Star Wars: The Clone Wars
Time has been a double edged sword for Star Wars creator George Lucas. Unleashing the first instalment in 1977, ‘A New Hope’ captured the imagination of a generation of fans. Thirty years later some of these same fans are making the type of fantastical sci-fi mayhem he used to be capable of doing. As his new prequel trilogy showed, he appeared to have lost the ability to tell a story with genuine heart that no amount of special effects could mask. Mining the franchise and techno pixels further, The Clone Wars represents a new rallying call from Lucas to obtain a new group of fans who may be more forgiving of its hollow plotting.
Set between Episodes 2 and 3, The Clone Wars finds Anakin Skywalker and Obi-Wan Kenobi still in the heat of battle. Their new mission entails the rescue of Jabba the Hutt’s infant son with the reward being a safe trade route for the embattled Republic. Unfortunately the evil Count Doku plots to undermine their efforts by suggesting the Jedis have kidnapped his son. The ensuing race to save the child and their lives becomes a constant ordeal testing every facet of their fabled ‘Force’.
Dropping the pretence of minor live action amidst a CGI backdrop, The Clone Wars leaps the series into another galaxy of cartoonish anime. Basically an extended pilot for an upcoming animated TV series, The Clone Wars’ few merits are outweighed by its sheer pointlessness. Terminally lacking in suspense you know the main characters have to survive in order to appear in Episode 3. Adding nothing to the existing timeline, the film feels like a cheap grab at milking more filthy lucre from eager fans. It’s a bit depressing seeing Lucas’s once vibrant creativity wallowing in past glories as his first film American Graffiti showed he had a talent at presenting other engrossing tales. Whilst the animation is quite good, the constant exposition becomes tiresome with the awful dialogue of the prequels still finding its way into the animated universe.
Although aimed primarily at children, the film blurs the line between child-like and childish story-telling. Children are much more savvy in accepting mature and engaging stories as evidenced by the Harry Potter series. The simplistic script here really dilutes the original films’ memory, with Lucas’ gumption at running his concept into the ground a perverse spectacle. The many battle scenes are technically proficient although even these tend to drag proceedings to undue length. This sluggish pacing is its biggest drawback as it leadens the dull action to a grinding halt. Where the first film bought a sense of wonder, The Clone Wars brings a sense of boredom with its rambling narrative squeaking its way to the finale.
With the promise of a new cartoon and live action TV series, it seems Star Wars will live on. It’ll be interesting to see if TV is kinder to Lucas the second time around after the notorious antics of the 1978 Holiday special which featured a chorus line of singing storm-troopers. If only The Clone Wars contained such moments proceedings may have infinitely been more enlightening.
Rating out of 10: 2
Taken
People’s fear of the unknown is a great motivator. Determined to find answers to questions refusing to disperse, our innate curiosity in solving riddles has lasted centuries. Taken’s analytical hero uses this fear to locate his missing daughter taking him out of his comfort zone. Produced by renowned French action director Luc Besson, his white knuckle visual style amply suits the films increasingly violent flights of fancy.
Former CIA agent Bryan (Liam Neeson) is determined to know the daughter he has neglected. Presenting her with a gift for her seventeenth birthday, Bryan becomes concerned when she tells him of her plans to travel to Paris. Knowing the hidden dangers a foreign place can bring, he ensures she stays in touch via a strict regimen. This blows apart when she is kidnapped by an Albanian white slave ring. Rushing to Paris to find her, Bryan draws on his extensive arsenal to rip the French locale asunder which ultimately proves that a father’s love knows no limits.
Known for a solid body of dramatic roles, Liam Neeson energetically grabs his last chance at being an action hero. His character projects a sincerity enabling audiences to want him to succeed unlike some lesser heroic icons. Putting in a very solid effort in a complex part, his role requires he constantly thinks ahead of the villains he pursues. Neeson is the best asset in a story reminiscent of the Charles Bronson ‘Death Wish’ series. Like that franchise, his zealous vigilante adds a minor moral layer to ponder as he sets to overcome the increasing obstacles in his path.
Discarding the usual CGI generated action spectacle, Taken commendably does things ‘for real’. The stunt work and gunplay are well crafted with the gritty atmosphere ensuring every bruise and sweat is shown. Anyone expecting genuine depth will be disappointed as Taken makes no attempt at being anything other than an energetic fight fest. The plot, although wafer thin, sets events up in a way making sense with Bryan’s detective work an enjoyable puzzle to follow.
Briskly paced and well acted Taken is a good reminder of Liam Neeson’s many talents. Possibly his first and only true action role, he gives as good as he gets with his hero more than matching anyone half his age. Taken is an entertaining actioner that should get the most dormant of viewer’s pulses racing.
Rating out of 10: 6