Franklyn
What?
Half science fiction neo-noir, half expositional dramatic thriller, Franklyn manages to be somewhat long-winded and editorially schizophrenic. Following two timelines and the relationship between four individuals, Gerald McMorrow’s first feature film is so comprehensive that you’re required to stay attentive just to find out what’s going on. A piece of cinema which harkens the likes of Blade Runner (Ridley Scott), Dark City (Alex Proyas), or Brazil (Terry Gilliam), Franklyn’s despotic and apocalyptic view of future life fits well alongside other genre films. Gloomy cinematography and meticulous set designs call to mind Fritz Lang’s epic Sci-Fi masterpiece Metropolis accompanied by a meek twist. McMorrow adds a nice noir-like voice over narration throughout a city filled with religious dogma and persecution. Franklyn’s maddening plotline is unfortunately the confusing crux that this film really hinges on. It’s refreshing to see a movie that stands outside Hollywood or the typical cookie cutter, assembly line picture. Still, the film’s provoking surface feels as if it’s purposefully problematical as a way to trick a particular thriller seeking demographic. Glazed over with a form of banal directorial supervision, it is in no way the mise-en-scène that fails, rather the overburdened story. Constantly pandering to a passé script whilst underplaying aspects of real interest to the viewer doesn’t help the noir or science fiction schema. A written diatribe that could have been so much more in the end, I do applaud McMorrow’s cinematic endeavor. American audiences will be enamored with a breath of fresh air; to any non-American viewer, Franklyn’s milieu is standout!
What works for Franklyn is the stylish cinematography and homage to the science fiction genus. A residual miscellany of the script features a predictable plot and a prolonged anti-climactic ending. By and large, the visual proficiencies fall flat by no means of its own—the hackneyed plot is surely to blame. Ultimately confusing and simultaneously beautifully shot, the 25GB disc is satisfactory, but a dual layered BD would have helped everything.
Optics:
Presented in its proper 2.35:1 aspect ratio, Franklyn’s visuals appear very drab and highly filmic. Possessing noir and science fiction elements, the cinematography, set and costume designs all echo an ominous mood thus being drained of color and reliant upon blacks and shadows. At the motion picture’s outset, color banding and crushed blacks can be seen. These issues tend to dissipate as the film progresses only to reveal deep, inky blacks as well as some striking color contrasts. Problems aside, the facial detail is exquisite as contrast levels become faithful. A thin bit of unobtrusive grain is featured throughout, yet it never feels disingenuous at all. Quite the contrary, the changing picture quality through flashbacks allows audiences to find themselves in the otherwise distended narrative. The optical précis is true to what the director envisioned, although it probably won’t dazzle high definition aficionados. Franklyn’s optical quality is far away from reference quality; regardless, this image is in no way a detriment to the movie itself.
Sonics:
Dialogue outweighs action and limits Franklyn’s capability of producing sonic shockwaves. A subdued musical score, heartfelt speeches, along with goaded city ambiance are all rendered clearly; it remains self-effacing compared to other recent titles. We're given a Dolby TrueHD 5.1 mix with no real pedantry since the storyline’s objective leaves behind what little action there is rather rapidly. The reiterated musical score is nowhere near up to snuff when compared to other contemporaneous motion pictures. For what is demanded, the improved track conveys. Dolby’s lossless sound goes well beyond what Franklyn entails.
Extras:
Franklyn’s bonuses are on the weak end, albeit there’s a small quantity. ‘A Moment in the Meanwhile’ featurette, a few deleted scenes, and the theatrical trailer add slightly in supplementary time. The FPS on these features noticeably plummets tremendously and has apparently been skimmed in treatment. Lasting about half an hour, ‘A Moment in the Meanwhile’ showcases interviews with cast and crew intertwined with montages of the film—this making of featurette provides enough information to please those paying attention. Saying that these few extras are better than nothing fails in justifying the empty disc space.
Well?
No doubt this Blu-ray transfer has its fair share of shortcomings, however, Franklyn is an appealing science fiction neo-noir and a prime edition to the genre. While the film’s overambitious narrative arc may leave viewers wishing for something a bit more focused, I can’t help feeling impressed with the valiant effort undertaken by director Gerald McMorrow. If buyers can see past some minor optical faults and towards the lovely cinematography, Franklyn has many rewards. Even though the editorial syntactic crosscutting through parallel lines of action comes off as a bit curtailed, this viewing experience is nowhere near rubbish. On the whole, the Blu-ray transfer is admirable and will likely please those who’ve seen Franklyn as well as those who haven’t had the pleasure. Give it a go if you fancy science fiction, thrillers, noirs, or a genuine detective story.
