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.   

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.  

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.

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.

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.

Jack Reacher

A homicide investigator digs deeper into a case involving a trained military sniper who shot five random victims.

Christopher McQuarrie is much better known for his writing than directing, The Usual Suspects being the most famous product of his imagination. He has only directed once previously, The Way of the Gun, in 2000. There is much of that film's darkness as this begins, but it gives way to far more standard fare. Jack Reacher is an enjoyable ride overall, but is let down by a half-baked plot and some lazy story progression.

I was pleasantly surprised by the opening of the film, as the sniper attack that will become the basis of the investigation is presented as it occurs. However, there is something to be desired in the way in which it is brought to the screen. As is usual for movies desperate to attain certain film board classifications, the action is very much sanitised for a younger audience (think people just sort of falling over). In spite of this, the atmosphere retains a certain gravity and sets a very specific tone, which, had it been retained, could have made for a very different outcome.

Once the initial setup has been dealt with, the movie gradually shuffles closer to Hollywood territory. There are several scenes that hark back to the promising beginnings, but in the main, the action thriller conventions take over. The character himself is fairly uninteresting, but his hazy back story provides some motive for the action sequences. His vague military past having just enough substance to account for his skill in combat.

The focus is mainly held on the investigation, rather than Reacher's prowess with firearms or his fists. It's quite successful in that the first half of the film holds a decent amount of suspense at times, punctuated by any violence that does take place. It's in the second half that the creativity seems to dry up and it struggles to keep its head above average. I was disappointed to find myself rolling my eyes involuntarily at key points due to the banality of it all. Fortunately, the action also ramps up in this period, which distracts from the mediocre narrative and keeps things from falling apart.

All things considered, there's enough here to make it worth a watch, but it's not something that will stick with you. There is some good work as far as some of the action scenes are concerned, a frantic car chase being particularly worthy of note. The cast is passable, but with nothing spectacular to report, it's mostly just Tom Cruise being Tom Cruise. 

The Verdict:

6/10
Worth a watch for Tom Cruise fans or those who appreciate the genre. Starts out well, but slides into mediocrity in the second half, kept afloat by virtue of its decent action sequences.

Cloud Atlas

An exploration of how the actions of individual lives impact one another in the past, present and future, as one soul is shaped from a killer into a hero, and an act of kindness ripples across centuries to inspire a revolution.

Making more than one plot line cohesive, whilst also ensuring that the audience can keep up with you is a very difficult task. After dropping you in at the deep end over the first twenty minutes, Cloud Atlas achieves this admirably and goes on to reveal a cleverly formulated and intriguing film.

The Wachowskis are best known for writing and directing The Matrix and that sensibility can certainly be found in the more futuristic of the settings on offer here. This is by no means an action picture though, and is far more cerebral in both content and intention. It's ambitious in both structure and scope, but in large part fulfills what potential there is in the material, keeping you engaged throughout. It also provides a bit of a playground for those involved in bringing it to life.

The cast is impressive, not least because each of the main stars takes on several roles. Tom Hanks seems to relish in this and gives it his all, whether it be as a valley-dwelling tribesman, a nuclear physicist, or a thuggish Irish author. In addition, each role is differentiated not only by the sets and costume, but often by heavy prosthetics. As each story is introduced, half the fun of the movie is trying to figure out who is under the layers of make-up. Some of the transformations are very well done, taking a few closeups to recognise who it is that's actually in the scene. Hugo Weaving in particular can be tough to identify, his turn as the formidable battleaxe Nurse Noakes being a highlight.

The performances hold the film together, but not so much that they end up carrying it. The details of the different story-lines and how they converge and connect, whilst at times hard work to calculate, are rewarding and on occasion profound. There's a lot to think about as the action plays out and the ease with which you might get lost if not paying full attention may put some off. There's an emphasis on life choices dramatically changing the outcome of events, and the consequences of the characters' decisions are often heavily focused upon, whether the outcome be good or bad.

There's so much to get to grips with here and I'm not going to pretend that I completely understood everything that the picture had to say. I suspect that more would come to light with repeated viewings. I also feel that it's a movie that would grow in stature the more you see it, not least due to the layered nature of the plot. However, even on first viewing, there's much to enjoy and I would recommend it wholeheartedly.

