Film Review - The Smurfs

I was a big fan of the Smurfs as a child and the prospect of a movie should have been an exciting prospect. However, the decision to set it in New York actually put me off. I wanted to see Smurfland (for some reason now referred to as Smurf Village). Fortunately, we do get a brief glimpse of this world, and I was pleased to see Gargamel and Azriel in tow as well.
Unfortunately, a lot of the mythology is buried in amongst the raucous chaos that ensues. Rather than stick to a story, they throw stuff at the screen in the hope that you're distracted enough to notice that nothing's actually happening.
That said, I can't say I wasn't entertained. The cast were very good, the visual effects were decent enough, and the post-modern self-referencing was kept to a tolerable minimum.

Films of the Year 2011

It's New Year's Eve, so time to revisit 2011's best films. I've been hearing good things about a few I haven't seen yet, so they may appear here at a later date. But, as things stand, these are my ten favourite films released (for the first time) in UK cinemas in 2011.

10. The Skin I Live In.
Pedro Almódovar's seriously f***ed-up film is intriguingly twisted. And features one almighty f***ed up twist. I was completely gripped.

9. Mission: Impossible - Ghost Protocol.
A late entry (with potential to move up the list after repeat viewings), I didn't see this until 2012, but Brad Bird's live action debut turns the action and tension up to 11. In the process, it also manages to wring out the best performances for years from Tom Cruise and Simon Pegg.

8. Crazy, Stupid, Love.
Smart, cool, touching, unpredictable, funny, loved it.

7. The King's Speech.
Okay, so it's old news now but still a great film. I saw it the once, and was pleasantly surprised. I then somehow ended up taking a friend to see it. And then another... And it never disappointed.

6. X Men: First Class.
A great restart to the franchise, with a first class cast, and first class set pieces.

5. Senna.
Who'd've guessed an all-archive documentary about a Formula 1 racing driver would have made my top 5 films of the year? An intriguing, emotional and informative ride.

4. Tangled.
It's Rapunzel. It's what we all call it and it's what it is. But, more importantly, it's Disney back on form. At last. Combining the old-fashioned Disney animation singalongs with modern, fast-paced CGI and a post-modern feminist heroine, this has everything that Disney movies have lacked without Pixar. Who, for the first time in a decade, are absent from this list.

3. Perfect Sense.
Not very often, a film comes along that just speaks to you on an emotional level, sucks you in and leaves you devastated. For me in 2011, this was that film. I waited until the very last screening to see it, and have been gagging to see it again ever since.

2. Rise of the Planet of the Apes.
Nobody saw this one coming. After the lacklustre reboot from Tim Burton ten years ago, this franchise seemed dead in the water, and nobody seemed to miss it. But when you have the SFX team behind Avatar and mo-cap legend Andy Serkis on board, something special is sure to happen, even in the hands of a near novice director. It has its flaws, in particular the human characters, but makes the implausible plausible and has you cheering the apes along.

1. Harry Potter and the Deathly Hallows, Part Two.
I have no objectivity when it comes to Harry Potter. I adore JK Rowling's universe and characters too much to allow the many faults in the films to over-ride the sheer pleasure I get out of them. Of course the books are better, and there were some especially infuriating changes here. But it's the end of an era, and the film of 2011 I returned to see again and again and again. And will continue to see again and again and again.

Film Review - The Green Hornet (2011)

A superhero with no superpowers still needs a gimmick. This one decides to pretend to be a gangland villain, although it has to be said his sidekick Kato pretty much does all the work.
Getting Seth Roegen on board as a superhero was an unusual choice, let alone as a screenwriter- although his schlubby appearance certainly works better as a smokescreen alter-ego than the more suave Bruce Wayne.
Unfortunately, the film can't decide whether it's an action blockbuster, indie film or comedy. As a result it falls somewhere in the middle, never achieving any, and Oscar winner Christoph Waltz is wasted as the somewhat nondescript villain.
At times it's difficult to see visionary director Michel Gondry is at work here- obviously he was a latecomer to the movie's production- but when he does throw in his trademark visual flair, the film is impressive, even if it does, rather confusingly, imply Kato has some kind of superpower himself.
Speaking of Kato, Jay Chou is clearly not 100% comfortable in his first English-speaking role, but more than makes up for his problematic pronunciation with a superb physicality that sells his performance.

Film Review - Another Earth

One of the most powerful questions a piece of fiction can ask is, "What if...?" No matter how happy or unhappy we are with our lives, we all have those moments of weakness or fantasy when we wonder where our lives could have ended up, given different circumstances.
In Another Earth, our protagonist is driving when she hears the news that a second Earth, identical to ours, has suddenly appeared in the sky. In her distraction, she crashes into another car, killing a man's wife and child. On this other Earth, has the same thing happened? If not, which other path as her life taken?
This is one of those low-budget indie films that takes a high-concept blockbuster-potential idea and instead of giving us bangs and whistles, gives us a little glimpse into the human psyche. It's not as pretentious as it sounds, but is, by necessity, a bit ponderous. But that's no bad thing.
Brit Marling makes for a hugely sympathetic lead, balancing the character's sadness and regret with the right amount of positivity so that she isn't an unbearable moper, yet still carrying the weight of guilt.
The film plays itself out with a surprisingly decent level of believability, given the fantastical premise. Although I must admit the cliff-hanging ending did have me utter an expletive.

