30 Days of Night (2007)

A bloodthirsty group of vampires attack an isolated Alaskan town during its annual thirty days of night.

When people look back on the decade behind us and study the films we watched, their reaction is probably going to be: “Yeah, you liked vampires, we get it.” The plethora of blood-sucking demon films that have emerged in recent years would make any psychologist believe that there is something fundamentally askew about our society. However, amidst the dross and forgettable, comes this film from director David Slade, which puts vampires back in the cool leagues.

Josh Hartnett stars as the town’s sheriff Eben, whose job becomes unusually busy in the build up to the annual month of darkness (a time where the sun doesn’t come up for thirty nights due to its place on the earth). Strange crimes seem to be popping up around his town, such as internet phones being burned, and all the sled dogs being murdered, and suddenly a man arrives into town and causes a ruckus. Whilst in the slammer, the stranger (Ben Foster) hints to Eben that “they are coming”, and that the town is doomed.

As the killings begin, Eben and his small group of citizens attempt to hide from the ridiculously fast beasts, and last out the thirty days until the sun comes up, and drives the vampires away.

A frenetic and thrilling film from start to finish, Slade has created a wonderful atmosphere in this film. The very cold setting of this inaccessible town goes wonderfully with the reckless savagery which the vampires bring with them, in the same way a film like Let Me In does. The vampires seem like energetic animals with a horrific purpose, making them seem very threatening and powerful, something which is sometimes missed in other films of the genre.

The pace never slackens, there is only a small love story intertwined rather than some overly sentimental relationship which outweighs the gore, and the film kills off enough people to make it seem dangerous.

The performances are of a very good standard, in particular Hartnett, as well as Danny Huston who plays the lead vampire, and makes for a very engaging baddie. I would say, the script is a little bit awkward in places, especially during the vampire subtitles which look like something from a child’s story, but, the majority of the dialogue is well written and avoids overpowering the action.

A worthy vampire film that actually makes these monsters seem scary, rather than high school heart throbs.

Trainspotting (1996)

Danny Boyle’s notoriously brilliant drama starring Ewan McGreggor as a heroin addict in Edinburgh, who attempts to free himself of his substance dependence.

Renton (McGreggor) is a full-time heroin addict. His involvement in the drug scene spans all aspect, from the recreational use of the substance, to the crimes committed in order to pay for the habit. His friends are also mostly users, as well as deadbeats. However, after one too many nasty accidents, Renton vows to rid himself of his addiction, hoping to avoid time in prison, or a worse fate.

Unfortunately for Renton, his former life as a junkie is just as difficult to shed as his heroin dependency, and his old buddies continue to haunt his attempts at forging a new life for himself.

From an extraordinary director, Trainspotting captures a darkly hilarious atmosphere to this small group living in Scotland during the heyday of heroin. The starkly bare and tragic lives that these addicts lives is represented in both physical and emotional terms throughout the film, and it is the vulnerability of these characters which makes for the most conflicting aspect. Renton is a very likable character, with some witty narration during the film and some very funny lines to his mates, but his delusions about the scale of his problem are quite scary.

One of Renton’s friends, called Begbie (Robert Carlyle), is violently disturbed, but not a drug user. His addiction to confrontation and aggression is seemingly more destructive than drug taking, and his reliance on Renton for a better life is a terrifying relationship to watch unfold.

Music is chosen well in this film, using some great tracks from the likes of Iggy Pop, Lou Reed, and Underworld. These artists, and their connections to drug scenes, is unmistakable, and gives the movie a great deal of authenticity.

The film has some pretty heavy themes, which are unavoidable given the plot, but there are a few moments of happiness which emerge, and give the viewer a more rounded viewing experience. Such as: the group’s enduring bonds to each other, their commitment to their addictions, and their unyielding creativity when it comes to staying high.

One of the best films I have watched from my 50 Films To See list, and probably the best performances I have ever seen Ewan McGreggor and Robert Carlyle give.

The Lord of the Rings (2001), (2002), (2003)

THE LORD OF THE RINGS TRILOGY Warning - Spoiler Alert. Lord of the Rings: The Fellowship of the Ring (2001)

Ultimate fantasy brilliance from director Peter Jackson, who takes on the legacy of J. R. R. Tolkien.

A small hobbit named Frodo has his world collide with evil, when he inherits a special ring that has a dark and violent history with its maker Sauron. The ring, with a power of its own, is trying to find its way back to its maker, and if the two are reunited, the future of Middle Earth will be extremely bleak. So, with help from a few special friends, Frodo must make his way to the ring’s birthplace, a fiery mountain, the only place it can be destroyed.

Frodo journeys with three other hobbits: Sam his best friend, and twin horrors Merry and Pippin, as well as Gandalf, a mysterious but kind-hearted wizard. Along the way, Frodo also meets an Elf called Legolas, a dwarf called Gimli, and a ranger called Stryder. As the fellowship attempts to make its way to destroy the ring, they face violent attacks from monstrous Orcs, as well as the powerful interference of a traitorous wizard called Saruman.

A wonderful introduction to the trilogy, Peter Jackson tackles the unending mythology and characters with wonderful competency. His attention to detail is incredible, and the visual delights of the film are truly moving. From the outset, a gorgeous fantasy world is thrust upon the viewer, where escapism is at its best, and we can delve into this magnificent world. The peril of the characters is utterly terrifying, moving from bad to worse with superb fluency.

Orchestral music accompanies the film beautifully, flowing through and between scenes, and the use of landscapes, mostly shot in New Zealand, creates a cinematic tapestry that is impossible to resist.

Lord of the Rings: The Two Towers (2002)


The second film, picking up right where the first leaves off, sees Frodo and Sam take off on their own, heading towards Mordor without the rest of the fellowship. The remaining members, are left to begin the fight against Sauron’s armies, including taking on the White Wizard Saruman.

Pippin and Merry are captured by Orcs, who take their catch back to Saruman. However, the hobbits manage to escape along the way, and run into a nearby forest for cover. There they learn about the dark secret that lies amongst the trees.

Stryder (whom we now know as Aragorn), Gimli and Legolas are in hot pursuit of the Orcs who took Pippi and Merry. But, along the way they discover another threat, Helms Deep, a massive fortress for King Theoden is likely to be attacked by the armies of Saruman, and the fellowship rushes to its aid.

Arguably the best film of the trio, The Two Towers is a gripping and sensational epic. The battle scenes, in particular the one at Helms Deep, are magnificent cinematic achievements, and the sheer devotion that has gone into the filming should be respected. The use of several storylines, or journeys, is put to good use in this film, making the three and a half hours fly by.

The same filmic genius has gone into this film as the first and last, it just seems the story is at its best, for me, within this section.

One of the best films ever made.

Lord of the Rings: The Return of the King (2003)

The last instalment, with so much ground to cover.

Frodo nears the end of his quest, but his success looks mightily unlikely, even those of the fellowship begin to lose hope. But, in the darkest of hours, some light will break through for the small hobbit.

Having claimed victory over Saruman at Isengard, the fellowship hope to strengthen their fight against the evil eye in the sky Sauron by using it to their advantage. However, the separate clans of man that spread across Middle Earth will have no chance against the mighty Orc armies if they cannot unite.

In a bid to improve Frodo’s chances in Mordor, Gandalf, Aragaorn and the others make their way towards Sauron as well, hoping to distract him whilst the hobbit destroys the ring. However, this means coming face to face with the unnerving numbers of monstrous creations that threaten the safety of man.

Another wonderful film, this time tying up all ends of an extraordinary story. The characters are fully blossomed, we are deeply involved in their struggle, and the epic battle scenes keep coming in all their medieval glory. Jackson stays on form, with some brilliant set pieces involving spirits and dragons that renew our interest, and keep things hot.

