Harry Potter – Consumed By Film

Jaws (1975)

★★★★★

Director: Steven Spielberg

Release Date: June 20th, 1975 (US); December 26th, 1975 (UK)

Genre: Adventure; Drama; Thriller

Starring: Roy Scheider, Robert Shaw, Richard Dreyfuss

It is probably fair to say Jaws cemented Steven Spielberg’s status as a prominent athlete in the movie-making race. Released in 1975, the film ushered in a fresh era of monster flicks. Those hallmarks that we deem familiar in the genre today made their mainstream debut in Spielberg’s classic: the inaugural attack and subsequent denial; the saviour who is the only one bearing initial clarity; the prevention plan executed atop a wave of mayhem.

It is a blueprint that studios and filmmakers have followed since — the pitch for Alien famously included the tagline “Jaws in space” — primarily because the structure indiscriminately appeals to audiences. You only have to glance back at the last two summers to see the formula play out in Gareth Edwards’ Godzilla and Colin Trevorrow’s Jurassic World. Speaking of summer, Jaws is often also touted as the first seasonal blockbuster (it broke box office records upon release in the US). The catch? This blockbuster is one of those intelligently composed things.

Following the watery demise of a teenage girl via shark attack, the residents of Amity Island find themselves on high alert. Chief Martin Brody (Roy Scheider) is tasked with developing a solution, but when the problem takes the form of a person-guzzling creature solutions are hard to come by. Bill Butler’s camera focuses directly on the words “shark attack” as Brody punches them into the death certificate of the aforementioned teen, the surrounding silence signifying both the solemnity at hand and the imminent danger. Everybody is a potential target because, on Amity Island, everybody is water-bound.

The locale is a “summer town [that] needs summer dollars,” according to Mayor Larry Vaughn (Murray Hamilton). Speaking to an agitated Brody, he continues, “You yell shark and we’ve got a panic on our hands on the 4th of July.” Though his use of the word panic is probably a reference to any incoming tourists, chances are he is more concerned about panic on the business front. It’s commercialism versus well-being, a duel unethically buffeted by a mayor who slinks around in a bright suit looking like a candy floss vendor selling treats that appear appetising but are ultimately bad for your health. And it’s Brody who takes the brunt of his poor decision-making: after a grieving mother vents her fury to Brody’s face, the film evolves into a tale of redemption and vengeance.

A smart and often snarky screenplay accommodates various themes and elevates Jaws well beyond popcorn entertainment (though it can be just that if you want it to). Originally written by Peter Benchley, the screenplay was reshaped by Carl Gottlieb, adapting his own novel, as filming got under way. And to his credit Spielberg values the duo’s writing just as much as he does tension building and aquatic action. This means there is wit in abundance, “we’re gonna need a bigger boat” being the obvious calling card. It is more than just a throwaway line though — the iconic scene quite brilliantly combines comedy, timing, and terror.

The shark seems to strike out of the blue. Though precautions are in place (shutting down beaches etc.) everything seems a bit rushed, a bit chaotic, as if the appearance of the creature is a wholly uncommon event. A rubbery meteor thrashing into an otherwise idyllic seaside lifestyle. Then there are the constant distractions — while Brody tries to keep an eye on swimmers, a plethora of unwary residents inundate him with random musings. And when the islanders catch a bogus shark, the local photographer is too busy taking photos for anyone to notice it’s the wrong fish.

Like an old Wild West villain, the shark has a $3,000 bounty placed on its fin. We don’t see it for a long time, but we do catch a glimpse of the consequences left in the monster’s wake: a crab-strewn arm; a volcanic bloodbath; various images of unevenly dissected limbs. You can do nothing but watch as its grey silhouette stalks the dangling legs of helpless victims whose idea of a beach vacation involves more relaxation and less chomping. Simmering in the background is this domestic strand about a father trying to introduce his sons to a dangerous world, juggling the virtues of the sea with the violence of its inhabitants.

