Upcoming Films 2012

It's that time once again! I'm a little early, and wasn't even sure I'd do one of these posts, this year but here we are. 2012 has been, thus far, a pretty decent year with many films I'd highly recommend (Shame, The Descendents, Like Crazy, Chronicle, Martha Marcy May Marlene, Young Adult, The Avengers, The Raid, Beyond The Black Rainbow) and some I'm really looking forward to catching up on (Tatsumi, Coriolanus, The Muppets, Michael, Once Upon a Time in Anatolia, The Kid with a Bike, The Cabin in the Woods, Damsels in Distress, Goodbye First Love). But what does the rest of the year have in store for us? Here are twenty or so upcoming 2012 releases that I'm highly anticipating:

Moonrise Kingdom
Director: Wes Anderson
Release Date: 25/05/12

Story: A pair of young lovers flee their New England town, which causes a local search party to fan out and find them.

A new film from idiosyncratic director Wes Anderson is always a cause for celebration and reviewers seem to be falling over each other to praise his latest entry, a tale of young love set in the mid-60s (a notable inspiration for the director throughout his career).

Prometheus
Director: Ridley Scott
Release Date: 01/06/12

Story: A team of explorers discover a clue to the origins of mankind on Earth, leading them on a journey to the darkest corners of the universe. There, they must fight a terrifying battle to save the future of the human race.

What is now quite clearly a prequel to Scott's 1979 'Alien', Prometheus looks to be a harsh, sharp hit of sci-fi storytelling. Scott has pulled together an extremely impressive ensemble cast and from the look and tone of the trailers released so far he may actually be able to live up to all the hype surrounding the film.

Cosmopolis
Director: David Cronenberg
Release Date: 15/06/12

Story: 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.

As much as I enjoyed Cronenberg's recent relatively commercial thrillers such as 'A History of Violence' and 'Eastern Promises' I avoided 'A Dangerous Method' entirely and was beginning to give up hope that he would ever make a film like 'Crash' or Videodrome' again. As soon as I saw the above teaser for his latest offering my fears were allayed. Let's hope the audiences at Cannes react as well to the actual film as I did to the trailer.

Killer Joe Director: William Friedkin
Release Date: 29/06/12

Story: 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.

Friedkin, arguably, hasn't made a truly great film since his phenomenal 1973 feature, 'The Exorcist'. This looks set to change, however, as his latest effort seemingly nails the down-and-dirty pulp of Tarantino by way of trailer-trash stereotypes and a eerily off-kilter performance from Matthew McConaughey.

Your Sister's Sister

Director: Lynn Shelton Release Date: 29/06/12

Story: Iris invites her friend Jack to stay at her family's island getaway after the death of his brother. At their remote cabin, Jack's drunken encounter with Hannah, Iris' sister, kicks off a revealing stretch of days.

If you've not seen Shelton's brilliant film 'Humpday' do so asap as it's a hilarious yet seriously affecting character study. I'm excited to see if she can pull off the same trick twice, reuniting with Mark Duplass (always a great screen presence) in this upcoming indie dramedy.

The Dark Knight Rises

Director: Christopher Nolan
Release Date: 20/07/12

Story: Eight years after Batman took the fall for Two Face's crimes, a new terrorist leader, Bane, overwhelms Gotham's finest, and the Dark Knight resurfaces to protect a city that has branded him an enemy.

Nolan's third stab at the Batman franchise already seems poised to (comparatively) fail. The reaction to promo material has been tepid, Bane is no Joker (and there's no Ledger-like tragedy to fuel promotion and curiosity over the film) and 'The Avengers' has already set the superhero summer bar extremely high. Nevertheless I'll still be there on the day of release, ready to be proven wrong by a film that's unlikely to eclipse 'The Dark Knight' but will surely be a good, if not great, ending to the trilogy.

The Forgiveness of Blood

Director: Joshua Marston
Release Date: 10/08/12

Story: An Albanian family is torn apart by a murder, resulting in a blood feud that finds Nik becoming the prime target and his sister, Rudina, forced to leave school in order to take over the family business.

Anyone who's seen Marston's brilliant 'Maria Full of Grace' will know that he's more than capable of portraying the violent, criminal side of foreign culture in a strikingly eye-opening way and his new film looks no different. Coming off of high festival praise, 'The Forgiveness of Blood' is not to be missed.

ParaNorman


Director: Chris Butler, Sam Fell
Release Date: 14/09/12

Story: A misunderstood boy who can speak with the dead, takes on ghosts, zombies and grown-ups to save his town from a centuries-old curse.

Whilst not being written or directed by Henry Selick ('The Nightmare Before Christmas', 'Coraline) this new supernatural adventure animation is being made by the same company, Laika, and definitely displays his signature style and tone. ParaNorman is basically a children's zombie film, done in gorgeous looking stop-motion. Count me in.

Killing Them Softly


Director: Andrew Dominik
Release Date: 21/09/12

Story: Jackie Cogan is a professional enforcer who investigates a heist that went down during a mob-protected poker game.

What is surely to be dubbed this years 'Drive', director Andrew Dominik follows up his modern classic 'The Assassination of Jesse James by the Coward Robert Ford' with this gritty looking crime drama. Whilst some critics at Cannes have criticised the films heavy-handed political message its also been praised left and right, especially due to the performances by Brad Pitt and James Gandolfini.

Looper


Director: Rian Johnson
Release Date: 28/09/12

Story: In the year 2042, a mob hitman assassinates targets that arrive from the future of 2072. For him it's just a job... till he receives a new target: himself from the future.

Dodgy facial prosthetics aside, Looper looks to be the smoothest sci-fi thriller since 'Inception'. Directed by the brilliantly talented Johnson ('Brick', 'The Brothers Bloom') and fronted by Joseph Gordon-Levitt and Bruce Willis, the film should provide brains to go with your brawn in a slickly cinematic fashion.

Silent Hill: Revelation

Director: Michael J. Bassett
Release Date: 31/10/12

Story: Heather Mason and her father have been on the run, always one step ahead of dangerous forces that she doesn't fully understand, Now on the eve of her 18th birthday, plagued by horrific nightmares and the disappearance of her father, Heather discovers she's not who she thinks she is.

Admittedly I enjoyed 2006's 'Silent Hill' a lot more than most due to my obsessive passion for the computer game series on which it was based. And once again, I'm extremely hyped for a film which most will care little for and I, myself, will probably find disappointing. That said I know the creepy atmosphere, disturbing imagery and disquieting soundtrack to this horror film will be more than worth it.

Amour (Love)


Director: Michael Haneke
Release Date: 16/11/12

Story: Georges and Anne are in their eighties. They are cultivated, retired music teachers. Their daughter, who is also a musician, lives abroad with her family. One day, Anne has an attack. The couple's bond of love is severely tested.

If you know anything about director Michael Haneke then you'll know not to expect a heart warming tale filled with whimsy and laughs from 'Amour'. Having built himself a reputation as a film-maker concerned with human suffering, social critique and - most of all - immense skill, Haneke's new film looks ready to take the Cannes jury by storm, and rightfully so.

The Hobbit: An Unexpected Journey


Director: Peter Jackson
Release Date: 14/12/12

Story: A curious Hobbit, Bilbo Baggins, journeys to the Lonely Mountain with a vigorous group of Dwarves to reclaim a treasure stolen from them by the dragon Smaug.

Peter Jackson's prequel to his acclaimed 'Lord of the Rings' trilogy has had a rough ride to screens (to say nothing of the recent negative reaction to the new frame-rate during test screenings) but production is now in full swing with a release date in sight. Based on the above trailer is looks as if Jackson will be continuing the high quality displayed in the previous films with a impressive mix of old and new cast members. Colour me excited.

And last, but most certainly not least...

Django Unchained

Director: Quentin Tarantino
Release Date: 18/01/13

Story: With the help of his mentor, a slave-turned-bounty hunter sets out to rescue his wife from a brutal Mississippi plantation owner.

Ok, ok, so technically it doesn't reach these shores until next year but I couldn't not include it in this list. Although I wasn't the biggest fan of 'Ingourous Basterds' I thoroughly enjoyed it and Christoph Waltz (working for the director once again) was one of the highlights. All that's known of the film thus far (I've never been one for leaked scripts) is a sizzle reel recently shown at Cannes which positioned it as controversial but brimming with Tarantino's typical sense of humour and a distinct 70s funk and soul feel. Whatever the film ends up like I'm sure to be delighted and disgusted in equal measure.

