Brave (2012)

Pixar’s Plucky Princess

Now that the novelty of animated mega-busters has worn off, animation studios are having to find new ways to charm audiences back into the cinemas. Without remaking a classic family hit (like Toy Story or Monsters Inc), they seem to be on nervous ground when it comes to a new adventure. However, Brave is a beautifully crafted, brilliantly formed movie that recaptures the essence of animated films, and brings a much needed sense of vitality.

Set in the sprightly highlands of Scotland, a royal family looses their land to chaos when their princess daughter decides to throw tradition into the wind by not marrying a suitor of their choosing. Merida (voiced by Kelly Macdonald) is a feisty tomboy with flaming red hair, who would rather be out shooting a bow and arrow, than acting princess-like. However, after spurning her family and running off into the forest, she encounters a witch who grants Merida wish - which turns out to be a curse.

Brave’s charm lies in its authentic take on this picturesque, Scottish landscape, with sweeping coverage of the rolling hills, and the rousing music adding depth to the storyline. Voices are from genuine Scots (no Shrek’s here), and seem to have a genuine chemistry during the film. Macdonald is joined by the likes of Billy Connolly, Emma Thompson, Julie Walters, and Robbie Coltraine, all of whom deliver great enthusiasm to their eclectic characters.

Up there with the best of Pixar’s productions, Brave is a wonderful addition to the animated success stories.

The Raid (2012)

Snap, Crackle, and Pop

Pegged as one of the best action movies in decades, The Raid is an intensely gripping hand-to-hand combat film with teeth-clenching fight scenes and an unrelenting stamina.

The plot is brilliantly simple - a SWAT team enter a multi-storey tenement building, which is the base for a dangerous crime lord, in an attempt to bring him down. Once inside though, the cops are ambushed by the hordes of criminals who inhabit the building, and find themselves in a war zone as they attempt to continue their mission/get out alive.

Fans of action movies need to see this film to see what kind of calibre is still being made. Yes, the film is in Indonesian (with English subtitles), but this only adds gravitas to the effect. The choreography is out of this world, seamlessly moving between struggles between cops and baddies without the usual endless cuts, and the brutal nature of the fighting will unnerve even the most seasoned action aficionado.

Character development is only briefly hinted at, which, instead of leaving the film feeling shallow, gives the atmosphere fear a more deadly effect.

As far as world cinema goes, this is an outstanding achievement. A film that manages not only to survive amongst the already brimming genre, but raises the standard across the board.

The Labyrinth (1986)

Who knew Bowie could be so evil?

A true eighties fantasy, starring David Bowie and Jennifer Connelly about a magical world of Goblins, mazes, and some eerie crystal balls.

Fifteen-year-old Sarah (Connelly) finds herself thrown into an extraordinary and perilous world after wishing her baby brother away, when he won’t stop crying. Cast into the world of the Goblins, she must find a way through the evil king’s labyrinth within thirteen hours, otherwise her baby brother will be turned into a Goblin himself.

A children’s film at heart, there is a nostalgic quality to a film like this that will appeal to viewers of all ages. The effort that went into to building these epic sets, and the wondrous make-up effects used on all the different inhabitants of this world, is astounding, and the result still holds up today.

Of course, there are the inevitable elements of the film which have not dated so well - such as Bowie breaking into song, or the clumsy narrative which becomes tiring as the movie progresses. But, overall, these factors can easily be looked over if you get yourself into the spirit of this fantastical storytelling, and just enjoy the pure imagination on show.

For the child within, who never gave up believing.

Friends With Kids (2011)

Friends without benefits

From the makers of Bridesmaids (2011), comes this Rom-Com about two friends who decide to raise a child together - without any of the romantic complications.

Jennifer Westfeldt and Adam Scott play Julie and Jason, two BFFs, whose search for the right partner has yielded little so far in their lives. Having both decided they want kids, at some point in their life, and tired of watching all of their coupled friends fawn over their offspring, the two thirty-something urban professionals, decide to have one together, and have joint custody whilst they both search for their perfect partner. Sound strange?

What ensues is a slightly predictable, yet emotionally charged story about two people finding what they want in life. Padded with the differing experiences of the couples around them: from the married pair who are always moaning but love their kids dearly, to the couple who used to enjoy a fully active sex life, and now seem to have nothing to say to each other.

Despite a somewhat flimsy foundation, Friends With Kids benefits from a great cast of funny people, who swarm around plenty of adulthood-related topics with sharp tongues and a proclivity to embarrass themselves (such as Scott being literally rained upon with his son’s faeces).

The Martins (2001)

That’s when good neighbours, become good Fiends.

Lee Evans and Kathy Burke star in this British black comedy about a family-from-hell, whose dad goes on a crime-spree in order to give them the holiday of a lifetime.

Evans plays Robert (the aforementioned dad), whose life on benefits starts to become less than bearable, after he loses a newspaper competition to win the holiday of a lifetime. In reaction, Robert first attacks the newspaper’s yuppie editor, before crusading round the streets of urban England with a gun in his hand, threatening his way towards his prize.

Aside from the relentless use of curse words and the ridiculous storyline, The Martins is a charming story about the toils of reality. Robert’s struggle for success, while misdirected, is relatable for many viewers, and even though his family of lower-class miscreants may linger on the hopeless side of the tracks, they are still a nuclear family who love each other.

Evans gives a good comedy performance, translating some of his stand-up moves onto the silver screen, whilst Burke offers the film its most talented performer - regularly stealing scenes.

An interesting peak into the world of Jeremy-Kyle-type families, with a few laughs along the way.

Broken (2013)

The Trouble With Britain

Social dysfunction has long been on the tongue of politicians in the UK, arguing about issues concerning the youth of today - especially in light of the summer riots in 2011. Rufus Norris’ film, based on the novel by Daniel Clay, examines the heartbreaking tragedy the lies beneath the surface of British society, through the eyes of childhood.

Set in a small cul-de-sac in suburban England, our story is seen, largely, through the eyes of Skunk (Eloise Laurence), a young girl who lives with her solicitor father Archie (Tim Roth) and brother Jed (Bill Milner). Across the road from Skunk, live the Buckley family - a husband and wife, with their awkward son Rick. And across the road from the Buckley family live the Oswalds. There, the dad is called Bob (Rory Kinnear), and he lives with his three mouthy girls.

One day, Skunk witness Mr Oswald attack Rick outside the Buckley home, which we later learn is due to Mr Oswald being told by his daughter that she had slept with Rick (a lie the girl was forced into, after her dad found an empty condom packet). This sets off a chain of events between these three families that reveal the hardships of modern parenthood, as well as the daunting prospect of growing up in today’s Britain.

Norris utilizes staggered sequencing which allows moments in the film to be revisited from a different perspective - such as the attack on Rick which comes first, and then we see the events which caused it. This storytelling device is extremely effective as it allows a sense of evaluation to take place - we see the fallout before the cause, and how decisions can lead to such brutal consequences.

Essentially, Broken could stand for broken families - but that would ignore too much of the film’s larger themes, such as the broken communication between people in the street, or a broken sense of community. Bob Oswald, arguably the film’s villain, does not act out of evil or a sense of hatred - he is simply trying to do best by his girls. Similarly, when Rick’s father fails to confront his son’s attacker, he does so out of hoping to do best by his son.

These questions around the issues of parenting are what make the film a loud voice amongst the modern debates - asking the audience to find where they went wrong. The film also pits larger themes against each other, such as the innocence of youth versus the fragility of adulthood, and the idea of courage versus pragmatism.