Performances within all three films are superb, in particular Viggo Mortensen as Aragorn, whose dark and gruff exterior juxtapose brilliantly with his heroic and honourable heart. Ian McKellan is also a mighty force within the films, taking on the legendary Gandalf with superior abilities.

The screenplay, written by Fran Walsh, is a compelling concoction. The moments of inner monologue that happen for several characters are truly revealing, and the film avoids any awkward, clichéd moments, and instead delivers captivating heart-felt honesty.

In conclusion, these films will stand up amongst the legendary feats of cinema. The magnitude of what Peter Jackson has achieved is extraordinary, and all gratitude is given to him and the cast and crew for delivering such awesomeness.

Saboteur (1942)

Tense action thriller about a man falsely accused of sabotaging a U.S. aeroplane factory during WW2, who attempts to clear his name by finding an elusive spy named Frank Fry.

Barry Kane, an aircraft factory worker, is horrified when a fire at his workplace kills his best friend. After visiting his friend’s mother to console her, he is shocked to learn that police are looking to arrest him, as it was discovered that the fire extinguisher Barry handed to his friend who was trying to put the fire out, contained gasoline. Having been handed the extinguisher from a guy named Fry, Barry is put into further distress when he learns that no one by the name of Fry worked at the factory. Now he must traverse the country in search of this elusive saboteur in the hope of clearing his name, and protecting further innocent Americans.

An early Hitchcock film, Saboteur is a tense and gripping spy thriller that bounds through a simple but effective story with ease. The main performance from Robert Cummings is deftly executed, with subtle nuances in his expressions that make his character realistic and sympathetic. His reactions to events are lifelike, rather than sensationalist, which is a preferred behaviour.

The films themes of national pride and protecting the safety of citizens, whilst relevant in these dark days, are a little on the nose, and the script provides some awkward moments of largely forgotten bravado. This being said, many of the baddies have beliefs about politics and power that are enduring, and make them seem all the more dangerous for it.

In total, , a precursor for a lot of good spy movies, and one that stands the test of time, a very decent Hitchcock.

The Machinist (2004)

An insomnia-stricken factory worker suspects he is being plotted against by a mysterious man named Ivan, but, as the machinist attempts to unravel the conspiracy, he begins to doubt his own mind.

Starring Christian Bale as the aforementioned machinist called Trevor, the film provides a modern suspenseful thriller that makes some poignant comments about our industrial-aged society, whilst creating a very entertaining story. The film has typical science-fiction themes running through it, such as the enduring battle between man and machine, and the idea of our own consciousness in a world consumed with productivity.

Trevor’s plight during the film is largely founded on his own human aspects, I.e. the idea that he is flawed, and will make mistakes. This puts his character out of synch with his profession; working in a busy, industrial factory where time is money, and people are less valuable than the machines they work with. There is something ultimately terrifying about the coldness of Trevor’s life, which we see reflected in different ways during the movie.

Firstly, his only intimate relationships are with a waitress at an airport coffee shop, and with a prostitute, whom Trevor visits regularly. Stevie, the prostitute, is also a victim of our industrial society - she only serves one purpose (sexual gratification) and can be replaced at any time. She becomes attached to Trevor, because he sees her more as a human than a machine, wanting to just talk with her, or eat a meal together. This human connection is one of the few we see in the film, and it is important to note this rarity.

Secondly, we can see the effect that society is having on Trevor through the horrific gauntness of his body. Consistently losing weight, we see Bale as a near skeleton throughout the film, which could be providing a visual dilemma about the consequences of our diminishing role within our own society.

The end of the film provides some bittersweet relief to the viewer, as we learn that Trevor’s behaviour has resulted from a disaster in his past, which has caused him to imagine this plot against him. However, nothing seems solved. The machines will keep on producing, people will continue to endure the stagnation, and no lessons were learned from Bale’s misery.

A film that is openly depressing, but in an engaging way that makes us consider our own place within a modern, mechanic world.

Cemetery Junction (2010)

Brilliant comedy written by Ricky Gervais and Stephen Merchant about a group of youngsters growing up during the 1970s.

Set in a suburb of Reading, Cemetery Junction is a small part of the growing industrial town, where most of the townsfolk work labour intensive jobs or are unemployed. Very few of the inhabitants seem to be able to escape their lower class surroundings, apart from a few plucky individuals.

Christian Cooke plays the lead character of Freddie Taylor, a determined teenager on the brink of manhood, who wants to build a future for himself. At the beginning of the film he gets a job working at a life insurance company, which is headed by a formidable Ralph Fiennes. Whilst Freddie works hard at his job, intending on getting out of Cemetery Junction, he also plays hard with his two buddies Bruce and Snork. Together, the three get into all kinds of mischief and do the things that usual inbetweeners do. However, as the trio move closer to their adult years, all three must face a tough decision about what they want out of life.

Bruce is a very compelling character, played by Tom Hughes. Whilst Bruce never reaches above his station as a factory worker, he does intend on leaving town at his first opportunity. However, his violent temper and unyielding disrespect for authority cause him a lot of trouble.

Freddie also encounters a girl from his childhood, Julie (Felicity Jones) who happens to be his boss’ daughter. Julie’s place as an independent woman in 1970s Britain is fascinating, revealing the era’s awkward transition for females into a freer society, as the expectations for Julie to become a wife and mother, clash with her own desires to be a famous photographer.

Cemetery Junction is a wonderful British film, that captures a nostalgic Britain perfectly. In the same way that a film like The Boat That Rocked (2009) used music and colour to capture the swinging sixties, Gervais and Merchant have used music, wonderful aesthetics, and an authentic imagery to capture the seventies in this humble town. The story is touching, with plenty to delve into for those who wish to discuss socio-political relations of the time, and the moments of comedy are brilliantly entertaining.

I would thoroughly recommend this film if you like Gervais humour, nostalgic Britain, and great filmmaking.

The Informant! (2009)

Matt Damon plays a promising agricultural businessman, who decides to go behind his bosses backs, and inform the FBI about illegal activities at his workplace.

Mark Whitacre (Damon) is a successful and intelligent microbiologist for a company that produces corn-related products in the United States. He has a wife and two adopted children, as well as a lovely home and promising future. Pretty standard American Dream stuff. However, Mark one day tells his bosses that he has been informed about an informant within the company who is sabotaging their work. If the company pays a massive sum of money, they can find out who he is, and how to make their new product work. The bosses get the FBI involved, who then start questioning Mark about this supposed informant!

Mark then decides to cooperate with the FBI and leads them to a bigger story, price fixing in the global markets. As Mark gets deeper and deeper into his tale of financial corruption on a massive scale, it becomes harder and harder to decipher the truth in his story.

A funny film in places, Damon’s internal monologue of mostly useless facts and anecdotes provides some brilliant little moments. His performance as Mark is very engaging, and there is a depth to Damon’s character which transfers to this onscreen enigma.

The story is complicated, winding through many different versions of events, with plenty of pointless facts and figures, and the ending seemed unsatisfying.

If you like sparse, black comedies this will probably enthuse, but don’t be fooled by the exclamation mark. This film is nothing to shout about.

The Happening (2008)

M. Knight Shyamalan tries his hand again, this time, an unknown epidemic sweeping the North-East coast of the U.S. which causes people to kill themselves.

Starring Mark Wahlberg and Zooey Deschanel, The Happening follows the couple’s attempt at staying alive during this curious event. The outbreak starts in Central Park, in New York, when a sudden breeze caused everyone to stop what they were doing, forget what they had been saying, and then find a way to end their lives. As more and more events occur across the city, authorities declare some kind of terrorist act, whereby a substance has been spread into citizens causing a fault somewhere in their brain which switches off the survival button, making us all suicidal zombies. Panic ensues and everyone flees to the countryside.

