The Karate Kid (2010)

Jackie Chan and Jaden Smith star in this modern remake of the classic martial arts film about a young boy who learns kung fu in order to stand up for himself.

Smith plays Dre Parker, a displaced American boy who has to move to China with his mother when she gets a new job. Lonely in this strange land, Dre’s attempts to assimilate himself within this foreign culture go very much punished, after he catches the attention of a local bully and his gang of fighting friends. During one savage pursuit by the gang, Dre is saved by the heroics of the janitor Mr Han (Chan), whose expert use of martial arts is more than enough to combat this group of hostile youths.

Han agrees to teach Dre kung fu in order for him to prove himself against the bullies, and avoid further beatings. In order for Dre to make a big enough impression, he must take part in a tournament, where he will go face to face with his attackers, as well as other competitors, in a battle of martial arts.

Having never seen the original Karate Kid (I know, shock horror), I went into this film with low expectations. Modern remakes of cult classics seem to have an instant weight attached to them, making them slow off the mark, and unlikely to impress. However, this film has an appealing element to it, in particular in the way that it is shot. The scenes are beautifully coloured, with some amazing use of the local scenery, which give the overall aesthetic an authentic feel.

The acting is what you would expect from a kids movie. However, it is important to note that young Smith pulls his weight during the film, and is one to look out for in future roles (arguably, he outdoes Chan - which is a minor achievement).

Aimed at a younger audience, this film takes the underdog story and hurls it at us like a Chinese throwing star, but if you can get past the nauseating sensitivity, there is a well made film there - I just wish there was a bit more fighting.

Titanic in 3D (2012)

Re-releasing blockbuster movies will always be followed by the catcalls of the pessimistic, bellowing out accusations of greedy studio executives, who prey upon the naïve, movie going public. However, what many fail to appreciate is the enormous risk that re-releasing an old movie is, and how much is at stake. In this particular case, the reputation of esteemed director James Cameron was on…thin ice.
The majority of people know the story of Titanic, but for those few sheltered individuals, here it is: there was once a massive ship called the Titanic, which sailed for America, from England, in 1912. It was the largest of its time, and deemed unsinkable. On board it was a supreme example of elegance and sophistication (for the first class passengers anyway). However, during the course of its journey, it hit a massive iceberg and sank. The Titanic’s developers had not equipped it with enough life boats to save everyone, as they thought it was too unsightly having all those boats dangling on the deck, so half the passengers were left to drown in the freezing cold.
James Cameron’s movie follows the epic love story between a poor, young traveller called Jack (Leonardo di Caprio), and wealthy, upper-class Rose (Kate Winslet), who are on the Titanic during its epic adventure. The two enjoy a forbidden romance onboard the Titanic, forbidden because Rose is set to marry a rich, yet evil, aristocrat called Cal (Billy Zane). As Rose and Jack enjoy the freedom and liberation for which the Titanic stands for, their demise is left in the hands of fate.
The idea to re-release this movie in 3D is not as superficial as some may argue. There is a distinct enjoyment factor in seeing this movie again, in the cinema, in a new format. The screening which I attended in Leicester Square was filled with hard-core fans of the movie, as well as members of the press, and the reception was somewhere between eagerly impressed and a little bit less cynical respectively. Cameron’s abilities with 3D is unmatched, and he has turned his skills impressively to this movie from 1997.
Undoubtedly, if you were not a fan of the film the first time around, the extra visual dimension will not be enough to make you rethink your opinion, but there is something that might. This film represents a great opportunity for film fans to delve deep into a nostalgic cinema experience, whereby fans can gather together and watch their favourite movies collectively, on the big screen. Albeit Titanic was a safe option (being the second-highest grossing film of all time, after Avatar), it was also the perfect choice to see how this kind of movie event would go down with a cynical public, and it seems the results should be positive.
Also, this is the perfect opportunity for a fresh audience to watch the film. Having been out for 15 years, there is a new generation of movie fans who can now see the movie how it was meant to be viewed: in a cinema.
I would definitely not excuse movie studios just re-releasing any old film in 3D in order to make any easy buck, but there can certainly be an excuse for certain films. Even without the 3D it would still be great to see some of the best films shown again in cinemas, allowing moviegoers the chance to revisit some of their favourite classics.