The Verdict:

7/10
A huge undertaking that is very successful on the whole. Concentration will likely be needed to keep up with the structure, but the film is plenty enjoyable to prevent this from becoming a chore.

Robot & Frank

Set in the near future, an ex-jewel thief receives a gift from his son: a robot butler programmed to look after him. But soon the two companions try their luck as a heist team.

This is director Jake Schreier's first full-length feature and, on the basis of this, both he and writer Christopher Ford have very bright futures ahead of them indeed. Robot & Frank is an impressive piece of work, tackling some sensitive subjects and leaving an indelible mark on the memory. 

The two title characters are what really makes this film and there is much to appreciate in both the performances and the writing. Firstly, and initially the most noticeable, is the character of Robot. Voiced by Peter Sarsgaard, it's quite incredible how much of a screen presence it manages to have in the film. It was a sensible choice not to go with CGI and is thoroughly believable, particularly if you've ever seen anything of the robots that are in development today. The second is Frank Langella's turn as the titular Frank. His increasing bewilderment at the world around him as his memory fades is affectingly portrayed and drives the plot early on.

There are several main themes in the movie, the majority of which relate to the challenges that growing old can present. Frank's frequent bouts of memory loss as senility takes hold are responsible for some bizarre behaviour and the story of his life is gradually revealed through his actions. This difficulty in relating to both those close to him, and his environment, results in a disconnect from the world at large as he can no longer remember people and places. The saviour, as it turns out, is Robot.

I can't see that there's any kind of moral to this story in the sense that technology saves the day. It's much more to do with the nature of friendship and how much of a difference friends can make in times of crisis. There's also exploration of other areas, like family and, on a basic level, what it means to be human. On top of all of this, we also end up with a very original take on the heist movie.

I wouldn't exactly class this as a full-on comedy, but its quirky humour offers plenty to make you smile and it made me laugh out loud on more than one occasion. Frank is a very ornery fellow for a sizable portion of the film and his rudeness can be very amusing, much of which can be attributed to his distrust of the modern world and a desire to return to simpler times. The drama is also very successful and the balance struck between the two is noticeably precise.

The Verdict:

8/10
A beautiful film in so many ways that is both quirky and absorbing. An original take on the heist movie as well as doing a great job of exploring the subject matter. I can only urge you to see it. 

Promised Land

A salesman for a natural gas company experiences life-changing events after arriving in a small town, where his corporation wants to tap into the available resources.

There's a fine line between preaching and making a point in an unobtrusive, intelligent way. Promised Land sidesteps the former to a large degree, but by the same token doesn't quite achieve the latter. The themes being explored certainly aren't mutually exclusive and bleed into one another as the plot unfolds, but there is some clumsiness in reaching the heart of what the film is really about. 

Aside from these minor misgivings, I found it enjoyable. It can be quite charming at times and there's enough light relief to keep things from becoming too bogged down in the specifics of what, to a large number of us at least, could seem a boring subject. Whilst a principal point in question is very much a topical issue (the practice of 'fracking'), there are never any judgements made in this regard and the movie is stronger for it. Also, the narrative is as much about the character of Steve as any moral consideration, and his soul searching has a big role to play in keeping everything relatable. His motivations and inner conundrums form a solid basis for everything else that takes place.

Matt Damon not only stars, but is also credited as a screenwriter for the film, as well as a producer. Furthermore, he was apparently originally slated to direct, but for one reason or another, this didn't come about. I would have been very interested to see the results of his taking the chair with his own material, given the success of co-conspirator Ben Affleck, but I'm sure the time will come. The presence of Frances McDormand is an added bonus, as she is among my favourite actresses. Those of you familiar with the Coen brothers' back catalogue will know her well and she is characteristically arresting here.

The dialogue is surprisingly snappy, mainly between Damon and McDormand's Steve and Sue. There's a very organic feel to both the tone of their conversations and the reactions that are provoked. It seems clear that there must have been at least some improvisation in the construction of those scenes, and there is no doubting they are a big contributor to the movie's charm.