As Wahlberg and Deschanel leave the city, and go in search of a safe zone, they begin to find themselves trapped within more and more events, with people topping themselves all over the place. The coincidences between the events start to pile up, and soon the pair have a hunch as to what is causing it.

Arguably one of Shyamalan’s worst films, The Happening actually makes The Village look half decent. Wahlberg is an extremely poor choice for the lead role, playing a science teacher whose dedication to problem solving becomes more irritating than the ridiculous lines he comes out with.

The script is appalling, trying to connect scenes and development with outrageous simplicity and shallowness.

Deschanel is easily the best thing is this film, her quirky character and the competency of her delivery make her seem a grade above every other aspect of this film, but it offers little comfort to any viewer who wasted and hour and a half of their life.

Only watch this film if you have a desire to see how bad films can get.

Raging Bull (1980)

Martin Scorsese’s boxing classic.

Starring Robert De Niro as boxer Jake La Motta, a fighter renowned for his ability to take insane amounts of beatings, before unleashing a violent outburst which usually knocks his opponent down. Jake’s career in boxing is tumultuous due to his behaviour outside of the ring; his unyielding independence and brutality make him few friends, and only his brother/manager Joey (Joe Pesci) barely keeps him in line.

Throughout the story, we also see Jake’s relationship with Vickie (Cathy Moriarty), a neighbourhood girl whom he falls instantly in love with, but other the years begins to use as a punching bag for his insatiable temper. As Jake’s dream of becoming a champion comes closer, his self-destructive nature worsens, and he begins to take it out on those around him.

A stark, beautifully shot film, Raging Bull deserves its accolades as one of the best boxing films of all time. Scorsese’s intense filming techniques capture the emotion of this character brilliantly, showing him as a natural predator in the ring, and a wild beast outside of it. The relationship between De Niro and Pesci is, as always, captivating. They seem to feed off each other’s energy, building up the anger and tension within each scene, but in a way that makes them seem like brothers.

I would not put this as my favourite boxing movie, I think a couple of other modern ones have better stories, but this set the bar extremely high, and, considering it was made over 30 years ago, deserves its place in cinematic history…right ABOVE the Rocky films.

Contagion (2011)

When asked about favourite film genres, there is a plethora of categories that come to mind before I will even consider the troublesome group that is disaster films. The concept of an event that will annihilate us all, whilst mildly entertaining during stressful commutes on the train, more often than not, fails to engross me on screen. However, upon hearing that Steven Soderbergh’s biological disaster thriller managed to kill off some of Hollywood’s shiniest stars, I was darkly excited to see the mayhem.

Contagion is about a highly transmittable virus, passed between humans through contact with surfaces and skin, that reduces us into foaming-at-the-mouth stiffs. The pandemic, originating in Hong Kong, quickly spreads around the world, killing victims within days, and causing widespread panic. Whilst government medical agencies attempt to understand, control and prevent the virus, waves of violent public unrest threaten the safety of citizens, and towns and cities become lawless wastelands. The film follows several interlinking storylines, refusing to present a central character, and instead opting for a multitude of differing experiences to the outbreak.

Gwyneth Paltrow stars as the virus’ starting point, having been in Hong Kong recently, she becomes ill and she soon becomes the first A-lister to receive the chop. Her husband, Matt Damon, already grieving the sudden death of his wife, receives another emotional blow, after returning home to find his step-son also dead from the flu-like killer. The boffins quickly conclude Damon to be harbouring a contagious sickness bug, and place him into quarantine, but release him after he remains healthy for several days. He now must survive with his adolescent daughter, as the town he lives in descends into fervent chaos.

Meanwhile, a humble Laurence Fishburne, working for the Center for Disease Control (CDC), takes the virus head on, attempting to manage both the science behind a vaccine, and the political firestorm which ensues. He works closely with a dishevelled Kate Winslet, whose selfless field work, ends up leaving her infected. Marion Cotillard is sent to Hong Kong by the World Health Organization (WHO), to try and discover the origins of the lethal strain, in order to best treat it. Her wellbeing is soon compromised, however, when the group she is working with in Hong Kong take her hostage, and hold her ransom in exchange for first dibs on a cure.

Alongside the scientists, Jude Law plays conspiracy blogger Alan, whose preachy online rhetoric about cover-ups and corporate evil, promote him to the level of the people’s voice. However he is soon revealed as a snake who is cashing in on the tragedy.

A worthy film, Sodenbergh has created an atmosphere of equal parts panic and urgency. By using the interlocking storylines, the tempo is quickened, and the audience have little time to grieve the death of a celebrity. One of the most poignant aspects of watching the film, is that the most terrifying part is not the virus, but the human reaction to it. While the death toll from the disease leaps into the millions, it is actually the rioting, crime, and violent disregard for our fellow citizen’s safety that becomes the worrying factor. Rather than a countdown to see whether the virus will kill us all, we are waiting to see if we lose our souls beforehand.

Decent performances all round, in particular Winslet, whose portrayal of the awkward doctor sent into the battlefield I found to be the most engaging.

The themes of Contagion, whilst heavily pertinent in view of health scares which have gripped the world in recent years, seem relatively tame. Viewers are already numbed to the peril of global catastrophes. In this film, we are walked through each stage of the virus’ development like take-your-child-to-work day, and by the time an actual sense of impending doom reveals itself, the matter is concluded quickly with sparse amounts of fallout. Whilst the public reaction to the outbreak is scary in places, it does not get the full attention it deserves, which would have made for a more interesting film.

Viewers with OCD, in particular a fear of germs and dirty surfaces, may find this film terrifying, as will any Hollywood royalty who will fear for their safety and that of their peers, but, for the rest of us, Contagion is, at best, a mildly thrilling disaster film without the knockout punch.

The Trouble With Harry (1955)

Alfred Hitchcock directs this brilliant comedy about a dead body in the countryside, and the varying opinions and attitudes as to how it got there, and what should be done with it.

Legendary for his suspenseful thrillers, comedy is not a genre one would typically associate with Hitchcock, but The Trouble With Harry is a well-scripted, witty piece of drama that causes as many laughs as The Birds does gasps.

It starts with one old man hunting in the forest, called Captain Wiles (Edmund Gwenn), whom believes one of his stray shots has killed the man lying on the forest floor. After inspecting the man’s jacket, Wiles learns he is called Harry, and begins plans for burying the body before anybody notices. Unfortunately, numerous passers by happen upon Harry, noticing the body, but only taking a faint interest. Some believe he is sleeping, others only seem partially concerned that he is dead, and carry on their way. The people’s indifferent reaction to this dead body is utterly hilarious.

Meanwhile, a local quick-mouthed artist also happens upon Harry’s body when he comes to sketch the location. He soon realises that Wiles is there, and learns of the stray bullet. However, after the two bury Harry, they realise they may have made a mistake, and that Captain Wiles may not have been the killer.

It is a cleverly funny film, and, considering the age, it is still a very effective movie. The characters are wonderfully eccentric, the plot thickens and twists enough to make it interesting, and the whole performance seems like a stage comedy. Some of the editing in places is a bit dated, and the music, whilst very reflective of that era, draws the viewer away from the unfolding drama, but overall, this is a very enjoyable film, and a great piece of Hitchcock to enjoy if you love his work, or if you have never seen any.

Crossing Over (2009)

Drama about immigration in the United States, starring Harrison Ford, Ray Liotta and Ashley Judd.

