Gulliver's Travels (2010)

Adventure comedy starring Jack Black, Jason Segel and Emily Blunt.

Used to being a small fish in a big pond, Lemuel Gulliver (Black) attempts to impress the girl of his dreams by embarking on a travel writing assignment in the Bermuda Triangle. Once out in the open waters, and completely alone, a storm hits Gulliver’s boat, and he is left unconscious.

Gulliver awakens in a land called Liliput, which is populated by people a fraction of his size. Initially hostile to Gulliver’s presence, the people soon herald him as a legend, after regaling them with stories of his prolific history back in his world (mostly made from scenes stolen from films like Titanic or Star Wars). Whilst Gulliver makes many new friends in Liliput, he also makes a sworn enemy, General Edward (Chris O’Dowd), who is threatened by this giant’s strength and abilities.

A war with a rival nation seems immanent, and Liliput is put in danger as General Edward will stop at nothing to defeat Gulliver.

Fun and frantic comedy, Gulliver’s Travels is an entertaining film, with some amazing special effects. The scenes combining a giant Jack Black with smaller Liliput citizens is very well done, and the film has plenty of action scenes and stunts to create a dramatic viewing. Some awkward moments of sentiment threaten the movie’s overall effect, but you have to remember it is aimed at kids as well, but for the most part, the film is a light-hearted adventure film with plenty of laughs.

If you hate Jack Black, and all of his films, you will definitely hate this one. But I have a soft spot for the podgy, energetic comedy man.

The Company Men (2010)

A recession-style drama with an all-star cast playing the roles of several corporate men, whose lives becomes dramatically affected by the recent economic downturn.

Attempting to survive the economic storm is a corporation called GTX, who elect for large amounts of forced redundancies in order to stay afloat. Unfortunately for sales manager Bobby Walker (Ben Affleck), this means he will become unemployed in one of the worst economic recessions ever. At first, the man, used to country club golfing and driving his Porsche, refuses to accept the severity of his situation, claiming he will find another job in days, and remain in his affluence. He continues to keep up appearances, living the life he is used to, until his family finally convince him that he needs to accept his fate.

A secondary storyline follows another employee of GTX, Phil Woodward (Chris Cooper), whose whole life has been spent working his way up through the company, and as the downsizing continues to make its way towards him, we see a dark anger engulf him.

Gene McClary (Tommy-Lee Jones), is one of the top-brass of GTX, but not one who takes the job cuts lightly. He seems to be an executive with a conscience, and cannot escape the tragedy of the cruel climate around him.

A wonderfully relevant film to most of us, the film touches upon many aspects of the current situations which have hit the world hard. If you have been unemployed during the last few years, this film will surely hit a few notes with you, and even if you have managed to keep your job, the movie’s themes of pressure and uncertainty will be equally as pertinent.

Founded upon great performances, Affleck is great as the sometimes foul-mouthed ass who learns some hard lessons, and Chris Cooper plays the angry and fearful old-timer very well. But it is Jones who offers up the most interesting performance, as this conflicted executive, whose luxurious lifestyle seems to offer him no solace in these desperate times, as he yearns for something more tangible, and ethical.

One of those films which slipped under the radar, but I urge you to watch it if you like great scripts, compelling dramas, and can put up with a bunch of A-Lister celebrities complaining about the hard life.

The Adjustment Bureau (2011)

A promising politician has his life invaded by a group of men claiming to be the Adjustment Bureau, a world wide organization who specialise in keeping peoples lives on track.

According to the plan, David Norris (Matt Damon) will most likely become a massively influential part of American politics. He has already made a big name for himself in the New York area, he is popular with residents for his grass-roots background, and his candid nature makes him an appealing popular figure. However, the forces of chance conspire for him to divert from his plan, placing him in the way of Elise (Emily Blunt), a talented dancer, and the two develop instant romantic feelings for each other.

However, David’s plan, according to the Adjustment Bureau, must be set right in order for the his, and Elise’s lives to go where they are meant to. Using their catalogue of tricks and illusions, the Bureau attempt to keep the two apart no matter how much the pair attract each other.

A gripping and tense thriller, the film also contains some enjoyable moments of romance. The story is like a star-crossed tragedy meets The Truman Show. And the result is compelling.

Matt Damon is excellent as the lead role, offering up a combination of single-mindedness typical of most politicians, along with tender moments of revelation and intimacy when he is with Elise, ultimately creating a likeable character.

Emily Blunt is a wonderful choice for the role of Elise. Her quick-fire jibes at David offer some great moments of comedy, as well as revealing the own insecurities in her life. Her dancing sequences were excellently choreographed, with elegance and grace.