Also of note are the following films which have yet to secure a UK release date but are more than worth keeping an eye on: Beasts of the Southern Wild, The Master, Seven Psychopaths, Kill Bin Laden, The Hunt, Reality, Holy Motors and Sightseers.

Upcoming Films 2011

Wait, what? It's been over a year since my last post?! Yeah, and it's not as if I'm going to start boring myself and you, dear readers, by starting properly again either. Consider this a one off. Or something. It's come to my attention that so far 2011 has been a pretty poor year for cinema (I can think of only three proper 2011 releases that I've loved so far) so I've compiled a list of films due to be released later this year for your consideration (and so I have them written down somewhere as not to forget them).

The Future



Director: Miranda July
Release Date: 04/11/11

Story: When a couple decides to adopt a stray cat their perspective on life changes radically, literally altering the course of time and space and testing their faith in each other and themselves.

Anyone who's seen Me, You and Everyone We Know will attest to the talent of July, who hasn't made a film since her début. Judging from this trailer (and the glowing reviews from festival screenings) it'll have been well worth the wait.

Kill List



Director: Ben Wheatley
Release Date: 02/09/11

Story: Eight months after a disastrous job in Kiev left him physically and mentally scarred, ex-soldier turned contract killer Jay, is pressured by his partner Gal, into taking a new assignment. The film follows as they descend into the dark, disturbing world of the contract, Jay begins to unravel once again -- his fear and paranoia sending him deep into the heart of darkness.

Earning more than healthy buzz this festival season, Kill List is being touted as a highly psychological, violent, human and surprising film to keep an eye on.

Drive



Director: Nicolas Winding Refn
Release Date: 23/09/11

Story: A Hollywood stunt performer who moonlights as a wheelman discovers that a contract has been put on him after a heist gone wrong.

None of Refn's previous films have managed to impress completely but his latest is getting fantastic reviews so far and feature both Ryan Gosling and Carey Mulligan in a moody thriller about a get-away driver. What more do you want?

The Girl With the Dragon Tattoo



Director: David Fincher
Release Date: 26/12/11

Story: Journalist Mikael Blomkvist is aided in his search for a woman who has been missing for forty years by Lisbeth Salander, a young computer hacker.

I'll admit I was initially sceptical about this film as I wasn't a big fan of the original film and a remake in general seemed pointless. Then I learnt that Fincher was directing (the man how made one of last year's best films about the beginnings of a social networking website). And then I saw the above trailer. 'Nuff said.

Beginners



Director: Mike Mills
Release Date: 22/07/11

Story: A young man is rocked by two announcements from his elderly father: that he has terminal cancer, and that he has a young male lover.

Like July, Mills hasn't made a film since his brilliant 2005 début; Thumbsucker. Thanks to a unique story, a promising trailer and the ever beautiful Mélanie Laurent Beginners is shaping to be a highly enjoyable piece of indie film-making.

Super 8



Director: J.J. Abrams
Release Date: 05/08/11

Story: After witnessing a mysterious train crash, a group of friends in the summer of 1979 begin noticing strange happenings going around in their small town, and begin to investigate into the creepy phenomenon.

Since its release in the US some viewers have found Super 8s reverence to 1970s Spielberg a little overbearing but ever since I saw the initial teaser it's been clear that this is going to be a thoroughly exciting cinematic experience, no matter how much it owes to previous films.

The Troll Hunter



Director: André Øvredal
Release Date: 09/09/11

Story: A group of students investigate a series of mysterious bear killings, but learns that there are much more dangerous things going on. They start to follow a mysterious hunter, learning that he is actually a troll hunter.

I've already had the pleasure of watching this film but anyone looking for a unique and fresh take on the faux-documentary/shaky cam formula could do far, far worse than this thrilling (and often hilarious) Norwegian film.

The Thing



Director: Matthijs van Heijningen Jr.
Release Date: 02/12/11

Story: At an Antarctica research site, the discovery of an alien craft leads to a confrontation between graduate student Kate Lloyd and scientist Dr. Sander Halvorson.

As a massive fan of the original it'd be an understatement to suggest that I'm nervous about this prequel. However, the trailer above is in tune with the original's atmosphere (except for the jump scare ending), it's reported that minimal CGI is being used and this teaser poster definitely gives off the right vibes. I'm getting a Dawn of the Dead remake/Let Me In feeling about this project so far and hopefully it won't disappoint.

50/50



Director: Jonathan Levine
Release Date: 18/11/11

Story: A comedic account of a 27-year-old guy's cancer diagnosis, and his subsequent struggle to beat the disease.

A comedy about cancer? It's clearly not going to be an easy sell but based on this trailer 50/50 seems to strike the right balance between sensitivity and humour for the subject matter and has a killer duo of lead actors.

Red State



Director: Kevin Smith
Release Date: 30/09/11

Story: Set in Middle America, a group of teens receive an online invitation for sex, though they soon encounter fundamentalists with a much more sinister agenda.

Whilst American critics have praised Smith for working outside of his comfort zone (and it seems to be one hell of a directorial transformation) unfortunately it has also been critised for being uneven in tone and message. Even with this taken into account that's a extremely impressive trailer and there'll no doubt be at least be sections of the film which live up to it's unnerving cinematic approach.

The Guard



Director: John Michael McDonagh
Release Date: 19/08/11

Story: An unorthodox Irish policeman with a confrontational personality is teamed up with an uptight FBI agent to investigate an international drug-smuggling ring.

John Michael McDonagh, brother of Martin (director of the brilliant In Bruges), seems not only to have borrowed his brother's lead actor, but also his wit in this hilarious looking comedy.

30 Minutes or Less



Director: Ruben Fleischer
Release Date: 07/10/11

Story: Two fledgling criminals kidnap a pizza delivery guy, strap a bomb to his chest, and inform him that he has mere hours to rob a bank or else...

After Fleischer's brilliant Zombieland he chose not to follow it up with a sequel (yet), but to focus on this heist-gone-wrong comedy. So what's all the fuss about? Two words: Aziz Ansari. This man is a comedic genius and from the looks of both trailers already released it looks as though he'll be bringing his a-game to this one.

Melancholia



Director: Lars von Trier
Release Date: 30/09/11

Story: Two sisters find their relationship challenged as a nearby planet threatens to collide into the Earth.

Although the festival response to von Trier's latest have suggested it to be little more than a therapy session for the director, Kirsten Dunst's performance has been hailed as exemplary. It'll also be worth watching just for von Treir's signature portrayal of extreme human emotion and breathtaking cinematography.

Tinker, Tailor, Soldier, Spy



Director: Tomas Alfredson
Release Date: 16/09/11

Story: In the bleak days of the Cold War, espionage veteran George Smiley is forced from semi-retirement to uncover a Soviet agent within MI6's echelons.

Alfredson, director of the brilliant Let the Right One In, is back. For my shame I've not seen the original TTSS but this updated version looks to bring the directors eye for detail and cool restrained style to the screen once again, along with an extremely impressive roster of British actors.

We Need To Talk About Kevin



Director: Lynne Ramsay
Release Date: 21/10/11

Story: The mother of a teenage boy who went on a high-school killing spree tries to deal with her grief -- and feelings of responsibility for her child's actions -- by writing to her estranged husband.

In what appears to be this year's theme, Ramsay also returns to our screens after a prolonged absence(her last film was the impressive 2002 film, Morvern Callar). Based on Lionel Shriver's much-praised novel (which I admittedly have not read) We Need To Talk About Kevin looks to be an extremely uncompromising and effecting film, especially based on the above clip.

Tyrannosaur



Director: Paddy Considine
Release Date: 14/10/11

Story: Joseph, a tormented, self-destructive man plagued by violence, finds hope of redemption in Hannah, a Christian charity-shop worker he meets one day while fleeing an altercation. Initially derisive of her faith and presumed idyllic existence, Joseph nonetheless returns to the shop and soon realizes that Hannah's life is anything but placid. As a relationship develops, they come to understand the deep pain in each other's lives.

Phenomenal English actor Paddy Considine (Dead Man's Shoes, Hot Fuzz) steps behind the camera for the first time to expand upon his short film, Tyrannosaur. No, it's not about dinosaurs, but based upon the original short and the above clip it looks as though Considine may have a modern masterpiece of kitchen-sink drama on his hands.