When it comes to racial tensions, it seems no country on earth has more than the USA. The melting pot ideal became a tremendous project, but with some nasty side effects. Many directors have attempted to portray these tensions, with differing amounts of success, but Crossing Over from director Wayne Kramer, manages to explore the situation from a new angle. Rather than focus on our inner xenophobia, the film looks more at the desperate ways in which people will fight to become American citizens, and what becomes of them in the process.

Taking a Crash-like approach, using multiple storylines interwoven to create a web of drama, Crossing Over tells the story of several people attempting to legalize their stay in the U.S., and the officials involved in the process. Harrison Ford plays a sentimental Immigration and Customs Enforcement (ICE) agent, whose inner struggle between doing his job, and helping people creates an engaging visual spectacle. Ray Liotta plays a corrupt Green Card official, who abuses his position of power in order to exploit a young Australian actress who is about to be thrown out of the country.

Ashley Judd plays a lawyer determined to protect the children who become vulnerable during immigration cases, who ends up defending a fifteen-year-old girl who is about to be deported for making some controversial comments about terrorists during a class presentation.

It is an interesting film, one which will spark debates of the big questions. The storylines are all equally interesting, and the film was engaging throughout. It doesn’t have the electrifying ferociousness that a film like Crash has, but Crossing Over does avoid the temptation to become preachy and moralistic. We are offered the devastating effects of a system that has become tragic through bureaucracy and necessity.

The Ghost (2010)

Ewan McGregor and Pierce Brosnan star in this suspense thriller about a ghost writer for a former British prime minister, who takes up the gauntlet after the suspicious suicide of his predecessor.

The ghost writer (McGregor) is a mildly successful biographer in London. His agent manages to get him an interview for a job finishing the memoirs for ex-prime minister Adam Lang (Brosnan). After passing the interview, the writer is flown to a mysterious and isolated island in the USA, where Lang lives with a small team of guards and his wife Ruth (Olivia Williams). The writer quickly discovers that Lang’s residence on this island is a closely monitored, highly secured way of life, with the manuscript for the memoirs being kept locked away.

McGregor soon gets to work with Lang, who is a brusque, temperamental man but seems like an interesting fellow to write about. However, a political tornado is growing around Lang, as he is being accused of working with the Americans during illegal torturing and renditions of suspected terrorists during his term in office. As the character of Lang becomes a somewhat darker enigma, the ghost writer begins to worry less about the memoirs he is expected to write in just two weeks, and more about his own safety.

Failing to impress, this film, by renowned director Roman Polanski, creates a very suspenseful atmosphere, with some brilliant cinematography, but with very little conflict or drama. The storyline is particularly dull, the characters, whilst mildly intriguing, are never fully developed or explored, and the conclusion of the film was irritating and pointless.

Trying to follow in the suspenseful footsteps of a director like Hitchcock, the music and filming techniques were used to peak our interest, but instead of, like Hitchcock, offering us some melodramatic story that is utterly engaging, we are given a lukewarm plot and very little substance.

Bad Teacher (2011)

A sharp-scripted, American comedy starring Cameron Diaz as an unruly school teacher, whose blatant disregard for her students, is matched only by her determination to find a rich husband.

Diaz plays Elizabeth Halsey, a primary school teacher, who has to return to teaching after her plans of marrying a rich man fall through. Now though, her plan is to raise enough money, using all the illicit tricks in her repertoire, to have breast enlargement surgery, which, she hopes, will snag her a sugar daddy.

Also starring Jason Segel as the comedic, pot smoking gym teacher, who takes a fancy to Elizabeth, and Justin Timberlake as the goodie-two-shoes substitute, whose cash and ignorance make him a perfect target for our bad teacher.

A very funny film in places, the script is witty, pointed, and very adult. Diaz is a revelation in this movie, moving away from her angelic image, and providing us with a demonic portrayal of this awful character. Her performance is very funny, and so is Segel’s and Timberlake’s, whose on-screen rivalry has some laughs.

A film to watch if you enjoy funny one-liners, a light-hearted story, and a lot of unnecessary sexy bits.

Knowing (2009)

Starring Nicolas Cage as an obsessed teacher who believes he has found a document which foretold many tragedies, and holds the time and place of future disasters.

Cage plays John Koestler, a clever science teacher, who recently lost his wife. John has a son Caleb, whose school fifty years ago placed a time capsule into the ground, containing numerous drawings by the students, who were asked to draw what they thought the future might look like. While the majority of students drew rocket ships and robots, one peculiar child drew a long list of numbers, that, at first glance, appear to be random.

However, this drawing, in the hands of John, became a code for every significant disaster that had happened in the last fifty years, along with three that had not happened…yet. The numbers also contained the amount of people who have/will die.

Now it is a race against time, as John attempts to cheat fate, and avoid the inevitable.

An exciting film during the first half, it had all the best aspects that disaster/sci-fi films have to offer: an interesting lead character with a moody back story, a mysterious plot, and a tense race against time. However, as the film moved into the second half, it kind of fell apart. Rather than drumming up a logical explanation for the child’s predictions, they went into the realm of fantasy and make believe.

This awkward combination of multiple genres was not comfortable to watch, and the ending is particularly poor, which is unfortunate, as the film had potential.

Cage is decent as the lead, and some of the special effects are amazing: in particular (spoiler alert) a plane crash scene, but overall I lacked depth and effort.

One of those films I am glad I have seen, because I know I’m not missing out on anything special.

Kung Fu Panda (2008)

Animated kids film about a Panda called Po, who wants to become a kung fu legend, but when he is chosen as the Dragon Warrior, and must defeat a deadly enemy, his resolve is soon tested.

Voiced by the energetic Jack Black, Po is a simple waiter in his father’s noodle bar, but dreams of becoming a brilliant fighter, however his size and fitness do not lend themselves to the ancient martial art very well. This being said, during a chance encounter at a local ceremony that chooses the next Dragon Warrior (a fighter deemed worthy to receive enlightenment), Po manages to gate crash and ends up being picked. Now, he must be trained by reluctant expert Shifu (Dustin Hoffman) in the sacred art.

However, disaster strikes when Shifu’s former prodigy-turned-evil Tai Lung (Ian McShane), escapes from his high security prison, and makes his way to destroy his former village. Now, with the help of Shifu and his furious 5 warriors, Po must summon the courage and skill in order to become…awesome.

An entertaining, light comedy with plenty of animated slapstick moments, it is an enjoyable watch. Po is a very likeable character, and, if you are a fan of Jack Black, you will enjoy the funny lines about being awesome. Many celebrities provide excellent voiceovers, and McShane in particular is menacing as the film’s foe.

The film uses some kung fu filming techniques, as well as eastern influences, to create an authentic look to the movie, which makes is a bit different from your usual animated movies. It also carries with it the same moralistic elements which make it an effective kids film.

Nothing to really sink your teeth into, or make you think about, but enjoyable nonetheless.

The Twilight Saga: Breaking Dawn Part 1 (2011)

The beginning of the end for this vampire fantasy/drama.

A few years back, the first Twilight (2008) film came out, starring Robert Pattinson and Kristen Stewart, in what was an enjoyably cultish story about a girl who falls in love with a vampire. Since then, the franchise has become fiendishly profitable, encroaching upon endless amounts of popular culture and merchandising, with “Edward versus Jacob” debates taking place around the world.

This latest instalment sees Bella and Edward getting married, much to the disappointment of Bella’s unrequited heart-throb Jacob, who comes from a clan of wolves, whose intense rivalry with the local vampires, becomes the central theme for this movie. Whilst on honeymoon (spoiler alert), Edward gets Bella pregnant with his blood-sucking spawn, putting his love’s life at risk.