There is a masculine theme at play too, and it particularly rears when boatman Quint (Robert Shaw) shows up, gruff and tough, parading a confidence and idly disrespecting those around him. But there is more to Quint, a clouded morality that swims beneath the surface. Robert Shaw delivers a revelatory monologue with a look on his face that denotes unsubtly disguised horror in one of the film’s more serene, excellent scenes. He joins Brody and oceanographer Matt Hooper (Richard Dreyfuss) on a voyage to oust the shark and as the three guys get grimier and drunker, you constantly wonder just how exactly they’re going to conquer the aqua beast.

Jaws’ score is often heralded for its tense beat that builds to a crescendo, but it also bears a swooping grandiosity that marks the film’s action-adventure element. Sharp high notes chirp along pleasantly, notes that composer John Williams would go on to recycle for the first few Harry Potter outings. The film isn’t an out-and-out horror flick but it does dabble in gruesome visuals and a playfully heart pounding atmosphere.

There is a bit of dip in stress levels just before the final act plays out, but you let it slide as Spielberg has spent so long admirably refraining from bluster, favouring human drama instead. Led by the quintessential everyman Chief Brody, his regular qualities superbly highlighted by Roy Scheider, Jaws manifests as a clever genre-chewer that still boasts significant bite 40 years on.

Images credit: IMP Awards, The Guardian

Images copyright (©): Universal Pictures

Man Crates: Horror Movie Survival Guide

There is a sequence in Wes Craven’s Scream where local horror buff Randy Meeks (Jamie Kennedy) takes centre stage before a group of apparently in-the-know teenagers and explains to them the various rules of scary movie survival. “There are certain rules that one must abide by in order to successfully survive a horror movie,” he exclaims with hilarious passion. Be a virgin. Don’t announce your imminent return. And damn it, everyone is a suspect!

Taking inspiration from the lovely people over at Man Crates, I reckon it’s time we shifted our collective focus away from the reactive and towards the proactive. Let’s stop worrying about who the killer is and start worrying about how to conquer said killer. A zombie apocalypse? Forget wearily looking around for fresh water, we ought to start stocking up on the good stuff now. Below is a list of must-have possessions, things everybody should own in the event of a horrifying disaster. Let’s not kid ourselves, in a few years The Walking Dead will probably be eligible to win Best Documentary Series at the Emmys.

You check out Man Crates’ numerous crate combos here — my personal favourite is the Retro Gamer edition. The crates are primarily aimed at guys (we’re notoriously indecisive when it comes to gift wish lists) though I reckon many women out there would be interested too. Crowbars at the ready.

1 — Water (lots)

Given I’ve already mentioned it, this one shouldn’t come as much of a surprise. Apparently us humans can only go around three days without water — unless you’re Frodo Baggins who, along with his mate Sam, went something like a week without H2O replenishment. Hoarding water is just common sense. You might even be able to recycle it too, though I’m certainly no expert.

2 — Michonne’s sword (and Michonne)

A weapon is essential, and you wouldn’t want to be lugging around a chainsaw all day and night. A gun would be excellent for a while but you would be snookered when the ammo runs out. I always fancied myself as a bit of an archer — on Skyrim, anyway — but arrows numbers would eventually diminish too. I reckon you’d want something long in length to avoid any close combat, and a Katana blade perfectly fits that bill. Perhaps it’d be best just to hire Michonne as your personal bodyguard.

3 — Notepad and pen(s)

You’d need something that would help pass the time in between any monster-evading exploits, and since technology requires power (which, presumably, would be difficult to garner in a world ravaged by villainous creatures), I reckon the old notepad and pen combo would do the trick. Us film fanatics could write. Arty folk could draw. Gamers could play noughts and crosses. Endless fun.

4 — Netflix

I know I said earlier technology would be a moot possession in an apocalyptic landscape, but who am I kidding? It’s 2015. Us Millennial lot can hardly survive a day wrapped up in bed without the wonders of Netflix. Chances are the big baddie at large — be it the Xenomorph from Alien, Leatherface from The Texas Chain Saw Massacre, or Ghostface him/herself — would end up addicted to Orange is the New Black anyway.

