Sunday, 4 September 2011

Friends with Benefits

­­­I know there are going to be a hundred reviews out there comparing this film to No Strings Attached, which came out February staring Natalie Portman and Ashton Kutcher; could be compared to Love and Other Drugs (Staring Anne Hathaway and Jake Gylenhaal) even. But I’m just going to cut out all that crap, to be frank, and just review this brilliant cliché film. It’s a cliché film with little differences. I don’t want to give too much away as every little thing counts in this film. Also, I’m very glad to say it’s not a film that is rubbish because all the good stuff is in the trailer; not at all!

At first I thought this jump into sexual postmodernist rom-coms wouldn’t work and would be a real flop but I now see the film industry did not think so, neither do I now. Yes it remains to have the happy-ever-after ending and typical line: “You’re just like the other guys, I thought you were different!” but it doesn’t feel like a real rom-com if it doesn’t leave you smiling at the end for all the glorious clichés we have all learnt to love. Although, in a funny scene early on in the film Kunis and Timberlake watch this cheesy romantic film, staring Jason Segal no less. Kunis’s character shows her feelings about love and romance, which actually contrasts her sometimes-aggressive behaviour; whereas Timberlake’s character just rips it to shreds with all the musical cues, when actually he is a big softy at heart. Friends with Benefits is a widely funny and is delivered by energetic performances by the central duo; who, I must add, work fantastically together on screen as comic characters.

With help from the extraordinary Easy A, that was easily under-appreciated, director and co-writer, Will Gluck further demonstrates that he has a serious knack for delivery in humour. He doesn’t do the typical comic acts which makes this film a little different, and better, from the others. He has little hints here and there like having Kunis grab an airport-greeting sign marked "O. Penderghast", a reference to Emma Stone's "Easy A" character. Who in return does the humiliating in this film when starting off by dumping Timberlake’s character Dylan, in his city of Los Angeles. Whereas in New York Kunis is getting dumped by her boyfriend, played by Andy Samberg. Now this is where the film begins and the characters develop.

Starting off with what you think would be a non-linear style of film confuses you a little, well it did me, but then it begins to take shape. Once dumped, both ruthlessly plan to just have sex with anyone with no complications, “like George Clooney” according to both Timberlake and Kunis. Now they begin to collide. Jamie (Kunis) is a headhunter and found Dylan (Timberlake) for the new art director for the GQ website. As he is moving to New York with nobody familiar him and Jamie being to make a friendship, and of course leads to the commitment-less sex. Along the journey there are many funny aphorisms and connections to other films. Such as Ugly Truths, which Jamie screams about on how Katherine Heigl lies about love; and also how Jamie’s rather odd mother, shall we say, promises her a “Nora Ephron movie’ weekend.

Timberlake and Kunis are focused on, of course, but there is also other characters to keep the film rolling like the masculine yet flamboyant gay Woody Harellson and the typical man just there for sex, Bryan Greenberg who is one of Jamie’s dates who she got from a little game with Dylan. Not only does the film have a feel-good sense, it also had once hard-hitting scene where Dylan’s father, Richard Jenkins, suffers from Alzheimer’s and wonders where his ex-wife of 10 years is. Dylan and his sister, Jenna Elfman (Accidently on Purpose), have this close-net relationship that shows throughout the film and shows to affect the relationship of Dylan and Jamie; but not necessarily for the worse. Elfman plays her part brilliantly as well as her on-screen son Sam, Noland Gould; who adds to the cute hilarity for sure.

Both Kunis and Timberlake have amusing in-bedroom scenes, taking away the awkwardness and oddly the sexier feel of the movie. In fact the movie is actually sexier when they are not nude, although I wouldn’t say no to the topless muscular pop star Timberlake and I’m sure the guys wouldn’t reject the tanned and toned Kunis. Apart from this in general they are a good on-scene couple and gladly don’t collide head first but just brush each other side by side in terms of comedy and personality.

For once this is a film which actually has you more interested in the characters and story than lacking interest where you begin to focus on the acting on how is it better than other similar movies? They don’t drag it out too much, keep the basic details and get to the point; now that’s all what we want to hear!