A particularly boring first half, the film failed to make any major progress in the story until about an hour in. While some minor peril is threatened from the wolf pack, very little conflict emerges in this part of the story, and it begs the question, with a very obvious answer, as to why the producers decided to split this film in two. The performances are stronger though, the main three players seeming to gain confidence with each movie, and Steward in particular tackles her difficult role well.

As always with the Twilight Saga films, the music was very enjoyable, a varied combination of indie tunes and tender piano tracks, creating a dark and emotive atmosphere. This could not save the rest of the film though, which seemed to slog through a couple of events with no sense of urgency.

Few could argue this was the best film of the series yet, but for those deeply involved with the Bella/Edward romance, I could see why some would like this movie. For the rest of you though, I would warn against seeing this film unless you like paying to be bored.

The Ring (2002)

Dramatic thriller in which strange deaths befall anyone who watches a rare and obscure video tape.

Based on the Japanese original, The Ring is a much adored cult story, one which has prevailed amongst modern popular culture as a horror success story. The plot follows one journalist’s attempt at uncovering the story behind this evil tape, whilst she herself counts down the seven days it takes from first watching the tape, and dying. Using the urban legends surrounding the tape, as well as her own research methods, she soon begins finding out a deeper secret, underneath.

It is a suspenseful and effective film, one which uses iconic imagery and music. Unlike most modern horrors, The Ring takes a slower pace, allowing the tension to build masterfully, and keeping our attention with a gripping story, and unrelenting peril. The idea is simplistic, which is the basis for any good horror film, and the outcome is neither predictable nor boring.

Performances are of a good standard, Naomi Watts as the journalist does a good job at keeping us engaged throughout, but, as a whole, the film is more about the utterly brilliant creepiness and thrilling drama.

Not as scary as some have made it out to be, this is an enjoyable modern thriller/horror/drama, and one which uses the method of urban legends to great effect.

Bad Lieutenant (2009)

Bizarre black comedy starring Nicolas Cage as a New Orleans police detective trying to solve a homicide case, whilst his addiction to narcotics sends him into anarchy.

Set in the aftermath of hurricane Katrina, Bad Lieutenant follows the shameful antics of Terrence McDonagh (Cage) as he half-heartedly attempts to solve a murder case, in which the family of a drug dealer were brutally murdered. Terrence’s private life is one of grotesque wickedness, using illegal substances, taking part in illegal gambling, and consorting with prostitutes (one of which is Eva Mendez). He also uses his status as a cop to acquire free drugs, either by scamming them from the evidence room or from robbing unsuspecting suspects on the street.

As Terrence becomes more heavily dependent on substances, his grip on reality becomes distorted, and his desperation takes a heavy toll on the innocents he encounters, as well as the criminals he chases.

Aside from a few funny moments, this film was a total disappointment. The story is only loosely held throughout, the script seems to shy away from any realistic portrayal of modern crime, and, by the end, the audience is left with very little to take from the film…apart from: do anything you want, and things may work out. By using a character whose main flaw is substance abuse, the film hides its shoddy editing behind a smokescreen of apparent “trippy” moments for Cage’s character, which, instead of creating an ethereal quality, render the film inconsistent and disjointed.

Cage’s portrayal of this hunchback-cum-junkie is amusing for a while, but soon becomes abhorrent and offensive. Eva Mendez provides the only likeable main character, but is not enough to save this film.

If you want to watch a worthwhile film that deals intelligently with drug abuse and hallucinations, try Fear and Loathing In Las Vegas (1998).

Gone Baby Gone (2007)

Ben Affleck’s directorial debut, with a hauntingly traumatic film about a child abduction in Boston.

Based on a set of books by Dennis Lehane, Gone Baby Gone is the story of two private detectives who are hired by a missing girl’s family to search the Boston area, and bring her home. Casey Affleck takes the lead role as Patrick Kenzie, a youngish Bostonian, whose street smarts and endless contacts give him something the Boston PD don’t have, cooperation from the community. As Patrick and his partner Angie (Michelle Monaghan) trawl the neighbourhood looking for leads tough, they run into more than their share of trouble, and find themselves facing difficult obstacles that will test their relationship.

Alongside this, decorated police captain Jack Doyle (Morgan Freeman) is leading the cop’s search for the girl, and do not take kindly to being subverted by a know-it-all newbie. The plot thicken as the two search parties come towards a promising lead, but nothing is certain in the compellingly heartbreaking story.

Ben Affleck has really done this story justice, avoiding the tendency to run amok with pointless heroism and altruism, he has opted for a more gritty approach, that sees the inner core of several characters displayed on screen, in all their vulgarity. Patrick, whilst the quasi-hero of the film, has several flaws, including a continuous inner struggle between right and wrong (which is the main theme), and our ideas of punishing wrongdoers. Other characters, such as police detective Remy (Ed Harris), display a violent and unrelenting approach to battling crime in Boston, and see their actions as necessary evils.

The film tackles several hard-hitting issues well, such as paedophilia, child abduction, and child cruelty, but does so from a bystander point-of-view, leaving the judgement in the hands of the viewer. As one of the producers of the film states, the film asks more questions than it answers. It will create strong, divided opinions, and allow for further exploration…which is the mark of a good movie.

Great performances, a gripping and emotional story with lots of depth and pathos, and a wonderful debut from Ben Affleck; I highly recommend his second film The Town.

Milk (2008)

The heartbreaking story of gay activist Harvey Milk, who became the first openly gay official to be elected into office in the U.S.

Set during the 1970s in San Francisco, Sean Penn plays Harvey Milk, a forty-year-old homosexual who moves from New York to the West Coast with his lover Scott Smith (James Franco). Once there, Milk becomes somewhat of a leader for the gay scene, and soon tries his hand at politics, which, during this era, was harshly opposed to same-sex relationships.

Milk comes up against all kinds of prejudice and hatred, in particular from those politicians who condemn his sexuality as an act of heresy. Also, Harvey finds an unstable alliance with a fellow politician called Dan White (Josh Brolin), whose attitude towards Harvey’s lifestyle is aggressively confused.

Harvey Milk becomes more and more influential as he rises through the power structure, but must balance his place as a gay rights leader, with his private life.

It is a superb film for its stark representation of a turbulent period in American history. The gay rights protests coincided with a lot of other human rights issues which were flaring up all over the nation, and this film manages to capture the tension of the era spectacularly.

Sean Penn gives an amazing performance as Harvey, portraying the idealism of his character alongside his vulnerability perfectly. There is so much depth and complexity to Milk that it is a film that deserves several watches.

Gus Van Sant, the director, has created some stunning moments in the movie, in particular the use of photo snap shots which come to life in the opening section of the film. This created a sense of history coming to life which was a lovely entrance into the compelling story.

A few moments of the film are a bit brief, skipping over parts that seem important, but, like all films with a historical foundation, they can never fully represent everything that happened. Furthermore, it just works to inspire viewers to carry on and research the events for themselves.

A worthy film, with a spectacular performance from the legendary Sean Penn.

Duplicity (2009)

Two double agents infiltrate rival soap companies in order to create chaos between them and reap the benefits.

Somewhere between the Bourne films, and Knight and Day, lies this film starring Clive Owen and Julia Roberts. They each play covert spies who are highly trained in the art of corporate espionage and infiltration. Having worked for the bigger boys, like MI5, the pair crossed paths during an operation, and develop a confusing relationship completely based upon mistrust of the other.

The film sees the two getting heavily involved in two companies, one owned by Paul Giamatti and the other by Tom Wilkinson, which are at utter war with each other, constantly undermining the other, and trying to discover their secrets. When Wilkinson’s company announces a top secret new idea which will change the cosmetics industry, Giamatti pulls out all the stops to get his hands on it, and the pair of spies, Owen and Roberts prepare to clean up.

