The Giant Mechanical Man

An offbeat romantic comedy about a silver-painted street performer and the soft spoken zoo worker who falls for him.

The indie approach to love stories differs quite markedly from that of mainstream Hollywood. The Giant Mechanical Man fits comfortably into this tradition, its lack of grandeur adding to its charm, but at times it's a flick that feels a little too contrived to become something you'll want to revisit.

The plot centres on a street performer (Chris Messina's Tim) and his struggles to fit in with the expectations of society at large, as well as to make ends meet. His lack of desire to take part in conventional culture defines the character and leads to a variety of problems in his relationships, largely due to drastically differing views on the world from those around him. His approach to life is fairly philosophical, believing that if he can brighten even one person's day on their way to work, it will make everything worthwhile. The character works well for the most part, but can come off as a stereotypical arty type in some of his rhetoric, which some may find a little grating.

The other side of the narrative takes Jenna Fischer's Janice as its focus. She has little idea what she wants from life and has difficulty holding down the succession of menial jobs that she takes on to pay the rent. She is the archetypal daydreamer, her head in the clouds more frequently than on solid ground. Her awkwardness in social situations does a lot to make the character likeable, the urge to will her to speak up for herself overwhelming.

The balance between comedy and drama in the film is judged well. There's adequate humour to raise a smile on more than one occasion and the drama plays very successfully for the most part. However, the scenes intended to be the most intense sometimes don't work quite as well as they should, leaving some of the more pivotal moments feeling a little flat. The movie's charm does a lot to make up for this, but there are points at which it is slightly overcooked and what atmosphere there was is crushed under the weight of borderline sickly sweetness.

The biggest problem here lies in the slightly ridiculous coincidences that lead to the two protagonists getting to know each other. The aim may perhaps have been to demonstrate how predestined to be together they really are, but there's an uncomfortably artificial feel that comes along with this and it detracts more than a little from the picture as a whole.

The Verdict:  

6.5/10
An unconventional love story in some ways, but quite ordinary in others. The quirky characters are offset by some overly contrived plot devices, just about preventing the film from becoming worth revisiting.   

Elephant

Several ordinary high school students go through their daily routine as two others prepare for something more malevolent.

In the wake of the Columbine school shootings, there was much discussion and sensationalism around what could have motivated the two killers to commit such horrific acts before taking their own lives. Elephant explores this question by giving us a window into the harrowing final moments of a pair of fictional high school murderers, as well as their victims.

The film follows several different students in the hour that leads up to the beginning of the violence, showing us the normality of their day to day lives. These segments are surprisingly engrossing, considering it's just people going about their business and interacting with the world that they inhabit. The perpetrators are included in this and are revealed to be pretty average teenagers. The lack of hyperbole in the portrayal is chilling and it's a quality that typifies the tone of the picture as a whole. The documentary feel of the style feeds into this and further accentuates the unspectacular nature of the day, though it's not just the pragmatic approach to filming that is important in this regard.

The cast are made up of untrained high school students, most of whom carry their real names on-screen as well as off. Personally, I found this a little eerie, but that may perhaps have been the point. There were apparently no prepared lines to speak of, Van Sant preferring to allow the amateurs to improvise. This not only helps give the dialogue a genuine flavour, but also avoids any complications that could have arisen through unskilled acting combined with trying to remember what to say. Ultimately, the freedom that is given makes for performances that feel remarkably natural, providing an atmosphere of unsettling realism.

There's also much to appreciate as far as the cinematography is concerned. The incredibly long takes that follow the students as they go through the day are impressive, taking in the bustling environment of the school and its inhabitants. Considering the leisurely pace of the editing, it's perhaps somewhat surprising that the film is almost unbearably tense at times. The knowledge of what is to come coupled with the blissful unawareness of the characters is largely responsible for this. It's an aspect that becomes even more effective once panic begins to spread, confusion, chaos and disbelief replacing the mundane.

As an experience, it can be hard to watch, though in the best possible way. The lack of movie conventions, particularly in terms of gunplay, makes the action that much more moving. There's nothing in the way of stylistic affectation applied and the detached coldness that this provides mirrors the attitude of the killers, bringing the events home with a shockingly powerful impact.

The Verdict:    

8/10
An intense and powerful film that is devastatingly effective in its approach. Poses some tough questions in exploring the subject at hand.

The Man Who Knew Too Much

A family vacationing in Morocco accidentally stumble on to an assassination plot and the conspirators are determined to prevent them from interfering.

Hitchcock's mastery of suspense is widely appreciated and his genius often referenced by countless film-makers, both past and present. For me, The Man Who Knew Too Much doesn't quite match his best work, but still showcases all the trademarks that make him such a revered figure in cinema to this day.

This was the second time that the acclaimed director had brought this story to the screen, the first being in 1934. It was by no means a straight remake of his first interpretation and the differences are many, with some aspects updated, others changed completely. Even the narrative itself is markedly altered, though the broad strokes of the plot remain intact.

As is the case here, the collaborations between Hitchcock and Jimmy Stewart are numerous and generally very successful. The director liked to use him so much due to Stewart's demeanour, embodying the average Joe and enabling audiences to put themselves in his characters' shoes much more easily. It's a feature that works especially well in this particular picture, though the archetype has evolved somewhat over the years since its production and he can sometimes come off a little gruff.

The choice of Doris Day for the female lead caused some concern at the time, as she was never a name that was associated with dramatic roles. It's a shame in some ways that she was so closely aligned with musicals due to her vocal talents, as her work in the film is excellent, particularly in the more emotional scenes, which showed her to be a quite capable actress when the situation called for it. There are also one or two scenes with songs shoehorned in, but they are done tastefully and fit with her role as a retired star of the stage.