Bellflower



Director: Evan Glodell
Release Date: TBC

Story: Two friends spend all their free time building flame-throwers and weapons of mass destruction in hopes that a global apocalypse will occur and clear the runway for their imaginary gang "Mother Medusa".

Bellflower is said to be a blend of indie drama, romance, film geekery and post-apocalyptic action. Not an easy mix to juggle but if the trailer and early festival reviews are to be believed it's sure to be a future cult classic. Gotta love that over-saturated cinematography too.

Take Shelter



Director: Jeff Nichols
Release Date: TBC

Story: Plagued by a series of apocalyptic visions, a young husband and father questions whether to shelter his family from a coming storm, or from himself.

Starring the brilliant Michael Shannon, Take Shelter gives off a heavy, intoxicating atmosphere of dread and psychosis which has me aching to see the final thing.

Immortals



Director: Tarsem Singh
Release Date: 11/11/11

Story: Greek warrior Theseus battles against imprisoned titans.

So yes, it basically looks like 300/Clash of the Titans directed by Tarsem but who wouldn't want to see that? Anyone who's not seen his previous films The Fall and, to a lesser extent, The Cell, that's who. The directors eye for stunning visuals are on full display here (especially the shot of the gravity-free sky battle) and it'll be really interesting to see what Mickey Rourke does with the villainous King Hyperion.

And finally...

The Rum Diary

Director: Bruce Robinson
Release Date: 04/11/11

Story: Paul Kemp is a freelance journalist who finds himself at a critical turning point in his life while writing for a run-down newspaper in the Caribbean. Paul is challenged on many levels as he tries to carve out a more secure niche for himself amidst a group of lost souls all bent on self-destruction.

A film that I'll believe is being released when I see it (and I do so want to see it). The Rum Diary is based upon the novel by Hunter S. Thompson, is directed by the man that brought you Withnail & I and once again stars Johnny Depp as the main protagonist who is (more or less) a representation of the author in question. Although US and UK release dates have been confirmed it's been a film plagued with delays and we've yet to see a single frame of footage. Like I say: I'll believe it when I see it.

My Top Ten Films of the Previous Decade (2000-2009)

So a) I don't usually do this kind of thing and, b) I've technically retired from film journalism but my good old buddy Robert Beames (read his version here) has managed to convince me to write up a top ten list for the last decade. I decided to have no rules (I didn't choose one for each year or decide I had to cover each genre etc.), except one; these films had to really connect with me on a personal level. This was a really hard task, especially since I could only choose ten films but I'm confident that it's reflective of my taste and, by extension, myself. Without further ado, the list (which is in no particular order) is as follows:

1. Control (2007, Anton Corbijn)
I'll admit it; before seeing this film I'd never given Joy Division the attention they so fully deserved and I was unfamiliar with the full extent of front man Ian Curtis' life and history. Control is far more than just a film about an indie band though; it's funny, moving, exquisitely shot and amazingly acted modern masterpiece of British cinema. It's not surprising in the least to find that Corbijn was a world famous photographer before he began directing as his black and white photography in the film is among the best I have ever seen (and adds much to the tone of the film). It had such an enormous impact upon me that upon leaving the cinema I actually couldn't speak for five whole minutes. Can't fault that soundtrack either. ;)



2. Mulholland Drive (2001, David Lynch)
Unfortunately I hadn't gotten into David Lynch when this was released in theatres but it's impact wasn't tainted in the least by catching up with it on home video. I'm a massive David Lynch fan in general (but was fairly disappointed with INLAND EMPIRE) and I'd be hard pressed to decide between Eraserhead, Blue Velvet, The Elephant Man or this as my favourite of his. Mulholland Drive is, as with most Lynch, a wonderfully stylised head-fuck but it still elicits strong emotional responses from the audience (and a work-out-able narrative structure, so long as you're going along with the common consensus). Lynch's bitter sweet love letter to the movie industry is essential cinema and is up there with the likes of Sunset Blvd. and Vertigo.



3. Hunger (2008, Steve McQueen)
Hunger is another one of those films where I knew next to nothing about the factual events it depicted but one which (just as in Control) doesn't condemn or worship it's morally complex historical figures. Hunger is a harsh film but the music, cinematography and mise-en-scene all combine to create a beautifully haunting atmosphere which had me completely entranced from start to finish. Michael Fassbender, playing the central role of Bobby Sands, is also sublime, especially in the ten minute one-shot heated debate between him and a Catholic priest. As with most films focusing on the IRA or 'troubles' in Ireland it's got a lot of negative things to say about the British but if this film is any indication then I'd don't blame them.



4. Eternal Sunshine of the Spotless Mind (2004, Michel Gondry)
Gondry's second effort with screenwriter Charlie Kaufman (choosing one Kaufman film for this list was also an especially hard task) is one of the few romantic films that I can truly, and I mean truly identify with. It's honest, unashamed and so full of heartfelt affection that it breaks (and mends) my heart each and every time I see it. The film also cleverly plays with ideas of memory and dream states both in it's style and narrative.The striking visual style and post-modern tone felt original and fresh (and still does, for that matter) and it's true brilliance is that in the hands of many other film-makers it could have easily overshadowed the emotional connection between the audience and it's characters. Who knew Jim Carrey could deliver such a devastatingly dramatic performance?



5. Requiem for a Dream (2000, Darren Aronofsky)
Yes I know it's only really saying one thing, that drugs can fuck you up, but since when has that been a bad thing? It's the way in which the film translates this message, and the different circumstances which in which it makes this point (do NOT trust your doctor if he prescribes you diet pills), which really make it stand out. Requiem is a true force of cinematic nature; it starts fairly off-kilter and builds and builds until it violently rapes the majority of your senses during it's final moments (in the best way possible). This is another film which is heavy on style (utilising sound design and editing to create a distinctive atmosphere which is at times exhilarating and others extremely terrifying) but not at the expense of dramatic heft. It also features a score so good it was used in about a million different trailers after it's release and includes a master class in acting from Ellen Burstyn (who was completely and utterly robbed of her Oscar).



6. The Squid & the Whale (2005, Noah Baumbach)
It's very rare that I watch a film and literally feel like someone has just taken my life and put it to celluloid but The Squid & the Whale (along with Nil By Mouth, which was unfortunately released in '97) is one of those films. It chronicles the breakup of husband and wife with the focus squarely on the children. Lies, emotional manipulation and continuous confusion are the order of the day and seldom have I seen these emotions so honestly put to screen. It's not an overly depressing film but neither does it sugar-coat events (don't let the tone of the trailer fool you) and there are also some hilarious moments throughout. Jeff Daniels puts in a career best and it also features Jesse Eisenberg before he got annoyingly typecast.



7. The Virgin Suicides (2000, Sofia Coppola)
Sofia Coppola's debut (although her second film, Lost in Translation, could have easily been on this list) is, put simply, serenely hypnotising. The superb soundtrack by French electro-pop duo Air, narrative pace and stunning cinematography combine to create what I can only describe as the most beautiful yet tainted dream you'll ever not have. Suicides details the suicide of four teenage girls who were living in 1970s suburbia. The film prefers to focus on the smaller details of the girls' coming of age (instead of delivering melodramatic moments at a fast pace) whilst their overprotective, overly religious and old fashioned mother tries to cocoon their innocence. The story is told from the perspective of a group of boys from the neighbourhood who become enamoured with the girls and the way the film conveys their fascination with, awe at, and lack of understanding of the girls is pitch perfect.



8. Elephant (2003, Gus Van Sant)
Again, it was hard to choose between this and Van Sant's later film, Paranoid Park, but the fact that these events (Elephant is essentially a fictional re-telling of the Columbine High School massacre) actually happened make it far more harrowing. Most of the film is spent following around several high school students in what seems to be the average day. Van Sant's depiction of this average high school day is the most realistic and engaging one I have ever seen which makes the final thirty minutes all the more shocking and emotionally affecting. It also helps that, although all unknowns (and this was most definitely a wise casting decision), the actors playing these teenagers are extremely believable in their roles. It's hard to properly describe exactly why I love this film so much but, along with what I've already stated, it just gives off an amazing atmosphere that completely and utterly sucks you in.



