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.

End of Watch (2012)

The buddy-cop genre gets a reboot, with the ferocious duo of Jake Gyllenhaal and Michael Peña.

Set in the wearily familiar territory of South-Central L.A., End of Watch is a police-camera-action style movie, following the beat of two loveable police officers; Brian and Mike (Gyllenhaal and Peña respectively). The partners enjoy a relationship of affectionate ridiculing in between their policing, which can involve anything from harassing the local thugs, to being shot at by AK-47s.

The pair find themselves caught up with bigger fish when they stumble upon the misdeeds of a Mexican criminal syndicate operating in the area, which leads to a hit being placed upon the cop duo’s heads.

End of Watch is a powerful and evocative film, mostly for the heart which is shown through the two cops. The film sets its mission statement out at the beginning by having Gyllenhaal provide an over voice stating that cops are essentially human; they bleed, they get hurt, and this theme is continued throughout. Brian and Mike are two heroes in blue, displaying various acts of valiant behaviour (like pulling kids from a burning building), but who also suffer the same vices as us, such as pride, envy etc.

Gender roles are evaluated during the movie, with Mike and Brian displaying typically “feminine” attributes, like crying and being emotional with their spouses. Whilst a female member of the Mexican gang acts psychotically aggressive, even towards other women, and in particular towards the authorities. This reversal of the archetypal “Macho Cop” is a welcome contemporary take on the genre, and serves to make End of Watch even more enjoyable.

The film is from the makers of Training Day, and has a similar urban grittiness to it which makes for compelling viewing, and the depiction of criminals and cops has the same realism which made the former film so popular. Where End of Watch pales in comparison to Training Day, is the storyline. Whilst the two characters of Mike and Brian are extremely likable, leading innocent lives and enjoying a robust brotherly bond with each other, the conflict is mostly from an unseen presence, a small group of street thugs who rarely come into contact with our heroes. This leave the plot a little unfulfilling, and the silver-lining ending will leave a large proportion of viewers unsatisfied.

That being said, End of Watch is a very enjoyable film simply due to Gyllenhaal and Peña, whose comedic presence makes the film relatable and funny, drawing us into the soft-natured compassion which these guys have for each other. Their jokes and insults are equally balanced with emotion and decency, allowing for a modern take on the cop genre which sets it apart from previous outings with similar compositions.

Taken 2 (2012)

Taken 2 (2012)
Family matters

The evening is brisk and the sun is setting over the streets of central London. Amidst the light-hearted frivolity of Leicester Square sits a patient and eager audience in the depths of the Odeon cinema, awaiting the arrival of Bryan Mills. With beers in the arm rests and the scattered conversations covering nothing but action movies, the testosterone levels are being heightened, our desire for ass-kicking being teased.
Onscreen, suddenly, comes the leather-jacket-clad demigod Liam Neeson, addressing the audience personally - warning them to switch off their mobile phones and be nice about the movie, or he will deliver a…well you can probably guess the rest.
The movie begins.
With a grainy, mechanical opening, Taken 2 immediately sets its stall amongst the modern action/thrillers, such as its predecessor Taken, or the Bourne movies. The story begins by showing us the funeral of a group of men in Albania, where their families mourn them, and the father promises vengeance against the man who murdered them. Cut to America to see said man - Bryan Mills (Neeson). Having saved his daughter from sex traffickers in the first film, readily dispatching armed goons along the way, Bryan is back to working security details for wealthy clients, whilst enjoying a closer relationship with his daughter, and his estranged wife Lenore. The family is blissfully unaware that a plot is being put into motion which will place Bryan into the crosshairs.
On a job in Istanbul, Mills is once again put to the test and must use his special set of skills in order to save his family - only this time, they have “taken” him as well!
What ensues is ninety minutes of full-throttle action across the spectacular streets of Turkey’s capitol, chasing through its cobbled streets in deathly car chases, and clambering over its shanty-town roofs.
Essentially, not much has changed from the first instalment of Taken, and why should it? The first film was a smorgasbord of hand-to-hand combat, watching Neeson taking out the Euro-trash with frightening electricity (literally in the case of one poor goon). The action is still intensely addictive, the film again avoids any American gloss, going for the more dirtier look, and the heart of the film still beats through Mills’ emotion towards his family.
Where the movie stumbles is in the small changes with have been inflicted upon it - such as a lower threshold for violence. The film seems to shy away from showing the actual deeds being done this time around, leaving it instead to our imaginations. Also, the story loses a lot of its mystery. Whereas before the enemy was some intricate system of human trafficking across Europe that seemed darkly menacing, here we are offered all the bad guys on a plate, and see them throughout the movie attempting to hatch their bag-n-snag on Mills, putting it on par with a league of other films of this nature, rather than head-and-shoulders above them.
This being said, I want to reiterate the huge enjoyment factor this film holds. Many will argue the producers should have left it at one film, but there is a genuinely compelling story here. Simply put, Mills needed to do another mission. His time across Paris in the first movie was so fraught with hectic chases and gun fights that there was barely enough time to catch your breath, whereas Taken 2 gives us that extra quality time with our daddy figure, in order to flesh out a bit more about his character and what makes him tick (again, literally, there is a ticking clock in several cut scenes announcing the real-time aspect of the film).
I don’t think I could condone a Taken 3 just because, realistically, after this plot advancement Mills would probably have locked his loved ones up in Fort Knox and stood guard for the rest of his days shooting anyone who happened to pass by. However, Taken 2 must be taken for what it is - an addition to the first movie in order to fully realise the plot which began so successfully back in 2008. Never mind critics and faultfinders, Taken 2, aside from its tamer violence and linear baddies, is a thrilling action movie full of heart and pace, and kick-ass action sequences that make you wince.