Film Review - The Tree Of Life

Blimey. Where to begin?
The Tree of Life reminded me of doing A Levels again. Remember those short stories where, at face value, nothing happens? But then when you delve deeper there's so much profundity you wind up cross-eyed? It's a film version of one of those. But much, much longer.
It's a real conundrum of a film- as fascinating as it is tedious, as beautiful as it is brutal, as warm as it is cold, as familiar as it is alien, as simple as it is complex... You get the idea. I could literally write an entire essay on every scene.
In a nutshell, it is absolutely stunning to look at. And whilst Jessica Chastain makes it three phenomenal performances in one year, I can't help but applaud Brad Pitt's impressively different performance. Gone is the charming, gurning buffoon or smug Mr Smooth. Here we have a man who is regretful and tender, as well as aggressive and bullying.
Which reminds me of further themes involving family, memory, doing the wrong things for the right reasons, god vs nature, love vs discipline...
It won't be everybody's cup of tea, but if you're in the right mood (feeling sorry for myself on my sick bed certainly helped me) then you might discover something amazing in amongst the (intended) chaos.

Film Review - Moneyball

Debating whether sport is a science or an art (when it's clearly a bit of both), this film effectively asks us to side with (and root for) the bean-counters, rather than the sport lovers. As someone who couldn't care less either way, I was happy to play along. It's certainly interesting to see mathematical theory playing out in the real world, even if Philip Seymour Hoffman initially throws some human error in there to sabotage the results. The film zips along nicely, and the leads do a decent, if overly-familiar job with their roles. I'm not quite understanding the Oscar buzz, but it's certainly an entertaining watch.

Film Review - Pom Wonderful presents The Greatest Movie Ever Sold

What begins as a film about product placement funded by product placement quickly becomes a film about advertising in general. Whilst never being anything less than entertaining and occasionally informative, I can't say I've come away feeling as though I've actually learned much. But Spurlock has a knack for making his documentaries accessible without being patronising, and does a great job of balancing objectivity with sponsor demands. It's a peek behind the curtain of what keeps Hollywood afloat, but just a peek.

Film Review - Rango

A post-modern animated Western aimed squarely at adults, but not necessarily unsuitable for children. It's gorgeous to look at and Rango makes for an amusingly incompetent lead, but it was all a bit raucous and slapdash.

Film Review - Beginners

A quirky piece that infuses a humour in the direction that is absent from the story itself. I can't deny that it was successfully moving, but there was something alienating about it that didn't quite work for me.

Film Review - Midnight In Paris

Woody Allen has always been more miss than hit for me, and whilst I can't say it blew me away, there was something seductively infectious about this film.
Owen Wilson plays things with such charisma and passion for Paris- the city, its history, art, culture, literature- that despite having no interest in the same things, I believed in his character completely.
Rachel McAdams makes the most of a pretty thankless role, and Michael Sheen steals his scenes as the slimy "pedantic" Paul. Both are odious enough to drive Wilson into the arms of Marion Cotillard, who has the required amount of allure to be a convincing distraction from Wilson's humdrum life.
It all flies by pretty quickly, and it makes its point quite nicely, but for all its highbrow intentions, it's ultimately a bit of throwaway fluff. And there's nothing wrong with that.

Film Review - Take Shelter

Many a time I've watched a film and found myself hoping some kind of devastating apocalyptic scenario is forthcoming. Usually, it's some generic blockbuster where characters are absent and people are no more than disaster fodder. So it's somewhat confusing when you find yourself wishing such a thing on characters you've come to care about.
Michael Shannon is phenomenal in this tale of a man plagued by dreams of devastation and betrayal. Convinced these are visions of a forthcoming storm, he keeps it to himself, but puts his wife and child at great risk, in order to protect them. But as certain as he is that this storm is coming, he is also aware that there is a history of mental illness in his family, and secretly pursues that option also. No mean feat for some blue-collar hick in Smalltown USA. Of course, it is said that one of the signs of sanity is that you are aware you may be insane...
The film is nicely paced, and the cast are superb, Jessica Chastain in particular- her second superb performance of the year, as in The Help. In the hands of a different director, this would be a special effects extravaganza, with every dream being some increasingly awesome set-piece. However, writer/director Jeff Nichols has taken the wiser route of showing the first few- and they are impressive- then leaving the rest to our imaginations. Instead, we see his tossing and turning, increasing anxiety and paranoia, and credit must be given for keeping the character sympathetic when he could have just as easily been written off as a fool.
If I had a criticism, it's only that the very beginning was a little slow, and despite feeling completely invested in the story, I didn't find myself welling up at any time. However, I did find myself thinking that this is one of those films that would be make-or-break, depending on its ending. For me, they got it spot-on.

