Tag Archives: Edgar Wright

Before ‘Force Awakens,’ Boyega Starred in Alien Invasion Flick

Just as George Lucas cast unknowns Mark Hamill, Carrie Fisher and Harrison Ford in his original Star Wars trilogy, director J.J. Abrams enlisted some intriguing new faces to appear in “Star Wars: Episode VII — The Force Awakens.”

One of them in particular, British actor John Boyega, seemed to come out of nowhere to snag the pivotal role of Finn, a mysterious young man who appears to be a disillusioned Stormtrooper and possible Jedi in the making.

Although many details about the character remain under wraps, the trailers show Boyega wearing a Stormtrooper uniform, before shedding it for an extremely cool leather jacket, interacting with Rey (Daisy Ridley) and Poe (Oscar Isaac), and wielding a lightsaber.

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American audiences may be unfamiliar with the London performer but “The Force Awakens” isn’t Boyega’s first foray into sci-fi.

The actor made his debut on the British television series “Being Human.” But his big break came when he starred in a quirky little B-movie called “Attack the Block,” written and directed by Joe Cornish, a collaborator of filmmaker Edgar Wright.

A hilarious, playful, extremely British twist on classic alien invasion flicks, the movie is an excellent showcase for Boyega’s considerable talents. Almost immediately, the actor proved himself a charismatic, effortlessly cool, self-assured up-and-comer.

If you’ve seen the film, it isn’t a surprise that Abrams chose him to shoulder the burden of a new Star Wars chapter.

If you haven’t seen the film, you should stream it this weekend.

Not sold on the idea yet? Read the review below.

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Attack the Block, 2011
R (creature violence, drug content, pervasive language)
88 minutes

If you liked the nostalgic kids-meet-extraterrestrial vibe of “Super 8” or the shameless sci-fi-Western mash-up of “Cowboys vs. Aliens,” you’ll want to check out “Attack the Block.”

Writer-director Joe Cornish’s fun, intentionally campy, surprisingly slick adventure flick pits a London street gang against inky invaders from the sky with glow-in-the-dark fangs.

Released in October 2012 on DVD, it arrived with the tagline “inner city vs. outer space,” which pretty much sums up the film, a not-so-guilty pleasure for sci-fi geeks and anglophiles alike.

Set in the sort of shady South London housing project Cornish grew up in, “Attack the Block” opens with a scary but realistic scenario — walking back to her apartment at night, Sam (Jodie Whittaker) is mugged at knife point by an awkward group of young thugs.

After Sam escapes, sans phone and purse, the boys witness a bright, meteor-like object fall from the sky and encounter a vicious beast that is clearly not of this world.

Following the creature to a playground, the gang’s leader, a troublemaker named Moses (John Boyega), easily slays the outer space visitor, resulting in a lot of macho posturing that is quickly cut short when more lights begin descending from the sky.

As the gang’s beloved block comes under siege, it’s up to these wayward street kids to save the day, a task that reunites them with the reluctant but resourceful Sam, who will have to overcome her resentment to become their unlikely ally.

Shot the old-fashioned way, in 35 mm, on a reported budget of $13 million — modest for a sci-fi flick — “Attack the Block” boasts cheesy special effects, which are sorta charming at the same time, and a skimpy but satisfying story.

It takes a gritty, gory approach to street life that crackles with unexpected realism.

The highlight of the film is its youthful cast, most of them inexperienced actors, ranging in age from 10 to 17, and adept at slinging the sort of indistinguishable, quick-witted slang that baffles American audiences.

Boyega, in particular, has the confident yet vulnerable quality of a potential leading man.

British comedian Nick Frost pops up as a pot grower who gives shelter to the kids when they most need it.

“Attack” was executive produced by Frost’s frequent collaborator, “Shaun of the Dead” director Edgar Wright.

Cornish is best known in the UK as half of the comedy duo “Adam and Joe” and co-wrote “The Adventures of Tintin.”

“Attack the Block” may be a modest feature film debut but it’s certainly memorable.

Photos: spinoff.comicbookresources.com; youtube.com.

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‘Ant-Man’ Should Just Embrace Its Essential Silliness

Ant-Man
Two and a half stars (out of four)
PG-13 (sci-fi action violence)
117 minutes

Of the countless costumed superheroes Marvel has brought to the big screen, Ant-Man is one of the silliest.