A social drama with huge amounts of subtext, Broken is a standout British film. The performances are superb, the story is expertly interwoven, and Norris’ genius behind the camera make this one of the most intelligent and gripping films of the year.

The Artist (2011)

A silent victory

Much was said about The Artist, during the prolonged awards season where it reigned supreme, and scooped up five Oscars - including Best Picture. Critics lauded its modern take on the silent film, calling it a triumph and a true underdog story. But was it deserving of these accolades?

The story is about a prolific silent film star, called George Valentin (Jean Dujardin), whose unrivalled career in the movie business is set to come crashing down with the advent of the Talkies (films with sound). Set during the late Twenties, and early Thirties, during the onset of the Great Depression, we see the world around George change, as he remains a has-been, made all the more tragic by the meteoric rise by a girl called Peppy Miller (Bérénice Bejo). George had been Peppy’s introduction into the world of movies - gaining her access to a film set as an extra, where she went on to make a career for herself - becoming the new face of modern movies.

A beautifully made film, The Artist makes heavy use of an orchestral score in order to fill the void of a voiceless plot. The shots are undertaken with a genius direction, from Michel Hazanavicius, who creates an authentic looking silent film fit for a modern audience.

Whilst the storyline is a little too linear for some, there can be no doubt of the talent on screen - as proved by an outstanding tap-dance by the two leads, and the daring behind making a theatrical release of a silent movie in the 21st Century, is something deserving of recognition.

Breaking Dawn: Part Two (2012)

The end of a Saga

For all the fanfare, hype, inglorious t-shirts, celebrity gossip columns and vampire spin-offs, the Twilight Saga has finally come to an end. Few other franchises can boast of this kind of success, regardless of the critical backlash, and the legacy is clear to see in the effect it has had on popular culture.

Breaking Dawn: Part Two, picks up where we left off, with Bella (Kristen Stewart) waking up as a blood-sucking Cold One (not a beer). She managed to survive giving birth to her mutant baby, Renesmee, who now grows at an alarming rate, and becomes the catalyst for the film’s final showdown. Bella, the Cullen clan, and Jacob (Taylor Lautner) must face off against the powerful Volturi, the head of the vampire network, who see Renesmee as a threat to the survival of their kind.

In order to gain support, the family use their vampire contacts around the globe to come and see Renesmee, and prove she is no threat. Through this, we see an array of X-Men-like abilities in these different vampires - from the woman who can channel electricity, to a guy who can control the elements. As they bundle together in the Cullen family home, a fight to the death seems imminent.

More entertaining than the first part, the makers have managed to pack a bit more action into this film, whilst maintaining the gooey romance between Bella and Edward (Robert Pattinson). It’s as stylishly filmed as before, and utilizes some brilliant CGI - in particular during the immense battle near the end.

Where the film falls down, however, is the plot. It seems too strung out (it needn’t be two films), and the impending doom wreaks of clichéd heroism. Performances are awkward at best, and the constant use of an indie soundtrack becomes irritating the longer it goes on.

Besides a stylish climax and exhilarating battle sequence, Breaking Dawn: Part Two fails to shed the burden of its former half, and remains a bulky, worn-out affair that will appeal to the die-hard fans, but few others.

Justice (2011)

…best served cold

A man accepts help from a group of vigilantes, after his wife is attacked, to bring justice to the perpetrator, only to find the repayment plan extortionate.

Nicholas Cage plays Will, a mild mannered school teacher, who is forced into the extremes of a criminal world after he accepts the help of a secret vigilante group, who believe they are cleaning the streets. Once in their debt, Will discovers a world of corruption and illegality that he must traipse through in order to survive, whilst looking for a way out.

A thrill-ride that offers a decent menu of stunts and chases, and some intrigue, but fails to delve deeper into the plot, for fear of exposing the flimsy storyline. Cage gives a worthy performance, offering up the emotional complexity of a man stuck between a rock and a hard place, who chooses an easy way out only to find it the rockier path.

American Reunion (2012)

Grown Ups

Thirteen years have passed since Jason Biggs defiled that pastry, and now the party is coming to a close - with this final farewell from the gang of American Pie, back together with the original cast.

American Reunion, as it says on the tin, sees our sexually-frustrated friends join forces back in their home town for their school reunion - only now, they all have adult lifestyles. Jim is married to Michelle, and the two have a baby; Oz is a famous sports broadcaster; Kevin is married; Finch is a mysterious globetrotter…and Stifler is an intern.

As the group trawl their old hunting ground, they realise how much has changed since they have been away, both in themselves and in the new generation - whom they see as unruly. However, it is not long until the famous shenanigans resume, and we see the usual cocktail of Jim’s humiliation, Kevin’s idealistic longing for the past, Finch’s hidden secrets, and Stifler’s moronic, yet hilarious, immaturity.

A revisit to an old friend is always fraught with peril - it could be boring, it could be awkward, and it could just not feel the way it used to. Luckily for American Reunion, they avoid these pitfalls, and instead take what worked with the original film and put it into a new context. This refreshed idea makes the film more than bearable.

There is a lot of complaining about adult life - but since most of the audience for the original film would have been in their teens when they saw it, this will fit well with them now. There is also a lot of drinking, a staple of the American Franchise. However, there is an emotional arc for Jim’s dad, whose wife died.

A definite watch if you loved the first film, but expect the usual keg-fuelled knob gags and needless nudity.

Yes Man (2008)

The power of yes

Jim Carrey stars in this comedy about a man living a pitiful existence, who discovers a new, radical concept - say yes to everything.

As the title suggests, this film is about the power of yes. The idea that being agreeable to all of life’s suggestions, will somehow empower you, and make your life more enjoyable. This is not quite the case for Carl (Carrey), who, at first, does enjoy the fruits of an existence lived in the affirmative, but finds out that life is about more than a simple answer.

His journey goes into more exciting times when he stumbles across kooky wild chick Allison (Zooey Deschanel), whom he falls in love with. Their relationship, however, quickly begins to suffer at the hands of Carl’s lifestyle choice as it spirals out of control.

A funny film with a brilliant performance by Carrey (reminiscent of his good old days). Yes Man makes some pointed comments about modern life, whilst arranging an entertaining love story that will appeal to the mainstream. On the predictable side, and utilizes some worn out rom-com methods, but apart from that, Yes Man remains a commendable comedy.

Also, look out for an awesome rant by Carrey after a homeless man causes him to be left stranded without gas in his car or life in his mobile phone - hilarious.

Code Name: Geronimo (2012)

“100 per cent is hard to come by these days”

Capturing the build up, and execution, of the mission that would kill Osama bin Laden, John Stockwell’s independent war film puts the human touch on the Navy SEALS that would end this most tragic chapter in American history.

Since 9/11, the world has been bombarded with every type of popular culture depicting the War on Terror. Films, television series’, video games, and scores of internet chat rooms, have been dedicated to dissecting this most controversial topic, attempting to find some kind of universal truth to the events of that day, and its heartbreaking fallout. Needless to say, Stockwell’s film offers little in the way of closure on that topic - only a depiction of the death of a primary character, and becomes little more than an addition to an already crowded club.

Similar in style to a game of Call of Duty, or an episode of Homeland, Code Name: Geronimo plays out in a similarly fast-tempo fashion, jumping between several storylines, and constantly changing location in order to convey the global aspect of this event. We are given the triple-plot structure: the guys behind the desk, the guys behind the binoculars, and the guys behind the guns - all of whom fight for the same side.