Film Review - Drive

It's the beginning of Awards Season, so I thought it was time to finally catch up on some acclaimed films from 2011 that I'd missed. Following terrific turns this year in both Crazy Stupid Love and The Ides Of March, I thought I'd start with this Ryan Gosling vehicle. No pun intended.
Having heard a mixture of reviews, words like "brutal" and "slow" rarely fit well together, so my curiosity has been piqued for some time. Truthfully, how anybody could be bored by this is a mystery to me. Yes, it has its share of contemplative moments, but very few, very brief and somewhat essential for the development of the relationship between Gosling's character and his neighbour, played with an emotional intensity by Carey Mulligan.
Not that things take a while to get going, either. The opening scene is exhilarating, and is one of several visceral action sequences. It's once Christina Hendricks appears that the film moves into full throttle as Gosling's ordered life is turned upside down and he decides to risk everything to protect Mulligan and her son. From hereon, the violence is unflinching and, indeed, brutal- though mostly off-screen. Just.
Gosling makes for an unusual action hero- wiry, rather than bulky; youthful, rather than rugged; but you never find yourself questioning his capabilities. His character is something of an enigma- at times, downright antisocial; other times, playfully charming; mostly, emotionless and impassive. And it takes a deft hand to switch between these modes convincingly, and Gosling achieves it with aplomb.
A special shout-out to director Nicolas Winding Refn, too, who clearly has a fondness for 80s movies, with his use of synth pop and neon pink script font. A man after my own heart...

Film Review - The Thing (2011)

I am a big fan of John Carpenter's 1982 version of The Thing. It's one of a handful of horror films (Aliens, Poltergeist, A Nightmare on Elm Street, the first two versions of Invasion of the Body Snatchers) that have formed the foundation of what I look for in a good horror film. And, unlike a lot of film fans, remakes do not bother me in the slightest, as long as they do the job.
Of course, 1982's The Thing is in itself a remake- although similarities with the black & white original are minimal at best, so it's the 1982 John Carpenter version that will be hereon referred to as the original, especially since this 2011 version isn't a remake anyway, but a prequel to that specific film. Set in 1982, the film ends where the original begins. Well, sort of. Over the end credits we get glimpses of the bridge between the two stories- but it does leave one or two particularly large open ends.
Importantly, no previous knowledge is required in watching this film, although if you do have prior knowledge, then you have a clearer picture of where this is going, and how much hope there is for the characters involved. For me, this was an effective device, as it meant anybody could be disposable at any time, and by any means, but with the possibility of survival for anyone, also. As a result, there were some genuine heart-in-mouth moments, but also the occasional eye roll.
The original is a master class in paranoia. This achieves that, but in a slightly different, but no less effective way. The original features some phenomenal physical effects. This uses a combination of physical effects and CGI, but it has to be said that the CGI has a tendency to remove credibility, rather than add to the scares. It's fair to say the plot follows an almost identical path to the original, with specifics tweaked here and there. However, they've managed to justify this film's existence by throwing in a few new ideas, re-imagining some of the genuinely creepy moments, and expanding the mythology regarding the "thing" itself. Although this latter part is only partially successful, as it doesn't really add anything worthwhile to the story.
So fans of the 1982 film needn't worry- their beloved film has not been abused in any way. But truth be told, given the choice, next time I'm in the mood to watch "The Thing", I'm more likely to stick to the John Carpenter version than rewatch this one.

Film Review - A Very Harold and Kumar 3D Christmas

I am a newcomer to this duo's franchise (bar their original Van Wilder appearance), and coming in on part three of a trilogy isn't often a wise move. Fortunately, as I suspected, it wasn't a problem here.
In fact, the duo are separated as the movie begins, so as they rediscover their friendship, so too do the new audience. But there are other references that clearly have bigger pay-offs for the faithful, but nothing I found alienating or overly knowing. Speaking of which, the cameo from "NPH" is legen... wait for it... dary! [Well, actually, as cameos go, it's pretty run-of-the mill, but I saw the opportunity and took it...]
John Cho is a particular revelation as Harold, displaying an outstanding understanding of comedy. Kal Penn is given the less demanding role, but it's also the less sympathetic, and subsequently the one with the most growth.
Yes, I did say growth. Despite its ludicrous plotting, the film does have its contemplative moments too. But with the emphasis more on "moment" than the "contemplative". The film tips the balance in the favour of humour, and it does keep things moving.
As for the film's humour, it gets as base as you can possibly get- from toilet humour, to racial stereotypes, to babies on drugs. But there's something inherently likeable about the duo that makes it all forgivably amusing, rather than shocking or offensive. However, we are talking more of guilty sniggers than out-loud belly laughs.
If any film was going to get the 3D thing right... perhaps surprisingly, it was this. But even then, it only partially succeeds, taking absolute glee in mocking the 3D trend, they throw everything they can think of at the screen. Literally. Snow, dust, glass shards, cocaine, eggs, fingers, canes... Some work, but some have no impact at all.
I am delighted to see someone finally re-acknowledging that 3D is a gimmick; no more, no less. [See my Immortals review... Ask and you shall receive!]

