THE PLOT Jason Statham is Detective Sergeant Tom Brant, a grizzled South London cop on the hunt for a serial cop killer known as The Blitz. Brant must stop this publicity hungry killer before more colleagues and friends are gunned down.
THE REVIEW I was somewhat pleasantly surprised to find this wasn’t the usual Statham fair of fast paced over-the-top action and explosions. That said this wasn’t a great film, as anticipated, but still managed to be entertaining and ultimately a good watch.
Aidan Gillen (Queer As Folk, Game Of Thrones) is fantastic as the psychotic murderer Barry Weiss (a.k.a. The Blitz) and holds a significant screen presence in the title role. Paddy Considine’s supporting character Porter Nash, whilst performed well, was a largely under-developed and ultimately unimportant one.
Whilst this film did bear some of the hallmarks Statham fans expect, The Blitz was largely grit over flair which fundamentally worked without being bang-on-the-money.
THE VERDICT Gritty, well-paced and mainly entertaining, The Blitz is an average film made better by some good casting and acting. TC
Director: Elliott Lester Writers: Ken Bruen (novel), Nathan Parker (screenplay) Stars: Jason Statham, Paddy Considine, Zawe Ashton and Aidan Gillen Running Time: 97 Mins
THE PLOT James McAvoy is the young Charles Xavier (the future Professor X) in the origins story of the X-Men. Hired by a secret government agency, Xavier is tasked with tracking down Kevin Bacon’s murderous Sebastian Shaw, a powerful mutant who feeds on energy and is bent on starting nuclear war to feed his power and leave humankind weakened and ripe for conquest.
THE REVIEW I sat down in the cinema not expecting too much of this film, but hoping to be entertained and not disappointed. And that’s exactly what I got.
Set against the back drop of the 60’s Cuban Missile Crisis (here, instigated by Shaw) Xavier puts together a team of mutants to find Shaw and stop him. This is the beginnings of the X-Men with Erik Lehnsherr/Magneto (Centurion’s Michael Fassbender), Raven/Mystique, Riptide, Banshee and Hank McCoy/Beast (Nicholas Hoult).
The majority of the character and plot development is geared towards establishing the central characters of Xavier, Magneto and Raven (or Mystique as she was later known) and provide some essence to carry over to follow-up films. This development nicely filled in some of the background to characters the audience has already come to know through X-Men and X2.
The bad guy’s, led by Shaw are disappointingly one dimensional henchmen types, made more disappointing by the much under-used, but increasingly typecast Jason Flemyng as a NIghtcrawler-alike Azazel.
The final set piece battle is entertaining but never exhilarating and bookends this review nicely in that this movie is entertaining at its peaks and still watchable in its troughs.
THE VERDICT X-Men: First Class is a fun, sometimes tongue-in-cheek, blockbuster that will entertain but not enthral TC
Director: Matthew Vaughn Writers: Ashley Miller (screenplay) (as Ashley Edward Miller), Zack Stentz (screenplay), Jane Goldman (screenplay), Matthew Vaughn (screenplay), Sheldon Turner (story) and Bryan Singer (story) Stars: James McAvoy, Michael Fassbender, Kevin Bacon, Jennifer Lawrence, Oliver Platt, Álex González, Jason Flemyng, Zoë Kravitz and Nicholas Hoult Running Time: 132 Mins
Marvel Comics’ take on Norse mythology get a big screen outing. Thor, God of Thunder, son of Odin, brother to Loki is banished to Earth having gone against his father’s will, having potentially started another war against old enemies the Frost Giants of Jötunheimr. The stress of this descends Odin into illness enticing the mischievous Loki to seize the throne, having lived in his brother’s shadow these many years. Thor’s comrades-in-arms, suspicious of Loki’s part in Odin’s illness and Thor’s exile, use the mythological Bifrost Bridge to travel to Earth to bring back their leader. Loki sends a magical warrior to stop them, tearing apart small-town New Mexico in the process.
THE REVIEW The plot is Cain and Able type stuff, with muscles and magic. Chris Hemsworth is Thor in his first major studio outing and holds up well as an all-action lead. Natalie Portman played what really amounted to a supporting roll, but as watchable and easy on the eye as ever. Anthony Hopkins was stereotyped as the cantankerous old man Odin and apart from his voice doesn’t really add to the film, but nor does he detract; a nothing performance really, however important to the storyline.
As much as Hopkins performance was of a type, so too was Stellan Skarsgård’s as the professor-type. No bad thing in this instance, as the character was more likeable than others (Good Will Hunting) and he always seems to give his characters depth with seemingly minimal effort. Some reviews have credited Tom Hiddleston’s Loki as being the outstanding performance and find of the film, but for my money he seemed no better than many English-accented baddies, but certainly no worse.