5 — Bear Grylls

He is basically humanity’s version of a pocketknife. Bear can hunt for food, he can seek out accessible shelter, create fire without equipment, built rafts to cross rivers etc. Even the world’s most powerful man, Barack Obama, trusts him (though according to the President, Bear’s culinary skills leave something to be desired). And besides, if you can’t survive a real life horror movie with a guy called “Bear” by your side, your survival chances were probably null upon arrival.

Bonus — Harry Potter’s Cloak of Invisibility

This isn’t cheating, is it? You could sit peacefully, sword in tow, guzzling water, jotting down notes in between episodes of Twin Peaks, Bear Grylls camped by your side, and remain hidden from the atrocities of reality. I suppose if we are venturing down the magical route, Hermione’s Time-Turner would be a better option.

There you have it. Some words of advice, free of charge. What more can you ask? If you have anything to add, feel free to do so in the comments section below.

Images credit: Collider

Images copyright (©): Dimension Films, AMC

Horns (2014)

★★

Director: Alexandre Aja

Release Date: October 29th, 2014 (UK); October 31st, 2014 (US)

Genre: Drama; Fantasy; Thriller

Starring: Daniel Radcliffe, Juno Temple, Max Minghella

Based on author Joe Hill’s novel of the same, Horns represents another opportunity for Daniel Radcliffe to shed his boy-wizard skin. The actor ought to be commended for selecting varied post-Potter roles that, at least from the out looking in, continue to pose different challenges: in recent years, he has played an Edwardian-era lawyer, a Beat Generation poet, and now a horn-growing murder suspect. This might be his most interesting role on paper, but not even Radcliffe’s admirable effort can save Alexandre Aja’s inconsistent adaptation.

Labelled a killer by many in his community, Ig Perish (Radcliffe) wakes up one morning to discover a pair of bulging discs protruding from his forehead. The swollen abnormalities eventually evolve into manic-looking devil horns which, despite Ig’s best efforts, cannot be remove. Bereft of answers, he tries to get on with his life in as normal a manner as possible, and this mainly involves conferring with childhood mate and legal counsel Lee (Max Minghella). Only, those around Ig don’t quite follow suit.

The tone at the beginning is almost wholly comedic. Animal horns fully realised, whenever a mournful Ig finds himself in the company of others, people start acting horrendously: a mother vehemently denounces her young daughter’s fairly innocent behaviour; a receptionist spits vulgarities in the presence of a child; and a doctor yearns for drugs, only not the healthy kind. Yet it all feels forced. The aloof ambience doesn’t really have a foundation, spawning with no support. Why are people acting abominably? Why does Ig have horns? And if we must: who killed girlfriend Merrin (played by a seriously short-changed Juno Temple)?

The latter question is the one that instigates the film’s goings-on, but it isn’t necessarily the one that drives the piece. Horns doesn’t really have a central pivot point as far as the narrative goes. Instead, there a few floating plot strands, none of which are amply examined. Most time is spent disputing the reality of Ig’s jagged head attire; there is an ongoing debate surrounding whether the horns actually exist, or if they are simply a figurative manifestation of guilt. See, not everyone is privy to the mini antlers, and the presumption therefore is that they can only cast a spell on immoral folk: “Maybe the horns just don’t work on good people?”

It’s a premise that has potential, as evidenced by the book’s success, but director Aja struggles to maintain a settled tone, nonchalantly jumping around from dark comedy to revenge-thriller to grotesque horror. This hampers events on-screen and distracts us. You get the sense a straightforward crime-mystery would have been more palatable — the oddness, the tonal inconsistency, is too isolating. It also hurts Ig; he gets caught up in the film’s vacillating tonal underbelly, cracking jokes one minute and weighed down by despair the next. Radcliffe affords his character a degree of watchability, but it is tough to sympathise with a wimpy and agitated protagonist.

Aja is aiming, it seems, for a 21st century hipster-ish Twin Peaks. Heather Graham appears as a waitress wearing bubblegum-red lipstick and cream -pink overalls. If that is not enough, at one point the camera pulls away from a band playing in a club, the background aquarium-blue in colour and the atmosphere red-tinted. Though, by then you’ve probably already loaded up disc one of the Twin Peaks box set. Whereas David Lynch’s mesmeric concoction — both TV series and film — bore elements of genuine horror and hazy addiction (not to mention its band of universally compelling characters), this succumbs to a disorientating factor that it never shakes. Horns needs a Horne.