Grant Iwan
Half science fiction neo-noir, half expositional dramatic thriller, Franklyn manages to be somewhat long-winded and editorially schizophrenic. Following two timelines and the relationship between four individuals, Gerald McMorrow’s first feature film is so comprehensive that you’re required to stay attentive just to find out what’s going on. A piece of cinema which harkens the likes of Blade Runner (Ridley Scott), Dark City (Alex Proyas), or Brazil (Terry Gilliam), Franklyn’s despotic and apocalyptic view of future life fits well alongside other genre films. Gloomy cinematography and meticulous set designs call to mind Fritz Lang’s epic Sci-Fi masterpiece Metropolis accompanied by a meek twist. McMorrow adds a nice noir-like voice over narration throughout a city filled with religious dogma and persecution. Franklyn’s maddening plotline is unfortunately the confusing crux that this film really hinges on. It’s refreshing to see a movie that stands outside Hollywood or the typical cookie cutter, assembly line picture. Still, the film’s provoking surface feels as if it’s purposefully problematical as a way to trick a particular thriller seeking demographic. Glazed over with a form of banal directorial supervision, it is in no way the mise-en-scène that fails, rather the overburdened story. Constantly pandering to a passé script whilst underplaying aspects of real interest to the viewer doesn’t help the noir or science fiction schema. A written diatribe that could have been so much more in the end, I do applaud McMorrow’s cinematic endeavor. American audiences will be enamored with a breath of fresh air; to any non-American viewer, Franklyn’s milieu is standout!
What works for Franklyn is the stylish cinematography and homage to the science fiction genus. A residual miscellany of the script features a predictable plot and a prolonged anti-climactic ending. By and large, the visual proficiencies fall flat by no means of its own—the hackneyed plot is surely to blame. Ultimately confusing and simultaneously beautifully shot, the 25GB disc is satisfactory, but a dual layered BD would have helped everything.
Optics:
Presented in its proper 2.35:1 aspect ratio, Franklyn’s visuals appear very drab and highly filmic. Possessing noir and science fiction elements, the cinematography, set and costume designs all echo an ominous mood thus being drained of color and reliant upon blacks and shadows. At the motion picture’s outset, color banding and crushed blacks can be seen. These issues tend to dissipate as the film progresses only to reveal deep, inky blacks as well as some striking color contrasts. Problems aside, the facial detail is exquisite as contrast levels become faithful. A thin bit of unobtrusive grain is featured throughout, yet it never feels disingenuous at all. Quite the contrary, the changing picture quality through flashbacks allows audiences to find themselves in the otherwise distended narrative. The optical précis is true to what the director envisioned, although it probably won’t dazzle high definition aficionados. Franklyn’s optical quality is far away from reference quality; regardless, this image is in no way a detriment to the movie itself.
Sonics:
Dialogue outweighs action and limits Franklyn’s capability of producing sonic shockwaves. A subdued musical score, heartfelt speeches, along with goaded city ambiance are all rendered clearly; it remains self-effacing compared to other recent titles. We're given a Dolby TrueHD 5.1 mix with no real pedantry since the storyline’s objective leaves behind what little action there is rather rapidly. The reiterated musical score is nowhere near up to snuff when compared to other contemporaneous motion pictures. For what is demanded, the improved track conveys. Dolby’s lossless sound goes well beyond what Franklyn entails.
Extras:
Franklyn’s bonuses are on the weak end, albeit there’s a small quantity. ‘A Moment in the Meanwhile’ featurette, a few deleted scenes, and the theatrical trailer add slightly in supplementary time. The FPS on these features noticeably plummets tremendously and has apparently been skimmed in treatment. Lasting about half an hour, ‘A Moment in the Meanwhile’ showcases interviews with cast and crew intertwined with montages of the film—this making of featurette provides enough information to please those paying attention. Saying that these few extras are better than nothing fails in justifying the empty disc space.
Well?
No doubt this Blu-ray transfer has its fair share of shortcomings, however, Franklyn is an appealing science fiction neo-noir and a prime edition to the genre. While the film’s overambitious narrative arc may leave viewers wishing for something a bit more focused, I can’t help feeling impressed with the valiant effort undertaken by director Gerald McMorrow. If buyers can see past some minor optical faults and towards the lovely cinematography, Franklyn has many rewards. Even though the editorial syntactic crosscutting through parallel lines of action comes off as a bit curtailed, this viewing experience is nowhere near rubbish. On the whole, the Blu-ray transfer is admirable and will likely please those who’ve seen Franklyn as well as those who haven’t had the pleasure. Give it a go if you fancy science fiction, thrillers, noirs, or a genuine detective story.
Grant Iwan
Director:
Gerald McMorrow
Starring:
Eva Green
Ryan Phillippe
Sam Riley
Bernard Hill
Richard Coyle
Jay Fuller
Best line:
"If a god is willing to prevent evil, but not able, he is not omnipotent."
Tagline:
"Reality hasn’t got a prayer."
Description:
E1
UK
Region B
Not Rated
1Hr 38 Mins
2.40:1
Dolby TrueHD 5.1
'A Moment in the Meanwhile'
Deleted scenes
Trailer
Ratings: (Out of 10)
Film 7.0
Optics 8.0
Sonics 8.0
Extras 5.0
Overall 7.0