The CGI in the fight scene against the Frost Giants was excellent but too heavy handed in the vistas and cityscape of Asgard, home of the Gods. There’s not much to this film, it serves to setup yet another origin story of a character from the forthcoming Avengers film, but does so in an enjoyable fashion.
Once again the use of 3D was of no benefit and pointless, save to fill the coffers of the big Hollywood studios and perhaps to reduce potential piracy. Of course, the latter argument is invalidated by the fact that they also released it in 2D!
IMPORTANT: Watch to the end of the credits. Nuff said!
THE VERDICT Probably not the best comic book adaptation you’ll see this year but enjoyable enough not to be disappointing. Plenty of action and some laughs to boot. TC
Director: Kenneth Branagh Writers: Ashley Miller (as Ashley Edward Miller), Zack Stentz & Don Payne (screenplay), J. Michael Straczynski & Mark Protosevich (story), Stan Lee, Larry Lieber & Jack Kirby (comic book) Stars: Chris Hemsworth, Natalie Portman, Tom Hiddleston, Anthony Hopkins, Stellan Skarsgård & Rene Russo Running Time: 114 Mins
THE PLOT Eddie Morra’s girlfriend has left him because his life, along with his writing, is in a slowly spiralling decline. Following the break-up, Eddie (Bradley Cooper) bumps into Vernon, his ex-wife’s brother, who gives him a pill that is supposed to increase the brains activity from 10% to 100%! Taking this designer drug reveals the claim is justified and overnight turns the struggling writer into a powerhouse. However, the effects are fleeting and Eddie needs another hit.
Tracking down Vernon (CSI: Miami’s Det. Jake Berkeley) Eddie discovers Vernon dead and his apartment ransacked but manages to uncover the pill’s hiding place. So begins an addiction that brings Eddie fame, money, enemies and potentially agonising death.
Within what seems about a week Eddie finishes his novel and has become a major trader on the stock market, attracting the attention of some big fish. Enter Carl van Loon (Robert De Niro), a business mogul who challenges Morra to advise him on a merger that could make billions. For this, Morra must be at the top of his game, but his stash is running low and the side effects are becoming more severe.
THE REVIEW I’ll set this out from the start… I wanted to see a film and this looked like the best of what was on general release that I hadn’t yet seen. From this you can see that neither my expectation nor my demands were particularly high. This proved relatively beneficial.
Cooper was entertaining enough but nothing special, except maybe for the ladies, and even then I’m guessing only after he stopped dressing like a street urchin. De Niro’s role could have been played by almost any sixty-something Hollywood actor, as his talents seemed wasted on this script. In fact, with the exception of Cooper’s Morra, most characters seemed underdeveloped, two-dimensional and frequently stereotyped. This is a pity, as the idea behind the film seems like it could have had potential as a dark and gritty alternative reality, rather than the colour-by-numbers stuff served up here.
I didn’t hate this film, however, even if it was 15 minutes longer than it needed to be; a remarkable thing in itself, considering the film’s tendency to take considerable jumps forward in time. You’d think they just skip the boring shit and get on with it! Limitless is entertaining in the main, but plays it close to the bone, delivering a relatively flat experience.
THE VERDICT Halfway through you realize Limitless has some considerable boundaries that turn a film with some potential into a forgettable way to kill 100 minutes TC
Director: Neil Burger Writers: Leslie Dixon (screenplay), Alan Glynn (novel) Stars: Bradley Cooper, Robert De Niro, Abbie Cornish and Anna Friel Running Time: 105 Mins
Soon to retire Staff Sergeant Michael Nantz (Aaron Ekhardt) is thrust back into combat with a platoon of new recruits, including platoon leader, newly promoted 2D Lieutenant William Martinez (Ramon Rodriguez). The enemy: Alien invaders. The objective: Rescue civilians, destroy all hostiles and above all, hold Los Angeles.
THE REVIEW Battle: LA offers a simple enough premise that doesn’t linger in getting down to business. Now I wasn’t expecting too much from this film, but it was my birthday and I wanted to see people blowing shit up! And I wasn’t disappointed. There was a real attempt to develop characters and create an atmosphere, an attempt that, considering the rush made in getting to the action, was relatively well done and shit-loads better than 2010’s invasion-bollocks Skyline.
There were a few plot absurdities; the military intel within hours of the first attacks that these invaders were after earth’s abundance of water (at which point I remembered the curses I made against M. Night Shyamalan for Signs). In addition, the fact that experienced squad leader Nantz, along with Air Force Recon TSgt. Elena Santos (a typecast but not annoying Michele Rodriguez) seemingly fails to pass on valuable intelligence to command on the aliens vital systems.
There were also a handful of moments for which the butch military bravado got a bit much, and the attempt to show a bit of heart following the death of a rescued civilian was so formulaically saccharine I found myself rolling my eyes and shaking my head.