It is a confusingly complicated film, that fails to develop into a rich story. The personal journeys of the characters are typically bland, and the inevitability of the ending was painful. None of the performances were particular great, although Giamatti added a certain gravitas to the proceedings. The relationship between Roberts and Owen is conventional, making sweeping statements about the need for trust that are redundant.

Some moments were pretty tense, and there was an atmosphere of impending turmoil, that made it entertaining…somewhat, but in all, it was a pointless film. The characters were unappealing, the story was predictably unmoving, and the social commentary of our untrusting nature made for a lukewarm attempt at depth.

Chloe (2009)

Marital despair drives a woman to hire an escort to tempt her husband, in order to prove that he will cheat on her.

A very adult thriller, the film stars Julianne Moore and Liam Neeson as Katherine and David Stewart, a couple that have become distant from each other after many years of marriage. When David starts acting peculiar, missing his birthday and getting messages from younger girls, Katherine becomes desperate to know if he is cheating on her. In an act of fate, she runs into Chloe (Amanda Seyfried), a young escort whose services Katherine hires to put her husband to the test.

However, as Katherine becomes obsessed with testing the faithfulness of her husband, she becomes blind to the situation developing in front of her.

A very intense film, it has moments that are truly moving and disturbing. Some of the dialogue is explicit, but not in a way that is grotesque. Chloe’s character is very interesting, keeping the viewer engaged to see why she does the things she does, but it is Katherine, and therefore Moore, who gives the most compelling performance. Seeing this character dismantle before our eyes is captivating, and the reasons for her breakdown are realistic. Her relationship problems with David seem relatable to the audience, and their troubles are not glorified, just her reaction to them.

Some moments were a bit slow, and the film could have been a bit darker for my liking, but all in all a worthwhile watch, with good performances and an interesting tale of seduction and misery.

Bridge on the River Kwai (1957)

Set in a Japanese prisoner of war camp, British soldiers are forced into building a bridge for their captors.

Alec Guinness stars as Colonel Nicholson, the leader of this band of captives, who is the perfect model for what a soldier in the British army should be. He is a stickler for the rules, and lives by a code of honour and pride. When he is pitted against the evil Colonel Saito (Sessue Hayakawa), the head of the Japanese POW camp, the two seem to be fierce enemies. Nicholson demands that Saito abide by the Geneva Convention, giving the British soldiers and officers the basic rights that all POW’s have, whilst Saito only cares that his bridge is finished in time for the inaugural ceremony, and doesn‘t care how many die in its construction.

Saito attempts to break the spirit of the British, by using harsh punishments and degradation tactics, but Nicholson holds firm to his beliefs, which instils great respect in his soldiers, who continue to support him. Once Saito accepts he needs the cooperation of the captives to complete this massive project, he gives in to Nicholson’s request, and the two enjoy a productive relationship. As the British begin building an impressive bridge for the Japanese, Nicholson looses sight of his role as a prisoner, and becomes obsessed with doing his job perfectly.

All the while, one of the rare escapees from the POW camp, an American called Shears (William Holden), is forced back into the jungle with a small group of British special forces, to find the bridge and blow it up.

This is a remarkable film for its time, one that is still a powerful example of a war movie (although there is very little fighting). The movie has some compelling ideas about the effects of war on soldiers, and how heroism can be the downfall of a man. The character of Nicholson is brilliantly interesting, how his loyalty to the rules and protocol ends up leaving him in a very precarious situation.

A few stylistic points make the film seem dated, such as the melodramatic fight scene at the end, and the quick-mouthed character of Shears. Also, being a PG, the film’s main baddie, Saito, lacked any real threat. Very little is shown or even remarked upon about his evil deeds, and it would have been nice to see a more villainous side to him.

That being said, I can still see why this film remains a classic. It has enduring themes about war, humanity, and life that keep it a relevant and entertaining movie.

The Godfather (1972)

Few films can boast of the legendary status that Coppola’s movie has earned. Frequently The Godfather enjoys pride of place at the top of favourite films lists, and many refer to it as the greatest film ever made. It was written by Mario Puzo, both as a novel and for the screen, and tells the beautifully tragic story of an Italian-American family heavily involved in organised crime, and their transition into modern America. Marlon Brando stars as Don Vito Corleone, the head of this mafia family, whose seeks to transfer his immense legacy and power to his unwilling son Michael (Al Pacino).

Set in the inglorious streets of New York during a time when the most powerful criminal families had control of the city, the Corleone family must endure and overcome violent attempts to overthrow their power from rival syndicates, whilst creating a future for themselves.

It is a masterful film, juxtaposing the dark and brutal world of organised crime against the beautiful backdrop of Italian culture. Coppola shows true genius in recreating Puzo’s imagery and themes, which are both romantic and dangerous. The performances are downright outstanding: from Brando’s brilliant portrayal of the complicated Don, to Pacino as the troubled Michael. James Caan captures the hot-tempered Sonny with savage excellence, and Robert Duvall is simply brilliant as the Corleone’s family lawyer Tom Hagen.

The themes of the story are as enduring as the film, exploring issues of family, race, honour and greed within American society, and depict a terribly distorted version of the American dream. The Godfather is arguably one of the most deepest critical explorations into the tragic side-effects of a powerful capitalist society ever put on screen.

Trust (2010)

David Schwimmer directs this emotionally gripping drama about a girl groomed on the internet, and the devastating effects it has on her family.

Annie (Liana Liberato), is a typical fourteen-year-old high school student. Her life consists of hanging out with friends, spending time with her family, and playing sports. However, she develops a relationship with a guy called Charlie online, who, at first, gives her advice on how to improve her volleyball abilities. The two soon become more involved, speaking on the telephone, texting all the time, and developing romantic feelings towards each other, and when Charlie suggests they meet, Annie is left in a dilemma about her relationship with Charlie which she has kept mostly secret from her parents.

It is a beautifully tragic film, one that is extremely relevant and potent. The film’s comments about our current cultural reliance upon electronic communication and the exposure of it to the youth are well made and informed. Also, rather than becoming preachy about parent’s duties to their kids, and keeping them locked in a bubble, it simply explores the nature of a family during very hard times, and also the coping mechanisms which people initiate.

Clive Owen plays the dad of the family, whose murderous anger at the situation is very compelling and engaging to watch, and Owen delivers a few moments which are brilliantly performed. The star of the film, though, has to be Liana Liberato, whose depth and emotional vulnerability make her the most interesting performer on screen, and she tackles the difficult moments in Annie’s life with subtle confidence.

Schwimmer has directed a wonderful film here, one that tackles the emotional heartache of the story well, brilliantly balancing the ugliness with the poignancy. His choices in camera angles give for some intimate moments of character development, and we see physically how this situation affects them. Also, not using music during some of the scene changes gave a sparseness to the atmosphere which went well with the film’s themes of devastation and tragedy.

Daybreakers (2009)

In a world run by vampires, humankind are used simply as their fuel, but as the population of humans becomes dangerously low, it is up to a scientist to find a cure.

Ethan Hawke stars as Edward Dalton, a vampire scientist who works for a powerful corporation searching for a substitute to human blood, so that the vampire race can live on. However, Edward’s loyalties to his job are soon tested when he runs into a band of humans on the run, who claim to have a solution to the problem - being able to turn vampires back into humans. As the vampire race quickly degenerates into violent, desperate creatures, the race is on to see who will prevail.

It is a brilliant concept for a film, even with all the vampire spew that seems to have been flung at our screens in recent years. However, the execution of the plot seems to fall a bit flat after while, and the ending was very disappointing.

