Entertainment 86

Transport yourself to the eerie landscapes of the snowbound Hudson Valley in the year 1830, where a gothic crime thriller, “The Pale Blue Eye,” unfurls its dark tale. Featuring a haunting backdrop of ritually violated corpses and a captivating appearance by the young Edgar Allan Poe, this film offers an enticing premise. While the movie showcases promising elements, it navigates a precarious path between atmospheric mystery and a slightly fantastical resolution, guided by Christian Bale’s detective prowess.

A Captivating Beginning:

In its initial hour, “The Pale Blue Eye” enthralls audiences with its morbid mystery. Christian Bale’s portrayal of a jaded detective draws viewers into a meticulously woven narrative. The film takes an unexpected twist by introducing Harry Melling as Edgar Allan Poe, who injects intense oddball energy into the storyline. Gillian Anderson’s impactful performance in a minor supporting role adds an extra layer of intrigue, even if the character’s eccentricities overshadow her depth.

Aesthetic Excellence:

The film boasts a visually stunning experience, enveloping audiences in an atmosphere of frostbitten monochromes and a carefully crafted color palette. This meticulous attention to visual detail accentuates the chilling setting, immersing viewers in the haunting world of the Hudson Valley.

Unraveling Threads:

However, as the story unfolds, “The Pale Blue Eye” ventures into a rather lurid and fantastical final act. The narrative, once tightly woven, begins to unravel, sacrificing the established suspense for an unexpected turn of events. Director Scott Cooper, known for “Crazy Heart,” steers the film toward a dramatic and peculiar conclusion that leaves viewers pondering the fate of the characters.

Superfluous Coda:

In an attempt to add depth, a superfluous and cumbersome coda is tacked onto the film’s ending. Characters engage in dialogue punctuated by lengthy pauses, echoing the despairing howl of the wind. This stylistic choice, while attempting to enhance the atmosphere, risks overshadowing the narrative’s resolution.

“The Pale Blue Eye” sets out on a promising journey into a gothic crime thriller, weaving together an engaging tapestry of mystery and darkness. Christian Bale’s detective work and Harry Melling’s eccentric portrayal of Edgar Allan Poe add layers of intrigue to the narrative. The film’s atmospheric aesthetics draw audiences into the snowbound Hudson Valley, creating an immersive experience. However, the movie’s pursuit of a grand finale leads to a shift in tone and a somewhat fantastical resolution, culminating in a superfluous coda. As viewers embark on this chilling cinematic adventure, they must navigate the delicate balance between captivating mystery and the risk of veering into melodrama.

Back in the 00s, the idea of making an Aquaman movie was deemed so ridiculous that the Hollywood bro comedy Entourage spent much of its second and third seasons taking Mickey out of the idea. In the end, Vincent Chase (Adrian Grenier) only agrees to star in the superhero epic because box office king James Cameron signs on to direct it.

This, of course, was long before the advent of the Marvel and DC superhero universes, which have since gone on to dominate multiplexes and prove that people really will turn out in their droves to see (for the most part) preposterously entertaining films about spandex-sporting titans as conceptually silly as Shazam!, Star-Lord and Rocket Raccoon. During the peak of the comic book movie era, which on recent evidence appears to be long gone, it seemed as if almost any character from the pages of DC and Marvel could be spun off into their own big-screen adventure. If Vin Diesel can be convinced to play a talking tree whose only utterance is “I Am Groot”, you know the creatives behind this are fully aware they are riding a gravy train to the land of psychedelic potentiality.

Perhaps that’s why James Wan’s Aquaman remains the highest-grossing film in what used to be known as the DC extended universe (DCEU), with $1.14bn in global box office receipts, despite being cheesier than a wheel of brie and chock full of the kind of lazy writing most fans thought they had got rid of in the 1980s. Back in 2018, critics seemed terrified of laying into deeply average superhero movies (though not the Guardian’s Peter Bradshaw) in case they wound up with egg on their faces as yet another one zoomed off into the box office stratosphere.

Now the party’s over. With Marvel movies such as Ant-Man and the Wasp: Quantumania and Eternals failing to wow, well … anyone, and DC’s output falling off a financial cliff, the word is clearly out that anything less than a five-star superhero flick is ripe for a trouncing. Just look at the way Andy Muschietti’s The Flash, a perfectly serviceable multiversal comic book movie, was dumped on as if it were a Batman and Robin for this era.