The Cold Light of Day (2012)

Action movie rule #1 - Never, EVER, kill off Bruce Willis!

Since the success of the film Taken, movie studios have clambered on the Euro-flick bandwagon, hoping to renew the same old, tired storylines without the American gloss. However, few have succeeded, and The Cold Light of Day suffers from a severe case of homesickness.

The plot is simple: a family on holiday in Spain go missing, whilst their twenty-something-year-old son is away purchasing some antiseptic cream (and a coke). When he discovers them gone, he endeavours to find them only to discover the path blocked by mysterious agents and armed thugs. His father (Bruce Willis), having managed to get away somehow, manages to find his son, only to be shot down in a car park. What ensues from here is a tiresome chase across Madrid, involving every mode of transport you can shoot a gun on.

For a ninety minute film, it really, REALLY drags. Action movies need a degree of depth these days to make them compelling, and this is completely lacking. The characters seem one-dimensional, and the plot barely twists along the way, seemingly happy with a bog standard story. For all the stars the movie boasts, no-one delivers a particularly memorable performance, except Willis, whose short-lived time on screen is a travesty.

Watch at your peril.

The Running Man (1987)

Big Brother could learn something from this TV show!

A futuristic tale where the Earth has become a police-state, and the population get their kicks from watching a cruel game show called The Running Man, where contestants must try to survive a series of dangerous executioners.

Arnold Schwarzenegger plays Ben Richards, once a members of the police, he was thrown out for not obeying an order to mow down a group of unarmed protestors. After being framed for the eventual riot massacre (the right-wing do love irony), and given the nickname the “Bakersfield Butcher”, Ben is thrown into a harsh work detail/punishment.

He manages to escape, along with a couple of buddies, and makes him attempt at freedom - only to be captured again. Ben is offered a choice, either he goes on The Running Man show, or his two friends will be forced to instead (his friends have none of the Arnie resilience or bulging man bumps). Grudgingly accepting, Arnie goes on the show in an attempt to win his freedom, but faces not only the hilariously cartoon-hero-like executioners with absurd names and gimmicks, but also the corruption of the game’s host, Damon Killian (Richard Dawson).

Vintage eighties dross, The Running Man has aged about as well as a Duran Duran album left in a bath of coke. The audio is absolutely awful - in places no actors are moving their mouths and yet the voices are still speaking, revealing the always controversial dubbing methods. The story spends too much time revealing the dastardly behaviour of Killian (whose offensively obvious name will make viewers blush), and not enough developing the journey of Arnie and his pals.

There is a couple of dance scenes using a bevy of leotard-clad beauties that seems to go on forever. This would have been an interesting, artistic addition to some films, but in an action/horror it seems outrageously pointless.

Difficult to watch throughout The Running Man will probably receive cult status, if only for its awfulness…And, it’s a bloody Stephen King novel!!!

In Time (2011)

Time is money!

Imagine a world where time becomes the currency, and you trade minutes, hours, even years of your life in order to pay for stuff. Well, that is the world inhabited by JT (that’s Justin Timberlake for anyone born before the turn of the century), and it is a world filled with class divisions and social repression.

We are welcomed into the world of Will (JT), who is a live-life-by-the-day kind of guy - not because he wants to, but because he has to. Will lives in the ghetto where most people only have a day or so on their lifespan, constantly working and trading for more time in order to avoid the big sleep. Using the brightly lit digital clocks which seem to have been transposed onto people’s wrists, everyone’s time allowance is clearly visible (imagine if Casio started a human science division).

