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.