The effects are as good as you’d expect these days and the action frenetic, in the style of Black Hawk Down; a somewhat tense street-to-street, building-to-building, running gunfight. Although with every single scene shot with a handi-cam, in an effort to keep it gritty and edgy, it gets a little tedious at best and potentially nauseating at worst. But this is ultimately just a minor annoyance in what is largely an entertaining if not memorable sci-fi flick.
PS Skyline was appalling.
THE VERDICT If it’s action you want Battle: Los Angeles has it. Frantic and entertaining, this is one of the better alien invasion films in recent years. TC
Director: Jonathan Liebesman Writers: Christopher Bertolini Stars: Aaron Eckhart, Ramon Rodriguez, Michelle Rodriguez, Ne-Yo and Bridget Moynahan Running Time: 116 Mins
THE PLOT Congressman David Norris (Matt Damon) is the leading candidate for the New York seat in the US Senate until photographs of a minor college indiscretion collapse his chances, like so many falling cards. An unlikely meeting with the stimulating Elise (Emily Blunt) in the men’s room, moments before his concessionary speech, gives him the spur to be frank and self deprecating, much to his aides chagrin.
Enter a group of trilby-wearing mysterios and what appears to be a dark plot. These are the men of the Adjustment Bureau, men who seem to know the future and set about manipulating it to their purpose. But what is that purpose? Do we control our destiny or is someone calling the shots? Agent Harry Mitchell (8 Mile’s Anthony Mackie) is Norris’ case worker, responsible for ensuring David spills his coffee in order to alter his future, but misses his opportunity resulting in two chance encounters that were never meant to be; the first, a second meeting with Elise and worse yet, he walks in on the Bureau at work on his friends and colleagues.
Freaked out, Norris flees, but each corridor he turns down and every room he enters his pursuers appear ahead of him, lead by Mad Men’s John Slattery. Eventually cornered, he is captured and informed that he was never meant to meet Elise again as he is not fated to be with her. The Bureau threatens to wipe David’s memory if he speaks of their existence and warn him away from Elise.
The result of his ‘off-script’ speech days earlier turns his fortunes, pushing him to stand again 3 years later with much good will and popularity. The passing time has done nothing to temper his thoughts of Elise and the frustration of never meeting her again. Every day he takes the same bus on which their last meeting took place, in the hope of meeting her again. Once again chance plays it’s part and they run into each other, launching the Bureau into action as they set about to break them apart.
THE REVIEW Yet another film from the seemingly endless list of novels from Philip K. Dick, this is mostly about entertainment rather than deeper meaning, irrespective of the attempts to the contrary. But the entertainment value is quite high.
There are none-to-subtle allusions to a ‘god-like’ figure in the form of the never-seen-always-spoken-of Chairman, making the members of the Bureau his angelic minions. If you can cope with this pretence the movie runs quite well, but I’m betting some might find it tedious or frustrating in this regard.
The chase sequences are frenetic and well delivered with simple CGI enhancements that are nicely underplayed and relatively unobtrusive in spite of their importance to the plot.
Matt Damon is as reliable and convincing as ever, effortlessly portraying the rarest of people, a genuinely nice-guy politician. Emily Blunt was possibly miscast from the perspective that she struggled to maintain the accent, something that could so easily have been covered by the fact that the character is a ballerina, who feasibly may be well travelled. Why not just be English? The modern world is a small place! That aside, The Adjustment Bureau is entertaining and roughly worth the price of admission, but where critics getting ‘Inception meets Bourne’ is giving it more credit and gravitas than it deserves.
THE VERDICT Entertaining, enjoyable and worth a watch, but never really exhilarating. TC
Director: George Nolfi Writers: George Nolfi (screenplay) and Philip K. Dick (short story) Stars: Matt Damon, Emily Blunt, Anthony Mackie, John Slattery and Terence Stamp Running Time: 105 Mins
Following their dream of attending Comic Con English forty-something geeks, Graeme and Clive (Simon Pegg and Nick Frost), hire an RV and set out on the road trip of their lives, from Area 51 to Roswell, New Mexico. Not long into their journey they have a close encounter with a Ford sedan that crashes in front of them; the driver, an alien named Paul.
Paul explains that his life is in danger and pleads for help getting to Wyoming, and freedom. Hunted by government men in black (headed up by Jason Bateman) and the vengeful father of female love interest Ruth (Kristen Wiig), the hapless duo find their ultimate holiday plans turned upside down all because of a foul-mouthed little alien.
THE REVIEW Following on from Pegg and Frost’s previous outings in Spaced, Shaun Of The Dead and Hot Fuzz there is bound to be a level of expectation with this one. But this time there are a few things missing, a certain Edgar Wright and a little British edge. These things aside this is not a bad flick. The humour is a little more ‘base’, more for the American masses, but this is by design and by admission of writer/actors Pegg and Frost. And for the masses this is a light, funny, road trip of a buddy movie.