Film Review - New Year's Eve

It's the end of the year, 'tis the season for Oscar-bait, and critics are sharpening their pencils. Best and Worst of 2011 lists are being compiled, and, for many critics, this rather timely piece has arrived just in time for inclusion on the latter. Critics have rarely been more unified in their disgust at this latest offering from Gary Marshall. The truth of the matter is this; it doesn't deserve a place on either list.
I have to be honest, I'm not understanding why there's so much hatred out there for this film. Yes, it has its faults. I rolled my eyes (more than) once or twice. Yes, it's very American-centric (I'm afraid nobody outside of the US cares about the Times Square glitterball. Or beyond the East coast, for that matter). Yes, it celebrates youthful beauty. Yes, for a film that covers many stories, it's completely hetero-centric. And yes, it's emotionally manipulative.
But it is what it is, no more no less. It's basically a rehash of the similar Valentine's Day and Love Actually, and falls somewhere between the two, in terms of quality. In other words, it's pretty much what you expect it to be. At a push, I can understand a sniffy critic, being forced to watch something they consider beneath them, would find it all rather underwhelming. Originality is not the film's strength, but neither is it its selling point. So if you make the choice to see it, but hate it... seriously, what were you expecting?
In a year where utterly hateful crap like Hanna and Kill List get critical acclaim, I'm more than happy to stand up for a silly, even forgettable rom-com. I, like many people, am rather fond of silly rom-coms (despite being very very happily single), and make no apologies for it.

Film Review - Arthur Christmas

I had no interest in seeing this. Until I heard the word "Aardman". And, as usual, they haven't let me down.
Raucous fun, with as much humour for adults as for the children.

Film Review - The Ides of March

A tense, smart political drama full of intrigue, double-crossing and great performances.

Film Review - Anonymous

Roland Emmerich does Shakespeare! Well, sort of.
This is something of a curiosity, as it requires a certain knowledge of the era in question... The less you know, the more confused you'll be, yet the more familiar you are, the more infuriated you're likely to be.
Either way, it's unforgivably tedious. Rafe Spall's unusual, OTT turn as Shakespeare lights up the screen... But that's about it.

Film Review - Immortals (in 3D)

John Hurt. A post-Wrestler Mickey Rourke. The new Superman. The amazing characters from Greek legends. Lots of beautiful people wearing very little. In the wake of 300's success, what could possibly go wrong?
Quite a lot, as it happens.
Forgetting a decent story is a good start. Searching for a magic bow is exactly as exciting as it sounds.
Mythological stalwarts such as Apollo, Poseiden, Ares and Heracles are wasted as they're left loitering in the clouds like bored teenagers- many of whom aren't even given the courtesy of being named aloud.
By the time any action kicks in, any possibilities of feeling invested in its outcome have long evaporated, and you're pretty much left to ooh aah at the visuals and mentally tune out during the incessantly dull talky bits. Of which there are many, and none are of any actual significance.
Visually impressive, but unforgivably boring.
Speaking of insignificance, the 3D adds nothing. A few times I lifted my glasses and there was barely any difference. Until film-makers accept it's a gimmick and make the most of it, it's unfair to charge extra for it.

Film Review - My Week With Marilyn

If I had spent a week with Marilyn Monroe, chances are I would have written a book about it too, even if it was as uneventful as this. Why someone would then read that book and go, "this would make a great movie" is a mystery to me. Well, almost. The answer is rather obvious; Oscar.
Michelle Williams certainly has Marilyn Monroe's voice, mannerisms and physicality down pat, but I was always aware that I was watching a performance. The film goes to great lengths to get across the fact that there's a huge difference between off-screen Marilyn and on-screen Marilyn, but Williams's performance does little to address that, other than spending most of the film being a bit morose and insecure- but she still retains the on-screen vocal inflections and mannerisms.
The rest of the cast do little more to improve matters, with Dominic Cooper popping up every now and again to tell someone off, Kenneth Branagh's indistinguishable-accented-turn as Laurence Olivier (he wishes), Carson from Downton Abbey (for that is now the actor's name) as a gruff, skeptical barman, and, most amusingly, Zoë Wannamaker as the most stereotypical Jewish New Yoiker imaginable (sic).
Fortunately, the only exception is the titular "me", Eddie Redmayne. He plays things with a thoroughly convincing wide-eyed enthusiasm, clearly as amazed by her interest in him as we (and everybody else) are.
That is not to say there is nothing interesting here. The pace is sedate, rather than overly slow, and mostly maintains a pleasant tone, only hinting at the darker sides of Marilyn's troubled life. But by the time it's over, you can't help but feel you haven't really learned anything.

Film Review - Hugo (in 3D)

This is something of a difficult film to review, because it's a difficult film to dislike. However, I also found it rather difficult to enjoy.

A clear love letter to good old-fashioned cinema, the film has a sincerity that draws you in and makes you root for it. But then you notice a bit of slapstick isn't quite as funny as it should be. And then one of the child actors fails to properly deliver a line, or facial expression. And then Ben Kingsley fails to portray any sense of believably his first scene. And his next. And his next. And then the slight background sub-plot appears to be going nowhere. And Chloë Grace Moretz's English accent is rather good, though is causing her to speak a little too slowly. And you then notice that the whole thing is going terribly slowly. And that Ben Kingsley really is just plain dreadful. And that your goodwill for the film has been stretched to snapping point, until you have to give in and admit that you're trying to enjoy yourself, rather than actually doing so.

But as it's a film with a decent, yet un-preachy moral, and it has no mean-spiritedness, I can't bring myself to rant. I'm not angry. Just disappointed.

And finally, the 3D. Is it necessary? Has renowned director Martin Scorsese finally found the way to use 3D in a way that makes it as essential as colour, as opposed to a gimmick? Well, no. Things open impressively- the camera flies through the sky, through the convincingly blinding snowstorm, onto a railway platform, between trains and around the waiting passengers, before flying through the mechanics of the station clock- its cogs, corridors and balconies... And that's about it. With a few underwhelming exceptions (dog barks at screen, the odd scenery pole juts out a bit), I'm just left wondering for what privilege I've had to pay an extra £2.50.