In my opinion, Friends with Benefits holds the torch for this 2011 mini-genre of rom-com. With the entertaining help of Gluck and writers Keith Merryman and David A. Newman this film has made one of my top romantic comedies of all time I think. A funny yet nice feel-good comical and cliche rom-com. 8/10

Sunday, 5 June 2011

Breaking Dawn Teaser Trailer

I just have to share this with everyone. Please comment your opinions :)

Sunday, 22 May 2011

How To Make A David Lynch Film

Embarrassing being a big film fan I was unaware of David Lynch’s work but once I was given this recommendation by the Director and Editor himself, Joe McClean (@redandtan), I was even more ashamed as Lynch was the director of the famous The Elephant Man and cult classic Eraserhead.

David Lynch, for those who didn’t know like me, is an American filmmaker, television director, visual artist, musician and occasional actor. Known for his surrealist films, he has developed his own unique cinematic style, which has been dubbed "Lynchian", and which is characterized by its dream imagery and meticulous sound design. Indeed, the surreal and in many cases violent elements to his films have earned them the reputation that they "disturb, offend or mystify" their audiences.

This short film not only takes the ‘piss’ of Lynch’s style but it goes about it in a rather entertaining way.
The opening credits are very creative, as well as the graphics of scenes on the TV screen and the ‘unrealistic death scene’ looked very cleverly placed in the fact you couldn’t see a fault with its positioning. My favourite shot would have to be where they demonstrate the contrast between light and shadow, it captivates Lynch’s style, and in a modern and dramatic style also.

Throughout it is not only informative but is humorous and enjoyable.
I must admit though, a few scenes do make me cringe like the end part of the kissing scene and the rather bright exposed sex scene, as well as the copy of Dennis Hopper in Blue Velvet. Although, it does make it up with the example of pointless instructions on the telephone, it is comical and I applaud the actress for keeping a straight face.
Director, Joe McClean has made a brilliant short film through the topics of education and comedy. He manages to keep the audience watching for it's strange but fascinating features. Also, not only does he direct and edit it, he also stars as the elephant man. Delightful scene!

The ending clips of asking the public their opinions on David Lynch are from different views but the one I found the most interesting was the lady saying that “he’s genius enough to fool everyone in to thinking that he’s done something worthwhile.” And other very edifying quote…”what the fuck?!”

To sum up Lynch’s work in an 8 minute short film, this would be the way to do it. In ways it has made me want to see a film of Lynch’s to see his style, yet not as it seems as if he is a pointless and ‘artistic’ director who just does what he feels. Maybe I will spend some time watching his famously acclaimed The Elephant Man just because it is a classic and I don’t want to waste my time watching anymore of his and not knowing his true classic film.
Don’t understand? Mongoloid! (You’ll get it if you watch)

If you know of David Lynch and his movies or even if you don’t, I recommend the watch.

Wednesday, 4 May 2011

My Music Video Project

For my A2 Media work, I created a music video for a covered song, entitled Saviour by Lights. I need audience feedback for my evaluation, therefore would appreciate any comments about specific areas, compliments and constructive criticism is encouraged :)

Either via blogspot or on youtube itself.. Will be seriously appreciated!

Please watch link below

Friday, 15 April 2011

The Fighter

Talk about dramas hitting the UK cinemas. The King’s Speech has broken box office records – reaching Harry Potter levels of attendance in the UK – and audiences lined up to see The Social Network, 127 Hours, and this year’s superb boxing movie The Fighter, all based on true stories.

Firstly, a boxing movie yawns ‘boring’ to me but after this film I have learnt to not knock it till I try it. The Fighter is a touching and dramatic story, based on a real life account; about boxer Micky “Irish” Ward’s (played by Mark Wahlberg) voyage to the world light welterweight title from the suburb of Lowell, Massachusetts.