For the second film in a row (Green Hornet) Seth Rogen (Paul) hasn’t caused me to wince or yell at the screen! In fact, combined with some great CG you often forget it’s Rogen at all. Once Paul reveals the mysteries of his life, Ruth, a ‘God-bothering Cyclops’, realises she’s been wasting her life and is determined to make up for lost time, providing some of the funniest, swearingest lines of the film.
Frost and Pegg’s years long friendship provides the basis of a convincing on-screen camaraderie, but viewers familiar with this likeable pair are likely to feel they limited themselves in the wit and sarcasm departments. For the geeks in the audience there is a swathe gratifying sci-fi flick references, homage’s and quotes including a bar with a Stetson-wearing band playing the tune from the cantina on Tatooine and Devil’s Tower from Close Encounters. Nice.
THE VERDICT Paul has plenty of geeky fun and some good laugh-out-loud moments. Pegg and Frost are entertaining as ever but don’t expect another Shaun Of The Dead and you should enjoy this film. TC
Director: Greg Mottola Writers: Simon Pegg and Nick Frost (screenplay) Stars: Simon Pegg, Nick Frost, Seth Rogen, Jason Bateman, Kristen Wiig and Sigourney Weaver Running Time: 104 Mins
THE PLOT 14 year old Mattie Ross (Hailee Steinfeld) is seeking retribution for the cold blooded murder of her father at the hands of Tom Chaney (Josh Brolin). The precocious teen sets out to hire a U.S. Marshal to track down Chaney, a man who is tenacious, ruthless; enter Rooster Cogburn, a man with true grit.
Cogburn (The Big Lebowski’s Jeff Bridges) is a drunken gunslinger who kills more men than he brings to justice and is just the man for the job. Joined by cocksure Texas Ranger LaBoeuf (Matt Damon) the trio head into Indian territory on Chaney’s trail.
THE REVIEW The Coen’s reworking of this classic western is broadly a very well constructed film. The cinematography is lovely, not quite worth the price of admission on it’s own but worthy of both BAFTA and Oscar nominations. The characters, whilst not all fully sculpted, were well acted, if not always true to life or sometime stereotypical.
But here’s the rub; when starting a film review it doesn’t bode well if the first thing you think to say is that the pictures were pretty and some of the acting was ok! Fundamentally I found this to be a good and enjoyable film, but after a couple of dry cinematic weeks and the resulting anticipation this one left me a little, meh!
Don’t get me wrong, there were some really good elements here. Bridges was great as an old sot, earning yet more leading actor award nominations to add to last years Golden Globe and Oscars gongs. Steinfeld performed what was an obstinate, and sometimes irksome, sometimes humorous character to great effect in her first feature, whilst Damon (of who I do rate) was adequate. For me, the characterisation, and therefore ultimately the script, seems to be somewhat lacklustre, and this is down to writers/directors Ethan and Joel Coen. This is not the first time they’ve got characterisation wrong; I cite The Lady Killers (another remake), but is disappointing following in the wake of Oscar winner No Country For Old Men (2007).
Not a bad film by any stretch, but slightly disappointing despite moment’s genuine humour and some good dialogue. Definitely not a ‘must see’ but in the absence of better selections you could do so much worse and you won’t feel worse for the experience.
THE VERDICT The Coen’s give this John Wayne classic a reworking that displays the dark humour and gritty realism for which some of their previous outings have been praised. Whilst this film is outshone by other Coen films, most notably No Country, this is a good film with largely excellent acting and is overall a very enjoyable experience. TC
Director: Ethan Coen & Joel Coen Writer: Joel Coen & Ethan Coen (screenplay), Charles Portis (novel) Stars: Jeff Bridges, Matt Damon, Hailee Steinfeld, Josh Brolin and Barry Pepper Running Time: 110 Mins
NOW SEE THE TRAILER...
UK Release Date: 11th February 2011
AWARDS BAFTA Winner - Cinematography: True Grit: Roger Deakins BAFTA Nominee - Best Film: True Grit BAFTA Nominee - Adapted Screenplay: Ethan Coen and Joel Coen for True Grit BAFTA Nominee - Leading Actor: Jeff Bridges for True Grit BAFTA Nominee - Leading Actress: Hailee Steinfeld for True Grit BAFTA Nominee - Production Design: True Grit: Jess Gonchor, Nancy Haigh BAFTA Nominee - Costume Design: True Grit: Mary Zophres BAFTA Nominee - Sound: True Grit: Skip Lievsay, Craig Berkey, Greg Orloff, Peter F Kurland, Douglas Axtell
Academy Award Nominee - Best Picture: Scott Rudin, Ethan Coen and Joel Coen, Producers Academy Award Nominee - Directing: Ethan Coen and Joel Coen Academy Award Nominee - Actor in a Leading Role: Jeff Bridges Academy Award Nominee - Actress in a Supporting Role: Hailee Steinfeld Academy Award Nominee - Art Direction: Production Design: Jess Gonchor; Set Decoration: Nancy Haigh Academy Award Nominee - Cinematography: Roger Deakins Academy Award Nominee - Costume Design: Mary Zophres Academy Award Nominee - Sound Editing: Skip Lievsay and Craig Berkey Academy Award Nominee - Sound Mixing: Skip Lievsay, Craig Berkey, Greg Orloff and Peter F. Kurland Academy Award Nominee - Writing (Adapted Screenplay): Written for the screen by Joel Coen and Ethan Coen
Right then. This has been coming for some time, but I can delay no longer. What the ‘hell’ is going on in multiplex cinemas these days?!