Using the bustling metropolis of New York, the film has some brilliant set pieces, seeing Damon traverse the city using a selection of back doors and short cuts, bringing out some of the landmarks as well as the hidden streets.

An example of a good idea, which, in the hands of the wrong director, could have been an utter disaster. But, fortunately, The Adjustment Bureau is an intelligent, sharp film that brings the battle between fate and chance to the forefront, with brilliant results.

Priest (2011)

Apocalyptic vampire film starring Paul Bettany as soldier-cum-holy-man, who must go back into the battle against the vampires, after a new threat emerges.

Having warred against the vampires for centuries, the human race finally emerged victorious, after their army of specially trained priest fighters pushed them back into reservations, and kept them dormant. The modern world, however, is a glum life, with a fascistic church-ruled government that keeps everyone on the straight and narrow. The priests have been reintroduced into society, where they remain feeble without a noble cause, as the elders feared these powerful priests would eventually take control for themselves.

However, after a wasteland incident, whereby several humans were viciously murdered, one priest (Bettany) vows to investigate. The elders are outraged by Bettany’s claims that the vampire threat is back, and send the remaining priests after him to try and stop him.

It is quite a weak storyline, one that seems to fall apart as the movie progresses, and the script is laughable. Bettany adds some depth to his performance, but it is not nearly enough to stop this film seeming ridiculous and inadequate. Some of the visuals are quite impressive: a darkened metropolis where the humans now inhabit is similar to the world of Bladerunner, but lacks the meaty story to back it up. The stunts come thick and fast, with a lot of futuristic motorcycle sequences that add tension.

Overall though it is a poor vampire film, one that seems to be trying to cash in on the genre without adding any real substance. The atmosphere is melodramatic, the script is repugnant, and the plot seems to meander pointlessly through a series of predictable events.

Choke (2008)

Based on the novel by the notoriously talented Chuck Palahniuk, about a man addicted to sex, who also scams would-be heroes into paying for his mother’s health care.

Victor Mancini (Sam Rockwell) is a hopeless sex addict, who works at a colonial town where he has to dress up in costume and teach the visitors about colonial life. His enthusiasm for this job reflects the poor pay, which forces Victor to find other methods in order to pay for the expensive nursing home where his mother is being housed. Ingeniously, Victor establishes a ruse to make some extra cash.

He visits restaurants, and then chokes on the food. Whilst he is stumbling around pretending to look for someone to perform the Heimlich manoeuvre, he is also looking for the richest looking patron. Once this unknowing member of the public “saves” Victor’s life, they then feel protective over him, sending him birthday cards (hopefully with cash in), and will try to help Victor out if ever they can.

Alongside Victor’s moneymaking, he is also a tragic sex addict: sleeping with a variety of strangers, in a multitude of locations, even attending sex addiction counselling meetings in order to hook up. His relationship with women stems from an extremely unhealthy relationship with his mother earlier in life, which becomes the central theme of the story.

It is a startling film, delving deep into the perverted mind of a sex addict, whilst finding a lot of comedy in his philosophies and his desperation. His seedy world is only broken up by a couple of characters: his best friend (who is also a sex addict) and a nurse who looks after his mother.

A great, demanding performance from Rockwell, with a wickedly sharp script. A funny, tragic film.

X-Men: First Class (2011)

Matthew Vaughn directs this new take on the X-Men franchise, this time giving us the early story of Charles Xavier and Magneto, as they team up to fight a looming evil which threatens the destruction of the human race.

Few comic franchises have had quite the attention that the X-Men has received. Several films have been made, but, arguably, this is the best of them all. Vaughn creates a wonderful aesthetic throughout the film that combines the tumultuous period of Cold War politics, with the fantastical world of superheroes.

The casting for this film is far superior than any other X-Men movie, using the diversely talented James McAvoy as the brilliant Xavier (pre-wheelchair), and the superb Michael Fassbender as the angry-yet-awkward Magneto. Alongside these two Hollywood heavyweights, there is also Kevin Bacon and Oliver Platt, who bring their own imposing substances to the proceedings.

What is great about this version of X-Men is its humanity. Rather than make a film about extraordinary creatures with loads of special effects, X-Men: First Class delves deep into the psyches of this people, and how their “gift” effects them in a variety of differing ways. For example, Xavier sees his ability as a way of helping the world, and is able to remain pretty much incognito with it. Unlike Raven, whose vivid blue colouring and scales make her feel like an abomination. Magneto is torn between his rage at the world, with his respect for Xavier.

Deserving of its accolades, Vaughn’s film is a testament to what can be achieved with a comic story, and the combinations needed to make it a thrilling yet compelling watch.