9. Donnie Darko (2001, Richard Kelly)
There's so much bad air surrounding Donnie Darko (the emo associations, the director's cut, the direct-to-DVD sequel and Kelly's subsequently terrible films for starters) that it's easy to forget how brilliant this film really is. Not only is Donnie Darko a really interesting sci-fi mystery (I'll be the first to admit I still don't completely understand the film) but it's also one of the best coming of age films we've seen for a long time. The 80s setting is perfect for this (as is the accompanying soundtrack) as we see Donnie struggle with inner demons, family relations, difficulties at school and lest we forget, first love. It's also a film with a lot to say about suburbia and middle class lifestyles (the fact that he opening scene is highly reminiscent of Blue Velvet's is no mistake) as Donnie encounters all manner of dark secrets hidden underneath the white picket fences which litter his neighbourhood.



10. Children of Men (2006, Alfonso Cuarón)
From the very first scene of Children of Men, you know it's going to pull no punches in it's depiction of a dystopian future in which women can no longer bear children. And and I'm a sucker for dystopian futures. The brilliance of the film is that the future portrayed is a tangible one. No one's running around in flying cars or shooting death rays out of their eyes. It's an ugly, violent, dirty and above all, real world which the audience can relate to. The way the film uses this backdrop to bring up the issues of today (immigration, over population, police corruption and brutality) is scarily on the mark in that you can see it happening. The documentary style employed by Cuarón, in particular the breathtaking long shots, also help to convey this grim sense of what could be and the action sequences are second to none.



So in conclusion it seems I have a massive hard-on for American indie coming of age films set in the suburbs and depressing Brit flicks. Here are some films (not already mentioned) that just missed the cut:

District 9, Memento, You, Me and Everyone We Know, Bloody Sunday, The Woodsman, The Three Burials of Melquiades Estrada, Half Nelson, The Royal Tenenbaums, Quiet City, Rachel Getting Married, Sympathy for Mr. Vengeance, Pan’s Labyrinth and Junebug.

Four Lions (2010)

Plot summary: centres on a group of frustrated Muslim men in Sheffield who're plotting a suicide bomb attack to coincide with the London Marathon.

Chris Morris, writer and director of Four Lions, is best known for his satirical comedy shows, such as The Day Today and Brass Eye, which deftly deconstructed news broadcasting, issues-based and general British televising to hilarious affect. They dealt with a number of controversial subjects ranging from drug use all the way through to paedophilia in such a way as to demonstrate how badly they’d be misrepresented and exaggerated by the media. With Four Lions, a comedy about suicide bombers, Morris presents himself with his biggest challenge yet and I have to admit, I was unsure as to whether even he could pull the concept off in a tasteful and constructive manner. As such, I feel relieved to say that Four Lions is a side-splittingly funny, surprisingly moving and above all, extremely important film.

You may be asking yourself how anything about a group of British jihadists could be considered funny, and rightly so (provided you haven’t seen the film’s trailer of course). In making Four Lions, Morris seems to have taken a leaf out of Charlie Chaplin’s book as he channels the spirit of The Great Dictator thorough the film. He turns fear into laughter, to see these men as fools rather than people to be afraid of, and it works perfectly. There are far more failed attempts at suicide bombing, especially in Britain, than there are successes and Morris himself describes the film as portraying the, “Dad’s Army side to terrorism". In Four Lions our motley crew of would-be bombers are completely and utterly inept and although it doesn’t always feel right to do so their blundering ‘antics’ (planting bombs on crows, running through the streets whilst trying not to drop explosives) will have you laughing from start to finish.

There’s a lot more to the film that just slapstick routines and laughing at buffoons though as it’s not just about what these characters are doing – but why. Barry is a white Muslim terrorist, a funny enough concept as it is, who wants to blow his own faith’s mosques up in order to, “stir shit up”. Waj, who is a little slow to say the least, is simply copying his brother’s behaviour as he shouts hilarious lines such as, “Fuck Mini Babybels!” to join in. Meanwhile Fessal is a part of the group because otherwise he’d be, “eating newspaper instead”. These men (save for the main character, Omar) have no real clue as to what they’re fighting for and why and provide the source of much of the film’s hilarity (not to mention social commentary). These characters would be nothing, however, if it were not for the brilliant cast Morris has assembled to play them. They excel as standalone actors but also share a collective comic timing and ability to play off of one another which becomes one of the films greatest pleasures.

The films portray of various people connected to the bombers (police, politicians, bewildered co-workers and oblivious neighbours) is also one of its comedic strong points. Towards the end of the film this reaches jet-black levels of hilarity as a duo of police snipers argue over the difference between a Wookie and the Honey Monster whilst taking pot-shots at runners in the London Marathon. Thankfully Morris is also careful not to take aim at the underlying ideology or religious beliefs that drive these men (except for a rather funny swipe at their sexist attitudes) and knows exactly when to reign in the laughs to show the horrific consequences of their actions. Four Lions is a surprising film, not just because it manages to make suicide bombers funny, but because it’s also genuinely moving. Morris’s script, and the actors themselves, really sell these characters to you as three-dimensional people, instead of the usual perceived stereotypes of suicide bombers. As a result, while you’re never meant to agree with what they’re doing, you really engage with them on an emotional level.

You’ll care about what happens to these characters and some scenes may actually tug on your heart strings a little. The fact that Morris has shown little capability for human drama on this level in the past, and that he is able to balance it so well with the comedy, makes it all the more impressive. At other times Four Lions is also a downright disturbing film. The scenes of Omar’s home life in particular are some of the weirdest and disturbing moments of cinema this writer has ever witnessed. Whether it be Omar’s son getting excited at the prospect of his father’s ‘martyrdom’ or Omar altering the plot of The Lion King in order to brainwash his child, it’s truly chilling stuff. Omar’s discussions with his wife about his plans might as well be about a family holiday they’re that blasé. Many will undoubtedly misinterpret these scenes as Morris trying to make you feel sorry or side with Omar but it’s the other way around; these moments reveal him to be a thoroughly untrustworthy, manipulative and irresponsible human being.

My only real criticism of the film is that there is slightly too much broad humour present. Whilst there’s nothing intrinsically wrong with slapstick and laughing at moronic characters, I would have liked to have seen a little less of this and slightly more of the intelligent and intellectually challenging comedy Morris is known for. Similarly, a lot of Morris’s humour often came from the visual style of his television work and, save for a few moments, Four Lions is devoid of such techniques. That said, the film differs from his previous work in that focuses on human drama so perhaps a heavier visual style would have undercut this. Despite these minor grievances the film still stands as one of those rare beasts; an independent film with an important message that has mass appeal. Four Lions is brave, entertaining and essential cinema at it's best.

Final Verdict: 9/10

A Nightmare on Elm Street (2010)

WARNING: THIS REVIEW MAY CONTAIN SPOILERS.



Plot Summary: A re-imagining of the horror icon Freddy Krueger, a serial-killer who wields a glove with four blades embedded in the fingers and kills people in their dreams, resulting in their real death in reality.

Another month, another horror remake. This time it’s Wes Craven’s turn as his 1984 slasher film, A Nightmare on Elm Street (NOES for short), gets the remake treatment by director Samuel Bayer and Michael Bay’s infamous production company, Platinum Dunes. I have to admit, I’ve never been a massive fan of the NOES franchise. The idea, that a serial killer could appear and kill you in your dreams, is a unique and frightening one but the series’ comedic tone always put me off. Bayer addresses this problem in the 2010 version of NOES, but completely fails in almost every of other aspect of horror film-making. NOES is a boring, over long mess of a film which seems to favour unnecessary gore and swearing over suspense or character development.

NOES’s biggest sin is by far lack of character development. After the initial kill sequence at the beginning of the film we’re introduced to a number of teenage characters during a in such quick succession that it’s almost as if we’re meant to have known them our entire lives. After this scene the film doesn’t properly slow down to flesh out these characters as real people with three-dimensional personalities and a consequence we don’t care whether they live or die. Instead, they’re reduced to stereotypes; the aggressive jock, preppy cheerleader, the arty loser etc. Horror films need to make a connection between the audience and the potential victims on screen because otherwise we can’t see ourselves in their shoes and in turn, feel fearful for them.

This issue is not helped in the slightest by the fact that the script and acting is terrible throughout, sometimes laughably so. The dialogue uttered by the teenagers sounds as if it were written by someone who no longer has any grasp of what it was like being a teenager and instead is content to turn to clichés and an abundance of swearing for inspiration. In one of the more hilarious pieces of dialogue Nancy explains to Quentin why she never went out with him, “I was always so unpopular and you were, you know...” The acting is similarly melodramatic and unconvincing. This is especially true in the case of Kris’s mother, Nora, who’s delivery of lines such as, “It’s ok honey, it’s over” during a funeral is so unenthused you can almost see her reaching for the cheque.

