all the clumsy buffoonery of that film and replaces it with a tragic, Dickenesque tale of growing up and of being different. Not since Gollum (Serkis) or King Kong (yes, Serkis too) has an animated motion-captured character unleash so much raw emotion on screen. Had it not been for the well-rounded script and the outstanding performance by the man (now under heavy controversy on whether it qualifies for an Oscar), this movie would have fallen apart. Instead it is heavy with strife, pain, love and fear- the markings of growing up in a world that hates you. And all of this from what is essentially a bunch of polygons. Amazing.

Runnerups:

Attack the Block- Most overlooked movie of the year? You better believe it, bruv

Bridesmaids- No movie this year has made me laugh this hard. In fact I’m laughing just thinking about it.

Harry Potter and the Deathly Hallows Part 2- At long last the saga ends (for real this time) and boy does it end with a bang

Captain America- Sloppy CGI and disappointing action aside, Chris Evans surprised by capturing the essence of Steve Rogers perfectly.

Thor- Adding an almost Shakespearean family tragedy to this Marvel movie keeps it interesting and in Marvel’s win column.

X-men: First Class- Best of the superhero line-up this year. Some underwhelming CGI and useless side characters aside, this movie shines with it’s two leads. Also, biggest bromance of the year (Sorry Robert Downey and Jude Law)

Rango- ILM’s foray into the animated realm, this far less child friendly and more… well wierd… in a good way. Gorgeous art direction as well.

Kung Fu Panda 2- Not as fresh as the original, but a very well made animated flick nonetheless.

Sherlock Holmes: A Game of Shadows- Manages to best it’s popcorny predecessor by getting an actual, threatening villain in Professor Moriarty played spectacularly by Jared Harris.

Hanna- A surprisingly well made story of vengeance and loneliness. This coming from a student writer straight out of school.

The Muppets- One of the sweetest, most nostalgic offerings of the year. Anyone with fond memories of these guys owe it themselves to check this movie out.

I have yet to watch some of the year’s offerings and I’m planning to try to catch some of them in the coming weeks. This includes A Dangerous Method, War Horse, Shame, The Iron Lady and a few others. But here’s my list as of now. Tell me what you think? Like it? Hate it? Would like to contend with the decisions? lemme know.

REVIEW: The Girl with the Dragon Tattoo Directed by David Fincher Starring Daniel Craig and Mara Rooney I’m at a unique place in reviewing this film, mostly because I had just read the final page of the book a mere two hours before the start of the film. I had spent an all-nighter engrossed in the popular thriller that every detail was still vivid in my mind. I remember thinking that this was a good thing and a bad thing. Good because I knew now what to look for, bad because I knew exactly what to look for. I was afraid I spoiled myself and would be less receptive to whatever tricks Fincher had up his sleeve. I was wrong. His adaptation is unashamed in it’s brashness and depravity. This is a film that tackles scenes of horrific, violent savagery with comfortable ease. Fincher uses everything in his arsenal, from gorgeous cinematography that captures the chilling landscapes of both the island and it’s inhabitants, to a haunting beat that pulses throughout the film that bursts out with an amazing intro cover by Trent Reznor and Karen O (It’s the same song in the trailer music, and by God it’s amazing). The result is a dark, brooding and very graphic thriller that plays and teases with you. But from time to time it will grab your head and dunk it into the freezing water. Like a book, sexual violence to women is a major theme here and the movie uses it with no hesitation. What excites me most is that aside from the detective story, this is a movie that forces us to look deep into humanity’s soul and question its very dignity. It’s a major theme with Fincher’s killer thrillers (Zodiac, Se7en) and like those others, he is very successful in it. But of course none of that would matter; in fact all of Fincher’s fancy storytelling wouldn’t matter; if the performance didn’t carry it. And perhaps that’s probably what a lot of people are wondering, what with Noomi Rapace’s famous take on the heroine. Well I haven’t seen the Swedish adaptation so perhaps it’s a blessing that I wouldn’t be force to make compare. But in short, the cast was nothing less than riveting. Daniel Craig makes a wonderfully nuanced Mikael. Shedding his James Bond charm, Craig’s Blomkvist is still manages to balance the character’s essence. He expertly weaves between being a journalistic missile to a man broken by his own arrogance and inability to think of the consequences. But within that, he also ekes out a pleasant humor that convincingly sparks immediate chemistry with his steely-eyed partner. Now much has been said of Rooney Mara’s transformation from the sweet girl from Social Network to this terrifying outcast. And all of it is true. Her Salander is like a walking stick; frail and pale. She darts around with such quick dexterity it’s like a mangy cat hissing at anyone who gets too close. Her look in the movie ranges from the most outrageous to something far more practical to being just plain naked. She definitely does not shy away from showing off her bony, pierced body. But perhaps what sold me the most about her performance was the eyes. While I’ve seen little of Rapace, what I saw in her eyes was that of ferocious intensity, of a girl who’s gives little shit about the rest of the world. That too is present in Mara’s eyes, but it’s overshadowed by that of a hollow despair. Her Salander may be one of the loneliest creatures in the world, staring blankly at the evil in the world and merely shrugging it off with not so much as a “fuck you too”. This is a girl whose past leads her to believe that the whole world is a depraved and that it’s its natural state. And when she turns lose, it’s less intimidating and more terrifying and sad. There is no hesitation, just primal rage, as she just charges. But her scream sounded less of anger but of pain, and in one pivotal scene where she looms overhead, her eyes black with hate, you can also see a hint of shame, almost begging you to answer the question, “Why?” The film isn’t without it’s flaws, though I believe some of it has to do with my criticism of the book’s plot structure. That said, this may be a film that may put off curious casual moviegoers from the book. It’s somber tone does make it the feel bad movie of Christmas (which may be why the movie failed to make a profit in the box office).  But to fans of trilogy and of films itself, this a clever, dark and superbly crafter thriller that is made all the more entertaining by the performance of it’s leads. 9/10

REVIEW: The Girl with the Dragon Tattoo

Directed by David Fincher

Starring Daniel Craig and Mara Rooney

I’m at a unique place in reviewing this film, mostly because I had just read the final page of the book a mere two hours before the start of the film. I had spent an all-nighter engrossed in the popular thriller that every detail was still vivid in my mind.