Captain America (2011)

A scrawny American patriot volunteers for a top secret government experiment, after being rejected from the U.S. army, which turns him into a super-human fighting machine dedicated to protecting America.

Steve Rogers (Chris Evans) is a pretty small guy, but what he lacks in physical prowess, he more than compensates for with determination and morality. He wants to fight for his country more than anything, unable to enjoy the freedoms of his country without earning them. So when a scientist approaches him with a chance to fight against the Nazis, he says yes.

The experiment causes Steve to bulk up into an impressive fighting machine, with great agility and strength. His newly found abilities, however, are not put to the test straight away. Instead, he is used as a propaganda tool for Uncle Sam, following the recruitment circuit and USO shows, in order to gain support for the war effort. However, once he is unleashed on the other side of the Atlantic, the Nazis begin to quiver in their boots. Although, one weird looking dude, Johan Schmidt aka Red Skull (Hugo Weaving), is not afraid, he also has extraordinary powers, and is attempting to use them to annihilate the world. It is now up to Captain America to stop him.

A pretty decent comic film, it has all the trappings of the genre but without much originality. If you have seen any of the plethora of comic hero films which have been released in previous years, this will rank somewhere in the middle. It’s not a bad film, but it’s not great, the story is not exactly compelling stuff, and the character development only goes skin deep.

Chris Evans is a good choice for the hero: idealistic, all-American appearance, and his performance carries a good deal of enthusiasm. Weaving is pretty decent as the baddie, although it becomes a bit silly in places.

Some great fighting scenes, and the use of the shield is particularly enthralling, as is the use of CGI to create some great visuals.

All in all, worth a watch if you like comics, or comic films, but do not expect the awesomeness of Iron Man, or the brilliance of X-Men: First Class (review of the latter to follow soon).

War Horse (2011)

When you cast Spielberg’s name out into a room, you will receive a amalgam of interesting replies. The majority of film lovers hold him up as a demigod for motion picture, but when his name was first attached to a cinematic rendition of the beloved children’s story War Horse, the voices of opposition reared their noisy heads. A hugely popular novel by Michael Morpurgo, as well as a cherished theatre production, War Horse has found enormous affection amongst fans, and many feared a blockbuster would trample all over its reputation. Spielberg has been accused of milking the story for its sentimentality - driving scores of families to the cinemas, and cashing in on the already established popularity of War Horse. However, what the notorious director has done with the original source material is to create a visually stunning, emotionally gripping film that will rival any cinematic release this year, whilst maintaining the heart of the story.
In a Saving Private Ryan-meets-Homeward Bound style plot, the film is set during the First World War, and begins in a nostalgic south-west farming community, where the fields seem greener and the people seem cheerier. When a local farmer needlessly buys an impressive steed during a bidding war against his loathsome landlord, the family worry about how they will use this thoroughbred animal, when they need a work horse. Unperturbed, the boy of the family, Albert (Jeremy Irvine), names the horse Joey, and manages to train him to perform the arduous tasks around the farm in order to survive, whilst developing a close bond with him. However, with a failed crop, the drunkard, but well-meaning, father of the family (Peter Mullan) sells the horse behind his son’s back, to the army, who are about to leave for the onset of WW1.
Joey becomes a fine member of the cavalry, and is led into battle against the Germans with pride of place (saddled by Tom Hiddleston), however, after a failed ambush, Joey ends up in the enemy’s camp. As Joey’s journey through the war sees him enter increasingly dangerous situations, he still manages to enamour most he comes into contact with, including a sweet French girl and her grandfather. Although, as the war begins to take its almighty toll on Europe, we pray that Joey can find Albert, who has joined the war effort in order to find his beloved war horse.
If you consider the enormous challenges that a director tackling this story would face, you can appreciate Spielberg’s immense achievements here. First off, creating a war film that accurately depicts the horrors of close-range warfare that is child-friendly! While the film lacks any of the aforementioned Saving Private Ryan’s blood and guts, Spielberg has still managed to create a truly harrowing film, in particular the hauntingly cruel No-Man’s Land. Secondly, the use of real-life horses will always create problems during filming, restricting the actors’ movements and abilities, as well as running the risk of becoming gooey. However, these difficulties have not rendered the film a disaster, quite the opposite. Viewers will marvel at the genius of this director who has created a film which is both traumatic and uplifting, with some amazing free-running equestrian sequences.
Elements of the film draw upon its theatrical background, using a John Williams original score to evoke the maximum emotional effect, with his beautiful orchestral arrangements creates a sense of majesty, which is in keeping with the atmosphere. Unfortunately, some of the performances border on the melodramatic, rendering some of the scenes saccharine. However, if you get into the spirit of this film, you will not only survive the schmaltz, you will enjoy it.
Spielberg highlights several of the story’s key ulterior themes, in particular the turning point from soldiers on horseback, to mechanized warfare. A scene where Joey comes face-to-face with a tank is particularly effective, as well as seeing groups of horses brutally lug artillery up hills. This evolution in combat evokes further poignancy for the viewer, who witness the horrors of this war, only to know a bloodier battle would follow two decades later. The usual questions of war, as with any war film, are raised and the usual conclusions, while admirable, are made: the needless tragedy of so many being killed. Although, the film avoids getting into politics or being preachy, and instead occupies a space of telling a story of bravery and pride during this terrible conflict.
When the awards season arrives, and the debate over War Horse begins again, Spielberg can hold his head high for creating a tender and gripping movie. One that transcends the inane chaos of online debates and naysayer conventions - this film has set the standard for cinematic epics this year.