The famous Royal Albert Hall scene is where the film reaches its peak and it has stood the test of time well. The tension remains intact and the desperation of Stewart's Dr. McKenna is palpable. The combination of the score (which Bernard Herrmann opted not to change from the first iteration, though he was given the choice) and precise, effective editing make it easy to see why it is considered such a classic.

The Verdict:

7/10
Yet another Hitchcock picture that is high on suspense and intrigue. Doris Day impresses in one of her few dramatic roles and is matched by Jimmy Stewart's usual finesse.

Sightseers

Chris wants to show girlfriend Tina his world, but events soon conspire against the couple and their dream caravan holiday takes a very wrong turn.

There's something very British about a caravan holiday, though it's not quite as ubiquitous a pastime as it may once have been. Sightseers takes the mundane as a starting point and turns it on its head resulting in a darkly comic road movie that has a style all its own.

There's a very peculiar wavelength to this flick and it took a while to adjust to it. It's difficult to know what to make of it all in the first ten minutes or so as we are introduced to the characters. Alice Lowe's Tina and her domineering mother both archetypes that may ring true for some, but left me at a bit of a loss as to what the intention was. Once Chris, Tina's new boyfriend, arrives to whisk her away on a sightseeing tour of Britain, things start to slot into place and the tone of the film begins to establish itself, raising a few smiles of recognition and provoking the odd awkward squirm.

Broadly speaking, the comedy of the film is very subtle, but there are several moments that had me laughing out loud. It was only once the plot had really begun to take shape that I could fully appreciate these subtleties and stop trying to figure out what on earth it was that the movie was going for. The juxtaposition of the utter dullness of attractions such as the pencil museum and the bloodthirsty urges that simmer below the surface of the couple's average exterior are in equal parts bizarre and comical. Their conversations about the crimes committed are hilariously banal, discussing murder as though they were picking out tiles for the bathroom. It's this lack of excitement over anything that gives the flick a uniquely eccentric quality that's irresistible.

For any of this to be successful, it's essential that the performances be fitting and they most certainly are. Alice Lowe plays the sheltered little girl that never grew up with beautifully understated restraint, confusion and amazement etched on her face at the most ordinary of occurrences. At thirty-four she still lives at home, her childhood bedroom appearing to be much the same as it was the day she started school. Steve Oram's Chris is far more worldly, though just as dreary, all anoraks and sensible outdoor attire.

I can honestly say that I've never seen anything quite like this before and it left me wanting more. This kind of comedy is very dark around the edges and to some degree very specific, but the sharpness of vision is clear to see, leaving its mark on British cinema and standing out from the crowd effortlessly.

The Verdict:

7.5/10
A darkly comic film that is both inventive and irresistibly different. A weird and wonderful experience that takes some getting used to, but really delivers where it counts.  

Basic Instinct

A police detective is in charge of the investigation of a brutal murder, in which a beautiful and seductive woman could be involved.

When a film is parodied as much as this one has been over the years, it can sometimes lessen any impact that it once had. Basic Instinct is not affected in the least by all the fun that's been poked at it, still retaining the intrigue and power that made it such a success upon its release.

The twists and turns, mind games and misdirection are what really make this movie such a classic. There are few femme fatales as callous as Sharon Stone's Catherine Tramell and she plays the part with a chillingly cold precision. The film draws on a number of pictures that have gone before it for inspiration, but these aspects always feel like respectful homage, rather than wilful thievery. It's this combination that lends the plot a sense of timelessness, though the same can't necessarily be said for the style in which the material is approached. Having said that, there's surprisingly little in the way of content that feels painfully dated, which can sometimes be jarring in other flicks of the time.

The original script apparently called for a much younger protagonist, but Douglas is not held back in the least by his advancing years (pushing fifty at the time of the film's release). His character's tragic past inflecting his attitude to life and difficulties relating to those around him. The incredibly insular nature of the man does much to accentuate the tightness of Tramell's hold over him, her unnerving skill in controlling others demonstrated to be unparalleled in stature.     

Whether or not the many graphic sex scenes that populate the picture are necessary in relating the narrative is debatable, but they do add an extra layer of depth to the motivations of the characters. Rather than being any kind of expression for those involved, the intimacy often serves as a means by which to manipulate partners into decisions and conclusions that further entangle them in a brilliantly twisted web of lies and deceit. It's a somewhat cynical take on relationships, but adds to the feeling that danger lies around every corner and choosing to trust more or less anyone could be a fatal mistake.

For the most part, the murders themselves would not feel out of place in a slasher flick. Copious amounts of blood and an unflinching focus on the grisly details characterise the majority. This, along with the erotica and locations in which the action takes place, bring the seedier side of this fictional San Francisco to the fore. A constant supply of sex, drugs and alcohol seemingly on tap at all hours of the day.

The Verdict:

8/10
A classic thriller full of sex, murder, and intrigue. One of the most memorable femme fatales in cinema has lost none of her cold dominance in the years since the film's release. Essential viewing.

The Island

A man goes on the run after he discovers that he is actually a "harvestable being", and is being kept as a source of replacement parts, along with others, in a Utopian facility.

Michael Bay is not a name that is frequently associated with films that are particularly profound. The Island doesn't buck this trend entirely, but does more than enough to cement its place as his most cerebral work to date.

The science fiction aesthetic at work here is by far the easiest with which to suspend disbelief. The environments are futuristic, but not so much so that the world feels alien at any point. There are, however, some issues with consistency in the dates given for when these events are taking place, but the specifics are not where the film's magnetism lies.