Abduction (2011)

A high school student, Nathan (Taylor Lautner), finds his photograph on a missing persons website, and begins a search for the truth behind his identity, leading him into danger.

Directed by John Singleton, Abduction is a calamity of a film when it comes to performances, script, and depth. The plot is only average in terms of intelligence - whilst the premise of a boy finding his photo on a missing persons website could have provided a brilliant dark thriller, this film preferred the “safer” route in terms of theatrical audiences, making it a fast-paced cheese-fest with a rock soundtrack.

Lautner, in his first feature film away from the Twilight franchise, gives an unimpressive performance in the lead role. His abilities in stunts are notable (rolling off the front of a pick-up truck at the beginning of the film), but any moment of character reflection creates a clumsy, cringe-worthy atmosphere.

Lilly Collins, as Nathan’s friend and romantic interest Karen, provides a better performance, but the two together make the film seem more like an episode of 90210, rather than the Bourne films.

Singleton chooses some heavy rock tracks alongside his picturesque cinematography, which, rather than creating a stunning contrast, just seems awkward and uncomfortable.

Some moments of intensity during the fray between Nathan and his pursuers are entertaining to watch during the middle section, but the film seems patched together with “winning combinations” that in reality make the movie seem shallow and weak.

Edtv (1999)

A man agrees to allow cameras into his life 24/7, turning him into a reality-TV celebrity, but the fallout soon follows.

Starring Matthew McConaughey as the simple but charming Ed, who, by chance, ends up being selected for a failing TV network’s ambitious project: to film someone all the time.

At first, the show seems doomed to fail, as the monotony of life provides for little entertainment: watching Ed go about his daily routine of working in a video shop, and visiting his family. However, once Ed gets involved in a tumultuous relationship with his brother’s (Woody Harrelson) girlfriend, the audience is hooked, and soon Ed becomes an instant star.

However, with all the constant filming, and lack of any privacy, Ed finds it difficult to maintain a natural and healthy relationship with his new girlfriend, as well as having secrets within his family rear their ugly head.

Directed by Ron Howard, Edtv is a comical take on the state of popular culture at the end of the nineties. The wave of reality TV and all its consequences was a huge phenomenon, one we are still experiencing now. Edtv makes some poignant comments about privacy in the modern world, and our consumption of people’s misery.

The film has some funny moments, but it is the romantic aspects which make it an enjoyable watch.

Little Fockers (2010)

The Fockers are back, with another dose of outrageous misunderstandings, and embarrassing situations.

The third film of the franchise, this time we see Robert De Niro’s character, Jack, looking to shape his pitiful son-in-law Greg (Ben Stiller), into a worthy successor as head of the families. As usual with the relationship between Jack and Greg, there is plenty of macho posturing, unfortunate incidents (some involving a flirtatious co-worker played by Jessica Alba), and loggerheads when the two differ on how to run a family.

Now that Greg and his wife Pam have kids, the film takes on a more sentimental atmosphere - Greg spending time in the film looking round good schools for them to go or trying to get his dilapidated house ready for their birthday party. But, his plans go typically awry when the in-laws get involved, and soon the future of his relationship with Pam comes into dangerous territory.

The film follows the same formula as the other Focker films, plenty of awkwardness and cringe worthy moments. Stiller is his usual man-being-pushed-to-the-edge, and De Niro his same suspicious self. It’s a formula that works, and the movie throws up some funny scenes, but nothing original really happens, and that’s where the movie highlights the need for this franchise to end.

We get the Focking point.

The Shipping News (2001)

Kevin Spacey plays a man looking to restart his life, after his unhinged wife dies in a car crash, by moving to the home of his ancestors in Newfoundland, along with his grieving daughter and recently found aunt.

Based on the book by Annie Proulx, The Shipping News is the segment of the local paper which Quoyle (Spacey) finds himself writing, through a small connection to journalism, luck, and his family name. Once there, the man finds a new purpose and talent, becoming a welcomed figure in this tight-knit community. Having moved to the old family house, which stands precariously on a dangerous cliff top, Quoyle attempts to forget the agonies of his past, but finds his own troubles combining with that of the Quoyle family legacy, and soon faces new hurdles to overcome.