We get a Scream citation in the form of a doting detective, short hairdo and moustache combo invoked, but sadly it ain’t circa-1996 David Arquette. Even though there is always room for peer admiration, the film gets too caught up in saluting other, frankly better, horror instalments and inevitably misses its own creative train as a result. When Horns does try to chisel out original content it makes a host of unsubtle references to faith and Hell. A parade of snakes stalk Ig at one point, but on this occasion Parseltongue bites the dust.

In another underfed narrative thread, an explosive childhood flashback recalls The Butterfly Effect. Its intention, I guess, is to subsidise the edgy themes at large and suggest that violence once brought Ig and his cohorts together and now violence is in the process of tearing them apart. Had screenwriter Keith Bunin spent more time exploring how we, as a public, engage in tragedy-induced media frenzies, there might have been more for viewers to chew on. Gone Girl is a recent film that bitingly critiques how people reveal their true selves in dire moments, and it is overflowing with fascinating relevance. Admittedly, Gone Girl is also simply an all-round better film.

Horns is quite well-played in parts. A battle sequence performed to “Personal Jesus” makes very little sense yet garners a chuckle. The outing also has a laudable non-distinctive aesthetic; it could be set at any time in the last thirty years. The piece deposits its comedic purpose for something scarier later on, though it’s nothing truly frightening. It’s all just a bit grim really.

Images credit: IMP Awards, Collider

Images copyright (©): Dimension Films, RADiUS-TWC

This Is The End (2013)

★★★

Directors: Evan Goldberg and Seth Rogen

Release Date: June 12th (US); June 28th, 2013 (UK)

Genre: Comedy; Fantasy

Starring: Seth Rogen, Jay Baruchel, James Franco, Jonah Hill, Craig Robinson, Danny McBride

It’s difficult to imagine a scenario where a pick-n-mix group of inherently comedic actors and Rihanna could converge together to play themselves effectively. Not on purpose, anyway. The concept is harnessed too tightly before it’s even able to leap from the screen; in a peculiar dynamic, the only genre truly capable of housing said character-actor flip-flopping is the comedy genre, because the gimmick of self-depiction is supposed to a funny one. But there’s a problem. This Is The End runs into a brick wall of indifference built by past humorous undertakings from the tongues of its cast: Seth Rogen, Jonah Hill and company are playing the same characters that they always do, and the fact that these personifications happen to be extensions of their own selves is irrelevant. Though, once the failed gimmick attempt is established as a misfire, the film is able to advance as a fairly solid profanity-laced comedy. The only real happenstance of ingenuity here is, well… this is the end.

Jay Baruchel arrives at Seth Rogen’s serviceably plush residence in Los Angeles hoping to spend some time with his Hollywood buddy. It doesn’t take long for the Hollywood norm to encroach in their affairs though, as the pair receive an invite to James Franco’s housewarming party a dash up the hill. This is too bad for Jay who hates back-patting social gathers and isn’t all that fond of many expected guests, namely Jonah Hill. However, before the duo can settle in to their raucous surroundings (or in Jay’s case, get uncomfortable) an enormous earthquake sends shudders through the ego-mansion, leaving Jay, Seth, Jonah, James and pals stranded in the midst of a fiery apocalypse. And not even Emma Watson is exempt.

Paraded as a depiction of real actors, or ‘celebrities’, fraught and bumbling as their world collapsing in front of them — almost as if self-cleansing — the film doesn’t click. Primarily because those on screen are the foul-mouthed, comically-obnoxious and quip-firing knuckleheads of recent past. We’re not seeing Jonah Hill, we’re seeing Schmidt from 21 Jump Street. Seth Rogen isn’t playing Seth Rogen, he’s playing Ben Stone from Knocked Up. Nick from Hot Tub Time Machine makes an appearance, not Craig Robinson. And that ain’t really James Franco, it’s Pineapple Express’ Saul Silver. Essentially, each of these aforementioned characters — including those present in This Is The End — are all amplifications of the actors portraying them. Therefore the gimmick presented doesn’t stand out as inventive or extra-funny in this instance because we’ve seen it numerous times before.