The story is centred on a moral dilemma, posing a number of philosophical questions in the process. It also taps into a topical discussion on the implications of growing replacement organs and the kind of scenarios that this might lead to. The breadth of the exploration isn't particularly far-reaching, but is mostly responsible for the more intelligent elements of the film. It gives the rest of the action a weightier feel, preventing this from becoming just another explosive romp completely devoid of a brain. It won't keep you up at night, but the plot is sturdy enough to provoke at least some contemplation as the narrative plays out. 

There is a noticeable shift in pace after the initial scene setting has been done, the action set pieces coming thick and fast. Bay tends to split opinion as a film-maker, but there can be no doubt that he is very good indeed at what he does. There are sometimes criticisms levelled that the sequences he brings to the screen are somewhat repetitive across movies (think highway chase scenes with cars being flipped like Matchbox toys and a skyscraper's worth of breaking glass). There may be some credence to this, but for me, it doesn't make it any less breathtaking to experience when the picture is in full flow.

As for the performances, all concerned put in decent displays, with the highlight being Steve Buscemi. His ability to carry a scene is just as potent here as it has ever been, bringing some light relief in the process and pushing the movie forward. The remainder of the supporting cast also throws up some pleasant surprises, the childlike attitude of a few of the characters affording ample opportunity for the actors to have some fun.

The Verdict:

7/10
An action flick with at least some semblance of intelligence. High octane is the order of the day and it's done with both style and audacity.

Olympus Has Fallen

Disgraced former Presidential guard Mike Banning finds himself trapped inside the White House in the wake of a terrorist attack; using his inside knowledge, Banning works with national security to rescue the President from his kidnappers.

Antoine Fuqua's back catalogue is a bizarre mixture of intelligent film-making and mindless, yet enjoyable drivel. Olympus Has Fallen is firmly rooted in the latter, foregoing any smarts it could have had and coming out the other side as a ridiculously overblown action movie that I tried hard not to like, but was tough to completely resist.

From the opening sequence onwards, it's clear that the focus here is most definitely not the characters. Dialogue is dry and cheesy, character development largely non-existent and the score excessively emphasised. There's no room for misinterpretation and it soon becomes clear that any part of the film that is not made up of action is just filler, inserted purely for the purpose of providing the odd breather from the gunplay and explosions. To make matters worse, the drama is often so bad that moments intended to be heartfelt frequently result in laughter, rather than the intended response. These factors combined should result in a flick that's borderline unwatchable, but somehow they don't.

Make no mistake, this is one of those instances where something is so bad that it's almost good. The abject lack of attention to realism is staggering and leads to the conclusion that it must be at least partly deliberate. Fans of the genre will find a great deal to enjoy, as almost the entire running time is packed with explosives and countless rounds of ammunition. The body count within the first hour alone dwarfs that of many of its contemporaries and, whilst it may leave a bad taste for some, is all geared towards creating the most ridiculous spectacle you'll have seen in a while.

Gerard Butler excels in this kind of role, drawing on his experiences from Gamer and Law Abiding Citizen amongst others. It's all 'duty' this and 'duty' that, with next to nothing in the way of motivation. It's remarkably vacuous, but ultimately conforms to the aesthetic of the movie without fault. It's also refreshing in some ways that the evil doers are not Russian for a change, but in all honesty, they may as well be, with the plot taking the same painfully predictable path that is par for the course, given the nature of the flick.    

This isn't a picture that's going to be winning awards any time soon. It will also be a huge turn off for some. However, for those who enjoy spectacle above all else, you could definitely do worse than the raging fireballs and dimwitted melodrama that are on offer here.

The Verdict:

6/10
Wall to wall action and not much else, but it's executed with such brazen disregard for character and plot that the outrageous spectacle is difficult to completely resist.    

The Guilt Trip

As inventor Andy Brewster is about to embark on the road trip of a lifetime, a quick stop at his mom's house turns into an unexpected cross-country voyage with her along for the ride.

As an adult, being forced to spend an extended period of time with your mother can be a bit of an ordeal at the best of times. The Guilt Trip taps into this and transposes it into a road movie that survives the low points through the great chemistry between Streisand and Rogen, but falls just shy of being worth a second look.

There's a lot to like about this film, in particular the way in which the two main characters interact with each other. Very rarely do the scenes feel rehearsed in any way, which gives it the tangible feel of a genuine relationship between mother and son. This goes a long way in helping to identify with the situations that arise and giving a sense of investment in the outcome. On top of this, it pushes the more comedic elements to the fore, showcasing the observational humour, which is very on point much of the time. It's rarely enough to inspire raucous laughter, but will frequently leave you with a knowing smile as the experiences of Rogen's Andy strike a chord of recognition. However, at some points these experiences can seem a little too familiar, interspersing the more engaging sections with a hollow disappointment.

It's worth noting that Streisand puts in an impressive performance and is primarily responsible for the disarming honesty that some of the more dramatic scenes possess, but the movie treads a fine line between emotional content and cheesy sentimentality with varying degrees of success. On the whole, when it gets it right, it does so very well, but when it fails, it's very noticeable indeed. The soundtrack is the biggest culprit in this respect, giving some moments a much more contrived feel than they would otherwise have had. It's clear what the aim was in these instances, but it's piled on a little thick for my taste, and there were a few points that inspired a cringe. This is the major fault that drags the picture down as a whole.