Judi Dench plays Quoyle’s quick-witted aunt, who is also returning to her homeland in order to overcome secrets and tragedies of her own, whilst Julianne Moore plays a local widow, who attracts the attention of Quoyle, but has had her share of grief in this unusual little town by the sea too.

A picturesque and involving film, The Shipping News takes an A List cast, a dramatic literary plot, and throws in some beautiful scenery to make a great film. The story is plotted well, moving from scene to scene like a book would chapter to chapter, giving us more revelations as we go, and enticing us with the mystery and drama.

Spacey is on his usual top form, giving us the portrayal of a sensitive character with plenty of emotion and poignancy. Moore is also captivating during the movie, making her character seem equally beautiful and broken.

If you are a fan of romantic/dramatic fiction, then this is a wonderful film, one that offers a simple story but in a way that is uplifting and heartbreaking in almost every scene.

Orphan (2009)

A chilling thriller about a family who adopt a young Russian girl, who soon brings tragedy and horror to their home life.

Kate and John (played by Vera Farmiga and Peter Sarsgaard respectively) live a relatively happy life in their picturesque town with their son and daughter. But after losing their third child during birth, the couple decide to adopt, giving a loving home to someone who needs it. After some deliberation about whether the pair are ready to adopt, they go and choose a young girl called Esther (Isabella Fuhrman), a talented and quiet girl originally from Russia.

Bringing Esther home, Kate and John find she doesn’t settle in too well. Their son abhors Esther’s unusualness, picking on her at every chance, and the new girl seems to get into mischief easily. However, the truly unsettling aspect of Esther doesn’t reveal itself until we see her violent and evil behaviour, which triggers suspicion in Kate.

As Kate becomes more and more convinced of Esther’s dark character, it creates a bigger rift between her and John, who fails to see what his wife does. This rift originates from a deeper problem between the married couple, which Esther hopes to exploit.

A compelling thriller, the film is unlike many modern horror movies, in that it is patient in its approach. The film slowly reveals itself, building up suspense whilst giving snippets of the drama to come, which provides for an entertaining watch. There are only a couple of gory bits, and these are not gratuitous, and the film feeds on the audience’s dramatic irony, rather than any superficial graphic violence.

With a great plot and cast the film impresses throughout, and is a decent watch for any thriller/horror/mystery fan.

Warrior (2011)

Far from the mindless, macho mediocrity that a mixed-martial arts film suggests, Gavin O’Connor’s sincere film pulls no punches, and gives other fighting films a serious run for their money.

Tom Hardy (still enjoying one of the most successful career breakthroughs in recent memory) plays anguished Tommy Conlon - an ex-marine, who enters a mixed-martial arts tournament, with his father as his coach. Tommy’s father, Paddy (Nick Nolte), is an ex-alcoholic, whose kids ran away from him when they were younger, along with their mother, in order to escape the abuse he gave them. This estrangement comes to an end when Tommy turns up on his father’s door, still angry with him, but knowing that only his father’s strict form of coaching can get him through this tournament.

Meanwhile, Tommy’s brother Brendan (Joel Edgerton), is living a life as a science teacher, but barely making the payments on his house, and begins moonlighting in car park wrestling matches to make extra cash. This extracurricular activity lands Brendan with a suspension from his job, forcing him to enter the same tournament as Tommy in order to win the cash prize.

Whilst the film takes on a typical structure for a fighting film (there is a montage, albeit quite a strange one, as well as the usual round-for-round match up as the brothers inevitably look like they will fight in the final), the essence of Warrior is a step above movies of this genre. There is a deeply disturbing relationship between these three men, who all have their grudges and secrets, which is the foundation for the film. Hardy’s portrayal of this animalistic fighting machine is utterly brilliant, providing any audience with enough proof of his worth as an actor.

All three main performances are excellent, as well as Jennifer Morrison as Brendan’s wife.

Many will probably ignore this film, because it looks like a modern day Rocky, but this is a superior film because it delves deep into these characters and their situation, leaving the fighting as an inevitable side-effect of their broken home.