Four Lions (2010)

Hilariously controversial comedy from director Christopher Morris, about four wannabe-suicide bombers living in the UK, hopelessly planning a terrorist attack.

Islam extremists do not tend to make the most popular of protagonists for films - they tend to lose sympathy from an audience when they try to blow innocent people up. However, in Four Lions, the main characters are a group of enthusiastic jihadists, who have taken up the fight against western evil, but are so useless that they seem almost loveable. From the outset it is clear that these guys have very little knowledge about the cause, and are simply acting out of the pursuit of reward.

Omar (Riz Ahmed), the leader of the group, is the only one with a half a brain, and even he seems like a complete idiot compared to his studious and non-violent brother who actually reads the scripture. Omar’s buddy Waj (Kayvan Novak) is extremely gullible, and seems to have very little idea why he is planning to blow himself up. The group’s least liked member, Barry (Nigel Lindsay), acts as a loud-mouthed preacher, of sorts, but his ideas border on the insane. The group as a whole, attempts to replicate the actions of their “brothers in arms”, by making bin Laden-esque video takes which are more like blooper reels, or carrying out practice explosions which turn out deadly for a poor crow.

As they plan an attack, the group bicker and argue about all aspects of their beliefs, and are in constant danger of either blowing themselves up accidentally, or giving themselves away to the police.

Riotously funny throughout, this is an outstanding comedy. The characters are wonderfully eclectic and realistic - bringing in elements of fundamentalist Islam and mixing them with poorly educated street kids. The film manages to avoid too much politics, which would bog the story down immensely, and instead focuses on the outrageously stupid actions of these guys.

The script is an absolute gem, sharp and witty throughout, it sidesteps any “obligatory” moments of reflection or tenderness, and instead goes straight for the funny bone. In the same way that Team America: World Police was a comedy-condemnation of western ignorance, this movie condemns eastern extremism, using many similar techniques.

If you are a fan of controversial comedy, this film is a must. But, be warned, you need to be able to see the funny side of suicide bombings.

Horrible Bosses (2011)

Incredulously plotted comedy about three friends who plan to kill their “horrible bosses”.

It’s every worker’s dream, offing the boss who makes their nine-to-five life a misery. However, in Seth Gordon’s punchy comedy, the dream becomes a nightmare when the three buffoons planning the murders, are clueless novices.

Starring Jason Bateman, Jason Sudeikis and Charlie Day, alongside their evil bosses Jennifer Aniston, Colin Farrell and Kevin Spacey (as well as small parts from Jamie Foxx and Donald Sutherland), this all-star cast make their way through a quirky-yet-unbelievable plot with some mild success.

Each worker has their own reason for wanting their boss dead, but all are looking for the same resolution - a life of happiness that their boss can’t ruin. Unfortunately, their plans go awry after taking some dodgy advice from the shadowy ex-convict Jamie Foxx.

While the storyline is something you could dream up over a few pints down the pub, the film delivers some brilliant moments of comedy. The script is quite witty in places, and has that sarcastic tone that seems to be seeping into the genre relentlessly. The music gives a beating pulse to the film, and offers some pace during the inevitable filler moments.

Foxx gives a standout performance as the inept-ex-con, whose punishment on the three idiots is hilarious. Anniston is also a revelation within this film, delivering a very adult character, with some shocking lines and profanity. Also, Jason Bateman is the best choice for the leading role, and I think a better film would have been just him wanting his boss dead.

Unfortunately for this film, its basic premise is too flawed. These guys lack any real motive for their extreme behaviour, and their behaviour is out-of-synch with their otherwise reasonable characters. This crumbling foundation resonates throughout the film, and spoils the enjoyment factor.