I remember thinking that this was a good thing and a bad thing. Good because I knew now what to look for, bad because I knew exactly what to look for. I was afraid I spoiled myself and would be less receptive to whatever tricks Fincher had up his sleeve. I was wrong.

His adaptation is unashamed in it’s brashness and depravity. This is a film that tackles scenes of horrific, violent savagery with comfortable ease. Fincher uses everything in his arsenal, from gorgeous cinematography that captures the chilling landscapes of both the island and it’s inhabitants, to a haunting beat that pulses throughout the film that bursts out with an amazing intro cover by Trent Reznor and Karen O (It’s the same song in the trailer music, and by God it’s amazing).

The result is a dark, brooding and very graphic thriller that plays and teases with you. But from time to time it will grab your head and dunk it into the freezing water. Like a book, sexual violence to women is a major theme here and the movie uses it with no hesitation. What excites me most is that aside from the detective story, this is a movie that forces us to look deep into humanity’s soul and question its very dignity. It’s a major theme with Fincher’s killer thrillers (Zodiac, Se7en) and like those others, he is very successful in it.

But of course none of that would matter; in fact all of Fincher’s fancy storytelling wouldn’t matter; if the performance didn’t carry it. And perhaps that’s probably what a lot of people are wondering, what with Noomi Rapace’s famous take on the heroine. Well I haven’t seen the Swedish adaptation so perhaps it’s a blessing that I wouldn’t be force to make compare. But in short, the cast was nothing less than riveting.

Daniel Craig makes a wonderfully nuanced Mikael. Shedding his James Bond charm, Craig’s Blomkvist is still manages to balance the character’s essence. He expertly weaves between being a journalistic missile to a man broken by his own arrogance and inability to think of the consequences. But within that, he also ekes out a pleasant humor that convincingly sparks immediate chemistry with his steely-eyed partner.

Now much has been said of Rooney Mara’s transformation from the sweet girl from Social Network to this terrifying outcast. And all of it is true. Her Salander is like a walking stick; frail and pale. She darts around with such quick dexterity it’s like a mangy cat hissing at anyone who gets too close. Her look in the movie ranges from the most outrageous to something far more practical to being just plain naked. She definitely does not shy away from showing off her bony, pierced body. But perhaps what sold me the most about her performance was the eyes. While I’ve seen little of Rapace, what I saw in her eyes was that of ferocious intensity, of a girl who’s gives little shit about the rest of the world. That too is present in Mara’s eyes, but it’s overshadowed by that of a hollow despair. Her Salander may be one of the loneliest creatures in the world, staring blankly at the evil in the world and merely shrugging it off with not so much as a “fuck you too”. This is a girl whose past leads her to believe that the whole world is a depraved and that it’s its natural state. And when she turns lose, it’s less intimidating and more terrifying and sad. There is no hesitation, just primal rage, as she just charges. But her scream sounded less of anger but of pain, and in one pivotal scene where she looms overhead, her eyes black with hate, you can also see a hint of shame, almost begging you to answer the question, “Why?”

The film isn’t without it’s flaws, though I believe some of it has to do with my criticism of the book’s plot structure. That said, this may be a film that may put off curious casual moviegoers from the book. It’s somber tone does make it the feel bad movie of Christmas (which may be why the movie failed to make a profit in the box office).  But to fans of trilogy and of films itself, this a clever, dark and superbly crafter thriller that is made all the more entertaining by the performance of it’s leads.

9/10

Took some shots of my Grandfather doing an impromptu boogie. It was instant GIF

ollymoss: I worked with Studio Ghibli and Mondo to create these two posters for one of my favourite movies. I still can’t quite believe this, it’s such a huge honour.  My Neighbor Totoro is a 20x36 8-colour screen print. It’ll be for sale from Mondo soon and, as usual, I will have some signed APs for sale at some point later.

ollymoss:

I worked with Studio Ghibli and Mondo to create these two posters for one of my favourite movies. I still can’t quite believe this, it’s such a huge honour. 

My Neighbor Totoro is a 20x36 8-colour screen print. It’ll be for sale from Mondo soon and, as usual, I will have some signed APs for sale at some point later.

My Usual Suspects poster

My Usual Suspects poster

Opening drawing requests!

Hey guys! I know I have a good number of followers, but I dunno how many religiously look up my posts. Silly me. 

Anyway, in an evil ploy to get more followers get to know you guys, I’m opening myself to sketch requests!!! Any crazy, geeky concept pop in to your head, send over a request and when I get the time, I’ll make a quick sketch of it for yah guys! 

Well whaddya waiting for? Go!

dcu: We all know what Bane is famous for. Let the speculation begin…

dcu:

We all know what Bane is famous for.

Let the speculation begin…

Anonymous asked: where did you get to watch Hugo? i badly want to see it.

In the cinema :p I’m temporarily in Vancouver for studies right now

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