The plot is quite simple: a source at the beginning of the movie (under extreme duress), offers some intelligence about a possible terrorist, hiding out in a rural part of Pakistan. From there, the mission becomes to locate and identify this suspect, and the evidence quickly begins to point very high up the Most Wanted list. Regardless of the inevitable outcome, this film asks all of the “what-ifs”.

We are offered some scant background on most of the SEALS involved, which gives a small degree of depth to their situation, but not nearly enough for audiences to become emotionally involved in their fate. Surface scratches are made at some of the big themes that emerge from being in the U.S. army - such as being separated from their kids, or fidelity between soldiers and their wives, but with little exploration, and certainly no solid conclusions.

There is a sense of relief as the mission builds to a tense gun-fight by the end of the film, almost reflective of the ten years it took to find, and kill, the al-Qaeda leader, but nothing seems solved. There is no sense of peace that emerges, just a desperate sadness that it had to come to this, and that the war goes on - something which Stockwell hints at by posting small bits of text during the credits about the ongoing situation.

The film does well to represent the American side of the story. We are shown the soldiers, and their varying reasons for being in the army, but little attention is given to the wider issues of the war. The story prefers to remain on one side of the fence, something which stops it becoming a considerable voice amongst all the others.

Despite sturdy performances from Prison Break alumni William Fichtner and Robert Knepper, the film fails to deliver a truly memorable cast. Most of the characters are given little amounts of screen time, and the result is a gang of forgettable and replaceable action-men.

The premise was daring, and the subject matter controversial, but the eventual execution lacked depth. Strong characters arcs and thematic discussions are substituted for needless action sequences and a short running time.

Get Him To The Greek (2010)

The answer is Snow

Born from the outrageous mind of Jason Segel, this outlandish comedy starring Russell Brand and Jonah Hill is like The Hangover meets Spinal Tap.

Hill plays an ambitious music-industry intern called Aaron, who is charged with creating “the next big thing” in the biz by his unnerving boss (P Diddy). Aaron’s fascination with an expired Rock N Roll star called Aldous Snow (Brand) sees him try to reignite the once bright flame, for one hell of a live show at the Greek Theatre (hence the title).

Obviously reluctant to re-enter the limelight, Snow begins an arduous torture of the poor young Aaron, by dragging him through the crazy lifestyle of a has-been rocker - 24-hour partying, consistent refusal to obey flight departure times, and forcing Aaron to smuggle narcotics inside his…(spoiler alert).

As the layers of Snow are cleared (nice weather pun huh?) what is revealed is a desperately unhappy man, whose crippling loneliness can only be covered by relentless adoration and illegal substances.

Funnier than most would presume, Brand and Hill make an unlikely, yet brilliant comedy duo. The set-pieces are clever and memorable, and the wickedly funny songs that Snow sings are also catchy and entertaining. A little on the shallow side, but so are most of the best comedy films, and this one does well to toe the line without slipping into ludicrousness.

What To Expect When You're Expecting (2012)

Baby Formula.

Nothing is more certain to drive crowds of oblivious couples to cinemas than a star-studded rom-com about the foibles of adult life. In a similar style to the spectacularly forgettable Valentine’s Day (2010), WTEWYE follows the lives of multiple couples, as they all cope with the onset of parenthood in varying ways.

Some of the stars include: Cameron Diaz, Chris Rock, Elizabeth Banks, J-Lo, Dennis Quaid, and Anna Kendrick, although the storyline prevents very little interaction between the different actors, instead leaving them within their own, personal journeys of baby-hell.

There is, of course, a smorgasbord of adult situations which are displayed in all their riotous hilarity - from the woman whose pregnant body seems to betray her at every public moment (Banks), to the control freak who doesn’t listen to a word her partner tells her (Diaz). We are also shown some more tear-jerking moments with the girl who loses her baby in a miscarriage (Kendrick) and the woman who can‘t conceive (J-Lo). All of which give the viewer a pretty good round-up of all that can happen when you get pregnant.

Alongside the outrageously unpredictable antics of these ladies-in-waiting, we are also shown the male side of the story - something that usually goes without more than a puff on a cigar and slap on the back. This provides for the film’s most comedic aspect, a group of guys who take their babies to the park and talk about all the mishaps they have managed to get away with, whilst yearning for their freedom by idolizing the local (baby-less) stud.

This film survives on a few central characters who manage to keep the film falling off the rails. Kendrick’s storyline, and performance, is worthy of mentioning, as is Bank’s talent for her relentless willingness to embarrass herself in films. But, save for the bro patrol in the park, this film is a lukewarm bottle of milk, when it could have been so much more.

The erratic speed of the first half creates a dizzying experience something similar to the nausea of pregnancy, but the film never quite achieves focus, and instead seems content to ride out the remaining minutes with cheap laughs and predictability.

Star Wars: Episode V - The Empire Strikes Back (1980)

How many henchmen can Vader kill?

OK, here goes. I have never watched Star Wars. I am a twenty-four-year-old man/child who, somehow, avoided seeing the Star Wars films. Actually, that’s not quite accurate, I did watch The Phantom Menace at the cinema - maybe that explains it. So, in order to catch up with, what seems like, the rest of the planet, I managed to catch the second film on my Sky box (having seen most of the first one the previous week - I did not review that due to not seeing the whole movie).

Star Wars, for any other cultural hermits out there, is an intergalactic action/adventure franchise that began in the late 1970s, when pioneering special effects man George Lucas wrote a sci-fi story based around an evil empire that wants to control the galaxy, and the fight by the rebels to stop them. Mark Hamill plays Luke Skywalker, leader of the rebels, whose journey in this film sees him find the legendary Jedi warrior Yoda, who will teach him how to use the Force for good (the force being some kind of cosmic connection to the galaxy which allows superpowers).

Meanwhile, the evil Darth Vader and his Empire are on the hunt for Skywalker, and happen upon their rebel base. A spaceship chase ensues, as Vader attempts to take down the Millennium Falcon - piloted by Skywalker’s close buddies.

It’s a thrilling and brilliantly made film, one that puts together momentous special effects with compelling characters and a thoughtful two-prong storyline. The action sequences are where the film is most effective, creating highly tense moments and awesome stunts.

Regardless of the franchise’s status as, arguably, the most iconic sci-fi films of all time (I’m sure I just heard a ghost whisper “Harry Potter”), it must be said that The Empire Strikes Back is still a compelling and thrilling watch, an enduring sci-fi classic that renders modern action/adventures impotent.

Underworld: Rise of the Lycans (2009)

Every War Has A Beginning

The bloody, gothic world of the vampires versus the werewolves is told in an “origins” format - depicting the start of the feud between the two nightmarish clans which would give birth to the darkened franchise.

Existing almost completely without Kate Beckinsale (save for an introduction), this threequel prequel (still with me?) tells us the story of how the Lycans came to be a formidable enemy for the ruling Vampires. At first the werewolves are kept under strict control by their blood-sucking masters, especially when their most powerful member, Lucian, is used as a weapon against his own (out of loyalty to the vampires who spared his life).

However, Lucian loses favour with his vampire masters, after breaking free from the fortress where he is held prisoner, in order to save his lover (who happens to be the head vampire’s daughter). Lucian is thrown back into the pit of downtrodden werewolves where he finds a new resolve and ambition - to bring about the rise of the Lycans.

It is all very melodramatic stuff - lots of posturing, gory make-up and even gorier fight scenes, but this third film in the franchise offers little in the way of originality - or even any improvement upon the previous films. The plot is still tiresomely thick, weaving through heavy verse-like stages of the history between these clans with a reckless attention to details, and the over-acting becomes quite distracting as the film develops.