The plot is simplistic, but no worse off for it. There's nothing spectacular, but it's functional, and has just enough substance to serve as the backdrop for the two protagonists to play off each other. The film also comes across as fairly low budget, which is fine, but there are one or two glaringly obvious uses of green screen that are conspicuous in their low quality. It doesn't ruin the flick, but I found it somewhat distracting when they put in an appearance.

The Verdict:

6.5/10
A sweet and funny film that sometimes tries a little too hard to tug at your heart strings. Enjoyable and worth seeing for Streisand's excellent showing, though falls just short of being worth a second look.

Wreck-It Ralph

A video game villain wants to be a hero and sets out to fulfil his dream, but his quest brings havoc to the whole arcade where he lives.

The 8-bit era is close to the heart of many a gamer, evoking a deep nostalgia for days gone by. Wreck-It Ralph firmly latches on to this sentiment, providing the older members of the audience with just as much to enjoy as the kids.

Disney's business practices aren't always seen in a positive light, but there can be no argument as to the consistency of the films they put out. They have a knack for producing stories that live long in the memory of both children and adults alike. This particular movie is no exception and, whilst the plot is far from original in terms of its themes and morals, it's done with such heart that it really doesn't matter. There are lazy genre flicks, but there are also good genre flicks, and this certainly falls into the latter category.

The world itself is realised with great attention to detail. The bright colours and finely detailed environments giving a real sense of how much work has gone into the production. The sights and sounds of the arcade are also integrated into the action with great effect, the mindful application they receive giving the impression that it's not just the audience that has been hit with a dose of nostalgia.    

As per usual for Disney, the voice acting is top notch, with stars as diverse as Jane Lynch and Dennis Haysbert lending their expertise to bring the world to life. The characters are also very well conceived, each with their own cross to bear as they live out their lives as jobbing sprites in the local arcade. The art of tempering cuteness with a degree of sadness is where the film really excels, never coming close to the point of being off-putting through being sickly sweetness. 

Rounding out the characters is a huge cast of extras taken from a variety of retro gaming sources. Everything from Street Fighter to Sonic, Mario to Q*bert is represented, and it never fails to raise a smile for those who look upon them with fondness. From a marketing perspective, it's a masterstroke. The kids get their serving of fun, but the appeal extends to a whole different generation, drawn in by the promise of a trip down memory lane. 

The Verdict:

7/10

A very enjoyable experience. It won't exactly have you on the edge of your seat, but the charm that flows through it is more than enough to make for a movie that you won't mind revisiting one bit.

Man of Steel

A young itinerant worker is forced to confront his secret extraterrestrial heritage when Earth is invaded by members of his race.

After the dire reception received by the last attempt at rebooting the franchise, one would hope that some of the previous film's failings might be addressed in erasing it from memory, revitalising the character to fight another day. Man of Steel, though not quite as dreary as its predecessor, still treads familiar ground, battering audiences with clumsy storytelling, and drawing an uncomfortable amount of inspiration from some of its contemporaries.

One of the film's biggest problems is that of the exposition. As the movie gets going, it's not long before a pattern develops - we see an event, some time passes, and we are then forced to sit and listen to a recounting of that same story to another character. If there were some kind of different insight to gain from this, it may offer some value, but this is rarely the case. As you might expect, this irritation soon becomes tedious and the potential impact of later scenes is outright flattened by boredom. There is also a troubling reliance on cliché in some of the presentation of Clark's journey to becoming a man. This isn't the only aspect of the film that is plagued by such concerns.

Artificially inserted lens flare is something that earned 2009's Star Trek no small amount of ridicule. I hadn't thought it possible for this to be trumped, until now, that is. The frequency with which it occurs in this picture is positively distracting. Almost every shot that contains a light source has received the treatment, absolutely reeking of trying too hard to attain the aesthetic of the J.J. Abrams picture. This made any attempt at beautiful vistas redundant, swiftly turning admiration to a roll of the eyes, as the obvious desperation to appear epic in scale inspired a cringe at every turn.

As far as the cast is concerned, there are no disasters to mention. Most perform well, the majority of faults that exist being down to the writing itself. More than a handful of these characters would have been better off being omitted completely, rather than being the blank placeholders that they represent. A generic scientist whose sole function seems to be to express his disbelief to the heavens when a big special effects scene is imminent is the low point, but this is only the tip of the iceberg.

If there is one saving grace of the film, it's the action sequences. They are uniformly impressive, albeit somewhat repetitive in nature. The lightning fast brawls on offer are a sight to behold and are executed with exceptional style. Had the storytelling been better, these scenes could have served the purpose of enhancing the plot. As things stand, they are left as one of the few highlights in an otherwise dull affair.              

The Verdict:

5/10
A film full of clumsy exposition and poorly written characters. The action is largely superb, but comes too late to save the film from plummeting into mediocrity. Disappointingly average.

Casa de mi Padre

Scheming on a way to save their father's ranch, the Alvarez brothers find themselves in a war with Mexico's most feared drug lord.

As prolific as Will Ferrell is, it can't often be said that he takes a great many chances in what he chooses to put his name to. Casa de mi Padre bucks this trend with irreverence, resulting in a surprisingly adept spoof that manages more than a few very funny moments. It's also a brave choice for Ferrell to take on a role that is entirely in Spanish. Having spent a month with a dialect coach before filming began, the outcome is occasionally patchy in terms of his delivery, but this only works in the film's favour, further enhancing the deliberately absurd nature of the production's approach.

Though he receives top billing, the film's main star is certainly not the only high profile presence here. Both Diego Luna and Gael García Bernal of Y Tu Mamá También fame are reunited and put in an appearance to great effect. Bernal in particular is impressive, throwing himself into the character and offering some of the picture's most memorable moments, his attention to detail adding to the utter ridiculousness of the scenarios of which he is a part.