In fact the only time it does work is when Emma Watson is on screen. The lovely lass whose wand waving skills and crisp pronunciations in Harry Potter have envisaged an image built on pleasantries, turns into a sweary and aggressive pit bull. The Emma Watson here is an exaggerated version — or not — of the widely held self-endorsing, peer-adulating celebrity perception. It’s not actually Emma Watson, and it’s never intended to be Emma Watson (I can’t imagine too much weapon wielding goes on in her life, though I’ve been wrong before). Unfortunately, this nuance collides head on with the presentation of the others as their real selves. Clinging to the rubble and remains of a crumbling ‘it’s actually us’ mantra, the film relentlessly takes pot shots at the idea that famous folk cannot work their way out of a paper bag without external aid. Again, the aforementioned stodgy dynamic on display does consume all and thus this approach struggles to come off as planned, but that’s not to say the film isn’t funny. Because it is; often giggle-worthy, periodically laugh-out-loud.

After meandering through an auspicious beginning, directors Evan Goldberg and Seth Rogen realign the camera with the focus on funny, as opposed to a crippled narrative gadget. Light does occasionally seep through this otherwise irreparable artifice, with James Franco’s on screen manifestation proving the most successful of the bunch, certainly within the context of real-life satire. He projects himself as an art mogul — a trait not far off the mark if Comedy Central’s Roast of James Franco is anything to go by — and his magnified pompous demeanour feels the brunt of many a gag (“This place is like a piece of me”). Intentional momentary lapses in arty bravado are just as humorous too, such as his vociferous defence of solitary right to a Milky Way. Whereas Franco’s snob is alienating but not offensive, Jonah Hill’s hollow delivery sees his character assume a position above the others. A condescending Hill oils his excellent comedy chops, evoking the sole deadpan tone amongst a rabble of manic jesters. These remaining hoaxers are serviceable: Jay Baruchel is the only normal bloke, and suffers a tad; Seth Rogen is his usual drug-driven self; Danny McBride bellows obscenities like there’s no tomorrow (to be fair, there isn’t); and Craig Robinson is the cowardly squealer-cum-good. Sound familiar?

On a final humour-related note, as far as camp comedy goes the final scene delivers in abundance. It’s the best part of an outing that bats decent gags throughout, ardently dancing far away in the distance atop the league table of hilarity.

This Is The End seeks jaw-aching victory through a narrative ploy that is prematurely shackled by the jaws of defeat. Besides, self-humiliation isn’t too admirable given that the chaps on screen have constructed comedic careers above such a ridiculing foundation. Despite these grand shortcomings, the film delivers almost consistently in the gag-realm and sort of has its heart in the right place. Given the hilariously absurd finale, you’ll probably leave not really caring about the rest anyway.

Mama (2013)

★★★

Director: Andrés Muschietti

Release Date: January 18th, 2013 (US); February 22nd, 2013 (UK)

Genre: Horror; Thriller

Starring: Jessica Chastain, Nikolaj Coster-Waldau, Megan Charpentier

Although no director’s chair with his name on existed during filming, Mama has Guillermo del Toro’s fingerprints laden all over it. He is an executive producer this time, and the del Toro checklist brims with ticks in reference to this solid fantasy-horror outing that benefits a great deal from the presence of Jessica Chastain. Details are intricate and refined; visuals spring off the screen with life; harmonious sounds glide around with an air of mysticism. And just like in some of del Toro’s previous work (such as Pan’s Labyrinth and Don’t be Afraid of the Dark) the plot centres around an engaging, young female — only Mama demands two of them.

After murdering his wife and business colleagues then crashing his car in the snowy wilderness, troubled Jeffery is killed by a mysterious force that appears to be protecting his two daughters, Victoria and Lilly, from sharing a similar fate to that of their mother. Sometime later, a search for the missing girls funded by Jeffery’s twin brother Lucas (Nikolaj Coster-Waldau) proves successful and the two sisters are slowly reintegrated back into society under the parentage of Lucas and his rocker girlfriend Annabel (Jessica Chastain). However as time passes it becomes clear through consistently strange and distant behaviour that all is still not right with the girls.