It takes you on the journey and one of his toughest fights he took with his drug-dependent, criminal of a half-brother Dicky (Christian Bale), a thought to be hero for defeating Sugar Ray Leonard - who is very unreliable - in the blue corner, and mother/manager, Alice (Melissa Leo), a stubborn money-grabbing mother of nine in the red corner. Dicky is an unreliable boxer-turned-trainer who is nearly KO’d by the harsh aspects of working class American life, until he decides to sort himself out and help his brother.

His family is all about his money and fame rather than his success and accomplishment. It is not until he meets former athlete, college dropout barmaid Charlene (Amy Adams) that he regains his will and punch out all the stops to win and to stand up against his domineering family – not to mention his six (or seven?) sisters.

Throughout the film we see hints of a mockumentary on the life of Dicky’s crack addiction, for which he seems to imagine is all about his comeback in the boxing ring. After a while on the streets of Lowell Dicky manages to get in a fight with police and get himself arrested. Micky, being the supportive brother Dicky wasn’t to him all the time, he stands up for him and pays the price in the form of a broken hand. As you can imagine these two incidents has stalled his progress and makes him a punch-bag for bulkier opponents; giving him more of a reason to give it one last shot for the big time win.

It has to be said how committed Christian Bale is to his role with his drastic weight loss leading to a wiry frame and thinning hair; and how much it paid off. Bale is just an absolute delight to see on screen and his performance is captivating in many ways. He basically robs every other co-star of the screen with his magnetic performance. Although Wahlberg may be the main character and does give a solid and superb performance which with all due respect, Bale tops him with the most charismatic sport persona in the film.
It’s noticeable that any time Bale is absent from proceedings The Fighter suffers. However, Wahlberg and Bale are incredible together; they leave an intense mark in this film with their brilliant chemistry.

Wahlberg brings this aura of a ground-breaking and compelling attitude with his towering performance as this small town, big muscled fighter. Being one of the youngest of a nine member American family with Irish ancestry, as well as having his father, Donald Wahlberg who had been imprisoned years ago alongside Micky's dad, George Ward. Just to top it all off, Wahlberg has a very violent history and drug habit so can put himself in the shoes of both Micky and Dicky. These similarities helped the choice of Micky become very easy and what a good decision that was. The deep portrayal of a troubled young man is conveyed magnificently through the character.

A film full of male testosterone leaves little room for the female roles, in any other typical film but not this one. The women a have remarkable influence in Micky’s journey. From his level headed red head girlfriend (Adams) and his disapproving mother. Leo is fantastic, with her well-crafted ad superbly performance; she deserves every inch of her 2011 academy award. Adams on the other hand, equally as astonishing but on completely different levels. While she plays this cliché “against all odds” character, she has entire control and executes her support for Micky and disregard for his family tremendously.

Although conforming to a Rocky-style template, as it has been compared to, The Fighter is as much a family drama as traditional boxing movie and is all the richer and more entertaining for it, with an ensemble cast of highly memorable characters. Both films do evolve around working class men trying to accomplish a life in boxing, although are better known for taking punishment and beating rather than wining matches. It emphasises on the gritty working class America in the 80’s and 90’s with the pressures to have The American Dream, whatever that dream may be. Then the cliché trials and tribulations, how they end up with an once-in-a-lifetime chance at a title shot and to be fair it wouldn’t be a good character study if there wasn’t good news at the end.

The conventional story of a low-point boxer getting ferocious beatings in the ring to a temporary abandonment of the sport, to then giving it one last try and finally getting somewhere; to get the win they deserve at the end of all the turmoil. This immediately makes the film less interesting but with all the hype I had to see it and am glad I did. Just like in 127 hours, whenever there's a film based on real people, it's practically a law now to show a celebratory photograph of these real people over the closing credits. They are recognisable as the real deal, though obviously not as attractive as the stars playing them. I feel this adds to the real authenticity of the film and realisation that it’s not just a film but was someone’s life story. O. Russell turned it into a riveting, inspirational and absorbingly entertaining film. He combines essences of both emotionally drained and powerfully strong to create a memorable and worthwhile film.
Result: A knockout of pure power and emotion. A triumph for O. Russell.

