Flashbacks of a Fool (2008)

A film about one man, Joe Scot, whose pitiful life of self-indulgence makes him look back to a time in his teenage years, where the root of his problems began.

Starring Daniel Craig and Harry Eden as old and young Joe Scot respectively, Flashbacks of a Fool is a nostalgic drama that attempts to intertwine the shallowness of modern day LA, with the humble cosiness of 70s Britain…with poor results. Older Joe is a washed up actor, living out his years addicted to drugs and meaningless sexual encounters, with nothing stable in his life. When he hears the news that one of his friends from childhood has died, it sends him into despair.

Travelling back to a coastal town in the 70s, we see Joe enter the formative years of his life, through his early teens and first sexual encounters. One act of promiscuity however leads to a tragic event, and his subsequent downfall.

Dreary and indulgent, Flashbacks of a Fool is a lukewarm drama that fails to capture the conflict in this story. Joe is a poor central figure, offering little in the way of substance for the audience, and his development through the film is unfulfilling and inconsequential. Craig does an amiable job, but fails to engage for the most part. Claire Forlani gives the most impressive performance, but her few minutes on the screen are not enough to save the movie.

Eden is a poor choice for young Joe, failing to deal with the heavy themes and limited script, which makes some scenes fall flat on their face.

Around Joe, though, there is some very interesting characters which deserved more attention. Such as the mum who seeks sexual attention from Joe, and has her child die by standing on a landmine.

Aside from some picturesque cinematography, FOAF is a poorly made, indulgent film without any real bite.

Mission Impossible: Ghost Protocol (2012)

SPOILER ALERT

A fourth instalment of the MI series, this time Ethan Hunt must prevent a madman from unleashing nuclear devastation.


True to the Mission Impossible style, this fourth edition sees Tom Cruise engage in what can only be described as ludicrously dangerous stunts in order to prevent some evil plot which has been described as “impossible”, but will probably turn out to be doable.


Gist-wise, this film is easy to comprehend. If you have seen one, you have seen them all. However, that is not to say this is not a good movie, because it is. The action is still great, the stunts are brilliantly executed with some “Oh god” moments when Cruise is hurtling down massive buildings with only a rope tied round him, and the new ensemble of characters works well together. Jeremy Renner is an excellent addition, playing an analyst whose special skills reveal his intriguing past, and Simon Pegg as the goofy but talented ops man, works well for the most part.


Cruise steals the show though, and the darkened nature to his character’s bio is greatly received, although tragically reversed later in the movie. His 100% attitude to films is definitely required for a movie like this, and the results offer some depth to the performance.


Not going to win any prizes for originality this year, and the long action sequence set during a sandstorm fails to impress, but overall as pulse-raising stunt-fest with great actors and engaging themes.

As Good As It Gets (1997)

As Good As It Gets (1997) Jack Nicholson and Helen Hunt star in this nineties comedy film about human relationships. Nicholson plays Melvin Udall, a successful author, who lives in a tenement building with neighbours he enjoys terrorizing with his cantankerous nature. He suffers from Obsessive Compulsive Disorder (OCD), and attempts to spend his days in a calm, comfortable routine without any anomalies. However, his favourite waitress (Helen Hunt) at the only restaurant he can stand, disrupts his timetable when her child gets sick and is forced away from her duties. Another irregularity presents itself to Melvin, in the form of a gay artist who lives downstairs, played by Greg Kinnear, who is badly beaten during a robbery and reluctantly leans on Melvin for help when he has no one to turn to. As the three lives intertwine, and a hazardous friendship is formed, life and all its little ironies are brought to life. A feel-good film, with outstanding performances. Nicholson and Hunt were rewarded for their roles by the academy, but my award would go to Kinnear. His sincere and heartfelt portrayal of this broken man becomes the more engaging factor as the story develops, and he interacts with these two Hollywood heavyweights with a distinct talent. True to nineties form, the film has a nostalgic aesthetic about it, a film to revisit if you remember the decade, but the themes and ideas are still relevant. Maybe even more so in these troubled times of social interaction, where human contact has been usurped by technology.