Let me set out my stall on this one… I’m a film lover. I think that’s obvious. In fact it’s my love of film that saw me end up working as an assistant manager for the UK’s leading cinema chain for 18 months several years ago. This cinema was one of the few that regularly hosted UK film premiers outside of the West End and is the ‘local’ cinema for many well known London based actors, directors and producers, a cinema with a reputation for quality service and viewing experience. So perhaps I have a certain view on this.
Now perhaps I’m being unreasonable, or just over expectant, but I would have hoped that at least ‘some’ of the senior management in cinemas these days might actually give a damn about what their customer’s experience. There are a lot of things to care about, but these are all elements that should surely be standard and not limited to the few big name or elite locations. Fundamentally, there is one thing that accounts for a great cinema experience; eye for detail, specifically eye for detail in customer service and presentation quality.
Customer Service The first thing that pisses me off is not being able to see what’s playing at what time. This is more noticeably a recent problem with the migration to automated notice boards that are on the back of the box office walls, this is a problem if you don’t know what’s on, particularly when you’re stuck at the back of the queue. The most annoying part of this is that even if you can read the display the rotation of the films and times is such that you either have to wait forever to find what you’re after, or the rotation is too fast and you don’t have a time to find the start times!! Here’s an idea… show the bloody lot on one board at the same time!! And show them so I can read them whilst in the queue.
This way of advertising times creates 2 customer service issues: you either have to leave the queue to find the showing times or you could leave your decision until you get to the front of the line. Option 1 allows the queue time to grow further, something which might cause further issues later, whilst option 2 (the seemingly frequent selection for the thoughtless masses) slows the progress of the queue while decisions are made. All this takes up time and causes annoyance for those that otherwise showed up with what would normally be considered ‘enough’ time and starts the whole experience poorly.
“You could look up the times in advance”, I hear you say. Yes, I could, and frequently do, but there are many occasions for which my choice of film will be decided by the time at which I arrive at the cinema, especially if my trip into town has had other purpose. So this argument does fall down.
Now the queue; I expect to queue for popular releases, especially on opening weekends, which is why I usually show up early, if not just to get a good seat (see my guide to the perfect cinema seat – if you’re as sad as I am!), but knowing there is a new big release and still only offering one box office assistant is ridiculous. Sort your shit out!! If you want the admissions to make budget, make sure that you can sell tickets in time for customers to get seated with the house light on!! Additional time queuing for tickets might mean that customers are less likely to buy food and drink, and unless things have massively changed since my time, this is where cinemas rake it in, because of the mark up.
So surely, multiplex managers, this first point of contact with your customers is important? So why can’t you get this right? Especially if your name has ‘deluxe’ in it! Not a very deluxe experience.
Cinema customer service shouldn’t just finish in the snack bar either. The bigger the film, the wider the audience and the more likelihood for disruption, so why, when cinemas are legally bound to have staff in attendance for fire regulations, do management not oblige those same staff to periodically attend the auditoria and ensure people aren’t pissing about and disturbing other customers?!
Presentation Quality Were staff employed in the above fashion more frequently they could be also monitoring the quality of the screening. I don’t see why I should have to leave my seat and miss some of the film just to track down a staff member to tell them the picture is out of focus!
Getting the aspect ratio or scope of the picture right at the start of the film is yet another seemingly regular incredulity that crops up. Having paid the ever increasing admissions I don’t expect to have to watch the start of the film missing the tops of peoples heads!! Again if someone were present this would be spotted and I wouldn’t have to miss the start of the film. Bastards! It shits me no end when I do find a staff member only to receive a vacant look lacking all understanding of what the issue is.
These things crop up all too often and perhaps for those in attendance a little less regularly they would all go unnoticed, but this is too frequent for me not to vent about.
The cinema should be a place of escapism and enjoyment. I wish it was always so. TC
Sit in a central seat no further than one third of the way from the front of the auditoria
That’s it. Simple!