Strength lies in the special effects, especially the moments where men turn into werewolves, but even this does not have the majesty of a film like An American Werewolf in London (whose transformation scene is still the one to beat).

The film misses Beckinsale, who gave the previous films a humanity it sorely needs, and the fact that she returned for the fourth film is testament to her necessity.

Dead Poets Society (1989)

Oh Captain, My Captain

Remember that one, truly inspirational teacher at school? No, me neither, but if I had had one, he would probably have resembled Robin Williams’ John Keating from Dead Poets Society.

Set during the 1950s, in an all-boys private school, Keating is a controversial and inspirational teacher, who not only manages to get his stuffy-prep students interested in poetry, but also inspires them in other aspects of their lives. Keating urges his pupils to seize the day, finding the beauty in the world and to dream - a mission statement which bangs head on with the school’s curriculum, not to mention the uptight parents.

By using unorthodox teaching methods, Keating is able to show the boys life outside their insular, privileged existence, teaching them to become individuals and free-thinkers. Acting almost as a precursor to the decade which would follow, the boys soon find their lifestyle at loggerheads with the “man”.

A spirited and charming film, Dead Poets Society has a nostalgic enjoyment factor dripping from its textbooks. The filming is warm and cosy, the music is rousing/emotive, and Williams’ performance is riveting (although, his similar, but better, performance in Good Will Hunting should be lauded higher).

The film is slightly let down by uneven performances amongst the boys. Ethan Hawke delivers a somewhat intriguing portrayal of the shy new boy, but for the most part, this group resembles a bunch of rich kids with little in the way of likeability.

Overall though, the film delivers a heart-warming message about the importance of identity, as well as making prudent comments about education and childhood - it may just seem a little out of place with the “Attack The Block” generation.

Drive (2011)

A Man of Few Words

An emotionally gripping, brutally truthful action film about a withdrawn stuntman-cum-getaway-driver who becomes involved in his neighbour’s life.

Ryan Gosling plays the man known only as “Driver”, a man of few words, who drives for a living - in many different mediums. Talented behind the wheel would be an understatement, the man is able to perform high octane stunts, evade the police, and even ram cars off the road - all skills which he ends up needing.

Carey Mulligan plays his timid neighbour Irene, who lives in the apartment next to Driver, with her son Benicio, whilst Benicio’s father is in prison. After a couple of run ins, Gosling becomes attached to the pair, and we see the blossoming of an emotional attachment between him and Mulligan. This is soon thrown into chaos, though, with the release of Irene’s ex-convict partner Standard, whose life amongst the free and innocent is threatened by criminals of his past, who want compensation for protecting him whilst he was “inside”.

The Driver, out of affection for Irene and her son, offers to help Standard out by being his getaway driver in a pawn shop heist, only for it to all go wrong, leaving a huge target about the Driver’s head.

A genuinely gripping, atmospheric movie, Drive offers an alternative to this already worn out genre. Rather than present another Fast and Furious film with more bang for your buck, Drive is about an emotional truth between the Driver and Irene - an innocent, unspoken love that goes unspoilt but human misdeeds, and beyond the typical facets of human relationships.

Indeed, the obvious feelings between the two lead characters are only ever depicted in a platonic light, never succumbing to sexual transgression, which contrasts amazingly with the film’s more brutal crime plot.

The violence is eye-wincingly graphic, offering up some intimate combat that would rival a Scorsese film. The performances are excellent, in particular Gosling as the reserved, almost to the point of autistic, hero, as well as Mulligan, who gives the perfect portrayal of the modern damsel in distress.

A brilliant film.

Empire of the Sun (1987)

Spielberg makes a man out of Christian Bale.

Steven Spielberg’s affecting war film, set during the Japanese occupation of Indochina during the Second World War, about a resourceful English boy trying to survive.

Christian Bale (barely recognisable as a prepubescent boy) plays Jamie Graham, the son of affluent parents living in the far east when the Japanese invasion takes place. Jamie becomes separated from his parents during the ensuing chaos, leaving him all alone in a very scary city. He is soon picked up by two sailors who are also attempting to ride the war out, and Jamie comes to find a semi-father figure in the brutally pragmatic Basie (John Malkovich), who keeps “Jim” with him when it seems convenient for himself.

The pair, along with some of their other western buddies, find themselves in an internment camp, where they attempt to live out the remaining years of the war - living off rations and being enclosed in dilapidated huts. As Jamie’s youth rapidly slips away, the nature of his upbringing becomes the story’s emotional hard line.

Almost textbook Spielberg, Empire of the Sun is an emotionally gripping film that delves into the nature of conflict and pitting it against the innocence of youth. Jamie’s struggle to survive seems to represent our own humanity’s struggle to remain afloat - as we see many adult characters committing heinous crimes, and being completely selfish (typified by the character of Basie).

Bale’s performance is incredible, delivering way above the usual child actor portrayal of his age. We see him tackle heavy moments of drama, grandiose action sequences, and a range of tender scenes, all with an intelligence beyond his years.

Malkovich is a worthy companion for the movie, offering up some complicated depth to this “survivor” character.

Standing up to the test-of-today, Spielberg’s undoubted legacy will have some hot contenders, but Empire of the Sun deserves a place amongst the greats.

Chasing Amy (1997)

Dick jokes? Nah.

From the eternally foul-mouthed mind of Kevin Smith, comes his brutally funny Rom-Com, about a comic-book writer who falls in love with a lesbian.

Starring Ben Affleck as the aforementioned writer, and Joey Lauren Adams as the aforementioned lesbian, Chasing Amy is an post-adolescent exploration of human relationships, and all their hilarious foibles.

Jason Lee plays Affleck’s outrageously rude colleague, whose homophobic dick jokes go down like a lead balloon, but later develop into a slightly unbelievable character arc. There are small cameos for Smith himself, as well as his partner in crime Jason Mewes, as their terrible twosome Jay and Silent Bob.

The film benefits from an incredibly sharp script, full of ballsy social commentary, and outlandish insults, as well as a very strong performance from Adams - whose sexual complexities and masculine swearing make her a confounding character.

Affleck is not in his element yet, acting wise, struggling through the emotional stuff, and only just delivering the comedy, whilst Jason Lee is hilarious.

Far more developed than some of Smith’s films, Chasing Amy is on the one hand brilliantly funny, but painfully romantic on the other. In other words, come for the jokes and try to endure the sappy stuff.

Underworld: Evolution (2006)

Shares in Fake Blood anyone?

The gothic fantasy is back, and this time, in the war between the vampires and the lycans, Selene must survive along with the hybrid Michael, as the secrets of the ancient feud rear their ugly, and blood-splatteringly violent, heads.

Vampire films have received a lot of bad press, mostly due to the public’s saturation with them. If it’s not Edward-hearts-Bella t-shirts, then its any number of television programmes which have emerged in recent years to bombard us with blood-sucking anti-heroes with a little too much sexual tension.

The Underworld films, predating most of this stuff, offer little more in the way of substance for the genre; they are atypical vamp-flicks with a hardcore gothic style, and bucket loads of fake blood. They are, however, a little more confusing.

The plot of this film is enough to perplex most viewers, especially with the common Christian names being bounded about - Michael, Marcus, William, Viktor…erm, Corvinus, all of whom are referenced, but not always shown - scratchy head time. And the ins and outs of this feud between the vampires and the werewolves is ludicrously complicated, especially on a first watch.

This being said, Underworld: Evolution is a step up from its predecessor, and benefits from a more relaxed pace, better action sequences, and yes…awesome gore. Kate Beckinsale, as the lead heroine, is a worthy champion of the series, giving us a kick-ass female warrior without all the pouting.