Red Tails

Lucas Films’ epic portrayal of the struggle for African American pilots during WWII. Inspired by the true story of the Tuskegee Airmen who fought during the Second World War, Red Tails follows a group of African American pilots who attempt to overcome racial prejudice in order to fight against tyranny for their country. Executive producer, and acclaimed filmmaker, George Lucas commented, “I thought their story would make a great film. An inspirational one that shows the incredible things these men went through to patriotically serve with [valour] and help the world battle back the evils of fascism. It is an amazing story, and I wanted to memorialize it.” The story begins in Italy in 1944, where the 332nd Fighter Group (known as the Tuskegee Airmen) were given token jobs to perform after being given the opportunity to fight in the war. Their planes were ragged, and their missions were limited to a radius far behind the front line, because they were seen as inferior pilots. However, once the group earned a notorious reputation for being extremely talented and daring pilots, they were given extra chances to prove themselves in more important situations, such as guarding bomber planes on their way to key cities. Directed by Anthony Hemingway and starring Cuba Gooding Jr., Terrence Howard and David Oyelowo, Red Tails features a predominantly black cast, made up of ranging talents, who come to embody these historical figures with professional dignity. The makers behind the film, including George Lucas, met regularly with surviving members of the 332nd squadron, in order to make a compelling and authentic film, and the results of this in-depth research is clear to see in the film which is touching and affecting. While the story carries with it tremendous historical importance, the makers were keen to avoid it being seen as a

“civil rights movie”. This is an action/adventure film at its heart, focusing on the bravery and courage of these extraordinary men, whose ambition and heart earned themselves a celebrated place within the war effort. Furthermore, the visual representation of the story is befitting to the story, with some outstanding dog fights between planes, which only Lucas has the ability to capture with such majesty. A film that embodies the magic of cinema, the visual capabilities of a great artist, and the inspirational story of a group of heroes. Go see it.

Avengers Assemble (2012)

Uniting some of history’s best loved comic heroes for one epic movie. Avengers Assemble (originally titled The Avengers) is the culmination of several years of comic movies, such as : Iron Man I & II, Thor, and Captain America, and sees an impressive crossover using the overarching network of S.H.I.E.L.D, run by the formidable Nick Fury (Samuel L. Jackson). S.H.I.E.L.D brings together a team of fearsome superheroes in order to fight humanity’s greatest foe yet: the powerful brother of Thor, called Loki, and his ravenous army, who are waiting in the wings of space. The team includes: the aforementioned Iron Man (Robert Downey Jr.), Thor (Chris Hemsworth), Captain America (Chris Evans) as well as The Hulk (Mark Ruffalo), Black Widow (Scarlett Johansson) and the sharp-shooting arrow-man Hawkeye (Jeremy Renner). This impressive collection of movie-industry elite form the Avengers, with Tom Hiddleston playing the evil Loki, with impressive results. Directed by Joss Whedon, a man with bulging sci-fi credentials, the film has managed to arrive into cinemas kicking and screaming, regardless of the overwhelming sense amongst the general masses that this film would be a tremendous let down. And the result? An astounding success. The film is in a different league of comic-variety films, up there with the first Iron Man film (not quite as good as Nolan’s Batman films though). The action sequences are not run-of-the-mill explosion-fests, but well thought out, creative set pieces, that enhance the story and further the character development. Moments of dialogue, whilst a little cheesy towards the final act, are actually well written, with pathos spilling through, and brilliant moments of comedy. Instead of five superheroes vying for ownership, the film feeds on the energy of all the players, and becomes a powerhouse flick, moving through the story with a growing sense of tension and fulfilment. Each member adds to the pulse of the movie. Predictable in the same way that any “rated 12” film is, the plot moves with twists and turns, but, thankfully, doesn’t bother to get too complicated. Definitely worth watching with an open mind, forgetting about all the hype and previous build-up, and just enjoy the smorgasbord of fantastical comic shenanigans.

All The President's Men (1976)

Based on the Watergate Scandal during the 1970’s, this detective story follows two journalists working for the Washington Post, who attempt to unravel and reveal one of the biggest political indignities of the 20th century. The film is set during Nixon’s time in the White House, alongside the backdrop of the tumultuous years of the Vietnam War. Carl Bernstein and Bob Woodward (Dustin Hoffman and Robert Redford respectively) are two young and “hungry” writers, working on a story about five men arrested at the Watergate Hotel, who were found bugging a political camp’s room with recording devices. As the two journalists investigate, more and more discoveries are made, leading them up a dangerous path to the top of American politics. Few films manage to create as much drama and intrigue without resorting to violent methods, as this film. The movie is basically a complete research film, with the two leads tracking down any kind of substance to back up their theories, journeying to interview reluctant witnesses, or being stonewalled by political offices. Little in the way of “action” actually happens, but the entertainment value is still evident. This film survives on good old fashion mystery. Also, the two main performances carry a lot of weight, creating vivid, interesting characters, whose journey through the dirty waters of American politics becomes the central theme of the movie. Director Alan Pakula chooses some excellent overhead shots of Washington, where we see our two boys travel the streets, creating an almost ethereal atmosphere, and the use of Deep Throat in a darkened parking lot is arguably the most compelling aspect of the film. A little long at over two hours, and the sound editing shows its age with several of Hoffman’s lines being lost to bad recording, but the gold of this movie shines through for anyone interested in the era, or the story.