The pacing of NOES is also less than impressive as there are several plot points that go on for far too long and that don’t go anywhere of any consequence. From the beginning of the film you’re meant to believe that Kris is the main character, only for her to be killed off at about forty minutes into the film. Bayer is clearly trying to pull a Psycho on his audience here but it falls flat as Kris is so boring we don’t care what becomes of her. It’s a shameful waste of twenty minutes running time which could have been spent on some much needed character development. Later on there are a couple of scenes in which the two remaining leads decide that they made Freddy’s crimes up, and that they have inadvertently killed an innocent man. Fifteen minutes later they find the scene of Freddy’s crimes and swiftly change their minds. It’s a pointless twist in the story that does nothing but make the film unnecessarily long.

In fact, the best way to utilise this wasted time would have to actually build up a semblance of atmosphere or suspense. NOES runs at such a fast pace (in part due to the ‘micro-naps’ idea) that it doesn’t have time to set up a sense of unease or tension. This results in the film’s ‘horror’ consisting of two things. Firstly jump scares which, yes, do what they say on the tin but don’t provide any lasting impact and get old extremely quickly. Secondly, an over-use of gratuitous violent special effects. Don’t get me wrong, I love gore as much as the next twenty two year-old male, but it has to be built up to in order to be satisfying or even taken remotely seriously. In NOES you can tell this splatter hungry effects are being used as a shortcut to shock rather than horrify.

There is a glimmer of hope, however, in the portrayal of Freddy. Purists may scoff at the idea of anyone other than Robert Englund playing Krueger but the fact is that Jackie Earle Haley makes for an inspired and menacing replacement. We’ve already seen Haley play deranged lunatics before in the likes of Shutter Island and Watchmen but with Krueger he becomes a truly malevolent force to be reckoned with. His voice is just the right side of Christian Bale’s Batman growl and the way he twitches his knife fingers is truly creepy.

The best part of Haley’s Freddy is that, as previously mentioned, he’s not played for laughs. Sure, he gets plenty of one liners but (for the most part) they’re not overtly comedic as to underplay the horrific tone of the film. Nevertheless there is one fairly troubling trait the screenwriters have brought to their new version of the character, and that’s the handling of his paedophilic tendencies. I’m not against the idea that Freddy was a paedophile instead of a child killer (personally I’d always read that into the character anyway) but it’s his quips towards the end of the film that I take particular issue with. Lines such as, “How's this for a wet dream?” and, “Your mouth says no but your body say yes” boarder on the distasteful.

Some of the nightmare sequences are also well presented and fittingly surreal. The editing between worlds, snowing bedrooms and hallways full of tar all look the part and recall what made the original so brilliantly twisted. That said other scenes, such as when Freddy is coming out of wall or a classroom turning to ash, have been created with some frankly appalling CGI which looks embarrassingly bad. NOES is also a well shot film. Whilst it may not break from the stylistic rule book the film-makers have gone for a grimy, downtrodden look which complements the subject well. In the end though, neither Haley nor a handful of well executed scenes can save NOES from being exactly what it is; a truly sad excuse for a horror film.

Final Verdict: 2/10

Iron Man 2 (2010)

Plot Summary: Billionaire Tony Stark must contend with deadly issues involving the government, his own friends, as well as new enemies due to his superhero alter ego Iron Man.

Before 2008, who really knew about one of Marvel’s minor characters, ‘Iron Man’? Who even knew of the director, Jon Favreau? Very few, that’s who. Even Robert Downey Jr. hadn’t broken into the Hollywood big league yet. The release of Iron Man changed all of this, earning almost $600 million at the international box office, as well as being critically lauded and making overnight stars of everyone involved. Although when the inevitable cries for a sequel were heard, things quickly became troubled.

Favreau’s unlikely to return as director, oh no, he’s back. Terrence Howard has been fired; he’s to be replaced by Don Cheadle. Emily Blunt’s been cast, oh wait, she’s off the project. With all the issues over whom gets paid what, production schedules and casting, it’s a minor miracle that Iron Man 2 even saw the light of day at all. Thankfully, Iron Man 2 has come out at the other end of the tunnel retaining all the wit and exuberance of the original and is overall a worthy, if not spectacular, successor to Iron Man.

The film opens with, somewhat strangely, the worst scene in the entire film; the introduction of Vanko tending to his terminally ill father in Russia. This scene is filled with so much over-the-top Russian stereotyping (Vanko drinking vodka from the bottle in a snow drenched, crummy apartment building) and hammy acting (Mickey Rourke’s Darth Vader moment) that it’s embarrassingly bad. After this false start, however, the film picks up its feet and begins proper as we’re dropped headfirst into the Stark Expo along to the blisteringly energetic sounds of AC/DC.

The original Iron Man wouldn’t have been nearly as good if it were not for the characterisation of Stark as a man with an egotistical, eccentric yet brilliant mind and Robert Downey Jr. was the perfect fit to embody such a mind. The enthusiasm and maddening determination Downey brought to Tony Stark made the film and it’s no different this time around. Just as before his performance in Iron Man 2 is ridiculously enjoyable to watch, and this is not meant as a criticism, but so much so that he’s probably responsible for at least half of the films overall entertainment value. That said, the new additions to the cast are themselves particularly impressive.

Don Cheadle, replacing Terrence Howard as Lt. Col. James Rhodes, outdoes his predecessor by miles. Not just because his character is given more narrative prominence but because Cheadle is the all-round better actor; bringing a greater sense of authority and, when needed, comedic charm to the character. Mickey Rourke (save for the aforementioned emotional outburst) brings just the right amount of weird to his villainous Vanko and manages to deliver some of the best lines in the film. Meanwhile Sam Rockwell excels as the tragically comic Hammer, a man desperate to outdo Stark but without the means necessary, and Scarlett Johansson delivers a surprisingly kick-ass (not to mention easy on the eyes) turn as Tony’s new assistant, Natalie Rushman.

Favreau hasn’t lost his knack for fun, kinetic action sequences either. The director has always injected his fight scenes with a sense of humour and these moments elevate IRON MAN 2 from just being men in robot suits smacking one another. It’s the films first outburst of flames, during Stark’s eleventh hour decision to compete at Monaco, which really stands out though. Whiplash enters the course on foot, tearing up race cars left and right with a thoroughly frightening sense of determination, all shot in brilliantly realised slow-motion. It’s during this moment that we most fear for Stark and it’s a truly breathtaking piece of cinema. Scarlett Johansson also gets in on the action later on when she infiltrates Hammer’s facility. We watch as she effortlessly cuts through security guards one by one, like a hot knife through butter. It’s an impressively choreographed and memorable sequence which will surely leave audiences with their jaws resting firmly on the floor.

The special effects are also well worth a mention. The CGI in Iron Man was definitely up to the task but there were a few rough moments which unfortunately took you out of the moment. With Iron Man 2 this is not the case whatsoever. The technical and visual achievements in this sequel are some of best to date and make every scrape, blow and explosion that bit more believable. This is not to say that the film relies solely on its visuals as the script is as sharp as ever. Stark’s witty banter with his detractors continues to be a highlight of the Iron Man franchise as Stark goes toe to toe against Senator Stern and Nick Fury (Sam Jackson gets a lot more screen time round and the film is all the better for it) in two particularly hilarious scenes.

Pacing, on the other hand, is not the films strongest point. The narrative is propelled well to begin with but after Whiplash’s first attack on Stark the film becomes a little muddled, scattershot and dare I say it, boring. At the mid-point in the movie there are several plot points developing simultaneously, none of which are exceptionally interesting or well developed, and it almost feels as if you’re just waiting for the climactic battle sequence to begin. When it does arrive it’s highly enjoyable but, and just like the first film, is over far too quickly.

This leads me to my next criticism; lack of threat. There is one point, and one point only, in which the audience are under any real doubts as to whether Stark will make it out alive and that’s near the beginning. After that the film becomes very predictable as you realise that none of Iron Man’s opponents are going to put him in any tangible danger whatsoever. However, both these issues are forgiveable in the face of the larger picture, that of a fun, amusing and exciting slice of blockbuster superhero cinema.

Final Verdict 8/10

Cemetery Junction (2010)

Plot Summary: In 1970s England, the lives of three friends are forever changed when one of them bumps into his old school sweetheart.