The movie spares no expense in making itself look as cheap as possible. Scenes that are clearly shot on a sound stage, badly painted backdrops, poorly edited and nonsensical cuts, blatantly obvious continuity errors, mannequins as extras, it's all here. Much of the comedy comes from these aspects, rather than the characters themselves, though not entirely. The visual jokes are in large part successful and the subtitles can often provide plenty to chuckle over. The plot, too, settles into this model perfectly, packed to the brim with cliché and supplying more than enough ammunition for sending up numerous westerns in one fell swoop.

To some degree, it's unsurprising that the film hasn't received a great deal of attention outside the US. Whilst still enjoyable for those with no knowledge of Mexican tropes, it can leave you with the feeling that you're missing out on some of the jokes due to a lack of experience in this regard. Despite this, there's more than enough to make it an enjoyable flick and the highlights aren't short on universal appeal.

The Verdict:

7/10
A well constructed spoof that had me laughing out loud on more than one occasion. A great cast and brilliantly cheap production values make for a short and sweet comedy that has enough to keep you coming back for more.

Sin Nombre

Honduran teenager Sayra reunites with her father, an opportunity for her to potentially realize her dream of a life in the U.S. Moving to Mexico is the first step in a fateful journey of unexpected events.

Honduras isn't a country that is mentioned a great deal in the foreign cinema that makes it to our shores, though the scenarios we are presented with here are familiar ones. Sin Nombre, whilst not breaking new ground in terms of its subject, approaches the matter from a different vantage point and impresses with both visceral presentation, and a clear social conscience.

Since the success of City of God, the way has been paved for a great many films that take gang culture in the poorest communities as their topic of discussion. The difference here is that the gangs are not the main theme of the narrative, the primary concern is the effect that they have on the lives of those around them. To some degree, the criminal underworld is a barrier to bettering their circumstances and the part that is played by violence in preventing average people from achieving their goals, despite the fact that they don't belong to that world, is very much emphasised.

There is perhaps a degree of allegory to the narrative in that innocence is corrupted by violence in the form of the young Kristyan Ferrer's El Smiley. His transformation from innocent schoolboy to heartless gangster is a stark one and drives the point home with unfaltering candour. The initiations are brutal, leaving no room for compassion, and his desire to give up his future for the sense of brotherhood he has witnessed is a truly disquieting aspect of the film. The sense of privilege and superiority innate in his recruiter is abundantly clear in his dealings with the boy's family and this only adds to the attractiveness of becoming part of that life.     

 

All this heartache and suffering can make for uncomfortable viewing at times, but in the best possible way. There is no intention of making the struggles of everyday life more palatable and these challenges are brought sharply into focus. There's a tangible desperation in the desire to escape this degree of poverty, with the hardships encountered being numerous and unforgiving. It comes as little surprise that so many decide to leave in search of a better life by way of the American border.

The lengthy journey that people must take to find this salvation makes up the majority of the film and also digs deeply into the consequences of gang life and ordinary citizens clashing due to grisly circumstance. It's here that the film really comes into its own, raising many questions around whether the potential for redemption in those who have lived their lives steeped in blood even exists. There is hope in Paulina Gaitan's Sayra, the antithesis of El Smiley, seeking a way out of the misery of her homeland and to building a better life for herself and her family. 

Whilst both the setting and some of the circumstances that frame the narrative are nothing new, the contemplative nature of the movie is where its true potency lies. This makes for a picture that stands above the crowd and unflinchingly does its aims justice.

The Verdict:

7.5/10
An affecting film that is unfaltering in its representation of hardship and violence. The questions raised dig deeply into the nature of damnation and redemption, delivering a slice of life in the barrios that is difficult to shake.

Battle Royale

In the future, the Japanese government captures a class of ninth-grade students and forces them to kill each other under the revolutionary "Battle Royale" act.

Japanese cinema can sometimes throw up some very interesting ideas, often being far more willing to push the boundaries of what is acceptable than many studios here would ever dare. Battle Royale is one such example and delivers an experience that is both inventive and nightmarish, but also just as incredibly entertaining as it is taboo.

I hadn't seen this in ten years or so and was somewhat concerned that the spectre of The Hunger Games (being more or less a poor, sanitised facsimile of the film) might detract from the experience this time around. Thankfully, this wasn't the case and it didn't enter my mind once. From the first few seconds onwards, its captivating melodrama and gleeful pomp had me glued to the screen, absorbed in the universe gone askew in which pitting children against each other in a fight for survival is an acceptable method of discipline. It's this aspect of the premise, more so than any others, that renders imitators so inferior. The sadistic nature of the world, the sheer cruelty of it, that give it so much more weight. However, this is not necessarily to say that it sets out to succeed through disturbing the viewer.

At its heart, this is an action flick. Yes, there is a great deal of blood, and yes, these murderers (and victims) are school children, but the action sequences are by far the most prominent point of the film. It's sometimes almost surprising that it was released as recently as 2000, mostly due to the very '80s action feel that can be found in many of the scenes. There's a sort of grubby, Escape from New York air to it that I just love. In addition to this, it is also about as far from Hollywood as you can get. The Asian style of storytelling is markedly different from that of Hollywood and its ilk, making for an experience that is always refreshing, should you be the sort that takes in a great deal of American cinema.

