Film: Project Almanac (2014)

In which a bunch of young people build a time machine based on plans left behind by the lead's dead father after seeing the lead on a home movie of his ten-year-younger self's birthday.  The screenwriting debut of writers Jason Pagan and Andrew Deutschman as well as the feature debut of director Dean Israelite - the cousin of Jonathan Liebesman, he who directed Platinum Dunes' The Texas Chainsaw Massacre: The Beginning (2006) - this sits alongside The Purge (2013) in the Non-Franchise Science Fiction section of Platinum Dunes' output.  A found-footage movie (which ends with the footage being found), it's USP is that the footage concerns its characters travelling through time and capturing on the camera both the time travelling and the effects the characters' actions have on the timeline (including a Back To The Future-esque fade-out variation of the Blinovitch Limitation Effect).  As the characters make mistakes and travel back again and again to fix things, it makes a verbal reference to Groundhog Day (1992) as well as Looper (2012) (marking a character in the past and witnessing its effects on them in the present) and - in what is perhaps the most flaccid "geeky" reference imaginable - Doctor Who.

As with slasher movies, its leads aren't people that we particularly care about, the blonde girl barely registers, the central lead Jonny Weston is clearly more than ten years older than his past self but Sam Lerner does seem a suitable, if not better, replacement for Shia LaBeouf if they ever consider bringing Sam Witwicky back to the Transformers movies.  This is more of a film where you don't character about the characters but you're more interested in what happens to them.  The plot fairly aimlessly wanders once they have figured out how the time travel works and use it to their own ends, such as winning the lottery (and using it to help the lead's mum), getting back at a high school bully and a teacher as well as - albeit with questionable ethics - getting the girl (cf. About Time, 2013).  The found-footage motif is really only justified by the time travel angle but as with Cloverfield (2007), the filming and editing techniques might be put to interesting use outside of the 'found-footage' genre.  Also, Imagine Dragons' Radioactive gets performed at a gig, the usage of which in any film might be enough to bump up a star rating.

Film Brief: 'Big Hero 6' (2014)

TITLE: Big Hero 6
DIRECTOR: Don Hall, Chris Williams
SCREENWRITERS: Jordan Roberts, Daniel Gerson, Robert L. Baird (based on the characters created by Duncan Rouleau and Steven T. Seagle) (Heads of Story: Paul Briggs, Joseph Mateo)

IN BRIEF(ish):
After plundering fairy tales for stories to integrate into what would become the "canon" of Animated Classics (the most recent example being the seemingly immortalised Frozen), Disney more "modern mythologies", such as video games in 2012's Wreck-It-Ralph and now Marvel comics in Big Hero 6.  And indeed, after the Marvel Cinematic Universe turned going to the movies into homework assignments (the biggest chore being 2013's Thor: The Dark World), Big Hero 6 is one of the best looking of the latest Marvel offers.  The design of San Fransokyo makes this Disney's Blade Runner and it makes a great case for the good that CGI can be put to as well as what depth to CG animation that 3D can bring.  It is also one of the most fun so far.  On my so-far initial viewing of Guardians Of The Galaxy (2014), I could not get into it and dismissed it as a Saturday morning cartoon on a similar par to DC's flop Green Lantern (2011), although admittedly it may have been as much to do with the environment in which I was watching it and will give it another chance soon.  But Big Hero 6 is proper good fun and a real treat to take kids to see as a Saturday matinee.  It is funny, even if not quite in the same way as Wreck-It-Ralph's near-Aardman-esque humour, isn't entirely clean-cut when it comes to deciding it's heroes and villains (even the protagonist makes a not particularly heroic choice) and it has a likeable USP character in inflatable robot Baymax.  It does somewhat suffer a common problem from Disney animations in that it isn't easy to get emotionally invested in its CG humans (Frozen perhaps comes close) and one set piece gag about Baymax getting inebriated as a result of running low on batteries is simply a one-off and is never paid off in a way one would expect in the film's climax.