Perhaps this is why Wan’s forthcoming sequel Aquaman and the Lost Kingdom is shooting so much bad, watery hype out of its blowhole. According to industry reports this week, the expensive, £200m-budget film is now on its third set of reshoots – almost unheard of for such a high-profile movie – and has dumped two versions of Batman along the way. As the cogs of change have whirred and clanked through different regimes at parent studio Warner Bros, Michael Keaton’s version of the caped crusader was dispensed with because producers no longer saw him as a key player in the future of DC, while Batfleck was swiftly recruited from retirement to replace him, then dumped due to new studio boss James Gunn wanting to move forward with a different Dark Knight in the rebranded DC Universe.

Is The Lost Kingdom simply too big to fail, with Warner/DC reeling from box office failures? And how exactly does it fit into Gunn’s plans? On current evidence, it doesn’t. While the ending of Muschietti’s film opened up the possibility of a complete reset of the DC universe, with a new Batman entering into proceedings, Wan’s film features Jason Momoa’s protector of the deep, who is synonymous with the abortive Zack Snyder epoch. Will Momoa-Aquaman somehow survive the shift to a new reality, or is this a different version of the same superhero played by the same actor, like the bit in The Lord of the Rings where a newly Timoteid-up Ian McKellen informs everyone he is suddenly Gandalf the White after falling into a pit of fiery doom and beating down a giant balrog?

Warner and DC have been clear that The Lost Kingdom will be one of the last movies in the DCEU before Gunn takes over. But you have to wonder if all those reshoots might be blurring the lines somewhat between the two eras. After all, nobody who is the least bit excited about what the new team is going to do in forthcoming films such as Superman: Legacy and Batman: The Brave and the Bold, is going to be the least bit interested in Wan’s film if it’s flogging a dead horse – and one from another universe at that.

In recent times, Hollywood has been grappling with a problem known as “CGI fatigue,” with critics and audiences expressing concerns about the over-reliance on computer-generated effects in blockbuster movies. However, 2023 has seen a refreshing wave of films that celebrate the use of practical effects, transporting viewers back to the magic of hands-on filmmaking. Directors like Greta Gerwig and Christopher Nolan have embraced age-old techniques to bring their visions to life, and the impact has been nothing short of awe-inspiring.

The Allure of Practical Effects: Richard Brody’s critique of heavy CGI use in “Ant-Man 3” and Ellen E Jones’ observation about the “lifeless” CGI in “Little Mermaid” echo the sentiments of many who are growing tired of artificial visuals dominating the big screen. Hollywood seems to have taken notice, and a newfound appreciation for practical effects has emerged.

Practical Effects Take Center Stage: Filmmakers are now making headlines for their bold use of practical effects in movies. From Greta Gerwig’s hot-pink Barbieland to Christopher Nolan’s miniatures reimagining of the Trinity test in “Oppenheimer,” the commitment to hands-on techniques is reviving the magic of filmmaking. Christopher McQuarrie’s daring final stunt in “Mission: Impossible – Dead Reckoning Part One” involved lifting a train carriage 80ft into the air, leaving audiences in awe of the physicality of the scene.

Indie Films Join the Movement: Independent filmmakers are also embracing practical effects with gusto. Wes Anderson’s “Asteroid City” saw a real town constructed on Spanish farmland, while Ari Aster’s “Beau Is Afraid” featured a prosthetic “penis monster.” The horror film “Talk to Me” received praise for its use of gory and authentic-looking prosthetics.

Rediscovering the Joy of Hands-On Filmmaking: According to film historian Pamela Hutchinson, the resurgence of practical effects comes after a period of CGI innovation that has left audiences feeling somewhat disillusioned. Filmmakers and viewers alike seem to long for the tangible, real-world elements that practical effects bring to the screen.

Barbie’s Practical Enchantment: Greta Gerwig’s “Barbie” film stands as a testament to the power of practical effects. Set decorator Katie Spencer and production designer Sarah Greenwood took Gerwig’s vision to heart, creating a world that echoed classic films of the past. The decision to build real sets, including a transition sequence that harked back to early cinema techniques, fostered an infectious quality on set.