Having not seen the next two, I will endeavour to watch them soon in order to get a full picture, but my hopes are that they at least reinvent their vision - or at least keep stepping up the eye-wincing gore.

J. Edgar (2011)

Hoovers aren’t always clean.

Clint Eastwood’s political biopic about J. Edgar Hoover - the man responsible for the American intelligence system.



Shown in a relentless barrage of memories, flashbacks, concocted accounts of his own life, and present day, we see J. Edgar’s life as a Federal Officer who becomes the man who revolutionized the FBI in order to fight communism and other threats to his country. Played by the incandescent Leonardo Di Caprio (who can do no wrong it seems), J. Edgar is portrayed as a terrifyingly complex man with issues ranging from his protective mother (Judy Dench) to his homoerotic sidekick Clyde Tolson (Armie Hammer).

Starting with an eager pace, J. Edgar takes a while to find its stride - attempting to show the man in many stages of his life in order to give the audience the idea behind the film. This eager pace gives little time for any real depth to develop, which only comes later once the scenes are left to ponder a little longer, and we see the cracks beginning to show.

Aside from Di Caprio’s brilliant performance, we are also given some brilliance onscreen by Hammer, depicting a difficult character with poise and integrity. Dench, although shamefully underused in the movie, plays her part well, giving an understanding to J. Edgar’s home life.

Important themes are raised by the film, such as the notion of intelligence - how far should it be allowed to operate outside of law and scrutiny? As well as the changing landscape of police enforcement.

Political biopics, particularly American ones, do come better than this (see Nixon), but Eastwood’s attempt should be lauded for its determination and bravery, and fans of good acting will be in for a treat.

Carlito's Way (1993)

The road to redemption

Inseparable from the gangster genre, Al Pacino always delivers a great mobster. His performances in classic films such as the Godfathers, Scarface, and Righteous Kill prove his worth, as well as his predilection for characters with a criminal story.

In Carlito’s Way, Pacino plays the lead role of Carlito “Charlie” Brigante, an ex-convict recently released from prison, after escaping the remaining twenty-five years on his sentence due to a technicality. With the help of his ruthless lawyer Kleinfeld (Sean Penn), Carlito is back on the streets looking to turn in his guns and gangs for sun and sand.

However, “the life” keeps pulling him back in (reference intended), with friends from his former days as a gangster asking favours of him and generally getting him into trouble. Determined though, Carlito looks to be on the path to righteousness, setting his sights firmly on his former love Gail (Penelope Ann Miller), hoping to run off into the sunset with her. His main obstacle is Kleinfeld, whose drug addiction and growing sense of importance put Carlito is a dangerous situation.

It soon becomes clear that Carlito must choose between the streets that made him who he is, and the woman who makes him the man he wants to be.

A powerful and enjoyable film, Carlito’s Way avoids being thrown into the same category as your typical gangster flick. The central character is far more diverse than a petty criminal, broadening his appeal into genres such as romance and comedy, which make the film more universally applicable. This does detract from the power of the movie altogether, but makes it far more accessible.

Pacino’s performance is dynamite waiting to explode, we see the man tested and pushed to the limits, only loosing his cool in extreme circumstances. His screen time with Sean Penn is awesome, and the pair make a great criminal duo. Sideline gangsters are little more than stereotypical hoodlums, offering little in the way of depth.

The storyline is engaging, the violence is just on the right side of brutal in order to make the film stand up, and the plethora of great directorial choices by Brian De Palma put the movie onto a grand scale.

We Bought A Zoo (2012)

…but don’t have a clue!

Matt Damon plays Benjamin Mee, a man trying to escape the ghostly presence of his deceased wife, by uprooting his two children and moving them to a dilapidated zoo.

Based on a real story, We Bought A Zoo is a family drama with plenty of character and pathos. Mee struggles with his emotional baggage, as well as attempting to reconnect with his children - one of which is a moody teenage boy (Colin Ford) who draws demonic cartoons and ignores everyone. His efforts go mostly unrewarded, at first, but the journey of this adventure teaches the man plenty of life and love, whilst he finds the perfect distraction from his heartache.

The zoo comes with its own set of problems, not least the severe debts it causes for any owner, as well as the surly set of staff who seem certain that Mee will move on pretty sharpish. Head of staff Kelly (Scarlett Johansson) shows Mee the ropes, but even her unrelenting commitment to the zoo and animals won’t save them from the evils of the upcoming inspection.

Aside from the frailties of human interaction, there is also, obviously, plenty of animal fun to be had from this film. The different species at this zoo are an important part of the movie’s effect, and it would not be the same without them. This additional depth to the cast creates a wonderful family film, one for all ages.

Moving and affecting in places, We Bought A Zoo has just the right amount of tenderness and intimacy without getting all gushy, and the ensemble works well to add equal amounts of comedy and drama.

Midnight Cowboy (1969)

A small time male prostitute (Jon Voight) leaves his home and moves to New York with naïve plans of making it rich, only to find the city rinses him dry.

Voight plays Joe Buck, the aforementioned Gigolo, whose simple-minded attempts to sell himself for money yield him little results in the Big Apple, where everyone is a hustler - even middle-aged women who invite Joe back for sex, only to ask to borrow a couple of bucks from him!

Joe soon crosses paths with another hustler, named Ratso (Dustin Hoffman), who initially scams Joe, pretending to set him up with a certified pimp - who turns out to be a mad preacher. After making their peace with each other, Joe and Ratso come to rely on each other within NYC - Joe learning the ropes from his experienced buddy, whilst Ratso’s declining health makes him reliant on Joe’s help. The two attempt to survive the city’s sinister apathy towards them, whilst making bigger plans to escape to Florida.

A touching, vibrant and enduring film, Midnight Cowboy is one of the few “classic” movies, that deserves its acclaim. The filming still seems modern, the script is tight and clean shaven, and the pure humanity that shines through the two main characters (even though its sleazy and gormless) is thoroughly engaging.

If you are a fan of sixties/seventies noir dramas, or even just a good drama, Midnight Cowboy is a cinematic masterpiece.

Jeff Who Lives At Home (2012)

How I Saved My Brother

Quirky comedy starring Jason Segel as a bong-smoking idler who attempts to find his destiny in life during one chaotic afternoon.

Jeff (Segel) is a layabout freeloader, who spends his days loafing around his mother’s house smoking drugs and wasting time. After he is asked by his mum (Susan Sarandon) to go out and buy some wood glue from the store, Jeff, reluctantly, finds himself caught up in a bizarre string of events that he sees as fate.

Jeff stumbles across his estranged brother Pat (Ed Helms), an annoying Yuppie-type whose crumbling relationship with his wife Linda (Judy Greer) becomes the central storyline - and also, possibly, Jeff’s destiny.

Funny and wacky in places, the film suffers from a severe lack of depth. With only a few central characters, the storyline contains little in the way of exploration, and instead rattles through a quick, short plot making a few jokes along the way. Jeff’s struggle to find a purpose is engaging, as is the rising tension between Pat and Linda, but Sarandon’s later-life escapades seem pointless and underdeveloped.

Regardless of the film’s themes, it is a poor attempt at comedy. The pace is monotonous, the script is too reliant on zany personal affectations, and the final scene (the best of the movie) needed to be properly founded by the former 60 minutes.

A ponderous movie that does little in the way of good comedy.

The 6th Day (2000)

Double the Arnie?