Ricky Gervais and Stephen Merchant first made names for themselves with TV shows The Office and Extras, and rightly so. Both were cringe-inducing but hilarious and heartbreaking pieces of television that deserved all the attention they garnered. Putting aside Gervais’s State-side directing gig, The Invention of Lying (Merchant wasn’t creatively involved and it was a pretty poor film), Cemetery Junction sees both making the big move onto cinema screens. Cemetery Junction isn’t quite what you’d expect from the people that brought you characters like David Brent or Andy Millman, but instead sees Gervais and Merchant shifting gears somewhat and delivering a heart warming coming-of-age story set in the 70s. With Cemetery Junction both directors have crafted an astute and beautifully presented début that, despite being slightly too melodramatic and predictable, is as funny as it is moving.

Cemetery Junction creates a believable 1970s without relying too heavily on stereotypes, name-dropping or cultural iconography. Instead the film services its period details on a subtler level; snippets of overheard news reports, trends in fashion and a brilliant soundtrack all give you a sense of the times without shoving it in your face. The film is also beautifully shot; Gervais and Merchant paint a picturesque vision of the British summertime that creates an uplifting tone rarely seen in domestic films dealing with suburban life. Not content in just bringing a beautiful vision of Reading to the screen, the film-makers also leave room for some astute experimentalism with sound and image. A scene later on in the film in which a night out on the town goes horribly wrong features a nicely stylised piece of slow motion as images distort and sound deteriorates piece by piece.

Gervais and Merchant show no signs of losing their eye for character based comedy either. The inter-play between Freddie’s father and grandmother is priceless and the railway cafe owner is hilariously crude in a way only the British can truly appreciate. The laughs on offer here come thick and fast and come in a variety of forms (ranging from broad to contextual humour), but never threaten to overcome the dramatic tone of the film. The central plot of the film, Freddie’s attempt to find meaning in life and escape from his home town, is thoroughly moving and delivers an important, positive and up-lifting message. It’s when Cemetery Junction spends more time on its other characters, however, that it really carries some dramatic weight. Sub-plots focusing on Freddie’s best friend Bruce or his boss’s loveless marriage are handled with grace and are truly heartbreaking. It’s in these moments that the film transcends its funny coming-of-age genre template and becomes something far more emotionally rewarding.

All of this would of course mean nothing if it were not backed up with credible performances. Thankfully both Gervais and Merchant have assembled a brilliant cast which utilises a great combination of both new and old talent alike. Out of the three younger leads it’s Tom Hughes’s Bruce that stands out; his simmering rage and cocky stride hide a wealth of demons which are perfectly portrayed by the young actor. Elsewhere Gervais does well to cast himself in a small, comedic supporting role (not to mention Merchant’s brief but brilliant cameo) and veteran actor Ralph Fiennes does a terrific job with his self-centred and ruthless corporate boss, Mr. Kendrick. The true stand out performance here though is Emily Watson, playing Mrs. Kendrick. She has few scenes and says and does very little in them but Watson manages to provide the strongest emotional punch just by using her body language to convey a tragic world of isolation and regret.

Even though Cemetery Junction is an assured début, it’s by no means a perfect film. Gervais and Merchant do the best they can to prevent the film from being overly sentimental but a few cheesy moments still slip through. No matter how Felicity Jones delivers lines like, “Throw your heart out in front of you and run ahead to catch it” or “I think I might be in love with you too” (and Freddie’s annoying habit of repeating everything she has to say) they’re still going to sound melodramatic. Cemetery Junction is also extremely predictable as many moments in the film (including the films conclusion) will come as no surprise to anyone watching. All the loose narratives threads are tied up and everyone lives happily ever after. This, of course, comes with the territory but a couple of surprises along the way wouldn’t have hurt. Nevertheless, Cemetery Junction is a fine film from Gervais and Merchant and I wholeheartedly look forward to seeing what they come up with next.

Final Verdict: 8/10

Cop Out (2010)

Plot Summary: A comedy about a veteran NYPD cop whose rare baseball card is stolen. Since it's his only hope to pay for his daughter's upcoming wedding, he recruits his partner to track down the thief, a memorabilia-obsessed gangster.

Let me start my explaining that I’m fully aware Cop Out isn’t released in the UK for another month but I’ve had the pleasure (and I use that term loosely) of catching it early, so consider this an advance review (read: warning). Director of Cop Out, Kevin Smith, has made his name and career by combining crude comedy with heart-felt relationship drama and has had a run of two particularly good films of late (Clerks II and Zack and Miri Make a Porno). When Zack and Miri made far less money than expected, however, Smith opted to shoot someone else’s script for the first time and hopefully regain his loses. The resulting film is Cop Out, an almost unforgivably bad comedy/action hybrid starring Tracey Morgan and Bruce Willis.

What is most frustrating about Cop Out is that in parts, it’s actually hilarious. The opening scene in which Morgan’s character interrogates a petty drug dealer only using film quotes is brilliant stuff. Later moments including a ten year-old car thief and banter with another pair of police detectives had me laughing out loud. Both Willis and Morgan are capable comedians and they work well here but it’s Seann William Scott who steals the show. His ecstasy addled, parkour loving house thief only appears in a handful of scenes but Scott brings more enthusiasm to his role than Smith probably did to directing the entire film. The use of licensed tracks from artists such as The Beastie Boys, Run DMC and Cypress Hill in the soundtrack also demonstrates a great taste in rap music which fits the tone of the film well.

The main problem with Cop Out is that the laughs are extremely inconsistent. As stated, there are some standout comedic moments but overall the jokes are usually embarrassingly bad. They either feel stale and outdated or just fall flat on their face and it’s largely down the script. This is, put simply, a badly written film and why Smith didn’t at least rewrite some of it is anyone’s guess. Not only are most of the jokes terrible but there are even characters who are clearly meant to be funny (such as the opposing pair of detectives or the stereotypical Mexican drug dealer) but in reality just aren’t in the slightest. Cop Out is also meant to be an action film but even fails in that department. Smith hasn’t dealt with action scenes on this scale before and it shows like a skid-mark on a pair of bright white undies. The action scenes in Cop Out are so terribly edited together, boring and uninspired that by the final scene I switched off entirely until people started talking to each other again.

Another issue with the film is with the central casting. Morgan and Willis can do comedy but together are an unconvincing pair of lifelong police partners. They don’t have the chemistry of so many great odd-matched actors in the past and it shows. Every time Cop Out gets ‘serious’ and wants us to feel sorry for Willis as he struggles to pay for his daughter’s wedding or Morgan and his marital doubts we don’t care. The casting and writing prevents us from having any sort of empathy for these two men as they’re not convincing enough and the drama isn’t meshed well with the rest of the film. The awkward original soundtrack and the predictable and meandering plot also work against Cop Out.

Apparently, Smith sought to make a film in the 80’s ‘buddy cop’ tradition which is why the plot seems so utterly pointless and the original soundtrack so horribly outdated. The more likely scenario is that Smith was asked to direct a modern comedy/action and then tried to crow-bar in the aforementioned homage and it fails spectacularly. Consequently, and as a lifelong fan of Kevin Smith, it’s sad to say that perhaps he really can only pull off the indie dramedies he’s best known for as Cop Out is all too fitting a title.

Final Verdict: 3/10

Whip It (2010)

Plot Summary: In Bodeen, Texas, an indie-rock loving misfit finds a way of dealing with her small-town misery after she discovers a roller derby league in nearby Austin.

You may be asking yourself why a twenty two year-old male would be interested in a film like Whip It, a coming-of-age story for teenage girls, but I’ve been looking forward to seeing this film for months. Three things in particular stood out for me, first of all being that it stars Ellen Page (who is clearly one of the most attractive actresses around at the moment). It’s also directed by veteran actress Drew Barrymore getting behind the lens for the first time and the trailer and subject matter gave off a really interesting alternative, punk vibe. Both Page and Barrymore are impressive here, and it’s certainly a good film, but what Whip It lacks is anything to truly set it apart from the millions of other coming-of-age films available.