As far as the characters are concerned, I can only say that there seem to be many unstable types in the Japanese school system. Granted, these particular youths are intended to be disaffected and rebellious in the extreme, but the frequency and ease with which they turn sociopathic is alarming. Having said that, it does make for some very memorable imagery. On top of this, those overseeing the bloodbath are just as warped as those forced to take part and seem to take no small degree of pleasure in the carnage as it unfolds. Most have little to no depth to them, but this works just fine given the nature of the movie. At the very least the central players are afforded some dispensation in this respect.

Overall, there's very little time to catch a breath given the pace of the film, with violence that comes thick and fast, as well as the gore. In light of this, the degree of depth is surprising and certainly has the capacity to get you thinking.

The Verdict:

8/10
An action flick that spares no stomach when it comes to the blood, but at the same time isn't completely brainless. Both controversial and incredibly entertaining in equal measure.    

Side Effects

A young woman's world unravels when a drug prescribed by her psychiatrist has unexpected side effects.

For me, Steven Soderbergh's choice of projects of late has been decidedly patchy. These days you can never quite be sure what you're going to get from him. Side Effects is one of those films that falls well within the category of excellence that he is better known for. It's a brilliantly twisted tale that has more than its fair share of moments that will have you on the edge of your seat, as well as some excellent performances. 

There are a number of strengths that the film possesses, most notable of which is the plot. The opening scenes have a real sense of drama and social commentary, but we end up with an entirely different beast as the story progresses. The constant supply of twists and turns can be dizzying, but never gets close to being confusing. Scott Z. Burns's writing is such that everything fits into place and for the most part avoids predictability altogether. It's not entirely original by any means, but the envelope is certainly well and truly pushed throughout the second half of the flick. There are even aspects of the narrative that wouldn't feel out of place in a horror, albeit without the gore.

Character development is handled well, with the fleshing out done in a minimalistic style through telling pieces of dialogue and action, rather than laboured exposition, and there is a seamless transition between the more dramatic elements and the thriller sensibility that takes over as events unfold. It's worth noting that there are one or two lifeless presences here and there that serve no other purpose than to drive the plot forward at specific points, but they are easy to ignore in light of the rest of the picture.

There's a lot to be said for the manner in which the issue of depression and a culture of medicating is tackled. The illness itself is presented with care and there are attempts made to make sense of the experience that sufferers may be going through. It's not particularly extensive in depth, but there is more than enough to enable the viewer to identify with the characters. This is absolutely essential in giving the plot the impact that it has and it's worked to perfection.

As far as the performances go, all are at the very least solid, but Rooney Mara is pretty spectacular at times. It's a great opportunity for her to exercise her range and she seizes it assuredly. She brings a tremendous feeling of authenticity to the role, though whether this is down to personal experience is unclear. The situations that arise are certainly extremes, but by the same token, not beyond the realms of possibility. It's a testament to the film's effectiveness that these situations still retain their power, despite the fact that the aftermath of some has already been revealed earlier in the film.

The Verdict:

 7.5/10
A brilliantly twisted tale full of tension that will have you on the edge of your seat. Rooney Mara shines in this thriller that pushes the envelope and offers a few surprises along the way.

The Place Beyond the Pines

A motorcycle stunt rider turns to robbing banks as a way to provide for his lover and their newborn child, a decision that puts him on a collision course with an ambitious rookie cop navigating a department ruled by a corrupt detective.

Regular readers of the blog will already be aware of my appreciation for Ryan Gosling's talent as an actor. The Place Beyond the Pines is yet another showcase of his skills, but that is by no means all it has to offer.

There's an awful lot of material covered in the film, even given the running time of around two hours twenty. The extensive cast of characters are all essential to the plot and in addition to the central themes, there are several subtopics that are delved into. It's an epic in scale, not time, that begins with the smallest of events and follows the consequences as they play out over the course of almost twenty years.

The most noticeable, and indeed effective, aspect of the movie is the sound. Whether it be the deafening roar of a motorcycle engine being tested to its limits, or the pounding bass of a drug-addled teenage house party, the presence is almost that of an extra character. It adds an additional dynamic to many scenes, palpably upping the tension, though at no point feeling contrived. The tension could easily survive on its own merits, but is pushed to the edge of overkill by the thundering accompaniments, whilst effortlessly avoiding what could so easily have been a huge pitfall.

In addition to Gosling, the rest of the cast also turn in memorable displays. From the smallest bit parts to the biggest chunks of screen time, each and every one of them is on top form. The roles that they fill are reasonably deep for the most part, though there are some cookie-cutter conceits here and there, but not so much as to be distracting. The course of each individual's life is changed in at least some small way by the consequences of the initial action that takes place and the plot flows almost poetically as each event collides with the next, sometimes drastically altering the outcome.

Writer/director, Derek Cianfrance, seems to have a flair for bringing to life believable relationships. As with his previous film, 2010's Blue Valentine, there's an undeniable sense of reality in the way in which the characters relate to each other and how this affects them. He shows us love, but not cheesy romance. It's a point which colours the entire feel of the picture and makes a terrific sense of immediacy unavoidable. It also helps a great deal in identifying with the plights of those whose lives we are following. Ultimately, his approach to these things leads you to care about how all this might turn out.

Short of divulging enough of the plot to spoil things, there is much more to enjoy than I can explore here. All I can do is encourage you to see what is a very special film.

The Verdict:

8/10 
Poetic, beautifully written and high on the tension. A must-see film that will leave a lasting impression.

Barton Fink

A renowned New York playwright is enticed to California to write for the movies and discovers the hellish truth of Hollywood.

The Coen brothers are some of the best around at delivering character driven movies. They seem to be equally adept at both comedy and drama, often throwing in more than the odd tip of the hat to classic Hollywood cinema. Barton Fink is no exception to this, but it also betrays something of a distaste for the Hollywood machine, despite an affection for some of its products.