Shame (2012)

Shame (2012)
Director Steve McQueen’s uncomfortable exploration into sex addiction.

On a mild January evening, I attended a gala screening of newbie director Steve McQueen’s much anticipated Shame, starring Michael Fassbender and Carey Mulligan. The film was to be shown in London Mayfair’s Curzon cinema, and them beamed around the country to different cinemas, with a special Q&A session with the film’s writers Steve McQueen and Abi Morgan afterwards.

Shame is about a man named Brandon (Fassbender) living in New York, who maintains a well-organised life addicted to sex. He has a good job and nice apartment, and appears to be your average citizen, but underneath his yuppie exterior lives a desperate man who must satisfy his enormous appetite for sexual congress in any way he can. Brandon’s strict routine becomes upset, however, with the arrival of his sister Sissy (Mulligan), a melodramatic self-harmer, whose extroverted nature and clinginess immediately grate upon Brandon, and start to affect his addiction.

McQueen and Morgan offer very little back story to Brandon and Sissy, which creates a sense of normality to their characters. Their behaviour cannot be easily rationalised by past events, instead we view and compare their actions with our own. While Brandon’s life is filled with carnal relations, it is not one of fulfilment, he seems naked throughout the movie, adorning no attachment to people or belief, just the pursuit of intercourse. Moments of tenderness seem uncomfortable for him; any sense of emotion tends to ruin his sex drive, as shown with his attempts to have sex with a colleague which ends with a trouser malfunction due to his growing feelings for her.

Many similarities can be found between Shame and a story like American Psycho. In both, the lead character is a successful professional, whose private life revolves around an addiction to stimulation, and both inhabit New York - the perfect “hunting ground”, a 24-hour city, that prides itself on catering for any kind of need or perversion. However, the difference between the two films is that Patrick Bateman, in American Psycho, has extremely violent tendencies and acts out of rage or boredom, whereas Brandon is simply addicted to sex, in the same way a junkie is addicted to heroin. His lifestyle is not glamorous, or indeed anything to be envied, it is actually quite tragic.

Punishing throughout, McQueen’s film tackles the issues around sex addiction with superb fluency. The film is extremely intimate, to the point of awkward voyeurism, whereby the viewer is almost an accessory to Brandon’s sexual conquests, as well as his private moments of solitude. We watch every aspect of his routine: urinating with the bathroom door open, masturbating in the shower, as well as achieving climax with his bounty of call girls. Also, scenes seem to be extended in order maximise the discomfort for the audience, to great effect. We are kept locked into scenes of Brandon’s lascivious and obsessive behaviour, and forced to witness the depressing nature of his illness, a technique which many great filmmakers have used before.

The themes of the film are deathly sharp, attacking the state of human relationships in the twenty-first century. Brandon’s lifestyle of short relationships that mainly consist of sex may seem alien at first, but, after closer inspection, his ways represent many aspects of our own modern lives. His use of the internet for sexual gratification parallels our own demands for instantaneousness, as well as our dependency upon technology for personal fulfilment. During one scene where Brandon goes on a date with his colleague Marianne, it seems like an unfamiliar world, where strangers would get to know each other through talking, rather than just researching them online. Brandon seems hugely uninterested in any of his date’s history or life, seemingly just going through the motions in order to acquire what he wants: sex. Marianne challenges his way of life, asking him why he would not want to find a partner, to which Brandon seems completely baffled, the idea of “just one woman for the rest of my life” seems completely out of synch with the way the world is. Even “normal” relationships can be seen to have changed, during one scene where Brandon’s boss communicates with his son via a webcam, sorting out some trivial family matter. This e-parenting seems to have become an unavoidable side-effect of our modern age.

Ultimately, the film is about how you deal with life. Whilst Brandon chooses to engage in countless sexual relationships without divulging any of his soul, Sissy gives all of herself to the world, only to have it thrown back at her. Her attempts to forge a relationship with anyone seem doomed from the start, and her knock-backs become the reason for her self-harming. But, whilst Brandon and Sissy may seem extreme cases of human behaviour, are they any better or worse than that of people considered “healthy”. Brandon’s boss, a family man with a wife, consistently engages with females, chatting them up in bars, and ends up bedding Sissy. He stands out as the baddie in the story, whilst Brandon and Sissy are simply damaged.

A remarkably pointed film, one that will keep you thinking long after you have stopped watching. There is plenty to dissect in the way of meaty sub-themes, as well as directorial techniques. A few stand-out scenes, such as the long jogging sequence by Brandon, or the haunting rendition of “New York, New York” by Sissy, make this film a superb start to 2012.