Another aspect of this futuristic world, is that people stop aging at twenty-five-years-old. From there they are given a year and must make the most of what they have got/earn. This has created vast class differences amongst the population, who are actually segregated into different cities depending on wealth.

Will, after a run in with a disillusioned old man (who still looks mid-twenties), is given a bucket load of time. At first, he uses the new wealth to better his life and some of those around him, but soon finds himself in with the upper classes, and then on the run from the Time Keepers (led by the brilliant Cillian Murphy), a quasi-police unit who ensure the balance is maintained.

In terms of story, there is a lot going on here. A lot of heavy science fiction ideas floating around, and the dedication to the futuristic world in the movie should be applauded. Where the film falls down, however, is the script - which makes too many “time” jokes, using all the clichés it could get its hands on, and feels clunky in the hands of this cast. Furthermore, Timberlake is a moderate choice for the lead, which could have gone to an actor who has proven his chops within this field - I’m thinking the likes of Christian Bale or Edward Norton.

Amanda Seyfried puts in a steady performance, if making her character quite one-dimensional, but Murphy steals most scenes with his total morality and violent tendencies.

All in all, not a bad film by any means. It will entertain most for the duration (which is slightly too long in my opinion), but do not expect the likes of heavy hitting sci-fi films, but rather a surface-level exploration of a great idea.

Escape From New York (1981)

Kurt Russell with an eye patch is truly terrifying!

Eighties sci-fi with Kurt Russell and Ernest Borgnine, about a maximum security prison which has been placed over the island of Manhattan, which becomes the setting for a rescue attempt on the president.

Russell plays the infamous Snake Plissken, a convicted bank robber on his way to the aforementioned mega-prison, when the president’s plane, Air Force One, is shot down. The president manages to evacuate the plane before collision, but is left stranded in this snake pit of convicted felons, who take him hostage in order to negotiate their freedom.

The powers that be decide to use Snake to infiltrate the prison, locate the president, and extract him safely. Snake is loaded up with weapons and tech, as well as a virus which will automatically kill him in 24 hours, unless he returns with the president, and sent in.

An exciting storyline, and a wonderful premise (how many times have right-wing commentators proposed the idea of an island for convicts), it is interesting to see how such an idea would play out. Unfortunately, John Carpenter’s film has not aged well - the homemade soundtrack in particular dates the film significantly, whilst the fights scenes and script are clumpy and awkward.

A film to watch if you are a fan of eighties cheese, Kurt Russell, or futuristic right-wing ideology, but, if like the vast majority of intelligent thinkers you are not a fan, this film will probably leave you looking for an escape from Escape From New York!

Badlands (1973)

The most polite homicidal maniac you could wish to meet!

Cult seventies drama/comedy, based on a true story, starring Martin Sheen and Sissy Spacek as two lovers, on the run from the law across the barren landscapes of the U.S.

Set in the fifties, Sheen plays Kit - a silver-tongued twenty-something, living on the edge of acceptable social behaviour. One day he meets Holly (Spacek), an awkward teenage girl who seems to fall for Kit’s unusual antics. The two enjoy a blossoming relationship, becoming inseparable whilst remaining on the edge, until one day Kit shoots Holly’s father, sort of by accident, and the two go on the run.

Whilst eluding the authorities, Kit and Holly eventually to lose their infatuation for each other. The stresses of being on the road, as well as being forced to commit further crimes, plays heavily upon each of them, and the inevitability of their capture becomes a chain around their necks.

Unusual and baffling, the film’s strong adult themes are brilliantly contrasted with the two main characters’ almost unemotional reaction to the crimes they have committed. Kit and Holly make light of the situation, without panicking, and seem light-hearted as they journey across the desert. It is only worry of being caught that seems to get to them.

Spacek is superb in a pre-Carrie role, offering a deep and affecting portrayal of this complicated teenager, whilst Sheen delivers the film’s comedy and the most intrigue.

Compelling throughout, Badlands portrays the blissfulness of youth against the backdrop of a killing spree, with pure genius.

Moneyball (2011)

Number crunching in the big leagues.

Based on the controversial book by Michael Lewis, Moneyball is about the use of statistical information in major league baseball…but don’t worry, it’s not all maths, geeks and jocks.

Brad Pitt plays Billy Beane, the general manager for a sub-par baseball team called the Oakland A’s, and is largely in charge for the team’s scouting (which involves recruiting new players). After another end-of-season defeat, Billy faces a restricted budget and the loss of some key members of his team. But, instead of continuing the usual pattern of recruitment, he turns to the theory of a young man named Peter Brand (Jonah Hill), who believes his intense analysis of baseball figures will allow Beane to recruit the less-than-desirable players for pittance, and still make a championship team.