Like many of the Coens' regular stable of actors, John Turturro is an underrated performer, capable of much more than he has been given to work with in his more high profile roles of late (i.e. the Transformers films, which also featured another Coen favourite, Frances McDormand). He carries the film well in this instance, the passionate, yet naive writer he portrays leaving plenty of room for everything from clumsy awkwardness to the depths of despair. He's not the only one to shine.

The supporting cast of John Goodman, Steve Buscemi, Tony Shalhoub, John Mahoney, the list goes on, are superb. Each bringing their own unique flavour to proceedings, as well as their characters providing plenty in the way of larger than life bluster. The majority serve as the antithesis to Turturro's Barton, his slightly withdrawn, almost shy disposition battered senseless by the onslaught of greedy industry types. A weak man he is not, but most certainly not accustomed to the brash insensitivity that he is subjected to. Dialogue is integral to this kind of material and, as usual with these film-makers, disappointment is not a factor that comes into play. 

Considering the fact that the majority of the film takes place in the halls and rooms of a low rent hotel, there is much to appreciate visually. Framing and composition are one of the movie's strong points and there's a Shining-esque dread that hangs over many of the eerier scenes. What the sets deliberately lack in vibrancy, they more than make up for in the subtle subtexts that really set the tone of the flick. This also facilitates some nice contrasts, particularly in colour, between the hotel and the more richly lit offices of the studio moguls, all blinding lights and polished glass.

The plot takes some surprising turns, considering the confines in which it takes place, weaving enough intrigue into the writer's predicament to keep us from joining him in his panicked and disillusioned state. The scenes between Turturro and Goodman are particularly worthy of note in this respect and the relationship between their respective roles is pivotal to the success of the film. These moments are also where the bulk of the humour lies, though this is definitely a picture that showcases the darker side of the Coens' catalogue. These factors combined result in a flick in which fans of their work will find much to appreciate.

The Verdict:

7.5/10
A surprisingly eerie picture that is defined by its excellent cast and imposing characters.

Drive

A mysterious Hollywood stuntman, mechanic and getaway driver lands himself in trouble when he helps out his neighbour.

Nicolas Winding Refn is fast building a proven track record in working with the best young(ish) actors in cinema. Having previously brought a snarling, bestial Charles Bronson to the screen by way of Tom Hardy, Drive now sees Ryan Gosling's moody, enigmatic cool used to full effect.

There are a number of factors that make the film stand out from the crowd, though that's not to say that it feels completely original in all respects. The 80s flavour that infused Refn's earlier film, Bronson, is very much present and accounted for. As with that picture, the soundtrack is used to augment the atmosphere, but also to surreptitiously signal changes in mood and action in the plot. This is not in the sense that it's an indication of what the reaction should be, more that it sometimes complements, but at others provides a severe contrast with, the more affectionate moments that take place. Stylistically, too, the production harks back a few decades, title fonts presented in hot pink and the anti-hero's costume just as much of an anachronism as the mobsters that he finds himself entangled with.

The movie also has a definite rhythm to it. The first half is packed full with a seemingly ordinary love story, though the mood soon darkens, revealing a much shadier side to both the nameless driver and the film itself. It's this transformation that is the most striking quality of the plot. Gosling morphs from shy young lover to vengeful and ultra-violent in a heartbeat. It's a testament to his skill as a performer that this never feels unnatural, his screen presence providing the impression that he is capable of this kind of brutality, even when sharing tender exchanges with a prospective lover.

The pace is fairly sluggish as flicks that find this kind of popularity go, particularly between the opening sequence and the point at which the atmosphere changes. Prolonged shots and lingering focus on some events of the story are conspicuous in the emphasis placed on them. This not only rounds out the character of the driver, but also sharpens the contradiction between the two distinct halves of the film. 

The latter half pulls no punches in the depiction of ferocious and often sadistic bloodshed that ensues. It's a constant battle for the driver to keep his emotions and boundless fury in check. Once again, Gosling comes into his own here, and it's a joy to watch as he uncontrollably trembles with rage confronting each of his antagonists. These instances punctuate the more deliberately paced scenes perfectly and this amplifies the slightly guilty, heart pounding thrill as revenge is exacted.

It's easy to see why this became the sleeper hit it turned out to be and I look forward to the upcoming second collaboration between Refn and Gosling, Only God Forgives, with great anticipation.

The Verdict:

8/10
An incredibly stylish flick that is very successful in its use of pacing. Gosling is superb, showing his darkest side yet and further proving his already considerable worth. Highly recommended.

My Own Private Idaho

Two best friends living on the streets of Portland as hustlers embark on a journey of self discovery and find their relationship stumbling along the way.


The beauty of this film lies in its simplicity. That's not to say that there's not much going on, rather that it doesn't hold back. My Own Private Idaho is an open, honest picture that contains little in the way of subtext and it's this that makes it feel so raw and immediate.

The world is populated by a cast of increasingly colourful characters, each seemingly more bereft of a desire to fit in with society than the last. The film holds a consistent focus on the seedier side of city life with both drugs and prostitution having huge parts to play in shaping the lives and decisions of the protagonists, the most interesting of whom is River Phoenix's Mike.

Mike is a troubled man. Whilst he is in no way gullible, he is undeniably vulnerable. His constant pining for the estranged mother that left him behind frequently serves as a trigger for his debilitating narcolepsy. As an aside, narcolepsy as a non-comedic trait is unique in my personal experience of cinema and it adds a real sense of individuality to the journey that Mike takes over the course of the film. The snippets of dreams and memories that visit him as he is incapacitated have an achingly wistful feel to them, a heavy air of bittersweet nostalgia hanging over each recollection and fantasy.