Kung Fu Hustle

The first 10 minutes amazed me with humour and confusion. There was a Chinese cowboy and a dancing ‘Axe Gang’; to top it all of a gay barber who constantly has his arse showing throughout the film.
The film is based around the storyline of a wannabe gangster, Sing, in 1940’s China, Shanghai to be exact, aspiring to join this notorious (dancing) “Axe Gang”. All while the residents of a housing complex, entitled Pig Sty Alley, exhibiting extraordinary powers in defending their territory; caused by Sing (Stephen Chow) and his chubby side-kick Bone’s actions. It is ruled by these rather eccentric landlord and landlady (Qui Yuen), who turn out to be some of the greatest kung-fu masters in disguise. Sing manages to inadvertently involving the Axe Gang and the ‘slumlords’ to engage in an explosive kung-fu battle. He then must defend the slum from The Beast (Sui-Lung Leung) who is employed by the Axe Gang, who he humiliated, to defeat them and get revenge. Sing fetches this kung-fu master and killer from jail; little does he know he will cause even more conflict. But there can only be one side that can win, one male protagonist that can emerge as the greatest king-fu master.
Qui Yuen too is skilled in Chinese martial arts; she studied under the same master as Jackie Chan and Samma Hung Kam-Bo. She plays a magnificent moody landlady with hidden talent and beauty. Her power is kind of humorous in the sense of being from a woman character. You’ll have to watch or read up about it to find out; I don’t want to ruin anything.
Stephen Chow is a very talented man; not only can he act, he can direct, write and has amazing kung fu skills. He is quite commonly known for Shaolin Soccer; for which he wrote, directed and starred in, as well as for King Fu Hustle. Both movies contain Kwok-Kwan Chan, Chi Chung Lam and Kai Man Tin. The chemistry between Stephen Chow and all these actors on screen is obvious they are confident with each other, giving more advantages to the films authenticity and acting.
The fight sequences are very well done with its’ many areas of computer graphics and keep the movie moving at a frantic and exciting pace. Chow excellently combines the fight scenes and graphics together without distracting from each other and enhancing the martial arts action. The humour and action are executed very well alongside each other in order to get the viewer both enticed in the story line and entertained through absurdity.
All in all this film had me enticed as most of the comedy was visual. The plot is simple enough that even the most ardent haters of subtitles, like me, won't mind the language barrier. Made me both chuckle and stare in awe; exactly what a good action comedy should do. There are many pop culture references in there like reservoir dogs and the matrix. All done very tongue in cheek. Just to top it off, they throw a very slight love story in for the romantic touch.
Result: A comical 7/10 for this brilliant sub-titled action, adventure comedy. I recommend it and am thoroughly looking forward to the 2nd film to come in 2012. A real martial arts cult classic.