A remarkable film.

The Hurricane (1999)

The story of a boxer, wrongly convicted of murder, and his quest for freedom.

Based on the real life of Rubin “Hurricane” Carter, who was a promising prize fighter, who overcame major prejudices in his life in order to become one of the best fighters. Far from being a saint, Rubin’s fast fists had seen him in more than enough trouble with law, in particular one detective (played by Dan Hedaya), who goes out of his way to throw the young upstart in the slammer with every chance he gets.

One night, a violent murder takes place, and Rubin (on the way home from a party) is found by the police, matching the description of “two black guys in a car”. He is subsequently thrown in jail, and later convicted of murder. His defiant pleas of innocence include him refusing to wear the “guilty” uniforms of other prisoners, and using his long stretch behind bars to write a book about his life. This book goes on to inspire a struggling young black boy, who has been taken in by friendly white Canadians, who all end up becoming Rubin’s most vehement supporters.

Balancing the difficult line of racial separation in America during the past fifty years, the film adds enough punch behind its messages, without bludgeoning the audience with preachy symbolism. Denzel Washington plays Rubin spectacularly, taking on the varying personas which engulf the boxer’s adult life: from cocky celebrity, to wise victim, and we see enough emotion and development from Washington to give over the complex issues being played out.

This film is not about the plight of the African American (although there is some of that), it is more about the search for freedom in what seems an unjust world.

Entertaining to watch, with some great tracks, including Bob Dylan’s brilliant song of the same name about the same person. Not as much boxing as some of the other sporting films out there, but plenty of meaty plot and complex social exploration.

Silent House (2012)

If you asked someone at a party to name their favourite Uruguayan film, they would probably smile politely and leave you on your lonesome. However, this upcoming horror film, co-directed by Chris Kentis and Laura Lau, is based on an original Uruguayan film called La Casa Muda (2010), which itself was based on real events in Uruguay, and follows the same structure and premise; told in just short of ninety minutes, the film captures the experience of a woman being terrorized in her family’s summer house, in one long, uncut sequence.

Elizabeth Olsen (whose few film credits mostly include old children’s movies where she appeared alongside her renown older twin sisters Ashley and Mary-Kate), takes the lead role of Sarah, who begins the movie carelessly watching the waves lap the rocks near her family’s beach house. Once the camera zooms in on her effortless procrastination, it (almost) never leaves her for the remainder of the movie, which becomes a compelling horror/thriller of the home-invasion ilk.

It seems the beach house has become something of a squatter haven, therefore necessitating a renovation in order for Sarah’s family to sell it. With the windows boarded up, the doors locked securely, the family’s summer retreat becomes their worse nightmare, as Sarah, along with her father and uncle, all become tragic victims of a silent terror.

Spectacular to watch, the film makes bold strides to create a viewing experience that transcends the guts-and-glory of typical modern horrors, instead depicting a truly terrifying ordeal, with techniques that render the audience helplessly engaged. Unlike many of the franchised gore flicks, the film demands something from the audience: attention. The extended sequences of watching Sarah attempt to escape this nightmarish menace, whilst occasionally tedious, have a mesmerising effect, and Olsen’s unyielding dedication to her performance is reason enough to watch this movie. Kentis and Lau prove their worth when it comes to building suspense, as well as choosing some superb techniques during the film to make it original (such as a camera flash being used in a desperate moment to light up a room, or having the camera run with Olsen through the grass outside the house).

Few horror films have been released in recent years with such ambition where the results have been as successful. The directors, who previously worked together on Grind (1997) and Open Water (2003), spoke of the originality that the film presented. “Making a film is always a challenge, a plunge into uncharted territory that is both terrifying and utterly exhilarating. Making this film fascinated us, as it presented a unique approach to filmmaking, and a new way to experience a movie.”

Horror fanatics will find the jumpy scare tactics far from unusual, and the film seems to suffer from its own ambition in places - as the lack of cuts and scene changes creates some sluggish moments whilst we are waiting for the next dramatic turn, but the overall effect is still utterly compelling. Released in the UK in May.