Long gone are the days of atmospheric mind annihilation delivered by The Texas Chain Saw Massacre, or even nerve shredding tension served up during Alien. In 2013, you’d do well to uncover a film boasting these cherished characteristics of psychological horror and this is partially why we are subject to so many remakes and/or reboots. Creative ideas are at a premium (though not entirely obsolete) therefore the average mainstream horror output seems to be upping the technical anti as a compromise. Therefore Mama is a horror film that isn’t actually all that frightening, but is entirely watchable.

Why is it watchable? Proficiency in the visual department is partly responsible. The outside setting is rich. Old croaky shacks look and sound, well, old and croaky. First time director Andrés Muschietti bolsters the story with enticing monochrome-like flashbacks (or are they visions?) which are eerie and exceedingly well executed. Even the inclusion of a creature which would not be out of place surrounded by group of Dementors aboard the Hogwarts Express can be forgiven, as it moulds in appealingly amongst Guillermo del Toro’s fantasy visualisations. The illustrative prowess displayed throughout certainly adds a degree or two of watchability.

However, more than any optical standard set, the reason Mama deserves the attention of passers-by is Jessica Chastain. In a role that at first glance may seem a world away from her normal portrayals, Chastain’s rock ‘n’ roll chick Annabel actually shares a number of similarities with the actor’s previous characters. Although she is the sturdy anti-mother who squirms at the idea of pregnancy to begin with, Chastain soon becomes maternal and protective over the children, much like her venture into motherhood as Samantha in Take Shelter. Staunchly independent, yet perhaps not entirely equitable to the task, there are instances of Zero Dark Thirty‘s headstrong Maya here too. Forced into a situation out-of-her depth, there’s even a measure of insecurity present, akin to Rachel in The Debt. These qualities merge to create a character who is emotionally sympathetic and empathetic, and this is key in horror — we need to want Annabel to succeed in the face of uncompromising danger. Chastain is tremendous (though, when isn’t she?) and develops an unshaken dynamic with her two young co-stars who also do a stellar job. Nikolaj Coster-Waldau is even on hand to provide charm and stability along a potentially rickety road.

Of course the primary aim of any horror film is to scare, and the fact that Mama fails to do so often enough is a significant problem. The issue stems from perseverance with too many over-wrought elements aligned with the scare-fest genre. Not paying attention to odd happenings soon develops into ‘why does nobody believe me?’ until the ‘don’t go in the closet’ saga revs its rusty engine. There is a haunted house; a venture into some frozen, dark woods; heck we’ve even got time for a solitary cabin hidden in the trees (Bruce Campbell, eat your heart out!). When a semblance of fright is unveiled it’s always by way of unnatural stillness and haunting imagery. Sadly though, the BOOS! are back before long and don’t hold the same fear factor they did thirty years ago. A lack of innovation in this highly important aspect does let the film down, particularly when just about everything else is good.

As crazy as it sounds, maybe Mama would’ve been better off as a drama rather than a horror. It gets all the non-scary bits right, but is unable to juggle the workload and deliver what the viewers really want — frights and screams. Mama’s limbs are looking healthy, but her torso could be doing with a diet to rid all excess clichés.

Just don’t tell her that.

Star Wars: Episode I – The Phantom Menace (1999)

★★★

Director: George Lucas

Release Date: May 19th, 1999 (US); July 16th, 1999 (UK)

Genre: Action; Adventure; Fantasy

Starring: Liam Neeson, Ewan McGregor, Natalie Portman

The Phantom Menace marks the beginning of the Star Wars saga, telling the story of Jedi Master Qui-Gon Jinn (Liam Neeson) and his apprentice — or Padawan — Obi-Wan Kenobi (Ewan McGregor) as they attempt to safely transport Queen Padme Amidala (Natalie Portman) from the planet Naboo to the imperial planet Coruscant in order to seek a resolution to trade barriers and disputes between planets. On their travels they meet a young Anakin Skywalker, whom Qui-Gon believes to be the person who will bring balance to the Force, a power threatened by the recently resurfaced dark Sith.

