RespawningCouch: Audio Review: The Dark Knight Rises (Spoiler Alert)

Jack and Nick try and review the third and final instalment of Christopher Nolan's Batman Trilogy. (Spoiler Alert)

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RespawningCouch Podcast: Episode 22: Dark Knight Rises Speculations, Comic Book Films and “Film Industry Originality” Rant

This week: Jack and Nick discuss Batman and speculate about the possible notions and plot points in the Dark Knight Rises. Then discuss Comic Book genre of cinema, and evaluate it. Finally ending on a rant about the lack of originality in "Hollywood".

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RespawningCouch Podcast: Audio Review: The Amazing Spiderman (Spoiler Free)

Jack and Nick take a look at the reboot of the comic book franchise. Does it topple Raimi's three?

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RespawningCouch Podcast: Episode 21: E3 Quick Roundup, Taken 2, Dredd and Django Unchained

This week: Jack and Nick quickly discuss the news from the E3 gaming convention. Then discuss the Taken "franchise" with the latest trailer forTaken 2, and Judge Dredd's new reboot. Finally they assess Tarantino's Django Unchained. 

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Korean Thrillers: The Man From Nowhere

The Man From Nowhere (Jeong-beom Lee, 2010) 

Essentially Taken but Korean, The Man From Nowhere takes the “rescuing a kidnaped girl”   narrative and then shrouds it in the sheer brutality and uncompromising essence of Korean thriller cinema. The plot follows an ex-special agent Tae-Shik (Won Bin) living a solitary and lonely life who, rather “clichély”, finds a sense of humanity through his friendship with a little girl called So-mi (Kim Sae-Ron). After her drug trafficking mother cheats her bosses, Tae-shik finds himself on a frantic and violent search for both mother and child. Delving into drug trafficking, organ trafficking and child abuse, it’s safe to say thatThe Man From Nowhere is a rather gritty and serious affair that rarely finds an moment of tranquility and solace. However like Pierre Morel’s ludicrous but entertaining Taken, Jeong-beolm Lee retains a fast-paced throughout the runtime, yet manages to still instil emotional substance to the ongoing chaos and energy. Sure the ludicrous and unrealistic quibbles continue into The Man From Nowhere, but nowhere near the same arrogance and ignorance of Morel’s film. While Liam Neeson’s performances tops Won Bin’s quite easily in the dialogue department, the stunt choreography and sheer vitality to Bin’s character culminates in some fantastic set-pieces undoubtably helped by the film’s well-directed cinematography. If you liked Taken or action cinema in general and aren’t put off by subtitles, then The Man From Nowhere is highly recommended. 

Korean Thrillers: Sympathy for Mr Vengeance

As I’ve previously acknowledged, South Korea has become a hub for the best thrillers of the last decade, and continuously puts Hollywood to shame with its sheer determination and no-nonsense approach. I’ve already talked about the likes of Oldboy, The Chaser and I Saw The Devil. So over the next week (or so) I’m going to bring a couple more to your attention: 

Sympathy for Mr Vengeance (Park Chan-wook, 2002) 

The first of the “Vengeance Trilogy” (Oldboy and Lady Vengeance), Sympathy for Mr Vengeance perfectly demonstrates not only director Park Chan-wook’s infamous talent, but the narrative structures and thematic approaches within the genre. Deaf-mute Ryu (Ha-kyun Shin) is determined to do anything to save his dying sister’s life. Shady dealings and losing his job, he’s desperate to find the money for her kidney transplant. Subsequently, he and his terrorist girlfriend Yeong-mi attempt to kidnap the daughter of his previous boss Park Dong-jin (Kang-ho Song). What ensues is a compelling and fierce tale of revenge, flawed personalities and sheer emotional power. 