What ensues is an underdog baseball story, but without much baseball! In fact, Beane rarely watches the games, believing that he will somehow jinx them, and instead he prefers to only catch snippets of the action - via radio or TV.

This film should not work on paper! The premise is dull and the story seems boring, but in fact, Moneyball is a terrific film, because, instead of focusing too much on the stats, we are offered a larger battle between Beane’s revolutionary idea and the foundations of America’s favourite pastime.

Pitt is thoroughly engaging as Beane, showing us this flawed character who makes a living trading the careers of sports stars, whilst falling apart in his own personal life. Jonah Hill delivers a worthy, understated performance as the rookie scouting agent.

You may get a bit confused if you are a little wet-behind-the-ears when it comes to baseball, but the overall effect is charming and compelling.

Eternal Sunshine of the Spotless Mind (2004)

Brain damage has never been so romantic!

Wouldn’t it be nice to erase a memory? Better still, forget someone altogether? That’s the premise behind director Michel Gondry’s acclaimed film starring Jim Carey and Kate Winslet.

Carey plays Joel, a shy, “puppy-dog eyes” type who falls in love with the wild and creative Clementine (Winslet), but the two experience a dysfunctional relationship, leading both of them towards a ethically-questionable procedure which can make them forget about each other.

In order for a patient to forget someone, their memory path must be erased from their brain - which Dr. Mierzwiak (a wonderful Tom Wilkinson) describes as being similar to a night of heavy drinking. However, as Joel is undergoing the procedure, he begins to realise the mistake of his hasty desire for relationship amnesia, and attempts to outsmart, or outrun, the process. Whilst a feckless bunch of stoners, who are supposed to be monitoring Joel, run amok in his apartment, Joel tries to hide Clementine within parts of his life she doesn’t belong, as the two become a fading memory.

A spectacular film, the use of imagery and blurred consciousness is utterly compelling, and Gondry’s dedication to retaining the romantic notions of memories is wonderful. Carey is sensational in this role, playing Joel in an understated way, without attaching the usual Cartoon-Carey-Character we were so used to seeing.

Winslet is brilliant as the feisty Clementine, and delivers large quantities of pathos, whilst playing her character as, shall we say, moody. The supporting cast, including Wilkinson, Kirsten Dunst, Elijah Wood, and Mark Ruffalo are given brilliant scope to add to the drama, and even develop their own importance within the story.

What stands out most about Eternal Sunshine is the intense romance which the film depicts, starting off as an allegory for dysfunctional relationships, and then becoming a thrilling race against time between two lovers.

Mesmerizing and brilliant.

Mr Smith Goes To Washington (1939)

They don’t make them like this anymore.

Frank Capra’s acclaimed comedy/drama starring James Stewart as Jefferson Smith, a simple scout leader, but thoroughbred idealist, who finds himself in the seat of a U.S. Senator, only to discover the utter corruption and immorality of American politics.

Jefferson is something of a local celebrity around town, after putting out a forest fire almost bare handed, and is also the hero for many of the kids. The political minds decide he will be the perfect patsy to see through their diabolical plan to push a new dam through congress, in order to line their pockets with ill-gotten monies. At first, Jefferson seems to be a small fish in a big pond, quickly learning the traps and pitfalls of being a politician in Washington.

He is made fun of and teased, especially by the press, and regularly makes a fool of himself whilst representing his state, but things go from bad to worse when the foul play turns him into a suspected criminal, with the evildoers laying the accusations at him in order to fulfil their dastardly plan.

In order to clear his name, and restore his faith in American ideals, on which Jefferson has based his whole life, he must work with a jaded personal assistant (Jean Arthur) who reluctantly shows him the ropes.

A spectacular, classic movie, the story is still compelling after all these years. The topic of political corruption, as well as our own passiveness about the way our lands are governed, has never lost significance. Jefferson’s outward idealism, whilst overtly comedic, becomes a driving force for the film, blatantly attacking the audience for their own apathy whilst performing the role of good versus evil.

The film, expertly restored for our viewing pleasure, also proves to be a true achievement of its time, using methods which became massively important to cinema in the coming decades. Techniques like blending images over each other in order to signify a change of scene and location were cinematic milestones.

Wonderful to watch, in particular James Stewart’s closing performance, Mr Smith Goes To Washington has an importance beyond its visual limitations (in particular considering the current elections across the pond), and will continue to be a relevant piece of cinematic history for decades to come.

Bel Ami (2012)

Does anyone NOT fancy Robert Pattinson?