One thing that Whip It cannot be faulted for is its soundtrack which is pitch-perfect from start to finish. Barrymore has chosen an eclectic selection of rock, punk and indie songs from artists such as The Strokes, Radiohead, Peaches and The Ramones which all compliment the ‘alternative’ and energetic atmosphere of the film well. In addition to these licensed tracks The Section Quartet (best known for doing orchestral versions of popular rock songs) provides a fitting original soundtrack which never overdramatizes what’s on screen. The film is also very funny in parts. Whether it be Ellen Page’s Bliss turning up to a beauty pageant with blue hair, or the roller derby celebrating their reputation as losers with the utmost passion, there are some really good lines and comedic moments throughout. The narrative set-up and basic storyline are also fairly unique, I couldn’t name you another film about a teenage girl who joins a roller derby team, and is well portrayed for audiences unfamiliar with the sport.

Scenes of the roller derby matches are exciting , well shot and depicted with a real sense of enthusiasm. In fact Barrymore does a very good job at her first directing gig and rarely makes any of the usual amateur mistakes or awkward directorial missteps. It seems as if all her time around film-makers has paid off because, other than the small scale of the film, nothing about Whip It would lead you to believe that this was someone’s first film. She’s also managed to assemble a highly credible cast for her cinematic début. Ellen Page isn’t exactly stretching herself here but she doesn’t phone it in either and Juliette Lewis looks as if she’s as happy to be acting again as we are to see her doing so. It’s Marcia Gay Harden who gets the stand out role though, her performance as the controlling mum whom slowly grows to understand Bliss’s adolescent angst is portrayed with the perfect combination of wisdom and anxiety.

Where Whip It fails, however, is in terms of the core storytelling. Strip away the ‘alternative’ focus and the roller derby theme and it’s pretty much your cardboard cut-out coming of age story. Bliss is forced into an activity she hates by her mother, rebels and finds a somewhat dangerous new hobby (not to mention boys and alcohol etc.) and grows as person because of it. Shauna Cross, writer of the source novel and screenplay, doesn’t really try and break new ground with the genre and you’re left feeling a little short changed at the end of the day. Additionally, Barrymore and Cross don’t attempt to experiment with form in any context whatsoever which leaves the film feeling a little pedestrian. I’m not asking for Lynchian levels of experimentation here but a little use of style would have gone a long way. Nevertheless, Whip It is a decent rights-of-passage film with an indie twist that will please likeminded audiences who are going through, or have already gone through, this particular moment in their lives.

Final Verdict: 7/10

The Blind Side (2010)

WARNING: THIS REVIEW MAY CONTAIN SPOILERS.



Plot Summary: The story of Michael Oher, a homeless and traumatized boy who became an All American football player and first round NFL draft pick with the help of a caring woman and her family.

Anyone that regularly reads this blog will probably be aware that I’m not a huge fan of feel good movies. Neither am I particularly interested in sports, or sport movies. Then why did I choose to review The Blind Side, a feel good movie about American football? The truth is I love a feel good film as much as the next person; I just hate the extremely cheesy and formulaic ones. As for sport films, as long as the sport in question doesn’t completely dominate the narrative then I’m fine with it. For example I love films such as My Neighbor Totoro, Raging Bull, Amélie and The Wrestler. The Blind Side, directed by John Lee Hancock, was a massive success in the US and Sandra Bullock even managed to bag an Oscar for best actress from it so I decided to give it a try. Unfortunately, after having seen the film, almost all my suspicions about the film were proven right; it’s a boring, sugar coated and thoroughly predicable cinematic affair.

However, The Blind Side is by no means a terrible film and it’d be an unfair statement to suggest so. The acting is good, if not quite Oscar worthy, throughout. Sandra Bullock (playing Leigh Anne Tuohy) does a really good job at portraying a headstrong, wealthy Southern woman who has managed to find a healthy balance between work and family. Likewise Quinton Aaron delivers a solid performance as the introverted and troubled Michael and Tim McGraw (playing Leigh’s husband) plays his part with truth and honesty. The aforementioned balance between sport and drama is also handled really well.

The perfect amount of screen time is spent watching the football training and matches while the majority of the film focuses on the main characters’ lives. The story itself, which is based on true events, is also rather uplifting and positive; we want to see Michael succeed and when he does it’s undeniably satisfying. The look of the film may be rather bland but The Blind Side has clearly been shot by people who know what they’re doing and there a couple of standout moments to relish (the opening scene which utilises still images is well put together and later a muted, slow motion calm-before-the-storm moment is also quite effective).

This is all and well but The Blind Side is ultimately let-down by its refusal to challenge the audience; it’s altogether far too safe. For a film dealing with such heavy issues (homeless teenagers, drug addicted parents etc.) it shies away from the heavy stuff far too much. Instead it’s content to spend most of the film showing how great Michael’s new white, wealthy life is and lacks the courage of its convictions. There are flashbacks to Michael’s unsettling past but they’re extremely short and rare and whenever he or Leigh visits his old neighbourhood it’s portrayed with a lack of menace typical of a Disney movie. There’s also a severe lack of dramatic threat or tension within the film. There a couple of difficulties for characters to face, Michael’s past life and a law suit suggesting that Leigh’s family have groomed Michael to join a particular college, but they never really pose any real danger as they’re dealt with easily and soon resolved.

The film is also rather cheesy and predictable. Michael of course goes from strength to strength throughout the film and achieves everything he sets out to do, no matter how difficult or unlikely these ambitions may be. We’re treated to training montages, over-the-top displays of family affection and the triumph against all odds conclusion; there’s no narrative surprises in store for audiences whatsoever and it’s all been done countless times before. The Blind Side is also extremely formulaic in how it’s shot and presented, there are almost no interesting visual choices made whatever. The two tackiest moments in the film have to be when the family pose for a Christmas card and when Michael takes a picture of himself for a driver’s license; they both magically transform into the actual photos, while exhibiting the amount of finesse you’d expect from a children’s program.

Additionally, Sandra Bullock’s character Leigh is annoying perfect (not to mention her son, SJ, who is just plain annoying). She’s so confident, so controlling, that you want to see her slip up at least once and hopefully learn from it. Aside from a brief moment of reflection following the law suit she never does and it’s rather infuriating. However, this is not what the majority of people care about. Most people just want to be entertained and leave the cinema in a good mood. The Blind Side will most likely provide this experience for many but it’s not a film for anyone who has a low tolerance for sentimentality and is looking for originality, depth or realism.

Final Verdict: 5/10

Kick-Ass (2010)

Plot Summary: Dave Lizewski is an unnoticed high school student and comic book fan who one day decides to become a super-hero, even though he has no powers, training or meaningful reason to do so.

Over the last decade it has become an industry standard for studios to release at least one superhero film as a tent-pole release for their summer schedule. More recently, starting with Sin City, a new trend in releasing smaller budgeted, more violent comic book adaptations in March has surfaced. Films such as 300 and Watchmen aren’t particularly suitable for summertime, in which cinemas are dominated by mass-appeal blockbusters, and stand more of a chance in an earlier part of the year. New entry in this strategic release model, Kick-Ass, is based upon Mark Miller’s extremely violent comic book of the same name and is directed by Matthew Vaughn (Layer Cake, Stardust). Kick-Ass does exactly what it says on the tin and, although it’s let down by a few tonal missteps, is best summed up as a wildly entertaining synthesis of Spider-Man and Kill Bill.

Make no mistake, Kick-Ass is tremendously violent and it doesn’t give a damn if it offends you. Bullets fly, legs are severed and, in one of the film’s most splatter-hungry moments, a man is blown up in an industrial microwave. To make matters worse (read: better) a lot of the time the pain is being dealt out by a twelve year-old girl, uttering profanity ridden punch lines such as, “OK you c*nts, let's see what you can do now”. The film then, is clearly not one to take grandma to see on the Sunday matinee. The ensuing fight scenes are some of the best I’ve seen in years; inventive, cool and funnier than a Bugs Bunny Saturday morning cartoon. The two stand-out scenes would have to be the first involving ‘Hit-Girl’ (the previously mentioned twelve year old, played by Chloe Moretz) which is hilariously abrupt and highly visceral and the slick and satisfying one-take attack by ‘Big Daddy’ (Hit-Girl’s father and partner in crime, played by Nicolas Cage) upon a warehouse full of gangsters.