Ok, maybe some explanation…
• The audio in this part of the cinema is near its optimum and therefore should offer great quality • With the screen filling about 75% of your field of vision you can become more absorbed and you’ll be less likely to be aware of those around you • People hear more of what’s going on in front of them; so with fewer people in front of you the less likely it will be to have distractions • Kids like to sit at the back • Disruptive people gravitate towards the back (like back in high school) • Sitting this far forward means there are fewer people in front of you to talk and go to the toilet
Other Seating Options: For important films and especially in cinemas that offer allocated seating, buy enough tickets to ensure you won’t have to sit next to people. Because you know it makes sense… and people suck. TC
THE PLOT Britt Reid (Seth Rogen) is the slacker son of newspaper magnate James Reid (Tom Wilkinson). Following his father’s death Britt lashes out against his strict upbringing by getting drunk and decapitating James’s memorial statue. In the process, he and servant/mechanic/martial arts expert Kato (Chinese pop star Jay Chou) save a young couple from being assaulted by a band of muggers. It’s here that Britt realizes his childhood dream of being a superhero and takes on the persona of The Green Hornet with his trusty sidekick Kato. Together they set out to take on the bad guys whilst pretending to be bad guys themselves (for some reason).
THE REVIEW Being that Seth Rogen co-wrote and executive produced this film, the slacker that he is so stereotyped for was always going to show up in this film, although here it’s more tolerable and less over-the-top than many of his previous outings. That Rogen plays down his ‘type’ is of some credit.
Jay Chou is great as Kato and steals most scenes either with faltering sarcasm or kick-ass action. It is the relationship and specifically the dialogue between Rogen and Chou’s characters that is this film’s strength, but not enough to make this a good film.
Christoph Waltz is Chudnofsky, the cities crime boss and The Green Hornet’s arch enemy, as Reid and Kato go about destroying his empire and stealing his glory. Academy Award winner Waltz was very disappointing, all but reprising his award winning role from Inglorious Basterds, but less sinister and without the quirkiness; the characteristics that made the character great. This could be due to Rogen’s writing or Michel Gondry’s directing, but Chudnofsky comes across as a dull caricature of Col. Hans Landa.
Cameron Diaz plays the tottie, and that’s about it! Her character is all but obsolete and neither enhances the plot nor the entertainment factor.
Another gripe with this film is the fact that the studios and producers are mugging the audience of their cash by taking a conventional film and adding half a dozen 3D scenes in post production, somehow justifying a hike in admission of almost 30%. Thieving bastards! Perhaps they knew it would bomb after the opening weekend once word got out about how average a film it really is and they figured they should cash in early!
THE VERDICT There are fun moments here, to be sure, but this is a largely forgettable film. TC
Director: Michel Gondry Writers: Seth Rogen and Evan Goldberg (screenplay) and George W. Trendle (radio series "The Green Hornet") Stars: Seth Rogen, John Cho, Christoph Waltz and Cameron Diaz Running Time: 119 Mins
THE PLOT Prince Albert, second in line to King George V’s throne, is beset by a severe stammer, an infliction incongruent with his position and responsibilities. Albert and his wife Elizabeth (the Queen Mother to be) have spent years seeking help to eradicate the problem so that he might fully engage in his duties as Prince Royal. Together they have both found some solace in the fact that Albert’s elder brother David will one day assume the Crown, leaving Albert out of the lime light.
Australian Lionel Logue becomes the latest in a long line of speech therapists to attempt a ‘cure’ but his unconventional methods and familiar ways are cause for tension and aggravation. Logue’s methodologies and unsolicited counselling show some promise that are duly put to the test when Albert is thrust upon the throne following the scandalous abdication of his brother, now King Edward VIII. And all this at a time of great unrest under Hitler’s looming shadow.
The newly crowned King George VI must deliver a history defining speech to rally and encourage his subjects across his vast Empire.
THE REVIEW In relative terms this is a simple storyline, removed of much of the political intrigue and tensions of 1939, but these are ever present and add a backdrop to the story that provides gravity and engenders the weight of responsibility Albert fears so much. His fear is not due to weakness but to his understanding that his position holds a great responsibility to rule his people well that they might consider him with pride.
Colin Firth portrays Albert brilliantly; there is no other word for it. Simply brilliant. Subtle and commanding, terse and good humoured, caring but frequently aloof are all the qualities Firth brings convincingly to the role. Every scene with Geoffrey Rush’s Logue is fantastic as he plays the straight talking therapist. To watch the relationship form between these two is a cinematic joy. The irreverence Logue holds for position, title and graces are wonderful to watch and expertly played out by Rush. Every scene featuring these two is a delight, often underplaying the gravitas of the world around them or subtly touching on them.
The sets are perfectly recreated and aid to establish the background of the characters privileged opulence or common standing; settings for which each man looks uncomfortable and out of place in the other’s environment. The camera work frames every scene beautifully and provides a momentum to what could otherwise have been a dull period piece.
The dialogue is well scripted and engaging, delivered by Rush in particular with a wryness that always leaves a smile or evokes a guffaw.