Overall, what really stood out for me was a love of the rural, whether it be in the lavish aerial shots of open fields and farmland, or the focus on a small town's inhabitants and their sense of community. There's little that deviates from this concern and it serves as the context in which the rest of the film is anchored. It's evident that this is a picture that has something to say, but this doesn't override the sensibility to entertain.

The Verdict:

7/10
A thoughtful film that tackles a contentious subject without judgement, and reveals itself to be both charming and entertaining in the process.    
  

The Sweeney

A hardened detective in the Flying Squad of London's Metropolitan police. Based on the '70s UK TV show.

Ah, the gritty reboot... The trend for remaking movies wholesale seems to be on its way out, but that of taking just about anything older than ten years and adding more violence is just in time to replace it. This doesn't always result in disaster. I can't say I'm all that familiar with the original incarnation of The Sweeney (a bit before my time), but I've seen a few episodes here and there on channels that should seriously consider some original programming. 

The opening credits are very slick and I was quite enamoured with the rousing score. Despite the fact that both the titles and the musical accompaniment wouldn't seem ill-suited to a procedural drama, somehow it still works. Brit flicks have a disagreeable habit of laying the nostalgia on thick when it comes to the soundtrack, but to my surprise (and relief), this avoids such a drawback and differentiates itself from the pack a little in the process.

The first thing that I noticed about the film was London. As seems to be the norm with films set in my fair city, the environment plays as big a role as some of the characters. Every opportunity is taken to present sprawling vistas and landmarks aplenty. At no point will you forget where we are, that's for sure. Also of note in this regard are the cast.

For the most part, when Ray Winstone's name is attached to something of this ilk, you know exactly what you're going to get from him. There are several scenes in which he demonstrates that he's still got it, so to speak, and his capability of making the hairs on the back of your neck stand to attention remains. He's not quite as downright intimidating as he is in, say, Nil by Mouth, for example, but it's still a great showing if you're a fan.

The movie itself is as polished as the credits and there are more than a few examples of visual flair that contribute to this sheen. The action is breathless and sublimely edited, particularly the car chases, making good use of unusual angles and camera positioning that put me in mind of the best of John Frankenheimer's Ronin. The shootouts too are expertly realised, even taking in Trafalgar Square as a setting at one point. If you are a fan of the genre, there's little chance of disappointment. 

It's not all roses, however, as there are at least a couple of bizarre leaps in logic when it comes to the plot. These aren't just petty indiscretions either, they make absolutely no sense. I tend to be quite forgiving in this respect and could understand if these points were essential for moving things along, but that's not the case at all. As far as I can tell, the writers dug themselves a hole and had to do something silly to get out of it. Just write something else!

It doesn't seem too fashionable to say that you liked this movie, but regardless, I have to say I did. Granted, it's pretty brain dead, but let's be honest, you don't sit down to watch a film like The Sweeney for cerebral engagement.  

The Verdict:

7/10
Stirring action sequences and plenty of attitude make this an entertaining diversion. Fans of the genre will find much to enjoy.

Red Lights

Psychologist Margaret Matheson and her assistant study paranormal activity, which leads them to investigate a world-renowned psychic who has resurfaced years after his toughest critic mysteriously passed away.

Given that there are so many supernatural thrillers around these days, it's refreshing to see something that looks at the topic from a different perspective. Red Lights subverts the genre somewhat, but stops short of deconstructing it completely.

I was drawn to this not only by the appearance of De Niro, but also the involvement of director Rodrigo Cortés. His 2010 film, Buried, was wonderfully claustrophobic and provided a great showcase for his talents. There are brief glimpses of what he is capable of here, but it doesn't come close to his previous work. 

The plot is fairly typical thriller fare, with the paranormal theme largely taking a back seat. This works in the film's favour and gives ample opportunity for Cillian Murphy to make full use of the paranoia that his character, Tom, is subjected to. This dynamic is responsible for some of the best scenes and has you grasping for the answers to the mystery that has seized control of his life.

The pacing is solid, as is necessary for the genre, moving along smartly enough to hold the interest. Cortés manages to create a fair amount of tension at times, but it's never really edge of your seat stuff. There's too much in the way of overly obvious plot points and I saw one of the big revelations coming within the first half an hour or so. This doesn't detract from the film hugely, but it does have the effect of lessening the impact when he does come to wrap things up.