Film Review - In Time

An interesting "high concept" film that raises far more interesting ideas than it cares to address. I don't remember ever being anything other than entertained, but it did feel a little bit of a wasted opportunity. Visually, it's impressive, boasting a nicely old-fashioned style (despite its futuristic effects and gadgets), and falls somewhere between The 39 Steps and Les Misérables (Cillian Murphy's character in particular is soooo Javert). Justin Timberlake is proving to be a sturdy leading man, like an early Will Smith. He's nailing action, comedy, emotion and romance... Unfortunately the film lets HIM down by resorting to clichés- in particular, the infuriating "let's turn the hero into a murderer" route. Overall, it's a decent trip to the cinema, but it is unlikely to be remembered.

Film Review - The Lion King in 3D

I'm not a big fan of 3D cinema, and even seeing this masterpiece hasn't changed my mind. Once again, the retro-fit 3D provides little more than mis-shapen heads. But any excuse to see this film on the big screen again will always be welcome. One of the undisputed timeless classics of not only the Disney canon, but cinema full stop, it boasts memorable characters, beautiful scenery, a gorgeous score, an involving story and emotion by the bucketload. Perfection in animated form.

Film Review - The Adventures of Tintin: The Secret of the Unicorn

Cards on the table, I am not a fan of this "realistic" kind of animation, but only when it comes to the animation of humans. Pixar's cartoony characters are fine. How To Train Your Dragon? No problem. Shrek, A Christmas Carol, Beowulf, Polar Express- all of them creep me out. The realistic faces with the unnatural animation is just horrid. What made Avatar such a revelation was that it got this right. After seeing the trailer for Tintin, however, I was again left unimpressed.
However, it's not as much of an issue in the actual film as I'd suspected. Andy Serkis works his magic again on Captain Haddock, and Daniel Craig's character is similarly effective. Ironically, the most problematic character is Tintin. Jamie Bell is actually rather good, his voicing performance giving Tintin a certain amount of character that's pretty much absent from the script alone. However, his line of focus is out and at times he's staring oddly into space and it gets very off-putting.
But enough of that, the film itself is a rather fun little romp, combining the thrills of Indiana Jones with Pirates of the Caribbean, but directed with a flair from Steven Spielberg as we've never seen before. We've had glimpses in the jeep dinosaur-hunt scene of The Lost World, and the early car scene in War of the Worlds, but here, without the constraints of the real world, the animation allows for some effective action scenes, and some hugely imaginative dissolves.
Unfortunately, however, it all falls rather flat. I never found myself on the edge of my seat, nor invested- certainly not emotionally- and the humour was rather embarrassing (Pegg & Frost, I'm looking at you).
If you fancy it, see it. I'm sure you'll enjoy it- don't let the scars of the hideous Indy 4 put you off; Spielberg has definitely got his spectacle groove back. Just don't expect too much.

Film Review - Contagion

I'll cut to the chase, I was a bit disappointed with this one. But then I've never been particularly germophobic so maybe it was just lost on me. It starts off brilliantly, quickly killing off its major stars and focusing on the little things we take for granted- a touch, a cough... But it soon gets onto the cure storyline and any sense of threat just seems to evaporate, the sub-plots of social disorder aren't properly explored, and any sense of time is non-existent. The cast are excellent, but ultimately it all felt a bit pointless. I'm making it sound a lot worse than it is- I did enjoy it and acknowledge it as a decent film. It simply lets itself down by not living up to the promise of the premise.

Film Review - We Need To Talk About Kevin

As previously stated, I am not a fan of art house cinema, and this certainly falls into that category. The story is told in an almost random chronology, and relies heavily on long periods where nothing happens. However, it is one of those films that plants a knot of unease in the pit of your stomach that slowly builds until the credits roll. Major plaudits must be given to the cast, in particular the children who play Kevin- cold, chilling and completely believable, even as a baby. Ezra Miller, who plays teenage Kevin, is also a revelation- articulate, seething, calculating, proud- you never believe for one second that he isn't a complete psychopath. The sense of dread builds until the climactic revelation of Kevin's devastating actions- all the while, managing to keep gore off-screen. It won't be for everyone, but it kept me on the edge of my seat. Or, more accurately, cowering at the back of it.

Film Review - The Help

I was determined not to allow this film to manipulate my white liberal guilt. Result? The Help 1, me 0. To its credit, this film isn't quite what I expected it to be, as it's as much a film about class as it is race. On the negative side, it does have its fair share of stereotypes, clichés and one-dimensional characters, and some of the sub-plots are not pursued as much as I'd have liked... But, frankly, these are all afterthoughts as they didn't bother me at the time. Come Oscar time, this should be quite easily mentioned, in particular the acting categories; though to be quite honest it's near impossible to single one out as the entire cast are superb. I was utterly compelled and emotionally invested throughout, laughing and crying all the way.

Film Review - What's Your Number?