Hawke is good as the lead role, but I think someone with a darker presence and forbidding nature would have been more appropriate. Also, the film is too short. Just when the action seems to get going, and the tension rises, it is basically over, and a lot is left unsaid.

The dystopian view of an earth run by vampires in 2019 is thoroughly engaging though. The way life has similarities such as waiting in line for a coffee (only the milk is substituted for blood), or pouring a glass of pure human blood over ice after a hard day. I think more could have been made of life in this world, the audience deserved to see more of the trivialities to make it a more thorough viewing experience.

A good film, a decent attempt at a modern vampire flick, but still not worthy of acclaim within the sci-fi-horror genre.

Gnomeo & Juliet

Animated gnomes portraying a rendition of Shakespeare’s enduring romantic tragedy…I would have love to have seen the pitch to the movie studio on this one.

In a typical suburb, two adjoining houses have occupants who dislike each other, however, a greater, and even more hate-filled feud exists between the occupants of each house’s garden. In a Toy Story-esque situation, the garden gnomes of these houses come to life whenever their owners are not looking, and seem to spend most of their time at war with the gnomes next door.

One house red, the other blue, everything about these two opposing sides seems to clash. That is, you guessed it, until one rugged garden ornament called Gnomeo runs into a beautiful gnome called Juliet, and the two fall for each other. They try to keep their romance a secret, but between murderous gnomes, a squawking plastic ostrich, and a loudmouth frog, their undercover trysts are soon discovered, and the raging war between the blues and reds intensifies.

Few films that came out this year had the same shock factor as Gnomeo & Juliet, simply for the massive challenge that the film had. To try and make a decent animated film, based on arguably the most famous play of all time, using simple garden gnomes! It was quite a funny film at times, some good action moments and childish humour, but largely it failed to come together. The characters seemed a mishmash of original characters from the story and new characters made to fill gaps, and the plot seemed to be a similarly unsuccessful attempt at fusing an old story with a new idea.

The over voices were quite entertaining, in particular Ozzy Osbourne as a reindeer, and the music, mostly Elton John seemed to give the film an entertaining pace and liveliness. Overall though, it was only faintly engaging, and seemed to lack the sophistication of other animated films that are much more entertaining.

It was nice to see a couple of quirky references to the Bard himself though.

Brothers (2009)

A soldier serving during the war in Afghanistan is taken hostage and presumed dead by his family, leaving his inept brother to look after them.

Starring Jake Gyllenhaal as Tommy, an ex-con who can’t seem to find a path in life, and Toby Maguire as Sam, a successful marine for the U.S. Army with a loving wife (Natalie Portman) and two daughters. The two brothers have a close bond, Sam being Tommy’s only true friend, and trying to steer him in the right direction in life. Having grown up with a father who served during the Vietnam war, the two brothers turned out very differently, but were affected significantly by the man’s harsh treatment.

When Sam’s wife Grace is told of her husband’s helicopter crash in the mountains of Afghanistan, she becomes desperately upset. Tommy soon steps up as the responsible uncle, and slowly fills the void that his brother has left, and takes care of Grace and the kids. At first his role is simply functional, helping to fix up the dilapidated kitchen, taking the kids ice skating, but, after a few months, Tommy and Grace begin to become closer and have confusing feelings about each other.

Meanwhile, we see Sam imprisoned in an insurgent camp in the mountains with a fellow soldier. His treatment is horrific, being left to starve for days, and forced to tell information. On one terrible occasion he is asked to commit a terrible deed, which will change his entire nature.

It is a powerful film, with brilliant performances. Gyllenhaal delivers as Tommy, portraying the bursts of anger with subtle humanity and charm. Portman is great as the devastated Grace, her reaction to the situation is very sad and effective. However, the most impressive performance is Maguire as Sam. The evolution of this character is so gripping to watch and disturbing in places, and Maguire tackles the role with amazing confidence.

The themes of the film are very engaging, such as the effect of modern war on soldiers; how they are sometimes unable to relate to their loved ones once they return home, and how the battlefield becomes their home. Also, the tragedy of the relationship which builds between Tommy and Grace is touching at points, but also uncomfortable to watch in places. There is almost a guilty pleasure in seeing them happy together.

Watch this film if you like great performances, gripping drama, and an unusual story.

Wall Street: Money Never Sleep (2010)

A sequel to the 1987 original, Wall Street: Money Never Sleeps is a modern Oliver Stone film that fails to deliver the goods.

Gordon Gekko (Michael Douglas), is fresh out of prison, having been sent there at the end of the first film for insider trading and other financial misbehaviour, and is now looking to rebuild his fortune. He writes a book about his experiences, called “Is Greed Good?”, a play on words from his famous line in the first film, and when he is touring the book at a college he is approached by a boy called Jacob (Shia LaBouef). Jake, a young Wall Street mogul himself, is currently dating Gordon’s estranged daughter Winnie (Carey Mulligan), and wants to reunite the two, whilst gaining useful advice about the stock markets from this legend.

Gekko and Jacob also join forces in bringing down a new foe in the world of trading, a man responsible for many atrocities in the financial world. But, as Jacob is soon to find out, nothing is black and white in the world of numbers, and in this modern age of recession and global economies, the real winners are those who survive.

From legendary director Oliver Stone, this film is a disappointment. Right from the start the characters speak in complex bank manager jargon about all kinds of financial trickery that you cannot understand, and only get the general gist. The characters are very un-likeable, apart from Winnie, whose angelic rejection of cash and greed is her central theme. The lives of these characters are un-relatable, they spend their days buying, selling, gaining cash from across the world, playing with figures that seem unimaginable to our humble eyes, and their reckless attitude towards anything important seems unrealistic.

Stone does make some relevant comments about our current economic situation, with regards to irresponsible banking, a fundamentally flawed way of life, and so much power in the hands of so few. But, alas, these social commentaries are nothing more than you would read in the daily newspaper, and that wouldn’t take you over two hours to find out. The film also tips the hat too many times at the first film, with a small cameo for Charlie Sheen out of nowhere! Not Winning.

Some of the stylistic camera work is impressive, and there are subtle choices that have been made to make the film feel very modern, but, altogether, the film seems to be trying to make a point we already know very well…we are all greedy, and does so in a lengthy, confusing and un-entertaining way.

Dances With Wolves (1990)

A lieutenant serving during the American Civil War, is posted at a remote and isolated location, with only Native Americans and a curious wolf for company.

Kevin Costner plays Lt John Dunbar, an established military soldier, who earns a reputation for himself during a fierce stand-off between the Union and the Confederacy forces. Wishing to see the frontier before is disappears, Dunbar requests to be sent right into the thick of Indian territory, where he can best serve his nation. However, once he arrives at the empty post, he soon realises that there is little to do, except protect the rations from local Indians, maintain the near-derelict barracks, and play with an inquisitive wolf.

However, as the Indians become curious about this lone white man sitting in the middle of their land, their interaction becomes more and more pronounced. At first wary of Dunbar, they soon form an amicable relationship, and begin trading customs and information with each other. John soon realises that the myths and legends of these people have been terribly distorted, and finds a welcoming community which he soon becomes an important part of. He forms an intimate relationship with one of the members, a white woman who was rescued by the Indians early in her life, called Stands With A Fist (Mary McDonnell).

Life amongst the Indians, while enjoyable, is also considered completely traitorous in the eyes of the United States army. So while Dunbar helps his new friends fight against local enemy tribes, he must also try to protect them, and himself, from the pursuing forces of Uncle Sam.

An enjoyable film, it displays a sentimental and romantic vision of life on the frontier. Costner, for the most part, is an engaging and interesting central character, although his voice over narrative sounds almost childlike, and gets a bit annoying. The action/fight scenes are well produced, in a time before CGI dominance, these stunts have the reality factor which appeals to many viewers.