I found the end of the film to be a tad grandiose considering what had gone before it. The epilogue in particular is nicely done, but gives itself too much credit in terms of the gravity it assigns the narrative - there is a disconnect between the journey that the characters have taken and the fanfare that greets the end of it. Much more talk of struggle goes on than actually taking place for the majority of those involved. 

I think the biggest problem with Red Lights is that it isn't in the least bit memorable. It's the kind of film that someone will ask you if you've seen a year down the line, and you'll say "I think so... I might have done...". Whilst it's certainly not a waste of time and won't leave a bad taste in your mouth, it's a flick that is easily confused with a number of others despite its best efforts. 

The Verdict:

6/10
Though somewhat forgettable, there's enough to make it worth checking out. Differentiates itself at least a little through the perspective taken on a common theme.

The Hunger Games

Katniss Everdeen voluntarily takes her younger sister's place in the Hunger Games, a televised fight to the death in which two teenagers from each of the twelve Districts of Panem are chosen at random to compete.

I'll start off by making the point that I'm acutely aware that I'm not the target audience of this picture, but would also add that this shouldn't prevent any appreciation I might have when it's done right. Sadly, The Hunger Games struggles on too many occasions for this to be a consideration. I will say that my own biases may also play a part, as general irritation with certain aspects of the movie may relate to me specifically. 

Disclaimers aside, the early stages of the film were reasonable. It was much grittier than I was expecting in introducing the hardships of life in the district. However, it didn't take long for the first source of annoyance to rear its teen heartthrob of a head...

I'm far more familiar with Liam Hemsworth's brother Chris than I am with him, and on this evidence, Liam should be taking more than a few pointers from his older brother. Why he chose to earnestly squint his way through the mercifully brief screen time he is afforded is beyond me, and quite honestly, it drove me nuts. It smacks of pandering to the tweenie audience (as do the ridiculously transparent character names) and it really aggravated me. Saving grace then that he was not, as I was expecting, the male counterpart to Lawrence's Katniss. I found Josh Hutcherson infinitely less infuriating and was able to move on with my life without putting a hole in my TV.    

On a mildly positive note, the scenes of children being herded to the 'reaping', the name given to the event at which the contestants are chosen, was suitably dark in tone. There is a decent sense of foreboding about the whole thing and I was fairly engaged for a few minutes, the tearful goodbyes and desperation adding to the spectre of things to come. It was reminiscent of a few wartime movies, but the fact that it was even in there was pleasing. Unfortunately, this is not where the beg, borrow and steal mentality ended. 

I'm not so sure that there is anything completely original left in the popular view of a science fiction future, but when it becomes so distracting that you can't stop pointing out aspects derived from other films, there's a problem. I won't bore anyone with a complete list here, suffice it to say that I noticed everything from Gattaca to Demolition Man and many others in between being misappropriated in the set design and it really got to me. On top of this, The Fifth Element provides more or less the entirety of the cues for the costumes of the population of the city. I was relieved once the action moved to the event itself and this is where the film was at its strongest. 

A good proportion of the action sequences are executed quite well and undeniably raise the film as a whole. The soundtrack is all a bit 'by the numbers', but bearable and apt at the very least. There's a lot of contrived plot silliness that takes place during the games sequences, but at least this section didn't exhaust me like much of the rest of the film did. 

Ultimately, it's not much worse than average, but there was far too much about this that had me gritting my teeth in despair to get anything out of the experience. 

The Verdict:

4.5/10
Distractingly derivative at times, but treads water fairly comfortably once the action begins, albeit it in the most prosaic of ways. It's not quite as bad as I Am Number Four if that's any consolation...   

Seven Psychopaths

A struggling screenwriter inadvertently becomes entangled in the Los Angeles criminal underworld after his oddball friends kidnap a gangster's beloved Shih Tzu.

I found this to be a much stronger effort than Martin McDonagh's first full-length feature, In Bruges, not least in terms of its intelligence. The plot is intricate without becoming excessively complicated and any possible confusion that might arise is swiftly dispelled through a variety of knowing nudges. Rather than feeling patronising, these often actually add to the sense that you're in on the joke, which draws you into the crazy world of Seven Psychopaths ever further. 