Puss In Boots (2011)

Witty kitty comedy from the makers of Shrek, about an outlaw cat (voiced by Antonio Banderas) who must embark on an epic adventure in order to clear his name. A spin-off from the mega popular ogre franchise, following one of the secondary characters Puss, a feisty feline-cum-fencer, who lives in a fairy-tale world similar to Shrek, but with a distinctively Spanish influence. Puss is given a back story involving him arriving at an orphanage in a remote village, where he befriends Humpty Dumpty, and the two create a life goal of finding magic beans and climbing the magic beanstalk to find the Golden Goose and be rich. Plenty of twists and turns follow, with enigmatic foes showing themselves. A patchwork of children’s stories, Puss blends various aspects of characters and themes from a range of tales like Jack and the Beanstalk, Jack and Jill, and others, but with the lovable Dreamworks charm which sees these elements mutate into far more modern and subversive versions. The plot becomes your typical children’s animation fantasy, with short bursts of story followed by action sequences and travelling to new locations, but this is not to say it is predictable or boring. The makers have cram-filled the film with amazing cinematography, hilarious dialogue, slapstick comedy, and numerous references to Puss being a cat (such as licking his milk in a rough bandit bar, or chasing the light from a torch on the floor). Where Puss fails to fill Shrek’s boots is the adult jokes. The ogre films managed to bridge the gap between kid and grown-up so successfully with plenty of in-jokes that would sail over the little one’s heads, whilst making adults chuckle, whilst Puss In Boots seems to be aimed at a younger audience, and as such fills a little emptier. Overall though, a worthwhile watch with plenty of laughs and rising tension. The imagination put into this movie is commendable, and the film stands alone from the Shrek franchise as a very decent kids film. It is just not…forgive me…purr-fect.

God Bless America (2012)

A mid-life rebellion against…everything. “Why have a civilisation if we’re no longer interested in being civilised?”. This is the question posed by middle-aged Frank, and thus the message behind Bobcat Goldthwait’s black comedy about one man’s enraged retaliation against America’s pop culture. Played by Joel Murray, Frank sees his life fall apart piece by piece, after being fired from his job and finding out he may have a terminal brain tumor. He finds no solace at home, with a distant ex-wife, a spoilt and uncaring daughter, and neighbours-from-hell, the last of whom Frank daydreams about shooting with a shotgun! With nothing left to live for, Frank attempts suicide, only to be halted during a particularly obnoxious television show, in which a spoilt child berates her parents for buying her the wrong car for her birthday. This gives our downtrodden hero-to-be a revelation; instead of offing himself, he will turn his gun on all the worst culprits of American society, starting with the awful girl on TV. During Frank’s first “assassination attempt”, he befriends an unlikely accomplice, in teenage Roxy (Tara Lynne Barr), a foul-mouthed loner who seems to hate everything Frank hates. The two team up, and go on a cross-country rampage taking out the trash wherever the opportunity arises. Similar in ilk to other mid-life crisis films like American Beauty (1999), or Falling Down (1993), where a man reacts wildly to the culture around him, with violent repercussions, and focusing on a central character at the end of his tether. Some of the film’s sequences draw upon a popular notion of fantasy, where day-dreaming about taking revenge upon the everyday annoyances of life can become a habitual pleasure, like imagining killing the guy on his phone in the cinema, or shooting your noisy neighbours. Unlike the aforementioned films, God Bless America follows a less character driven journey, and becomes more a bleak critique on the shallowest, dumbest facets of modern life such as reality television, and insufferable social commentators. Where the film gathers strength is its damning condemnation of the modern way of thinking, the entertainment value society seems to find in humiliating the weak, and destroying the alienated. Frank’s belief is that these are the signs of a failing civilisation. Now, this may all seem like doom and gloom, but the film carries an mostly humorous edge, tackling the action and script with witty techniques that is similar in style to a film like Kick Ass (2010). The relationship between Frank and Roxy, whilst mildly inappropriate, provides an enjoyable road-trip camaraderie, which keeps the film from falling into dangerously preachy waters. Imagination and creativity flow superbly, with some brilliant sequences where scum get their comeuppance - in particular in the opening scene where a crying baby is shot at point blank range (I know it sounds horrific, but it is an amazing scene, and you will probably side with Frank). The film loses its way a little towards the middle section, seemingly moving without any kind of direction, until the guts and glory ending which is a smorgasbord of gunning down. Ultimately, a film that serves as a therapeutic cure to a stressful day, and one that thoroughly entertains and keeps you laughing.