Helena Bonham Carter provides understated support as Elizabeth, adding additional depth to the already strong cast including Guy Pearce as a visually convincing David/Edward VIII and Michael Gambon’s George V. These all play support to a magnificent Firth. The nuances and gestures of an aristocrat at pains to overcome a speech impediment are delivered convincingly and with seeming ease. Be under no illusion, Firth is this year’s award season’s leading man and worth the price of admission alone to see a master class of characterisation.
This is not a film about history, royalty or class difference, although all these are present. At its core, this is simply, and wonderfully, a film about friendship and overcoming adversity, delivered with good humour and lightness of touch. The relationship between Logue and ‘Bertie’ develops in uneasy fits and starts with an informality that is easily engaging.
Informative, interesting, intriguing and insightful as this film is, the feeling this film develops in the audience is a happily entertained one.
THE VERDICT The King’s Speech is an Oscar certainty that will leave you thinking and smiling hours and even days later. A great script is backed up with fantastic acting and beautiful cinematography. A must see. (and yes, I’m effervescing!) TC
Director:Tom Hooper Writer:David Seidler (screenplay) Stars:Colin Firth, Geoffrey Rush, Helena Bonham Carter, Guy Pearce and Michael Gambon Running Time:118 Mins
NOW SEE THE TRAILER...
UK Release Date: 7th January 2011
AWARDS Golden Globe Winner - Best Performance by an Actor in a Motion Picture – Drama: Colin Firth Golden Globe Nominee - Best Motion Picture - Drama Golden Globe Nominee - Best Performance by an Actor in a Supporting Role in a Motion Picture: Geoffrey Rush Golden Globe Nominee - Best Performance by an Actress in a Supporting Role in a Motion Picture: Helena Bonham Carter Golden Globe Nominee - Best Director - Motion Picture: Tom Hooper Golden Globe Nominee - Best Screenplay - Motion Picture: David Seidler Golden Globe Nominee - Best Original Score - Motion Picture: Alexandre Desplat BAFTA Winner - Best Film: The King’s Speech BAFTA Winner - Outstanding British Film: The King’s Speech BAFTA Winner - Original Screenplay: The King’s Speech: David Seidler BAFTA Winner - Leading Actor: Colin Firth for The King’s Speech BAFTA Winner - Supporting Actor: Geoffrey Rush for The King’s Speech BAFTA Winner - Supporting Actress: Helena Bonham Carter for The King’s Speech BAFTA Winner - Original Music: The King’s Speech: Alexandre Desplat BAFTA Nominee - Director: Tom Hooper for The King’s Speech BAFTA Nominee - Cinematography: The King’s Speech: Danny Cohen BAFTA Nominee - Editing: The King’s Speech: Tariq Anwar BAFTA Nominee - Production Design: The King’s Speech: Eve Stewart, Judy Farr BAFTA Nominee - Costume Design: The King’s Speech: Jenny Beavan BAFTA Nominee - Sound: The King’s Speech: John Midgley, Lee Walpole, Paul Hamblin, Martin Jensen BAFTA Nominee - Make Up and Hair: The King’s Speech: Frances Hannon Academy Award Winner - Best Picture: Iain Canning, Emile Sherman and Gareth Unwin, Producers Academy Award Winner - Directing: Tom Hooper Academy Award Winner - Actor in a Leading Role: Colin Firth Academy Award Winner - Writing (Original Screenplay): Screenplay by David Seidler Academy Award Nominee - Actor in a Supporting Role: Geoffrey Rush Academy Award Nominee - Actress in a Supporting Role: Helena Bonham Carter Academy Award Nominee - Art Direction: Production Design: Eve Stewart; Set Decoration: Judy Farr Academy Award Nominee - Cinematography: Danny Cohen Academy Award Nominee - Costume Design: Jenny Beavan Academy Award Nominee - Film Editing: Tariq Anwar Academy Award Nominee - Music (Original Score): Alexandre Desplat Academy Award Nominee - Sound Mixing: Paul Hamblin, Martin Jensen and John Midgley
THE PLOT This is the true story of Aron Ralston, a young adventurer always looking to push himself to extremes. Whilst canyoning in the Utah desert, Ralston becomes trapped, when his hand is wedged under a boulder following a fall down a crevasse. So begins 127 hours trapped with little supplies and no chance of rescue, leading to a desperate and squeamish conclusion to save himself.
THE REVIEW Following up from Danny Boyle’s Oscar success with Slumdog Millionaire (2008) this latest storyline has the potential to be a misfire. To convey a tale that revolves around a single central character stuck down a hole for 5 days yet remain engaging is a visual challenge; a challenge Boyle meets in style.
Clever photography and editing, combined with the usual Boyle talent for picking a soundtrack, made this work. The film hinges on Franco’s portrayal of Ralston and Boyles storytelling, and both were on top form.