The comparison that immediately came to mind for me was Shane Black's excellent Kiss Kiss Bang Bang. Not in terms of the scenario, the characters, or even the structure, more just the feel of it. I realise this is a very subjective thing, but for me the film oozes cool in much the same way and it's borderline farcical without ever crossing that line. It stays grounded through Farrell's Marty who ends up being the voice of reason for the most part, his view on things echoing what you might expect those of the audience to be. 

There's nothing too unpredictable as far as the cast is concerned, and you will recognise the character types that each actor brings to the table. They may not step outside of their comfort zone too much, but the end result is a lot of great performers doing what they do best. Sam Rockwell in particular ups the ante as the film progresses becoming more and more unstable, his off-kilter monologues growing increasingly oddball and hilarious, playing the buffoon to perfection.

Though the film is billed as a comedy, that doesn't really do it justice and there is much more to take away from it than laughs. There are some very stirring scenes, moving even, and these add much to the depth on offer. As well as being a very entertaining ride, a certain amount of commentary on the mores of popular film is evident, but it's more of a gentle ribbing than mockery or disdain and the tone remains amiable throughout.

Seven Psychopaths isn't perfect by any means, but I can only hope that we will be seeing more of McDonagh's work in the future as it is superbly written and the promise of more, particularly considering the improvement this represents over In Bruges, would have me rushing to see it. 

The Verdict:

7.5/10
A well written comedy with depth that is cool as they come. Certainly one I will be looking to add to my personal collection.  

Cosmopolis

Riding across Manhattan in a stretch limo in order to get a haircut, a 28-year-old billionaire asset manager's day devolves into an odyssey with a cast of characters that start to tear his world apart.

This film is a bit of an oddity. The dystopian present (or near-future as it may be) provides the backdrop for a sometimes confusing, and frequently bizarre, narrative. Barring a few very brief scenes, character interaction alone is what drives the plot and what are clearly very deliberate stylistic choices result in a somewhat disjointed experience.

The main driving force is a statement against capitalism, or at the very least a kind of foreshadowing of what the end result might be. There are several motifs used to get this point across, a few of which may feel jarring to some viewers. 

The characters that fall on the rich side of the divide are cold and emotionless, robotic even. Their dialogue is delivered with a detached indifference, though in some ways philosophical and occasionally dryly witty. The apparent lack of investment in personal relationships underpins the exchanges between them, noticeable even between husband and wife. There is also a distinct lack of warm colour in both costume and set - blacks, greys and cold blues being the order of the day. These people are almost aliens in our world. 

As an experience, it can be heavy going at times. The conversations that take place veer off in all sorts of odd, seemingly nonsensical directions that can make the action difficult to follow. I struggled to keep up on occasion and only found my way back at the start of the following scene. It may be that further viewings would be required to fully appreciate the depth of what is being said, though it may also be that it's deliberately obfuscating for whatever purpose. 

As well as the dialogue, there are decisions taken by some characters for which there at first looks to be no motivation. This can result in some reasonably shocking occurrences that leave you pondering what on earth is going on until later in the film. This isn't necessarily a bad thing, but some won't like the uncertainty this casts over the progression of the plot. 

There is plenty to appreciate for those who like their cinema challenging and thought-provoking, but I can't say that I was particularly swayed either way as far as the allegorical content goes. Generally speaking, there is a lot going on beneath the obvious, plus enough on the surface to keep the attention. 

The Verdict:

7/10
A challenging film that will get you thinking if you're willing to take on its idiosyncrasies. Though it will probably take repeated viewings to fully appreciate, the first will be memorable, if not purely on the basis of its unconventional approach.  

Savages

Pot growers Ben and Chon face off against the Mexican drug cartel who kidnapped their shared girlfriend.

For me, Oliver Stone tends to deliver uniformly solid films, rather than spectacular ones. I often don't quite get what he's going for and am sometimes left a tad bewildered as to what his aim might be. This holds true for Savages.