If you're going to have a lead character in a romcom, it's pretty essential that she's either relatable, likeable, or, at the very least, someone you can root for. Unfortunately, Anna Farris presents us with a character that displays levels of superficial selfishness previously only reserved for Carrie Bradshaw. As a result, her plight to reconnect with previous boyfriends becomes one where you can't help but side with the exes. Even Chris Evans's womanising neighbour is far too good for her, as at least he knows he's a cad, and displays several positive traits. All that aside, I can't deny that I chuckled. Out loud. A lot. Quite a lot, in fact.

Film Review - Warrior

I am in no way, shape, or form a fan of sport. Any sport. I have a particular aversion to the violence of the likes of wrestling or boxing. And yet, once in a while, a sporting movie comes along that manages to get itself under my skin. Last year's Oscar winning The Fighter was better than I expected, but is unlikely to ever grace my BluRay shelf. However, when you put these two films together, one is clearly superior. And it's not The Fighter. In 1999, Gwyneth Paltrow won an Oscar for her portrayal of a cross-dressing woman. In 2000, Hilary Swank won an Oscar for HER portrayal of a cross-dressing woman, one that frankly made Gwyneth's look positively laughable. Well, this year Christian Bale won an Oscar for his OTT performance as an off-the-rails has-been boxer. Here, both Tom Hardy and Joel "Uncle Owen" Edgerton have shown his performance up for the cartoon it was. And I haven't even mentioned Nick Nolte yet. Having becoming something of a public joke in recent years, his performance here is a revelation. Despite being relatively uneventful, repetitive, and even predictable, it also manages to be heartfelt, intense, and utterly compelling.

Film Review - Footloose (2011)

The original '80s Footloose was more of a guilty pleasure than a cinematic classic, remembered far more for its soundtrack than the film itself. In the intervening years it has become a full-blown stage musical, and rumour had it that this was to be a film version of that. Several cast changes later, it was not to be, and we are hereby presented with a more straightforward remake instead. The dancing has been updated to a more modern crunk/street dance vibe and, quite frankly, loses some charm in the process. The ever-so-slightly ludicrous plot is given some attempts at weight and credibility, as we are shown the accident and emotional fall-out that causes the infamous dancing ban. Dennis Quaid's performance goes a long way in this respect, especially with what could be a villainous role. (The less said about Andie MacDowell, the better.) But the biggest problem lies with the two leads. Kenny Wormald does a decent job as lead Ren, although he just doesn't have Kevin Bacon's charisma or screen presence. But it's Julianne Hough who has the toughest job making wannabe-slutty-rebel Ariel even the slightest bit sympathetic, and I'm still not convinced she succeeded. I couldn't help but feel that Ren's pursuit of her is wholly hormonal, rather than anything to do with his intuitive insight into buried traits of her personality. On the plus side, the ludicrous tractor scene has been replaced with something with a more genuine sense of peril, even if we have to lose Bonnie Tyler's dulcet tones in the process. And a special mention must go to up-and-comer Miles Teller, heartbreaking in Rabbit Hole, here flexing his comedic and dancing muscles to equally impressive form.

Film Review - The Three Musketeers

Imagine Pirates of the Caribbean, minus Johnny Depp, directed by the guy who does the Resident Evil movies. That's this movie, in a nutshell. Many critics have been sniffy about it, as they are with the Pirates franchise. I, however, found it all rather fun. Yes, the titular trio are woefully under-developed as characters, and even under-used as precocious prick D'Artagnan takes centre stage. And of course, it's full of implausibility and anachronisms. But, quite frankly, I was having too much fun to care. And you get a Take That song over the end credits. Sorted.

Film Review - Johnny English Reborn

Eight years ago, Rowan Atkinson gave us a full-length movie based around his previously-unnamed inept spy character from a series of Barclaycard ads. The result was far from spectacular. The jokes were mostly lame, the plot was irrelevant, and it was pretty much forgotten as soon as it finished. Well, he's back, just without Natalie Imbruglia. Other than that, the result is virtually identical, and definitely as underwhelming. At least it doesn't have John Malkovich. Both we and Rowan Atkinson deserve much better.

Film review - Don't Be Afraid of the Dark (2011)

Guillermo Del Toro's stamp is all over this from the outset, immediately reminding me of both Pan's Labyrinth and The Orphanage. Unfortunately, these comparisons aren't favourable, and don't last long as the tone is very uneven; too scary for a younger audience, and yet too sanitised to appeal to anyone else. Bailee Madison is the star of the show, and does an excellent job. But the film ultimately lets itself down with sub-par monsters (slightly scarier versions of Harry Potter's Cornish pixies) and a ridiculous ending.

Film Review - Perfect Sense

A fascinating premise, beautifully delivered. Completely compelling from the outset, the relationship between Ewan McGregor and Eva Green is the core of the story, rather than crowbarred in. Giving their characters the respective careers of chef and medical scientist keeps klunky exposition at a minimum.

The direction is thoughtful, contrasting frantic montages with slow, contemplative moments, and the ending is the perfect combination of happy and sad.

It's a shame that it's been such a box-office non-entity, as this film deserves to be every bit a classic as the similar Children of Men, if not more so.