The Promise of Authenticity: As AI’s influence on Hollywood grows, some filmmakers are choosing practical effects to reassure audiences of the film’s authenticity. Tom Cruise’s latest “Mission: Impossible” film features an all-seeing AI, reflecting the real-life concerns Cruise has expressed about AI in filmmaking. By incorporating practical elements alongside VFX, filmmakers promise a more grounded and relatable cinematic experience.

Embracing the Artistry of Filmmaking: While practical effects are taking center stage, it doesn’t mean that VFX has disappeared entirely. Rather, filmmakers are finding a balance between the two, allowing for a more immersive and authentic viewing experience. As Pamela Hutchinson notes, film-making is a collaborative art form that involves a multitude of artists, from designers to builders, all contributing to the magic of the final product.

Hollywood’s current infatuation with practical effects signals a return to the roots of filmmaking and a renewed appreciation for tangible and authentic storytelling. Filmmakers are rediscovering the joy of hands-on craftsmanship, creating movies that immerse audiences in a world built with care and attention. As AI and CGI continue to evolve, the charm and allure of practical effects remind us that filmmaking is as much an art as it is a technical feat.

“Oppenheimer,” Christopher Nolan’s latest cinematic masterpiece, has left Australian nuclear experts divided. While they praise its epic and intense portrayal of the Manhattan Project and J. Robert Oppenheimer, some argue that scientific accuracy takes a backseat to storytelling. Let’s delve into the views of these experts and explore the movie’s depiction of history, science, and its impact on viewers.

A Compelling Yet Inaccurate Portrayal: The movie’s depiction of the first atomic bomb detonation, codenamed Trinity, has been a point of contention. Australian nuclear experts note that the absence of “violet hues” and the heat wave in the film fails to capture the full intensity of the real event. Dr. Kirrily Rule, an instrument scientist at the Australian Nuclear Science and Technology Organisation (ANSTO), finds the science to be “brushed over,” leaving the audience disconnected from the scientific giants of that era.

The Dilemma of High-Level Jargon: Dr. Rule believes that Christopher Nolan’s use of high-level jargon in the film intentionally confuses the audience. She argues that this approach perpetuates the misconception that science is too difficult for the general public to comprehend, rather than taking the opportunity to educate and engage viewers.

Lacking Immediate Experience of Heat: Dr. Ceri Brenner, leader of ANSTO’s Centre for Accelerator Science, points out that the movie neglects the immediate experience of heat that accompanied the Trinity detonation. The absence of this crucial detail diminishes the authenticity of the event.

The desire for a More Faithful Portrayal: Dr. Mark Ho, a nuclear analyst, shares the sentiment, desiring a more faithful portrayal of the atomic explosion with the inclusion of the mesmerizing violet hues.

Legacy and Ethical Dilemmas: The movie’s impact extends beyond the cinematic experience, as it highlights the lasting legacy of the Manhattan Project in terms of morality, global politics, and technology. Dr. Helen Maynard-Casely, an instrument scientist at ANSTO, reflects on the significance of the first nuclear reactor and ponders an alternate reality where the discovery of splitting uranium atoms focused on energy instead of weaponry.

Longing for More Depth and Closure: While “Oppenheimer” impresses with its intensity and suspense, Dr. Joseph Bevitt, an instrument scientist at ANSTO, yearns for more depth and closure. He feels that some crucial historical events and their impacts were glossed over, leaving him craving a more comprehensive exploration of the atomic era’s aftermath.

An Unprecedented Box Office Success: Despite the mixed reviews from nuclear experts, “Oppenheimer” has been a commercial triumph, smashing Australian box office records with a $9.36 million opening weekend. The movie’s captivating narrative and Cillian Murphy’s portrayal of J. Robert Oppenheimer have struck a chord with audiences, making it one of the standout films of 2023.

Conclusion: “Oppenheimer” is a cinematic journey through history, science, and morality, weaving an epic tale of the Manhattan Project and J. Robert Oppenheimer’s life. While it has captivated audiences and achieved immense success at the box office, it has also sparked discussions among Australian nuclear experts about its scientific accuracy and storytelling choices. Regardless of the critiques, the movie serves as a reminder of the profound impact that scientific discoveries can have on humanity and the ethical dilemmas they may pose.