It seems I have gone on a bit of a Schwarzenegger bender in recent weeks - watching numerous films starring the Austrian muscle man from his heyday, such as Total Recall, The Running Man and End of Days. But, with the path firmly set for the Governor to return to making movies, it’s all relevant and I feel little remorse…although The Running Man really did test my patience.

The 6th Day is another science-fiction narrative that begs a what-would-happen-if question, this time exploring the abundant issues surrounding human cloning.

Schwarzenegger plays a likable business-cum-family man called Adam Gibson, who owns a successful helicopter business. Conflict strikes him though, with the death of his pet dog, which he knows will upset his fragile daughter. In order to avoid the inevitable tears, Arnie plans to have the dog cloned - because, as with many Arnie movies, this is the future and you can do that now! However, he decides against it, nervous about the moral and ethical complications, and plans to return home…only to find himself the victim of cloning - with an identical Arnie standing in his living room.

Thus ensues a mind-bending action-adventure whereby Adam must find out who is behind this dastardly plot, and why they have chosen him, whilst coming to terms with his own clone.

Full of the usual antics of a simple sci-fi caper, The 6th Day never really attains the status of other Arnie classics, certainly not that of the aforementioned Total Recall. Here the plot is far less engaging, and the characters not nearly as interesting. The action is good, but predictable, as are the thicker-than-mud cheese ball lines.

A must-see only if, like me, you need to complete an Arnold Schwarzenegger compilation marathon, otherwise you should probably watch Terminator 2...AGAIN!

Going The Distance (2010)

Dry humping and ass handprints.

From the outset, GTD pitches its tent amongst the modern Rom-Com - a smart-mouthed emotional journey of two likable lovers, with a few outrageous moments.

Drew Barrymore plays near-graduate Erin, a woman looking for a job in the writing world (aren’t we all?), whilst completing a summer internship at a New York newspaper. Whilst in the Big Apple, she meets cool, hipster Garrett (Justin Long) who works for a record company signing bands - a job he finds unrewarding due to the immensely awful acts he has to work with simply because they will sell.

So, when Erin and Garrett experience the throes of an extended-holiday romance, the inevitable question arises when it is time for Erin to go back home - all the way west in California - will they…ahem…go the distance?

The inevitable conflict ensues: the pair make a genuine attempt to maintain their relationship through the use of tried and tested techniques such as phone sex and unrelenting texting, whilst looking for a way to be together permanently.

This is the kind of movie a large percentage of people can probably relate to (at one point in their life), and one that finds the pathos in the situation, in particular in the character of Garrett - who experiences some…shall we say…aching in the groin.

Not to be outdone, Barrymore is on top form with her outspoken way, offering some of the film’s best comedic moments. The supporting cast are not your usual bunch of forgettable buddies either - Christina Applegate is the protective older sister, whilst Charlie Day steals many-a-scene as the crude, inappropriate flatmate, who seems determined to provide the soundtrack to Erin and Garrett’s lovemaking.

Not the most original of films, but a funny one all the same. The cast really make this a watchable movie, and the use of The Boxer Rebellion made it memorable.

The Rum Diary (2012)

“Your tongue is like a accusatory giblet!”

Hunter S. Thompson, illustrious American author, is the mind behind this wacky adventure, set in 1960s Puerto Rico, where a boozy journalist called Paul Kemp (Johnny Depp) hopes to find inspiration and success at a failing local newspaper.

Known for his bamboozling stories, Thompson also wrote Fear and Loathing in Las Vegas (also starring Depp), which was a wild and zany flick. The Rum Diary has less of the “tripping” that FALILV had, and a little more mainstream appeal. First of all, the sunny beach locations are a visual delight, offering some amazing backdrops to this funny tale. Also, Depp’s character is more understandable and relatable.

The plot fights it way through drunken stupors and manages to find some sense of cohesion, whilst the outrageous antics of the local inhabitants provide for more than a few laughs. A particular favourite is when Kemp blows alcohol through a flame in order to scare off aggressors, only to ignite the hat of a local cop!

Whilst the comedy is superb in places, and the performances are decent, the film lacks a degree of depth. Rather than offering poignant comments about modern society, the film seems happy to make redundant ones about a past life. Kemp’s redemption by the end of the film seems insincere (even though it is based on Thompson), and life in Puerto Rico seems tragically unchanged by his arrival.

This being said, The Rum Diary is a fun film, one with visual splendour and brilliant comedic set pieces, and some wonderfully witty lines - its just not as appealing as Fear and Loathing.

5 Broken Cameras (2012)

The power of film

Filmmaking has long been a formidable tool when it comes to portraying the horrors of war. Battlefields, both physical and political, receive an extraordinary transformation when captured through a lens, magnifying their horror and unleashing their emotion. Emad Bumat and Guy Davidi, the makers of 5 Broken Cameras, have created an unrelentingly powerful piece about a particular struggle in the West Bank, where the conflict between Palestine and Israel rages on.

Bumat is the man responsible for capturing the story, having been an inhabitant of a small village called Bil’in, in the West Bank, all his life, he was given a video camera on the day of his fourth son’s (Gibreel‘s) birthday, and chose to continue to record the development of the conflict in his village. This conflict involved the Palestinians becoming angered by Israeli settlement on their lands, and the erection of a wall on Palestinian land which would separate the two sides.

Throughout the film, we see Emad and other members of his village protesting the settlement, in the hope of regaining their lands, which they use mostly to farm. The Israeli army who defend the wall, become increasingly hostile to the protestors, and there are constant scuffles between the two sides, and the Palestinians are regularly shot at with tear gas and live ammunition.

Davidi provides a narration to the film, offering a sense of rising tension, and looming tragedy. His background as an Israeli also lends the film a deepened sense of discourse, making the message far more complex. The makers argue that people should watch the movie without any preconceptions, and allow the film to move you without demanding loyalties either way.

The difference between this political film and others like it, is the boy Gibreel. We see him born into the world, and his tumultuous childhood to aged four, as he learns about the world around him, in particular the battles going on between his village and the settlers. Seeing the conflict rage on around him encapsulates the terrifying destruction at work, and the absurdity of war.

5 Broken Cameras attests directly to the power of film. The title comes from Emad’s use of another camera when one breaks, mostly when they are shot by Israeli soldiers, and the five broken cameras are able to separate his story into digestible chapters. Furthermore, the cameras save Emad’s life - literally. Not only do they make soldiers think twice before acting aggressively towards him, but on several occasions the camera was struck with a bullet that would have definitely hit Emad had it not been in the way.

This is an immensely powerful and evocative documentary, one that offers no hesitation when it comes to representing the violence and atrocities occurring. 5 Broken Cameras also counteracts the horror with an extremely uplifting representation of humanity and love when it shows the children, or the community of Bil’in rallying together. A scene where a child gives an Israeli soldier an olive branch is extremely poignant.

Truly exceptional.

Elena (2011)

The kids aren’t alright.

Winner of the Cannes’ Special Jury Prize, Elena was directed by Andrey Zvyagintsev, and is a smart, Russian noir with an artistic elegance.

Elena (Nadezhda Markina) is an aging, stay-at-home wife, who lives with her wealthy husband Vladimir (Andrey Smirnov), in an expensive apartment in Moscow. Having been Vladimir’s nurse several years ago, when they first met, the pair have been married for two years now, and both have children from their former lives.

Vladimir’s daughter is a reckless party girl, whose aimless life is the source of countless arguments between Vladimir and Elena. Whilst Elena’s son is just as hopeless, constantly taking handouts from his mother whilst begging for more from Vladimir.