Film Review - Melancholia

At times, I really hate arthouse cinema. Pretentious, meandering, self-involved... But occasionally beautiful, thought-provoking, and emotional. This was all of the above and more.
The second of two "parts" was definitely the better; featuring the far more involving hysteria from Claire (Charlotte Gainsbourg) and far less moping from Justine (Kirsten Dunst). We know the ending, but can't help get caught up in Claire's misplaced hope; and yet appreciate Justine's sense of calm in her "knowledge" of what is actually going to happen.
Impressive, but extremely boring for large periods.

(c) SRW 2011. All opinions are mine. If you like what you read, all the better; if not, other opinions are available.

Film Review - Red State

Kevin Smith is back! Easily his best film for a decade, Red State demonstrate a real ballsiness and confidence like we've never seen from him before. His directorial style has picked up a few new tricks, and they're used surprisingly effectively, reminding me at times of Tarantino at his best, Inglourious Basterds in particular. He rackets up the tension, the action, the claustrophobia with a deftness he's never shown before.

However, it's not all great news. Things begin to get a bit tedious and repetitive in the second half, thanks to shoot-out after shoot-out after tedious bloody shoot-out, followed by a sudden Coen-brothers-style interruption where we're told the story's ending, rather than see it for ourselves. Comparisons to Burn After Reading may be considered a compliment to some, but not to me.

But we are talking minor niggles here. If Kevin Smith hadn't shot himself in the foot by recently pissing off both film critics and distributors, this might have been his best shot at Oscar glory. The screenplay is one of his best- considered and intelligent, with his trademark base humour down a necessary, effective minimum. But the cast are flawless. Melissa "fucking" Leo outdoes her Oscar-winning turn in The Fighter by a long shot, Michael Parks is terrifyingly sincere and John Goodman grounds things superbly. Even the bit players get so show off some highly convincing acting chops.

Genuinely unpredictable, but nowhere near as unpalatable as you might expect.

(c) SRW 2011. All opinions are mine. If you like what you read, all the better; if not, other opinions are available.

Film Review - The Debt

I must admit I started this with an air of trepidation, having recently been burned by a spy film (Tinker, Tailor, bored already...) and as the film begins with approximately three timelines running at once, I began to fear the worst.

Fortunately, it was not to be. The opening was merely one of those Inception/Matrix head-f*** beginnings that makes sense only at the end. And by this time I'd spent a good hour or so holding my breath with suspense, cross-legged, afraid to miss anything during a loo break. The loose ends are nicely tied (but not too neatly), and I left the cinema one satisfied punter.

On the negative side, I do wish I'd seen the original (Israeli?) film upon which this is based, as the performances here are, at best, mixed. Yes, Helen Mirren is a national treasure and Sam Worthington does an adorable furrowed brow like nobody else. But those accents... I think Dame Helen was supposed to be Russian (she failed), but Sam's was downright indistinguishable, no doubt more so when he was speaking German.


(c) SRW 2011. All opinions are mine. If you like what you read, all the better; if not, other opinions are available.

Film Review - Abduction

When Alfred Hitchcock made North By Northwest, it was basically an excuse for the various exciting set-pieces to appear in one film, and the plot was incidental. Somehow, it worked. That template has been used by Hollywood ever since, ad infinitum, with varying degrees of success (Mr. Bond, I'm looking at you in particular).

Abduction is one example when it doesn't work. It's basically an excuse to get Taylor Lautner to fight, run/ jump/ slide around, fire guns, and snog; shirt optional. All of which he does rather well.

But the story supposedly tying it all together puts the "guff" into "MacGuffin". Ten seconds into the action and I wanted every immature irresponsible "character" on-screen to get some kind of hideous comeuppance. Unfortunately, that fate was destined to be mine.

Okay, so the action scenes are well-done, and Sigourney Weaver & Jason Isaacs are welcome on my cinema screen any time. Lautner does an adequate job with what he's been given, but it's far from the new Bourne. But at least it's not as bad as the similarly-premised Hanna.


(c) SRW 2011. All opinions are mine. If you like what you read, all the better; if not, other opinions are available.

Film Review - Crazy, Stupid, Love

One of the best romcoms for years. Well cast, acutely observed and, most importantly, funny.

Yes it loses a star for falling foul of the romcom cliches (most irritatingly the big misunderstanding followed by the big public declaration of love) and of course you know how it's all going to end (well, mostly). However, as I've said before (with romcoms in particular), it ain't the destination, it's the ride, and this one had me grinning throughout.

Carell and Gosling make for a well-matched odd couple, and even Julianne Moore manages flashes of believability. But the undoubted star (again) is Emma Stone, who, based on this evidence, could even charm me into bed.

(c) SRW 2011. All opinions are mine. If you like what you read, all the better; if not, other opinions are available.

Film Review - The Inbetweeners

So I've finally gotten around to seeing the UK box-office record-breaking sensation. And... It's alright.
I like The Inbetweeners TV show, in the way that it makes me chuckle once in a while, and its characters - who are as irritating as they are loveable - are scarily familiar.
Having lived through the years 18-30, the prospect of reliving them via such a holiday is no longer as appealing to me as it might have been at the time, so maybe I'm not quite the target audience. The acting is like well dodgy and the jokes are more cringe than LOL, but this is basically just an extended episode; no better, no worse.

(c) SRW 2011. All opinions are mine. If you like what you read, all the better; if not, other opinions are available.

Film Review - Tinker, Tailor, Soldier, Spy

It's not you, it's me. You lost me at "hello".