Not previously a particular Franco fan I thought his performance was first rate. Aron’s gradual decline as the days pass, his sometimes erratic behaviour, the visions and ultimately desperation are what you would expect of anyone surviving in such harsh conditions. And survive he does, intelligently rationing food and water, making use of anything ready to hand (pardon the pun) in an effort to save himself. For Franco to pull this off is a credit to his ability, for him to pull it off this well is truly impressive.
Boyle successfully manages to convey the passing of time in a relatively short film. This alone is note worthy and no mean feat, as it keeps the audience on the edge of their seats knowing that time is ultimately against him.
This is a simple plot that in less skilled hands could have so easily fizzed, but it works. Boyle and Franco bring humour to a dire situation, breaking the tension they perfectly create, only to continue a moment later to build the tension further still. I can’t believe many people would go into this film not knowing the inevitable outcome, but the nicely worked and positively squeamish ending will be a piece of cinema history that will prove hard to forget; all the more for the knowledge that this is a true story.
THE VERDICT 127 Hours is entertaining, compelling and unsettling all at once; a great piece of storytelling from Danny Boyle that few others could envision, let alone deliver. James Franco puts in what could become a career defining turn that hinges on his performance. TC
Director:Danny Boyle Writers:Danny Boyle and Simon Beaufoy (screenplay), Aron Ralston (book "Between a Rock and a Hard Place") Stars:James Franco, Kate Mara, Amber Tamblyn, Treat Williams and Clémence Poésy Running Time:94 Mins
UK Release Date: 7th January 2011
AWARDS Golden Globe Nominee - Best Performance by an Actor in a Motion Picture – Drama: James Franco Golden Globe Nominee - Best Screenplay - Motion Picture: Danny Boyle, Simon Beaufoy Golden Globe Nominee - Best Original Score - Motion Picture: A.R. Rahman
BAFTA Nominee - Outstanding British Film: 127 Hours BAFTA Nominee - Director: Danny Boyle for 127 Hours BAFTA Nominee - Adapted Screenplay: 127 Hours: Danny Boyle, Simon Beaufoy BAFTA Nominee - Leading Actor: James Franco for 127 Hours BAFTA Nominee - Original Music: 127 Hours: Ar Rahman BAFTA Nominee - Cinematography: 127 Hours: Anthony Dod Mantle, Enrique Chediak BAFTA Nominee - Editing: 127 Hours: Jon Harris BAFTA Nominee - Sound: 127 Hours: Glenn Freemantle, Ian Tapp, Richard Pryke, Steven C Laneri, Douglas Cameron Academy Award Nominee - Best Picture: Christian Colson, Danny Boyle and John Smithson, Producers Academy Award Nominee - Actor in a Leading Role: James Franco Academy Award Nominee - Film Editing: Jon Harris Academy Award Nominee - Music (Original Score): A.R. Rahman Academy Award Nominee - Music (Original Song): If I Rise - Music by A.R. Rahman Lyric by Dido and RolloArmstrong Academy Award Nominee - Writing (Adapted Screenplay): Screenplay by Danny Boyle and Simon Beaufoy
THE PLOTPoland 1940, at the time of the Nazi-Soviet pact and Polish officer, Janusz Wieczak (Jim Sturgess) is falsely accused of anti-Communist espionage and sent to a Siberian gulag in the most harrowing of conditions, a supposedly inescapable prison. After what seems a mere few days (supposedly some weeks or months) Janusz escapes, along with six inmates including Farrell’s Valka and Harris’ Mr Smith. Their destination: India, via many thousands of miles through Russia, Mongolia, China and Tibet.
THE REVIEWThere’s not a lot more of the plot requiring explanation. Essentially they escape, enduring some of the harshest terrain and climates the world could offer. Along the way they collect orphan street urchin Irena (Saoirse Ronan), and lose others of their number
The panoramas and vista are beautifully captured, somewhat of a Weir trademark, but sometimes feel almost rushed. In fact whilst this is not a short film, you get the feeling that that much of it was left on the cutting room floor. Perhaps this could be where some of the character development might also have ended up. And here we get to the nub of the issue surrounding this flick, the script. Enticing a plot as this true story presents, the character development is just not there. The lead character barely leads, to the point where this feels more of an ensemble affair, but it lacks the essence of an ensemble performance. The acting is credible from all parties, particularly Harris and Farrell but The Way Back never really soars.
THE VERDICTGood acting and dramatic panoramas are let down by a weak script leaving the audience uninvolved, engendering no genuine empathy. Not the great film this epic story could have been. TC Director:Peter Weir Writers:Keith R. Clarke and Peter Weir (screenplay), Slavomir Rawicz (novel) Stars:Jim Sturgess, Ed Harris, Colin Farrell, Gustaf Skarsgård, Saoirse Ronan and Mark Strong Running Time:133 Mins
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UK Release Date: 26th December 2010
AWARDS Academy Award Nominee - Makeup: Edouard F. Henriques, Gregory Funk and Yolanda Toussieng