After a medical emergency causes Vladimir to contemplate his death (and consequently, who shall inherit his fortune), Elena’s future becomes uncertain, and she is forced to take drastic action.

Lavishly modern, and eerily sparse, Zvyagintsev’s film is an emotionally-charged story with heavy themes of family and blood. The bonds between parent and child are explored, revealing the depths of character which few know they have, and even less engage. Whilst the ideas of inheritance and gold digging are staples of storytelling, Elena portrays them in such a contemporary and engaging way, that viewers will find themselves engulfed in the drama.

The performances are key to this film’s success, and special mention must be given to the leading lady, Nadezhda Markina, whose nuanced portrayal of the complex Elena is the foundation of the movie. The supporting cast are also worthy actors, such as Smirnov, as well as Elena Lyadova who plays Vladimir’s daughter Katerina, who delivers possibly my favourite movie quote this year.

When replying to Elena’s enquires about why she has not had a baby, Katerina makes an ironic and pointed comment about the human race’s preoccupation with procreation, as well as our tendency to follow the crowd:

“A million flies can’t be wrong. This s**t must be tasty”.

Zvyagintsev uses natural light throughout most of the film, adding to the modern feel, and making the aesthetic look authentic. He also uses music from composer Philip Glass, which adds a great deal of depth and emotion to the story.

The film is slow in places, lingering on the end of scenes rather than cutting to the next, which, whilst allowing for some contemplation, makes the plot seem sluggish. Also, the ending seems rushed, after such a great build up, but this is a minor criticism.

Overall, Elena is a powerful and evocative drama, with plenty of contemporary gusto and solid performances.

21 Jump Street (2012)

Police Academy meets Superbad!

“They are too old for this shift”. This was the tagline for 2012’s resurrection of 21 Jump Street, and pretty much sums up the plot. Jonah Hill and Channing Tatum play two lacklustre police officers, Schmidt and Jenko, who are sent back to high school, in order to infiltrate, and expose, a growing drug problem. Sceptical?

Firstly, let me point out that this is a surprisingly funny film that makes a lot of good decisions. Primarily, the casting of Hill and Tatum (a seemingly odd couple), whose characters experienced high school the first time round very differently. Schmidt, a chunky wannabe-rapper with shiny mouth-metal, suffered greatly at the hands of bullies like Jenko, who is mostly a moronic failure. The two become BFFs in the police academy though, helping the other with their shortcomings (one the brains one the brawn), and are partners in crime-stopping.

When the two are sent back to school, they find the place completely alien to them - the cool kids are not the wedgie-popping jocks of yesteryear, but, instead, eco-friendly cyber punks who spend more time talking about mother nature than other people’s mums. This alternate reality is reflected in the hierarchy where Schmidt and Jenko find themselves, their roles reversed, Schmidt is now cool and Jenko is a geek.

It is hard to write this synopsis without thinking: how in the hell did this movie get made? And why is it so good? Because, this plot aside, the movie amounts to a very funny, and superbly timed comedy that borders the right amount of slapstick/gross-out/pop-culture references. Hill is his usual tons-of-fun, snapping off plenty of witty lines whilst making us sympathetic towards him, and Tatum is a revelation - taking part in some of the funniest set-pieces in the movie (in particular where, in order to assert his dominance, he punches a kid in the face).

At times the movie beats the viewer over the head with its “you-tube generation” warnings, constantly reminding us all how out-of-touch adults seem to be with the modern youth. But, in essence this gives the film a charm - as much as the film is a throwback, so is the sentiment.

Watch this movie if you like foul-mouthed comedies, entertaining shenanigans, or Jonah Hill dressed as Eminem!

Looper (2012)

Avoid The Loopholes

Time Travel. The age-old question, and sworn enemy of continuity. A science-fiction convention so steeped in unanswerable questions that many who attempt its dissection, find themselves mumbling incoherently in a padded room. Such is the reputation of time travel, but still filmmakers endeavour not only to use the sticky subject, they wholeheartedly base their films around it.

Rian Johnson (director of Brick, The Brothers Bloom) is one of these daring storytellers, whose film Looper has already earned him critical and popular acclaim.

Joseph Gordon-Levitt plays Joe, a young and talented hired killer in the year 2042. His job (known as Looping) involves murdering targets who have been sent back from the future by powerful criminal organisations, who need to dispose of their victims. Time travel, not yet invented in 2042, is available to the richest and most powerful people 30 years later, but only to criminals as it has been outlawed.

Joe, well paid for his services, enjoys a full-throttle lifestyle of eye-drop drugs and loose women, but always aware that his time may come. Because, crime lords of the future are keen on keeping their discretions secrets, which means that Loopers of the past must be killed in the future. This is where it gets a bit mind-bending, as Joe, at some point in his career, will have a future version of himself in front of him, who he must murder, thus keeping the cycle nice and clean. However, future Joe (in the form of Bruce Willis) is well-prepared, and manages to escape from his younger self, therefore creating a man-hunt which involves past and future Joes, as well as a bevy of baddies.

Reluctant to expand on much more of the story (mostly due to fear of a migraine), I will say this: Looper is a very, very worthwhile film. It holds together far better than most which attempt the tricky time travel plot, and benefits from a spectacular cast.

Gordon-Levitt, already enjoying the spoils of a brilliant career this year, is his usual, understated-but-likable self (although the special effects to make him look like a young Bruce Willis is quite distracting at first). He maintains the character’s balance between action-hero and anti-hero well.

Willis is the perfect maturation figure for Joe, offering a tired and wise killer who is very dangerous, but also relatable, as we are given the story of Joe’s past (or future, depending on which one you are referring to) which shows why he has disturbed the time-space continuum in order to wreak havoc in the past.

Emily Blunt turns up as a red-neck farmer called Sara, living with her telekinetic son in a dilapidated home amongst the corn fields. Her son, tangled up with future Joe’s reasons for returning, becomes a focal point for the story, as does Sara’s relationship with present Joe.

Deserving of its acclaim, Looper is an intelligent, engaging movie that deals with a complicated story in a very entertaining way. The violence is just heavy enough to bolster it into adult territory, as is the swearing - in particular from Blunt, whose dirty American accent and cursing is a welcome change from her usual British stereotype.

Time travel movies tend to rear up many questions about alternate realities, butterfly effects and the like, but Looper manages to include those subjects, without making the movie feel nerdy. You don’t need a degree in physics to keep up with the story here, and you can enjoy the story without going into all the sci-fi stuff. If you do start to pull apart the themes and issues at work here though, you may find yourself in that padded room.

Contraband (2012)

Elaborate scheme? Send in Mark Wahlberg

Remember Gone In 60 Seconds? You know, the one where Nicolas Cage plays a car thief dragged back into the life in order to save his brother from said life and all its violent repercussions? Well, Contraband is very, VERY similar.

Wahlberg plays Chris Farraday, a family man who owns an alarm system business (how ironic), who used to run as a smuggler of all things illegal. Retired from the game with only his legendary status, Chris is happy he avoided the inevitable pitfalls of the life, as represented by his imprisoned father.

However, his barely pubescent brother-in-law Andy has followed a similar lifestyle, and, after failing to bring in a shipment of cocaine, attracts the attention of a violent gangster called Briggs (Giovanni Ribisi). The only thing keeping Andy from the morgue is the potential profit there is to be made by roping Chris back into the life of smuggling.

For all its lack of originality, Contraband is a very effective action/thriller that gets most of its strength from authenticity. The film benefits from a very adult script – enough swearing to rival a Scorsese flick – and the darker colours make for a more appealing cinematography.