This might as well have been set to a foreign language audio track, without subtitles, and set to "shuffle" for all the sense it made to me. Familiar face after familiar face are presented (rather than introduced) on-screen as their names, roles, relationships, etc. appear far too trivial for such a complex piece. Unfortunately, such information is absolutely essential for me to follow such a film, so the second they mention someone and you ask yourself "which one's that?", you're pretty much tapped on the shoulder and asked to leave the dancefloor, as from thereon in you don't stand a chance.

I literally (and I literally mean LITERALLY) cannot remember ever caring less about anyone or anything on-screen. I may as well have been watching football. I can't say I hated it, as not one character was interesting enough to hate, let alone root for. There was a moment I would have happily given Tom Hardy a big "there there" hug, but it likely had little to do with the film. The only time I perked up over the tedious two hours was when I realised Benedict Cumberbatch reminded me of the alien from Close Encounters.

The film looks gorgeous- the direction is beautiful and patient. Unfortunately I'm not. Not without some kind of pay-off, anyway. Director Alfredson's previous film, the sublime Let The Right One In, had a similar directorial approach. However, that film had an emotional core, an involving narrative, intriguing characters and multiple pay-off moments that rewarded your patience. This has none of the above.

I'm not trying to persuade anybody this is a bad film. I'm sure it isn't and would happily put money on it now to win Best Picture at next year's Oscars (and I'll bet my life on the BAFTAs). If it worked for you, good for you, you must be cleverer than I am. For me, I'd have to say the emperor had no clothes on.

If only...

(c) SRW 2011. All opinions are mine. If you like what you read, all the better; if not, other opinions are available.

Film Review - Fright Night (2011)

A surprisingly decent vampire movie, something that is extremely rare. It gets the tone just right, with the exception of David Tennant's character, whose comedic character appears to have wandered in from a different film. I haven't seen the original (yet) so can't compare, but whilst this was decent, I can't see me watching it again.

Film Review - The Troll Hunter

For a presumably low-budget Norwegian film, this plays surprisingly like a mainstream Hollywood movie. Pacy, well-made and nicely tense at times, the visual effects are pretty decent too. The found-footage gimmick may be getting a bit tired now, but at least this is one of those occasions, like [.REC] and Blair Witch that uses it correctly.

Film Review - Friends With Benefits

A romantic comedy without the romance or the comedy, this was an easy watch but didn't have me laughing out loud. If anything, at times it made me feel a bit melancholic. The two leads are likeable enough, and there are a few neat ideas in there, most of it seen before or, at best, highly predictable.

Film Review - Kill List

Every now and then, a film comes out that gets rave reviews from critics, and turns out to be absolute garbage. We've already had the abysmal Hanna this year, but this makes that look like a coherent masterpiece.
At times, shockingly brutal and uncomfortable to watch, but mostly this film is a tedious case of "yawn, this had better be leading somewhere good". And it most certainly does not. The poor Wicker Man-esque ending is so misjudged it just undermines everything that's gone before (and I love The Wicker Man).
There's a pretty horrific final reveal, and I don't have a problem with that per se, it's the way it was so poorly executed. The supposed planted clues don't actually make sense even when you know the ending. As Eddie Izzard once said, it's easy to write an unexpected twist- e.g. a man comes home and a pig eats him. This is one of those.
Truly dreadful.

Film Review - Apollo 18

A partially successful Blair Witch on the moon, but ultimately too tedious to be scary. A nice idea though.

Film Review - La Piel Que Habito (The Skin I Live In)

Pedro Admoldóvar is one twisted dude. And, quite frankly, I've found his work to date pretty unremarkable, despite various awards, nominations and plaudits. However, this time I feel he's deserved them. The direction is stunning, the visual effects are beautifully subtle, and comparisons with Hitchcock are warranted, as I found myself reminded of Vertigo and Dial M For Murder at times. I was compelled from beginning to end, and surprisingly disappointed when it ended, as I could have kept watching.

Film Review - The Guard

A lot of love out there for this one, but I found it all a bit... meh. It certainly has its moments; the cast have great chemistry, and there's more than its fair share of one-liners, but I couldn't help but keep looking at my watch. Give me In Bruges or Intermission any day.

Film review - Final Destination 5

After a few lacklustre sequels, the Final Destination franchise finally moves back on track, giving us the spectacular and creative deaths we're after. A few new twists are thrown in, and the balance of gore vs laughter is about right, although it still doesn't quite match the first two. Unfortunately, a lot of time is wasted on characterisation- that's not a complaint you hear often, but we don't watch these films to see relationships develop, we want to see Death get his way. Everything else just holds up proceedings.

Film Review: Cowboys & Aliens

Disappointingly tedious. Overlong passages where nothing happens, and no obvious storylines or mysteries to keep you in suspense while you're waiting (and waiting) for something to happen. Unfortunately there's barely a chuckle either as it takes its preposterous premise rather seriously.
It's mostly a western, but even the scifi elements are over-familiar. The Cloverfield alien blueprint is back (yawn), and their spaceships just look like spare ribs.
It's not a complete disaster. Daniel Craig is especially good and there's a twist you might not see coming (not a particularly good one though). It's not quite Twilight boring, but gets there at times. Not what you'd expect from the director of Iron Man.