A guy who wears an outfit that’s like a cross between an old-fashioned scuba suit and something out of the closet of G.I. Joe’s Cobra Commander is no match for Iron Man in the fashion department.

This is a dude who shrinks to the size of an insect and somehow that’s supposed to make him a deadly weapon. His sidekicks are six-legged creepy-crawlies he controls with his mind. He rides on the back of an ant, for Pete’s sake.

It’s kinda hard to picture him hanging with Thor and Black Widow.

Ant-Man’s early adventures include surviving a bathtub full of water and navigating a dance floor made lethal by an abundance of platform heels. Even The Cap, in all his homespun cheesiness, is far too majestic to hobnob with this would-be mini Avenger.

I say this not as a slam against Marvel’s newest and tiniest recruit, but to point out that “Ant-Man” the movie would work better if the studio just embraced the silliness and left it at that.

The signs of “Ant-Man’s” troubled production history are evident in the film’s uneven tone, which swings like a pendulum between pure, unapologetic fun and some “serious” — and seriously cliche — relationship drama.

“Ant-Man” appears to be aiming for the cool, irreverent, goofy vibe of “Guardians of the Galaxy,” but what’s missing is “Guardians” director James Gunn’s precise vision.

It’s tempting to attribute “Ant-Man’s” identity issues to the dueling visions of original writer-director Edgar Wright, who shockingly left the project after almost a decade of script development, and Wright’s replacement, Peyton Reed, who primarily works in the romantic comedy genre.

No less than four screenwriters are credited with penning the flick, including Wright, “Attack the Block” director Joe Cornish, “Anchorman” director Adam McKay, and star Paul Rudd.

Marvel is fortunate to have Rudd. With his easygoing nice-guy charisma, the actor goes a long way toward making this confused comic book romp feel a little more cohesive.

That’s another issue with Marvel’s movie Ant-Man: He’s not a very interesting character.

Scott Lang is an electrical engineer fresh off a stint in San Quentin for a daring, well-intentioned cyber crime. All he wants to do is spend time with his young daughter, Cassie (Abby Ryder Fortson), but he’s lost custody after failing to pay child support.

(Poor Judy Greer pops up as exactly the kind of no-nonsense, anxious mom she portrayed earlier this summer in “Jurassic World.”)

After losing a thankless job at a popular dessert chain — in what has to be one of the weirdest product placement stunts ever — Scott attempts one last score, breaking into the house of Hank Pym (Michael Douglas), scientist, tech company founder and discoverer of the mysterious “Pym Particle.”

Scott cracks the safe, absconds with a seemingly worthless helmet and leather suit, and soon learns he’s been recruited by Pym to retrieve a piece of dangerous, stolen technology from Pym’s former protege, Darren Cross (Corey Stoll).

At this point, “Ant-Man” bogs down in exposition detailing the history and properties of Pym’s strange, black and red suit. Scott’s initiation into its uses, and his subsequent tutorial on how to ally himself with various species of his namesake insect, play like something out of another Disney property, the 1989 Rick Moranis comedy, “Honey, I Shrunk the Kids.”

The special effects are great, but there’s little at stake in the film’s early action sequences.

While Rudd does his best to endear us to Scott and his ant-colony cronies, Douglas and Evangeline Lilly are stranded in suffocatingly obvious scenes of father-daughter discord. Lilly plays Pym’s emotionally distant daughter, Hope, and is saddled with the same dominatrix-style bob worn by Bryce Dallas Howard in “Jurassic World.”

This leaves plenty of opportunity for Michael Pena to virtually pick up the movie and run away with it. As Scott’s ex-cellmate, Luis, the actor presides over a zany, if stereotypical, Greek chorus of criminal types who specialize in reviving the film whenever it shows signs of expiring.

I suppose the simplicity of “Ant-Man” could be considered refreshing after the complicated pomp and circumstance of “Avengers: Age of Ultron.” Aside from a few references to “Ultron,” a cameo by one of the lesser Avengers, and a prologue featuring some famous S.H.I.E.L.D. alumni, “Ant-Man” remains relatively unentangled by Marvel’s sticky web of intrigue.

Oddly, it’s in the last 20 minutes or so that the movie hits its stride in a hilariously hair-brained finale involving a private jet, The Cures’s “Disintegration,” a bug zapper, Thomas the Tank Engine and several other inspired elements that capitalize on the shrinkage and expansion possibilities of Pym’s amazing particle.

If only the entire film was this peculiar.

Photo: es.gizmodo.com