Monday, 7 March 2011

The King's Speech

Historical Dramas do not appeal to me in any shape or form if I am honest and the big hype following the release of the film geared me up for disappointment, making it seem as if the film was over-rated. This was not the case at all; it deserved its 7 Golden Globes and 4 Oscar awards. I thought I had to give it the chance it earned from the whole buzz. I found it to be an intellectual and brilliantly humorous British film.
If you are unknown to the basic plot of the movie, it follows The Duke of York, George VI, or by his birth name known as Albert Frederick Arthur George, on his journey to his impromptu rise to the throne of King due to his father’s death and brother, David’s (Guy Pearce) abdication; who I may say gives both a harsh but strong portrayal. However there is the slight problem of George (or Bertie as his family call him) having a stammer. This is where Geoffrey Rush who plays Lionel Logue, George’s unorthodox speech therapist; found by his supportive wife Elizabeth (Helena Bonham Carter). They begin on this rather strange relationship leading to Lionel calling George Bertie and making sure that he is worthy enough and accomplish the king’s speech to the country leading them into the War.
Colin Firth’s portrayal of a man enduring from an insufferable stammer, who thinks he is unworthy of the throne, is absolutely superb! He gives both a warm and sympathetic as well as a powerful performance as the Duke of York. You seem him both be comfortable and struggle with his stammer even at home with his 2 little princesses, Elizabeth (Freya Wilson) and Margaret (the fantastic Ramona Marquez from the fabulously funny British sitcom, Outnumbered). Right from start to finish you feel for him deeply, his struggle and frustration entice you in massively. Ranging from antagonism to leadership and deep and heartfelt emotion, all whilst playing the role of a stammer sufferer; he is just an all round astounding actor!
Helena Bonham-Carter plays a brilliant Queen Elizabeth; she has definitely converted me to watch more of her movies. Her supportive attitude towards her despairing husband is warming and really keeps the film going at a calm and sympathetic pace. But I am afraid Rush definitely wins my heart on the supporting role side of things. His cheeky remarks and profane lessons occasionally insult those around him, and the nature of their relationship is often antagonistic. The one thing His Royal Highness can’t argue with, however, is the final results; and may I add, many of the scenes whilst undergoing speech therapy (especially the one that shocked me with mounds of swear words) both Firth and Rush bring a sense of wit and silliness to this serious period drama. The term ‘bro-mance’ has been thrown about a lot between the relationship of Colin Firth and Geoffrey Rush in this magnificent film, and rightly so.
In directing terms it is a magnificent masterpiece, Tom Hooper did this screenplay exceptionally proud. Although he is unfamiliar to me, being more of a TV director other than film, I am sure he will now accomplish more film extravagances and I will be one to follow him and his enchanting style.
Congratulations definitely go to David Seidler and his marvellous screenplay. Always wanting to write about George VI, Seidler found the surviving son of Lionel Logue, Dr. Valentine Logue and decided to write to him in 1981. In turn, Logue was keen to talk with Seidler and even share the notebooks his father kept while treating the King, but on the condition that he received "written permission from the Queen Mother" first. Upon writing to her, Seidler received a reply from her private secretary, asking him not to pursue the project during her lifetime. Consequently Seidler abandoned the project in 1982. Then 20 years later unfortunately The Queen mother died, but Seidler didn't start the work on it until 2005. Eventually he wrote the first draft of his screenplay, and his then-wife and writing partner suggested that he rewrite it as a stage play. She felt that the "physical confines of the stage would force him to focus on the key relationships in the story, without the distractions imposed by concern for cinematic technique."
And actually, nine weeks before filming, Logue's notebooks were fully discovered and quotations from them were incorporated into the script. When writing the script, Seidler discovered that his own uncle, also named David and also a stutterer, had been sent to see the speech therapist Lionel Logue by his father; giving this film even more meaning to the Seidler family.
All in all, if I have not expressed it enough, it is an all round brilliant British film in all its historical and humorous glory. Each bit from the cast to the cinematography (great work by Danny Cohen by the way on this part) right to the beautiful soundtrack by the excellent Alexandre Desplat. The beginning establishes the characters wonderfully and the ending is so inspiration and touching for both our nation and for the beloved King George VI.
Result: Proud to be part of the Great British history that is found behind this astounding film. 10 stars!