First off, I was impressed with the opening sequence, which leaves little to the imagination in introducing us to the brutal world we're about to enter. There are a few scenes of this nature peppered throughout the film, and they are probably the best it has to offer. In addition, some sections are quite stylish, at least in a modern sense, livening things up at seemingly random intervals without feeling out of place or forced. It does feel like a necessity at times though, given that the narrative can feel a little too familiar in places.  

In terms of characters, I found the two male leads unlikable from the off. One a cookie-cutter ex-soldier type, raring to go at all times with his team of highly skilled war veteran buddies, the other a pacifist hippy. This should perhaps make for an interesting dynamic between the two, but it never really comes to fruition. Platitudes are exchanged, compromises reached, but that's about it. Blake Lively's O is slightly better drawn and in all honesty, she's likely just a more skilled performer than either Kitsch or Taylor-Johnson (the proof is in Ben Affleck's The Town), and the difference can be quite noticeable at times. Thankfully, the rest of the main roles are taken up by some great showings (Benicio Del Toro, John Travolta and Salma Hayek amongst others), and they more or less carry the film.

Sadly, there were several points that induced a groan, most of which contributed to what feels like an overly long running time. It's never a good sign when the urge to check how much more you have to sit through before the movie is over becomes increasingly difficult to suppress. The main culprits for this are silly plot devices and a positively awful voice-over, which felt conspicuously unnecessary and only served to solidify the expectations of the obvious that most will have for the ending. 

All this comes across as though I hated it, but this isn't the case. There are some excellent moments, particularly those that fall on the more harrowing and difficult to watch end of the scale. There is also a great deal of tension whenever Del Toro's deranged Lado is around, mostly due to his volatile nature and capacity to unleash the violence bubbling just below the surface at the slightest provocation. His paranoia and sadistic lust for power hold things together very well throughout.

The Verdict:

6.5/10
Despite an overly long running time, there's plenty to enjoy here. The best bits are worthwhile, even if there is some chaff to get through to reach them. Worth checking out if not just for Del Toro, Travolta and Hayek.  

The Impossible

The story of a tourist family in Thailand caught in the destruction and chaotic aftermath of the 2004 Indian Ocean tsunami.



Having seen the trailers for The Impossible several times, I had almost set my heart on avoiding it altogether. The previews looked to me like we should expect a contrived tearjerker, which I find to be one of the most irritating of movie tropes. However, I do like a disaster movie, so decided to take a look.

Firstly, I will say from the top that it was nowhere near as bad as I was expecting and in fact, there are large sections of the film that are brimming with intensity. The arrival of the wave itself is brilliantly realised whilst avoiding the realms of bad taste, which must be a consideration when using this kind of real world event as a backdrop to the characters' plight.

The best sequences of the film play similarly to a survival horror, though toned down to a degree. Having said that, I don't think it's quite as shocking as it thinks it is at times. There's no lack of gore in the scenes that focus on the suffering caused by the disaster and the struggle to survive, particularly in the early parts of the film. The gradual reveal of the injuries sustained is positively wince-inducing. 

The bulk of the movie's problems arrive once it comes to deal with the aftermath of the tsunami. The second half of the film is plagued by predictability and cheap techniques that try, and fail, to build tension leading up to what we already know is going to happen. Clearly it couldn't just have been about pain and heartache throughout, but it could have been handled much better. Ultimately, my biggest issue was with the final third of the film, which was mostly made up of hugging and crying. Oh, and running. There was a fair amount of that too.  

There are vague stabs at a deeper understanding of the human cost of the tragedy, some of which are nicely done, but in general, there's very little to suggest that we should care. There's certainly nothing that points to the people that actually live here and what this means for them, and only a cursory consideration for the countless others searching for lost loved ones. 

The pick of the performances is probably Naomi Watts' Maria, particularly in the early stages. Her injuries are pretty nasty and she does a great job of conveying the fear that comes with that, as well as the desire to protect her son. The children can be borderline irritating at times, all puppy dog eyes and yelping, but they're bearable. Ewan McGregor has one excellent scene which punctuates an otherwise fairly pedestrian 'could have been anyone' kind of showing. 

The Verdict:

6/10

Lays it on a bit thick in attempting to move everyone to tears, but does have its strengths, particularly in terms of the struggle for survival. Worth seeing once.