Charlie Casanova (2012)

Charlie Casanova (2012) A twisted journey into the hate-filled fantasies of a sociopath. Produced on an almost nonexistent budget, using the talents of volunteered professionals, director Terry McMahon creates a bludgeoning Irish drama about a man deciding the fate of his life with a deck of cards. Emmett Scanlan (from Channel 4’s Hollyoaks) plays the lead role of psychotically deranged Charlie, who hits a woman with his car early on in the film, and uses a deck of cards to decide how he will deal with the situation. This leads Charlie to burn the car, and pretend that it was stolen, then convince his small group of friends to join him in his new found “freedom”, by making choices through chance. Predictably, most of his friends make minor life decisions, like whether or not to shave off their moustache, or give up peanut butter. But, for some, the process reveals some intimately dark secrets, as well as causing some intense problems within their personal relationships. Charlie, meanwhile, continues his rampage of acting on impulse, and indulging his own personal fantasies, such as sleeping with his best friend’s wife, and starting a one-man crusade against the working class, for which Charlie holds a great hatred. As the film enters the third act, all of the previous decisions lead most of the characters into dark fates, and Charlie’s grasp on reality becomes dangerously unstable. Initially, the story seems like a mid-life crisis film, similar to Kevin Spacey’s character in American Beauty (1999). However, as the film develops, and Charlie’s attention becomes more violently focused upon these “tracksuit wearing” members of the lower classes, it becomes a cautionary tale of the ruling class, and how one man’s insecurity about his masculinity and power, can lead to chaos. McMahon commented about the nature of a character like Charlie, “I’d seen one too many boozed-up, egomaniacs combine cocaine with Viagra to make themselves appear manly. Then, in the disappointing post-sex adrenaline, they’d look for violence with somebody or some group they feared in order to re-engage with the same futile need to appear masculine.” This idea of impotency and powerlessness permeates the story, as we see other characters struggle with their own personal issues. Throughout the film, Charlie uses his extensive vocabulary to detail how much he hates people from a working background, orating about the scrounging nature of those on benefits, the baby-popping culture, and how the middle and upper classes support them. Whilst his preachy rants are entertaining at first, they soon reveal his ignorant hate and instability, becoming inconsistent and contradictory. From a viewer’s perspective, the film’s longwinded script and repetitive themes become heavy handed, and the film looses focus whilst trying to make an array of social and political comments and maintain a gripping story. Ignoring its production values, and the overly politicised nature of the script, there is some very daring cinema at play here. Charlie is an extremely engaging character, forming the role of a middle-class monster, whose sermons attempting to justify his actions make him seem like a false prophet-cum-social warrior. McMahon interplays varying themes, all of which needed to have been explored more, but which engage you on an intellectual level, and will leave you questioning what you saw long after you have stopped watching.

Friends With Benefits (2011)

A romantic comedy starring Justin Timberlake and Mila Kunis, about two people attempting to add sex to their friendship, without receiving the usual complications. Timberlake plays a successful blogger, whose reputation for getting plenty of hits on his website (can anyone smell The Social Network?), leads him to be headhunted by GQ magazine. He soon becomes friends with the head-hunter (Kunis), and the two eventually agree on the aforementioned sex-pact. Both characters bring their own baggage to the table: Timberlake being an emotional recluse, letting no one in on his dark and edgy soul, whilst Kunis is a damaged woman whose sporadic relationship with her runaway mother causes her major issues. Director Will Gluck attempts to ridicule the Rom-Com genre by placing an overtly cheesy movie within the movie, which is full of the usual clichés and happy-endings. This method, whilst honourable, only serves to remind the viewer just how clichéd the film they’re watching is, as well as make the characters seem farcical (after all, how much sympathy can be conjured for two of the world’s sexiest pin-ups struggling to do each other?). The best moments come from side-plots, in particular the situation with Timberlake’s aging father (Richard Jenkins), whose humorous reluctance to wear trousers causes more than enough laughs, and then beautifully contrasted with a conversation with his wayward son about love, which carries the most pathos during the whole movie. Good for a few chuckles, and some unnecessary skin-bearing, but none of the depth that the genre can sometimes offer up, and the worn-out methods of by-the-numbers-productions combined with the array of “clever” references to pop culture (like the credits being on an Ipad), will bore most viewers to tears...or at least mild violence.