I really do think this film gets a bad rap. Yes, there are one or two ridiculous characters. Yes, the plot needs sharpening. But at the end of the day, this is only the introduction to the saga and more often than not introductory films are more light-hearted and carry less weight than their successors (take The Fellowship of the Ring and The Philosopher’s Stone as two obvious examples). By the same token, as I mentioned in my prequel (I told you it would get better), I have yet to see the original trilogy and my guess is that that has something to do with my somewhat greater appreciation of The Phantom Menace than those many more committed fans around the globe.

“You think i ruin the movie? Aww, poor you.”

What do I like about this suitably light beginning to the saga then? Well, just that. The films are likely to get darker as they progress (I know the next two do) and thus, for me, Lucas has made the correct decision in starting off in a more jaunty manner. Of course, in doing so he has created one character in particular that is despised amongst many fans. Jar Jar Binks (I always thought it was Ja Ja when I was younger) is the character in question, and I do agree that his presence is unnecessary and hurts the film to an extent. With childish phrases and at times incoherent ramblings, the character seems completely out of place — even in the light-hearted setting, which have mentioned a few times now. Do not get me wrong, childish is not always a bad trait, but in this instance it just does not mesh well enough with the rest of the film and the subject matter. Many believe the character merely represented a marketing ploy at the time of release — in terms of creating action figures etc. — and I think that is an argument worth considering. It could also be argued than the introduction of Anakin as a child here is unnecessary and that he should have just been brought into the saga as the older, talented-yet-cocky apprentice he is in Attack of the Clones. This is not as big an issue for me though and I do not think it hurts Anakin as a key character in any significant way going forward.

In terms of the plot and overall story, the film does come across as convoluted at times — the political background being the main culprit here — but again, that is not a huge deal for me as events were easy enough to decipher and, in all honesty, the political background is not really a significant factor in where the entertainment in this film lies. Parts of the narrative which did baffle me though were scenes such as Qui-Gon Jinn escorting the Queen back to the ship on the outskirts of Tatooine, only to then return to the city for Anakin — why not just take Anakin at the same time and save a trip? I did actually enjoy the pod-racing sequence, but it was a tad unrealistic in the sense than Anakin consistently had enough speed in his apparently lesser pod to catch his opponents. But that is just me nit-picking at things. All in all, the story is not bad as an introductory one.

Two good guys versus on bad guy? Something ain’t right here.

The visuals are tremendous in The Phantom Menace. Everything from the space traversing parts to the pod-racing scene to the final battle between the Gungans and the droid army is delivered with gusto and energy, whilst being visually alert and arresting at the same time. Lucas has become a sort of pioneer in special effects due to his efforts with The Phantom Menace, making use of new technologies and computer-generated imagery combined with traditional, original filmmaking techniques to create the various visuals on screen. The action sequences are also well constructed, with the fight between Qui-Gon Jinn, Obi-Wan Kenobi and Darth Maul standing out in particular.

This brings me nicely to my final topic of discussion regarding The Phantom Menace — Darth Maul. I really do think Darth Maul is an under-rated on screen villain. Played by Ray Park (a martial arts champion and stuntman beforehand), Maul not only sounds evil, but also looks like someone up to no good — his look was based on that of the devil. He does not speak very often — I would have preferred it if he did not spoken at all — and this adds to his unfaltering poise and heartless demeanour. A very capable villain to go up against the two heroes of the piece, Darth Maul is one of the film’s greatest successes in my eyes. Liam Neeson stands out amongst the remaining cast members, offering a controlled and likeable performance, and the likes of Natalie Portman and Ewan McGregor portray their respective characters solidly. Was I the only one who did not realise that Keira Knightly played Sabe, Queen Amidala’s decoy? The more you know… or something like that.

So there you have it, my thoughts on The Phantom Menace. A very capable and suitably light-hearted beginning to the Star Wars saga, The Phantom Menace offers an energetic and entertaining introduction to the franchise as a whole as well as the now well-known and much-loved characters it encapsulates. Except Ja(r) Ja(r) Binks.