What’s clear and clever with Park Chan-wook’s story-telling is the constant battle over the audience’s sympathy towards his characters. Here we understand Ryu’s desire to save his ill sister and the barriers he’ll break in order to succeed. Yet we also understand Dong-jin’s path of violence and determination to find his daughter, and his rather barbaric reaction towards the events in the final third of the film. It’s truly a marvel of writing and directing that persistently creates a film that remains utterly compelling and intense. Meanwhile, Park also perfectly mixes the uncompromising nature of Sympathy’s themes and reality with moments of charm and humour that manage to develop the characters and give further weight to the ensuing drama. With great performances, great cinematography and great writing, if you’ve watched Oldboy or haven’t, then Sympathy for My Vengeance is a perfect addition or place to start in the genre of the “Korean thriller” .

Moonrise Kingdom Review

Moonrise Kingdom 

Before this review gets torn to shreds, I’d like to make it clear that I’ve never had the same affinity towards Wes Anderson as so many have. This is not to say I don’t enjoy his films. To the contrary, I’ve really enjoyed the likes of Rushmore, The Royal Tenenbaums and Fantastic Mr Fox. However watching an Anderson film is a very different experience than your typical piece of cinema. There’s a uniqueness to his style of film-making, mixing charming tales with surrealism and quirkiness, all under a veneer of vibrant colours and fitting soundtracks. Moonrise Kingdom has been celebrated by critics and fans. And while it sticks to the typical Anderson methodology of cinema, it leaves a rather unfulfilled and mixed taste that lacks the flowing dynamics of charm and attachment that his previous works excel at. 

Set in 1965, the plot follows young lovers Sam Shakusky (Jared Gilman) and Suzy Bishop (Kara Hayward) escaping from their . A search party is launched by Local Sheriff Captain Sharp (Bruce Willis) and Scout Master Randy Ward (Ed Norton). What ensues is an adventure and snowballing tale that reveals the determination of the couple to escape their dysfunctional and troubled lives, in which they find solace in each other’s company. The narrative is straight-forward, commenting on usual themes of Anderson’s dramas. It’s a cute “coming-of-age” and strangely mature drama helmed by a young lead cast that progresses nicely through the first act. However where the eccentricity, obscurity and bouts of surrealism worked in his previous films, here it lacks that infused charm consequently coming across more awkward than endearing. Maybe this is linked to the fact that the “young actors” portraying mature lovers angle gets rather too brash. And while many will say “adorable”, it instead becomes too ambitious and uncomfortable. Another problem is that the film’s humour never transcends from the uncanny events and the few sparks of creative and comedic writing. Sure there are chuckles, but nothing especially amusing. 

The ensemble cast for the most part is pitch perfect, in particular Bruce Willis and Edward Norton. Each performance has a distinct personality that works well with the high points of the inconsistent script. Yet with such a strong collection of talent, the likes of Bill Murray, Frances McDormand and the cameo appearances from Tilda Swinton and Harvey Keitel’s never really resonant past the simple joy of their presence. Meanwhile, Kara Hayward’s debut is undeniably overshadowed by Jared Gilman’s confident and quirky performance, that while is essential to his character, fails to meld and build the enchanting chemistry with Hayward’s quietness. The rest of the child actors do surprising well, creating a dramatic energy that blends well with the fantastic look of the film. 

Stylistically, Moonrise Kingdom retains the visual motifs of Anderson’s usual colourful and lively palette. With sepia tones, vibrant yellows and reds, it never seises to amaze me the simplistic impact of just turning up the brightness and the colour saturation. It’s a beautiful film that definitely strikes a cord from the greys and gritty look of the majority of modern cinema. Anderson’s typical camerawork is here, with long pans and superbly framed shots that have an absorbing quality with intricate details and stylistic choices. Meanwhile the soundtrack channels folk and French tunes from the 60s and 70s, and works well with the romantic and poetic nature of the film, even without the usual Kinks’ track. 

Overall this is a very Wes Anderson film. The cast, the art direction and cinematography are the usual fantastic standard we’ve seen from his celebrated filmography and it works well in Moonrise Kingdom. However the narrative feels rather weak and coupled with the spotty script, never creates the persistent charm and humour we’ve come to expect. In the end, Moonrise never grabbed me. It became a persistently flat, and tedious affair. Disappointing. 

6/10