Saturday, 12 February 2011

Rabbit Hole

Based on a play by David Lindsay-Abaire , it is about the life of two happily married people, Becca and Howie Corbett, whose lives end up being flipped upside down and forever changed by the death of their little boy, Danny, who they lost in a car accident.
The intimate relationship between the married couple is virtually non-existent now, which is driving a wedge between them and putting strain on their marriage. They both find support about their son’s death if different places. The Corbett’s, both drift apart, make surprising and dangerous choices as they both begin to carve their own path without destroying their marriage; this is where Howie seeks support in group therapy sessions and friends at the classes, whereas Becca gets dragged to them by Howie but ends up disliking them and find they aren’t working, she runs away from the other feelings and support of those in the group.
Becca, a business woman-turned-stay-at-home mother, who can be seen as quite cold, withdrawn and inconsolable, until she forms a rather odd bond with the teenager, Jason (Miles Teller) who was the driver of the car who ended her son's death. He is the creator of a comic strip about alternative universes that gives the film its title. Painful, emotional, and often funny, Becca's experiences lead her to find solace and closure in this mysterious relationship connected by similar thoughts of guilt and sorrow. Becca's fixation with Jason pulls her away from memories of Danny, while Howie immerses himself in the past; seeking refuge in the outsiders who offer him something Becca is unable to give. In my personal opinion I feel that Becca seeks for replacement in Jason, to try experience the time with a teenage boy that she never had with Danny.
Becca is quite bitter and harsh towards family, especially when her mother, Nat (Dianne Wiest) compares the death of her young boy to her brother who died of illegal drug use. Most scenes involving Wiest end up in a combination of both humour and heartfelt pain and can be very emotional; West portrays this character brilliantly and so in depth that you feel for her and just want to hug her after the insensitive comments from Becca/Kidman. Although her mother is trying to help and show that she feels the pain of losing a son, Becca refuses to see the connection. She is complete with anger towards anyone who suggests she still isn’t coping with the situation 8 months later. She in fact is trying to remove memories of him from around their home even as Howie clings to visceral reminders such as videos and drawings.
Nicole Kidman’s portrayal of Becca is honourably astonishing. She is subtle, fierce, brutally funny, tender when you least expect it, and battered by the feelings that hit her when she tries to forget and move on. Kidman is just purely gripping, really draws you in and makes you feel her pain and puts you in her shoes; this is exactly what you want from a film like this that involves such angst and depth into situations in reality.
The husband, Howie (Aaron Eckhart) absorbs himself in work and channels his grief into therapy as well. He briefly flirts with another grieving parent in the group therapy sessions but you really see his sense of fun and you feel happy for him. Unfortunately though this puts even more strain on their marriage and you watch what’s left of their relationship disintegrate.  Eckhart is brilliant in this depiction of Howie; to cope with not only his son’s death but his wife’s attitude to the situation and his attitude towards her ways of moving on and pushing everyone away.
To those who have endured the death of a loved one, Rabbit Hole perfectly and poignantly captures the grief that lingers. It opposes the question of “What now? How do I cope with this?” It has the sense of My Sisters Keeper in it with the fight for sanity and loss of a child. It is both heartbreaking yet heart warming. The thought of death of a child is enough to bring any parent to tears but this film shows the true depth of the ways people chose to handle the situation; from wanting to preserve every little thing of the deceased person, or trying to get rid of it and move on. This is one aspect for why this film beats other grief-stricken films out there.
It is tenderly directed by John Cameron Mitchell, he may not be well known but I sure do hope he gets the credit deserved for this film. It is a very emotional and powerful drama that hits you hard due to its connection to reality.
Result: A fantastic 10/10. Rabbit Hole is one of the most honest, stark depictions of grief ever committed to film. It's not easy to get through without a few tears, but it does offer some measure of hope and humour; hit reality hard in the face.