In addition to the characters themselves, the production is also stark in its absence of complication. Intertitles are presented with bright, single-coloured backgrounds. They mark clear breaks in the advance of the plot, at the same time adding to the arty feel of some segments of the film. There is never any room for misinterpretation and it's always clear where we find ourselves, or that we are moving on to a new chapter as the story continues to unfold. This artiness is also very pronounced in the love scenes, with each encounter being dealt with through a series of stills, though not in the traditional sense. Rather than use photographs, each frame is posed in what is clearly real time, as it's sometimes obvious the actors are having great difficulty staying in the more challenging positions. I can only assume this was a stylistic choice and it definitely enhances the already 'rough and ready' feel of the flick.

River Phoenix is still sorely missed and his performance here is one of many reasons why. Reeves is not a complete lost cause either, his natural, detached demeanour working well with the role that he plays. Both bring a great deal to a film that comes across as very personal and gives deep insights into the predicaments of those involved, as well as life in general.

The Verdict:

7/10
A raw, yet insightful flick that draws much of its vitality from being both deliberately upfront and rough around the edges in equal measure.

Killer Joe

When a debt puts a young man's life in danger, he turns to putting a hit out on his evil mother in order to collect the insurance.

It seems to have been a conscious decision on Matthew McConaughey's part to distance himself from the romantic comedies that have made up the bulk of his output over the last decade or so. Though this doesn't represent his first movement away from those films, Killer Joe certainly marks an extreme, as much in the film itself as the actor.

The strength of the film is in the character of Joe himself. He is enigmatic, but it's clear from the very beginning that he is not a man you want to cross (and not only due to his secondary occupation). McConaughey really shows what he's capable of here and it's a great achievement on his part that the role feels so full, despite the fact that so little is revealed about him through exposition. In addition to some beautifully subtle hints from behind the camera about what kind of person this really is, there are an abundance of equally understated ticks and mannerisms in the performance that sharpen his image considerably further.

Aside from the titular role, there are more than a few other aspects that make for deliberately uncomfortable viewing. In particular, the relationship between Hirsch's Chris and his sister, Dottie (Juno Temple) is unsettling in its intimacy. Like the rest of the first hour, the more disturbing aspects are implied, rather than announced and you're gently coaxed to interpretations that ultimately leave little to the imagination.

As the film gets going, it's unclear in which sort of direction we are headed. Whilst it's apparent that it probably won't end well for all concerned, predictability is not an affliction that the picture is plagued with, though it does a great job of fooling you into thinking that it might be. In the same way that the main character's appearance as a walking cliché belies his shockingly callous nature, the movie lays the foundations of what could easily become something much more ordinary. This sets up the last twenty minutes of the action perfectly and makes for a brutal jolt of a conclusion that reveals the true face of Joe's twisted psyche.

It's not often that this sort of misdirection is so devastatingly effective and the level of depth is impressive. It definitely won't be to everyone's taste, but the combination of expert storytelling and McConaughey's intimidating menace make this almost essential viewing. It's just unfortunate that a side effect of having foundations that seem uninspired is that that's exactly how they feel, uninspired.

The Verdict:

7.5/10
An explosive performance from McConaughey and some twisted imagination make for a subtly intense film that builds to a conclusion that will linger long in the memory.

Dead Man Walking

A nun, while comforting a convicted killer on death row, empathizes with both the killer and his victim's families.

Capital punishment is a touchy subject and it's not often you'll see something that stays objective on the matter. Dead Man Walking is no exception to this, though it does offer more in the way of both sides of the debate than is the norm, encouraging at least some contemplation from each camp through the course of the film.

Mainstream cinema is fairly uniform and vociferous in its support for clemency in these instances, often focusing on cases where the condemned are found to be innocent once the deed has been done to drive their point home. This film is different in that the guilt of Sean Penn's Matthew is never in question. He doesn't protest his complete innocence, though does maintain that he was only present rather than participating in the actual act of killing. This lends itself to an increased emphasis on the discussion over the impending execution itself, regardless of whether the crime was committed or not.

As is to be expected considering the themes at work, the film is heavy on the drama. The bulk of its power is reserved for the last half an hour or so, the scheduled time of the execution drawing ever nearer. Penn's portrayal of the convict's progression from obnoxious defiance to genuine hopeless fear is pretty captivating and he seems to live and breathe the character in every scene. Though it's difficult to identify with him due to the abhorrent nature of the actions for which he finds himself imprisoned, he does inspire pity for both his predicament and that of his family. The movie makes it clear which side it comes down on, but by the same token doesn't shy away from the effect that the violence has had on the families of the victims.

In addition to the death row inmate, there's a lot made of the decisions and challenges faced by Sarandon's Sister Helen, a nun who is drawn into the situation after receiving a letter from Matthew. Caught between her revulsion at the crimes perpetrated and her beliefs, she is often left with an unenviable task. The religious aspect of the film could easily have been an issue if overplayed, as ultimately it's not what the movie is really about. However, it's played in such a way as to be a definite presence, but not so much that it distracts the attention from the point that is intended to be made. This is one of the film's great successes and also broadens the appeal to some extent.

As dramas go, you know what you're going to get from this kind of film. It can be considered somewhat of a genre flick in that it won't deliver any great surprises, but the final few scenes elevate the picture above many others of its type and leave a lasting impression.

The Verdict:

7/10
An excellent performance from Penn and a very strong final third make for a great drama that offers food for thought on a divisive subject.