The film is more than a collection of Tarantino worthy action set-pieces however, as most of the story focuses on Dave’s (Aaron Johnson) adolescent trials and tribulations. They aren’t, as you might expect, riddled with Peter Parkeresque clichés and outdated morality struggles as the story attempts to take a more modern and humorous look at today’s teenagers. Dave isn’t a loner or a complete loser but isn’t exactly one of the popular kids either, marking a refreshing twist in genre conventions. The insertion of pop-culture references such as YouTube and MySpace, as well as a sub-plot which sees Dave pretend to be gay in order to get close to the girl of his dreams, also make the film much more culturally relevant. Kick-Ass also works very well as an amusing parody of superhero films, beginning as it means to go on with a false-start involving an Armenian teenager testing out his Icarus-inspired costume whom plunges head first into a taxi rather than soaring into the skies.

In fact Vaughn has so much to pack into Kick-Ass that it could have easily become an overly long mess of ideas. The director pulls it off though, employing a swift and energetic pace that manages to keep almost the entire narrative intact in less than two hours; an achievement in of itself. The soundtrack is similarly energetic and fun, comprising of a selection of modern licensed tracks which give the film an extra sheen of cool. The film is also impressive from a technical standpoint, taking most of its stylistic cues from the medium it’s adapting. Caption cards reading “Meanwhile” and “Six months later” laid over the screen, a bright and bold colour pallet, as well as a gorgeously animated flashback, all aid in creating the look of a comic book come to life. The acting on display is first class and you can tell everyone involved had a blast making the thing. Aaron Johnson does a good job of making Dave’s somewhat senseless actions seem empathetic and Chloe Moretz seems an actress wise beyond her years; she makes you truly believe a twelve year-old girl could kick that much ass. Nicolas Cage is also on rare comedic top form here with a perfect deadpan delivery and brilliant parody of Adam West’s Batman.

For the most part, Kick-Ass is a very faithful adaptation of the comic book and for that alone it should be praised. Most of the films pitfalls, however, occur when it chooses to stray too far from the source material. Notable changes to the relationship between Dave and his love interest, Big Daddy’s back story and the ending of the story only make the film cheesier and more fantastical than it needed be. For a film seemingly so intent on creating a semi-realistic world in which real people try to be superheroes, additions such as a jet-pack with mini-guns attached just seem unnecessary (even if they are fun in their own way). Additionally, the conclusion of the Dave’s romantic aspirations clashed with the overall tone of the film and here is also a slight awkwardness to some moments in which tragedy and comedy are blended together. Nevertheless, Kick-Ass is the most invigorating and exciting comic book adaptation to come along for a long time and is certainly not to be missed.

Final Verdict: 8/10

The Girl with the Dragon Tattoo (2010)

Plot Summary: Swedish thriller based on Stieg Larsson's novel about a journalist and a young female hacker.

As a disclaimer to this review I’d like to outwardly admit that I don’t particularly like detective/crime mystery films (for the most part). As a consequence I’m obviously going to have enjoyed The Girl with the Dragon Tattoo far less than someone who does; so feel free to add an extra mark onto my final verdict if you’re one of these people. Dragon Tattoo is a Swedish film which adapts the first in a series of bestsellers called ‘The Millennium Trilogy’. After the release in its native country last year it was box office smash and it’s now being released widely throughout Europe. The film itself is somewhat of a contemporary or ‘alternative’ take on the murder mystery genre due its depiction of sexual violence, the striking female lead and her reliance on computers and the internet. It’s a well made thriller which makes some interesting choices but overall feels like it’s missing something.

As mentioned, the main selling point of Dragon Tattoo is the two main characters who both band together (professionally and later, sexually) in order to solve a forty year-old murder case. Mikael (played by Michael Nyqvist) is a writer for a communist magazine, disgraced and heading to prison since losing a libel case against corrupt businessman. He’s not exactly Dick Van Dyke. It’s really Lisbeth (Noomi Rapace), though, who stands out here for several reasons. First of all, her goth/alternative look is extremely striking; piercings, tattoos and of course, primarily black clothing dominate. Her feminist attitude and resolve is demonstrated in a variety of different scenes throughout the film, combined with her troubled past and general mystique, make her a thoroughly compelling character. Both roles are very well written and acted and as a result it wouldn’t be unfair to suggest that they make the film.

Dragon Tattoo is also well, if not particularly interestingly, shot from start to finish and does a good job of creating a dramatic and mysterious set-up for the murder case. The film is also rather uncompromising in its depiction and critique of the general male population. Not all men are portrayed as evil or perverted and it’s not quite a true ‘feminist film’ but as the original Swedish title, Men Who Hate Women, suggests the film-makers clearly have things to say about the male dominated society we all live in. This appears in the film in truly harsh and gritty scenes in which Lisbeth is assaulted in full view of the public by a group of drunk men at a train station, sexual assaulted by her probation officer and finally in the murderous exploits of the Vanger clan. Not that Lisbeth takes it lying down, she fights back at her male oppressors with full force; in one particularly hard to watch scene she even drugs, ties up and rapes a man with a dildo.

The violent direction taken by the film-makers is an interesting, if not exactly enjoyable, decision which adds some much needed dramatic weight and realism to events. Even with these unique elements present in the film, Dragon Tattoo still ends up feeling fairly formulaic. The identity of the killer and the whereabouts of the victim will be obvious to most keen-eyed viewers and nothing in particular really stands out and grabs the audience. Dragon Tattoo also has a rather long running time which some may find trying. The first hour of the film takes far too long establishing the characters and plot and there appears to be about four endings. The main ending itself also felt uncharacteristically upbeat and felt off with the rest of the film. However, The Girl with the Dragon Tattoo is a well made film and is a fairly different take on the murder mystery film which fans of the genre are bound to enjoy.

Final Verdict: 7/10

Shutter Island (2010)

Plot Summary: Drama is set in 1954, U.S. Marshal Teddy Daniels is investigating the disappearance of a murderess that escaped from a hospital for the criminally insane and is presumed to be hiding on the remote Shutter Island.

A new film release from legendary film director Martin Scorsese (director of such classics as Raging Bull, Taxi Driver and Goodfellas) is always going to be a big deal and Shutter Island is no exception. His follow up to 2006’s The Departed has been a long time coming, not least because it was delayed for four months, but it’s now gracing screens across the country. Based upon Dennis Lehane’s novel of the same name Shutter Island is an interesting mystery come thriller which borrows heavily from the likes of Val Lewton and Alfred Hitchcock throughout. It feels almost needless to say, this is Scorsese we’re dealing with here, but the film really is expertly put together. Considering this and the potential of the set-up of the story, Shutter Island could have been one of the director’s best but it is unfortunately held back by its misguided pacing and a somewhat weak conclusion.

As mentioned, and from the very first shot of a ferryboat emerging from ominous misty seas, the film-making pedigree on display here is as spellbinding as you’d expect. Scorsese and his crew really push themselves and the result is a joy to witness. Shutter Island is beautifully photographed and the imagery captured in decaying ruins, gothic architecture and surreal dream sequences could easily stand alone outside of the film. The sound design and editing also deserve a mention here as both are used in unconventional and surprising ways to further bring the audience into Teddy’s emotionally complex mindset. Jump cuts, would-be continuity errors, mismatched lip synch and layers of sound all work together to express the fractured state of our central character’s mind.

The acting, ranging from relative newcomers to experienced veterans of the screen, is thoroughly convincing and is typical of the calibre of film-making on display. Scorsese does a brilliant job of setting up the secretive and questionable nature of the titular Shutter Island; creating a truly living environment and a very involving and mysterious tone. The story that unravels on the island is a compelling throwback detective thriller and will keep you guessing as to what is going on in the institution and indeed, Teddy’s mind. Shutter Island isn’t a horror film (the closest it comes is during the scenes in the illusive ‘Ward C’) but certainly draws upon the genre and produces a strangely compelling eerie atmosphere. This is aided by the selection of modern classical pieces supervised by Robbie Robertson which really convey the haunted feel of the film.

Not all, however, is well on Shutter Island. The film makes many twists and turns and many possible outcomes are hinted at but the final reveal is a very disappointing one. You know when you guess an ending early on and think, “No, it can’t be that easy to figure out”. Well guess what? With Shutter Island, it really is. This is a shame as the film is better than that and could have done something much more interesting with the story. This is, on the other hand, saved slightly by a very powerful final line which poses many more questions than it answers. There is also a slight pacing issue present as the third act struggles to keep up the momentum it has so carefully built up and it becomes a bit dull until the aforementioned reveal. Shutter Island is very well made film from a man who clearly knows what he’s doing and is certainly an enjoyable experience overall, but it could have done with a much more intellectually rewarding ending and a shorter running time.

Final Verdict: 7/10