Sunday, 30 January 2011

The Green Hornet

Michel Gondry did this rendition of the 1966-’67 TV Series proud, sticking to the series in many ways but still modernising it and making it suitable for the audience of today’s society. Unlike many modern adaptations they modernise everything to a ridiculous extent and although they have upgraded the car, they have kept it to be a 1966 Chrysler Crown Imperial, they kept the clothes the same costumes and got similar features, such as the flipping floor to reveal The Black Beauty and the parting of the wall for the car to exit.
Irresponsible playboy Britt Reid (Seth Rogen) becomes the new publisher and owner of the Los Angeles' "The Daily Sentinel" after the sudden death of his father by an allergic reaction to a bee sting. Britt's party life is about to change when he has to take responsibility in life and him and his coffee-maker/driver/mechanics and kung fu expert, Kato (Rumoured to first be played by Stephen Chow but now Jay Chou) become friends. They later go on to stop a theft after vandalising Britt's fathers statue once they realise, whilst sitting in one of the many cars, how much they dislike him. They end up stopping a theft and saving 2 people. With the help of Kato, Britt starts a new career of fighting crime as the masked superhero "The Green Hornet", suggested by Kato as Britt’s idea was The Green Bee, hmm.
It being the 3rd feature-film and writing collaboration of Evan Goldberg and Seth Rogen, including Superbad and the brilliant Pineapple Express, you expect the same sort of humour and stupidity from Rogen. That is exactly what you get.  Rogen plays this 28-year-old slacking, party and drink obsessed man living off his dad’s wealth; but once he is left alone he has to become responsible but still happens to end up as a silly and petty character, becoming a ‘hero/villain’. He uses his new found ownership of the paper to publicize the about the high-profile criminal that is The Green Hornet.
Kato on the other hand is a genius. He plays Britt Reid's valet, who doubles as The Green Hornet's unnamed, masked driver and sidekick to help him in his vigilante adventures, disguised as the activities of a racketeer and his chauffeur/bodyguard/enforcer; although Kato does most, if not all, the fighting and we see the Asian fighter plan out battles as they happen in slow-motion, visibly highlighting objects he can use to his advantage. As well as being the top crime fighter in the film he looks after all of Reid’s cars, fixes them and upgrades them. This is definitely where his expertise shows with the creation of The Black Beauty. It is clearly obvious that Kato does all the work and is the mastermind, whereas Britt is the incompetent fool. Kato does not, by far, receive the credit he deserves.
Lenore Case, played by the lovely Cameron Diaz, is hired by Britt as his assistant and researcher. She plays a knowledgeable journalist with a degree in criminology, perfect for their plans, which unwittingly basically becomes the back bone and brains of The Green Hornet’s actions without knowing that Kato and Britt are the ‘mastermind villains’. Doesn't have as big of a screen role as I would have thought but there we are.
A comical aspect of this film would have to be the role of Chudnofsky played by Christoph Waltz (Inglorious Basterds). Chudnofsky is the main villain in the movie but seen as a pathetic and a tad feminine character; that is actually pretty small but controlling over his army of men, this could show his weakness of several men against The Green Hornets 2, and he even asks for their help. He is a paranoid Russian gangster who rose to power and controls all of the crime in the L.A by planning to join all of the crime families of Los Angeles together to organize a "super-mafia." Many of the people he confronts, James Franco playing Danny ‘Crystal’ Clear for one, constantly mock him about how he is not scary, and this then leads him to follow in The Green Hornet’s footsteps by giving himself a nickname, Bloodnofksy. Except from green he wears red in order to appear more fearful and alarm provoking.
Like any action film there are the typical conventions of the lack of responsibility turning into a sense of drama that turns into aspects of control and power leading to the late night researching alone and fighting back harder and stronger, achieving a sense of accomplishment doing good. There is also, most typically, a thought to be good guy who turns out to be a baddie using the main role for blackmail and working for the enemies; found by the past truth and revealing a mischievous guy to be virtuous and respectable.
In terms of directing and editing there is a mix that reminds me of specific areas in other films, such as the ‘comic book’ and surrealist style of Scott Pilgrim when Kato comes to rescue to save Britt and kick all the criminals butts. Also a later part in the film with a fight between the goodies and baddies in the newspaper warehouse of ‘The Daily Sentinel’ reminds me of the scene where an enemy gets palpated through a newspaper generator in one of the Bond films, can’t pin-point exactly what one it was though. Don't worry nobody gets killed in such a gory manner in this film as it is a PG-13 but just the location and hiding behind giant paper barrels reminded me.  

However, there is a section where Chudnofsky/Bloodnofksy gathers his 'super-mafia' together and there are several split screen, don't get me wrong it is very creative the way it is done, but for me it was too busy and I had to reply the section 3/4 times to take in each area. Split screens are a big downfall in my books.
The Green Hornet is a little imprecise as it combines laughs with action, characters with explosions, and light comedy with unpredictable ominous humour. You see which parts of the film are the styles of Rogen and Gondry, but strangely their distinctive and different styles work quite well together, resulting in a slightly comical but confounded movie. I think the film could do with more a sting, it did lack comedy and interest in parts; however it is worthy of the hype it has collected. John Schwartzman’s cinematography skills really do show, and in a magnificent green light.
Result: 7/10 as it was more intriguing than first anticipated but don’t think I would classify it as a ‘must-see’ film.