Performances are limited at best, although Ribisi does prove to be a worthy, tattoo-strewn villain, whose wild, unpredictable character delivers most of the better scenes.

Better than you would probably expect, and definitely worth watching if you like films such as Gone In 60 Seconds and Fast and the Furious (although don’t expect any nice cars).

Some Like It Hot (1959)

Tony Curtis and Jack Lemmon in drag – what’s not to like?

Considered as one of the best farcical comedies of all time, Some Like It Hot is a beloved classic movie starring Tony Curtis, Jack Lemmon and Marilyn Monroe.

Curtis and Lemmon play two musicians who play the underground music scene in Chicago during the prohibition era. Their performances in the speakeasies soon get them into trouble though, after they witness a horrific gang execution (loosely based on the infamous Valentine’s Day Massacre). As the only two witnesses to the crime, the pair must escape the clutches of a notorious gangster called Spats (George Raft), and do so by pretending to be women musicians in an all-girl band on their way to sunny Florida.

In full drag costume, Lemmon and Curtis soon immerse themselves with the other ladies, and attempt the blend in (whilst keeping their obvious excitement at being around a gaggle of beautiful women to a minimum). They soon fall victim to the natural, and mythological, beauty of Miss Monroe who plays Sugar – a ukulele player whose past relationships have driven her to life on the road (and drinking).

What ensues is a raucous comedy film with plenty of witty script moments, comedic set pieces and slapstick humour.

A little on the long side, this movie could be shaved by about thirty minutes, but apart from that it is still a very funny and touching movie. In particular, Lemmon who becomes the film’s fall guy most of the time, offering some of the best comedy rants I have ever seen, and providing the sidekick to Curtis’ superior mind (a little bit like Pinky and The Brain).

Brilliantly timed and enduring in its approach, Some Like It Hot is a mainstay in American comedy.

The Game (1997)

It will make you play.

A nineties gem, The Game is director David Fincher’s thrilling drama starring Michael Douglas as a successful, but isolated, businessman called Nicholas, who is given a peculiar birthday present by his brother (Sean Penn).

Customer Recreation Services (CRS) are behind the “game”, who tailor each of their services according to the specific needs of the recipient. Sceptical at first, Nicholas gives into his curiosity and signs up for the game, going through a rigorous administration test. Once the game begins though, Nicholas soon suspects that a sinister plot is afoot, affecting aspects of both his personal and professional life, and begins to feel extremely paranoid.

As the game escalates, the stakes are raised and the players become increasingly dangerous, as Nicholas attempts to stay one step ahead.

Spectacularly engaging, Fincher’s penchant for suspenseful drama is no better exemplified than in The Game. A sinister, menacing atmosphere engulfs the movie throughout, with twists and turns keeping the viewer glued to the screen, whilst the central performance from Douglas is superb.

The story’s themes of wealth, class, and family are staples of cinema, and Fincher displays them in an enigmatic way that makes them seen brilliantly modern – even though this film is fifteen years old!

Worth watching if you are a fan of Fincher films (see Seven, Fight Club), or if you just like a good suspenseful mystery. Any critics of Michael Douglas will be offered a supreme performance, laden with depth and intrigue, which will impress the vast majority.

Total Recall (1990)

“See you at the party Victor!”

Classic nineties science fiction starring Arnold Schwarzenegger as a man who pays to have a memory implanted, only to discover a sinister plot that involves him and his past version.

Based on a Philip K. Dick short story, Total Recall is about a future world where humans can have memories implanted or taken away in order to alter their life. Douglas Quaid (Schwarzenegger) is a simple construction worker who believes he is meant for more in life. He makes the decision to have a memory implanted which will make him think he went to mars for two weeks. However, the process soon becomes a murky menacing experience as armed goons chase him through the streets, attempting to kill him.

As Quaid attempts to elude the attackers, he stumbles upon people who know him from a former life, and he must decide who he is, and which reality he will pursue.

Director Paul Verhoeven delivers a timeless sci-fi movie which still impresses, with his special make-up effects and large-scale action. The gruesome, eye-bulging make-up and the dystopian/fascist metaphors are a little in the face, but still effective. Arnie delivers a worthy performance, and keeps the balance between action-clod and sympathetic hero.

The sets are designed with magnificent boldness, something missing from modern science fiction, and the stunts are in-keeping with this old-school feel.

Having not seen the modern remake, I can still see why fans were wary - this film is not yet dated enough to merit a re-imagining. It is still very effective, and deserves its cultish fan base.

Salmon Fishing in the Yemen (2012)

An Upstream Battle

Marked as the feel-good film of the year, Salmon Fishing in the Yemen stars Ewan McGregor, Emily Blunt and Kristin Scott-Thomas.

Dr. Alfred Jones (McGregor) is a fishing fanatic as well as a scientist, who is approached by a ludicrously wealthy Sheikh Muhammed (Amr Waked) with a preposterous proposal. The Sheikh’s plan is to introduce salmon into the Yemen in one of his man-made lakes in the desert. To anyone unfamiliar with the habitual needs of salmon, this is outrageous for several reasons - mostly down to the water type and climate.

At first, Jones is sarcastically against the plan, and makes his aversion well-known. It is only the chipper PA to the Sheikh, Harriet (Blunt) who is able to bring the good Dr. around in order to fulfil this whimsical idea. What ensues is your typical love tryst/dilemma movie, with plenty of hapless, embarrassing incidents and worn-out British stereotyping.

Whilst my enthusiasm for the idea of this film is lacking, the actual movie was quite enjoyable. All of the cast provide decent comedy performances, in particular Scott-Thomas as the prudent Press Officer to the Prime Minister, whose shamelessly belligerent approach to the matter is hilarious. The film is given depth with Blunt’s soldier boyfriend who goes missing in action, as well as Jones’ failing marriage.

The film’s in-your-face symbolism of salmon (yes they swim against the current, we get it) wears off quite quickly, but the story does make some poignant comments about modern relationships as well as the fickleness of love.

It’s not the Jaws of the Rom-Com but Salmon Fishing in the Yemen has enough bite to reel you in.

The Flowers of War (2011)

The Flowers of War (2011)

Historical drama starring Christian Bale as an American mortician working in war-torn Nanking during a bloody battle between the Chinese and Japanese.

John Miller (Bale) is a western mortician who finds himself holed up in a church after the Japanese take control of the city of Nanking. Inside the church he finds a group of school girls hiding from the fighting, along with their inexperienced protector George (Tianyuan Huang). A group of local prostitutes soon find their way to the church, looking for refuge, much to Miller’s delight, and he tries to win the affections of their leader Yu Mo (Ni Ni), the only one of the ladies who can speak English.

The church soon comes under attack though, as Japanese soldiers swarm the building and look to rape the school girls. Miller steps in and pretends to be the priest, but is only saved by a lone Chinese soldier who creates a distraction outside and then heroically battles the Japanese single-handedly to his death. The church soon comes under Japanese “protection” from the rogue soldiers, but Miller suspects their kindness is part of a sinister ulterior motive.

A spectacular, authentic film, The Flowers of War daringly places English and Asian dialogue in equal balance with plenty of subtitles. This authentic effect is furthered by the almost completely Asian cast, who do a superb job of recreating this horrific incident.

Bale is on top form, showing off some major acting chops in this complex role, as well as battling the script with professional brilliance. The movie is deeply affecting, and, in places, gruesome and brutal without taking liberties. Whilst the tragedy is the main plot through the film, the part which stays with the viewer is the humanity and compassion shown between the people in the church, and the selfless sacrifices they all make.

A wonderful film.