At times, the film is too sentimental, and seems more like a guilty response to what can only be describes as an awful period in history. The battle between these different races was bloody, and the effects were irreversible. However, it is a good thing that films like this wet people’s appetites for history, and will inevitably make some read up on it.

In conclusion, a worthy film, it has the fulfilling ability to include romance, action, history and drama, and, although slightly too long, it is a film people will revisit for good reasons.

No: 2 from my list…DONE

We Need To Talk About Kevin (2011)

Shrouded in anticipation, and laden with expectations, director Lynne Ramsay’s film adaptation of the popular novel “We Need To Talk About Kevin”, is one of the most exciting cinematic releases of 2011. The film has been nominated for the prestigious Palme d’Or award at this year’s Cannes Film Festival, and is set to be a popular choice amongst next year’s award shows.
Starring the resplendently talented Tilda Swinton as the story’s central character Eva, the film also boasts an impressive supporting cast: including John C. Reilly as Eva’s husband Franklin, and the promising Ezra Miller as the abominable son Kevin. Adapted from Lionel Shriver’s bestselling novel, it was obvious from the start that Ramsay and her crew would have a tough challenge ahead of them, delivering a film that would inevitably face harsh critical scrutiny, and audiences seem nervously eager to see if they rose to the occasion.
The story of “We Need To Talk About Kevin” is a non-linear thriller, presented as an account from Eva about her experiences raising her murderously troublesome son Kevin. It is set after a high school tragedy, in which Kevin kills several of his peers with a bow and arrow, as well as his father Franklin and sister Lucy. We can ascertain from Eva’s story that she and Kevin never developed a close maternal bond, in fact, their relationship seems more of a battle for dominance. On most occasions Kevin completely defies the wishes of his mother, even from a young age, choosing to upset and terrorize her, whilst pretending to his father Franklin that he is a happy and obedient child.
As Eva struggles with her agonized emotions over the reality of her motherhood, her relationship with Franklin also deteriorates. Blindly fantasising that he has the perfect family, Franklin cannot accept that his son is a disturbed and violent child, instead accusing Eva of blaming her troubles on their innocent son.
Throughout the film, Kevin’s actions become increasingly extreme. At first his persecution of his mother is relatively insipid, such as refusing to roll a ball back to her, or squirting paint over her prized maps of the world. However, as Kevin grows older, and progressively more volatile towards the world, his behaviour towards his mother becomes even more intense and hate filled.
Lynne Ramsay has captured the extraordinarily terrifying atmosphere of this story incredibly. Her depiction of Kevin as this malevolent, monster child is done through a wonderful mix of scary close-ups of Miller’s unresponsive face, with achingly long sequences of Eva’s despair. Rather than try to glorify and understand Kevin’s unnatural hatred, it is left as an unexplored force that permeates the whole movie.
Swinton’s performance is breathtakingly painful to watch, and beautiful at the same time. Her anguish, internal and external, is possibly the most compelling aspect of the film. And Ezra Miller is truly magnificent, he plays Kevin in a darkly graceful way, that is gripping throughout.
In terms of the directorial choices, the film displays some brilliant moments using sound and colour. Radiohead’s Johnny Greenwood provides the original music for the movie, which, at times, is both disturbing and moving. Sound is used to bludgeon the audience, at one point combining the endless crying of Kevin as a baby, with the harsh tones of a pneumatic drill. Although, it was the use of retro pop songs that provided the more disturbing moments in the film, such as “Everyday” by Buddy Holly, a pure, melodious pop track that seemed to magnify the cruel nature of Kevin.
Ramsay uses colour to great affect too, utilizing splashes of red throughout the film: such as the paint in Kevin’s squirt gun that he uses to ruin Eva’s maps, or the red paint bomb that has been thrown against their house after the high school shooting. Its affect on the audience is to evoke feelings of hatred and alarm at Kevin’s character, and to illustrate the constant fight going on between him and Eva.
The themes of the story are very poignant, exploring the usually natural bond between a mother and son in a very unnatural way. Instead of blaming Kevin or Eva explicitly, the audience is left to determine why this relationship has developed so terribly. Questions are raised about Eva’s response to becoming a mother, as well as the arguments for nature vs. nurture. Furthermore, the film asks what the limits of blood and love are, how far one would go to stand by your kin, something else that is related to the use of red colour.
Far removed from the typical releases that have bombarded our screens this year, “We Need To Talk About Kevin” is an intelligent film that is entertainingly difficult to watch. It is gripping in terms of performance, all three of the leading players providing amazing portrayals of these complex characters, the script is reluctant to add any unnecessary bulk, and the overall effect of Ramsay’s direction is brilliantly dark, moving, and captivating.

The Three Musketeers (2011)

Another rendition of the Musketeers story, with explosive action and special effects.

Set during relatively peaceful times in France, the three Musketeers, Athos, Porthos, and Aramis are left feeling redundant, with no cause to join or enemy to fight. However, when they run into a young D’Artagnan, the group soon find a new mission, to uncover a conspiracy which involves Milady De Winter, a rebellious woman whom the Musketeers have encountered before, and a cocky Duke of Buckingham.

With a plot to lead France to war with Britain, the four Musketeers must work undercover to undo Milady’s treacherous plan, and avoid bloodshed, whilst avoiding the foes in France who also plot against the Musketeers.

The film is an entertaining action film, with plenty of stunts and fight scenes. The choreography of the fighting is excellent, making for some gripping moments of stylised combat. Performances are less than impressive though, with plenty of cheesy lines and awkward heroism.

Some of the action sequences borrow a lot from modern movies, in particular the slowed-down-then-sped-up technique so obviously taken from 300. However, these are still the most entertaining parts of the movie, with impressive numbers of henchmen flocking the scene to be ass-whipped by these sword flailing champions.

The film offers nothing new to the endless story of the Musketeers, but rather follows happily in the tradition of costume-period tomfoolery.

Rango (2011)

A chameleon, lost in the desert, becomes the sheriff of a small town of animals called Dirt, by pretending to be the hero they need.

Voiced by Johnny Depp, Rango is a simple house pet who gets accidentally thrown from his protective environment, into the harsh conditions of the scorching desert. In his quest to find water, he happens upon an unusual acquaintance called Beans, who shows him to her town of Dirt. When Rango arrives, he is terrified by the lawless inhabitants, but manages to concoct a wild fantasy about being a heroic gunslinger, which wins the respect of most of the townspeople. The mayor, seeing a new hero in Rango, makes him the sheriff.

However, disaster strikes when the town’s pitiful water supply is stolen, leaving them stranded in the hot sun. Now, Rango must round up a posse from the town and find the water, becoming the hero that he is pretending to be.

A marvellous animated film, Rango is brilliant for several reasons. First of all, the detail in the animation is stunning, some of the sequences are quite moving, whilst the colours and variety of action sequences were skilfully executed. Secondly, the moments of slapstick comedy which pervade the film are hilariously timed, giving the film a wide appeal. And, thirdly, the pace is well structured so that, at no point, was I wishing it along, which can happen a lot in family-oriented films.

The character of Rango is a complex and intriguing one. His ability to change colour according to his situation/surroundings seems to reflect his lack of identity. Before the desert, he had only the company of plastic toys who didn’t respond. However, through his epic adventure, he learns just what sort of chameleon he is. Johnny Depp was an interesting choice to do the voice, adding a certain level of expectation to the film. At points his voice seems unmatched to the character, standing out as Johnny not Rango. However, for the most part, Depp provides a wonderful mix of high/low tones, panic and confidence.

Watch this if you like comedy animated films, like Ice Age or Toy Story.

Brilliant.