Set in 19th Century Paris, about the lives, loves, and lasciviousness of a young ex-soldier, who attempts to manipulate the powerful women around town in order to progress his own social standing.

Pattinson plays the lead in this period-Euro drama, alongside an impressive cast, including: Uma Thermon, Kristin Scott-Thomas and Christina Ricci. Dressed in a series of dapper suits, the film follows Pattinson as he engages in plenty of lusty activity with these married women, whilst carving out a career/future for himself. He encounters the highest of society, trying to find a home for himself, only to reveal his true nature.

The storyline is quite interesting, offering up some engaging themes of sexuality and class, but the film delivers them in a way which seems very outdated. Pattinson’s character is never really redeemed of his behaviour, and the way that these supposedly intelligent women react to him seems childish and underdeveloped. Nothing is solved by the end, and the viewer may not be able to think that this is an irrelevant story.

Plenty of lovely cinematography and set designs, but the film should have spent less money on Pattinson’s attire, and paid more attention to a fulfilling ending.

Death At A Funeral (2010)

Death’s a bitch

An extravagant comedy starring Chris Rock, Martin Lawrence and Danny Glover.

Rock plays Aaron a depressed family man whose father has just died. On the day of his father’s funeral, which is to take place in Aaron’s home, a gathering of family members should be the perfect place for him to grieve the passing of his dad, whilst comforting his nearest and dearest. However, peril and disaster strike in multiple places, causing chaos at the funeral, which becomes a wild spectacle and reveals some deep family secrets.

Run-of-the-mill comes to mind when thinking about this movie; it delivers the comedy as you know it will, offering up mishaps and OMG moments, without putting much thought into it. Some of the dialogue is very funny in places, in particular Glover as a grumpy old man, but for the most part it seems extremely well-worn.

Rock delivers a decent performance as the film’s “hero”, whose journey through the film becomes the main focal point in terms of anything to take away from the movie, but without giving the ending away, the moment of truth where Rock confronts his problems is cliché-ridden and painful to watch.

Nothing too interesting going on here, but if you fancy some cheap laughs and an easy watch, then this is probably more interesting than a funeral…probably.

Catch Me If You Can (2002)

The True Story of a Real Fake

Based on the true story of Frank Abagnale Jr., an American conman, who ran amok across the U.S. with his elaborate scams and fraudulent behaviour.

Leonardo Di Caprio plays the aforementioned wrongdoer, a teenager who is devastated by his parents divorce, so much so that he makes it his life’s mission to get back the money taken from his family by the government, which he sees as the cause of the split. Franks first “grift” is to use the well respected Pan Am flight company to cash fraudulent cheques. He poses as a pilot and manages to get banks to cash cheques that appear to be from Pan Am, as well as hopping on flights pretending to be a pilot flying to another destination for a job.

Later Frank manages to pass himself off as a doctor, whilst getting himself caught up with a girl, only to go on to become a “lawyer” in order to impress her father (Martin Sheen).

Tom Hanks plays the fervent FBI agent Carl Hanratty who attempts to stop Franks reign of terror, only to find himself humiliated on countless occasions by the teenager.

Christopher Walken delivers a brilliant performance as Frank Sr., creating a father-son bond which is spectacular to watch.

Directed by Steven Spielberg, the film has a pedigree before it even starts with these big names, along with a tremendous original score from John Williams. Catch Me If You Can delivers a worthy storyline with believable characters (mainly because it’s based on non-fiction) whilst offering up some great cinematic moments. Spielberg creates a wonderful aesthetic in this period-America without it seeming tacky, whilst displaying some brilliant moments of dialogue which reveal depth to these fascinating characters.

There is comedy, action, romance and tragedy, all with a Spielberg-style movie atmosphere - nothing to dislike.

Chronicle (2012)

What real teenage boys would do with superpowers!

With the plethora of superhero movies that have been released in recent years, it is nice to see a movie that tries to realistically portray what a teenage boy would do if granted superhuman abilities. No fighting evil geniuses in amazing lairs or uniting with other superheroes to save the world from annihilation, no, in Chronicle these guys use their powers to have a laugh.

After discovering an underground tunnel which leads to a supernatural rock, three teenage boys are inflicted with powers beyond that of normal humans. At first, they can simply move little things with their minds (like slamming tennis balls into each other’s faces), but soon they train these powers to become stronger, and with that comes a growing peril.

The lead character is Andrew (Dane DeHaan), who is a shy introvert with an abusive father and a sick mother. Spending most of his time behind a camera, Andrew also becomes our main insight in the lives of these three boys, offering up a realistic viewpoint to see it from (all cameras are accounted for in the film). Whilst Andrew develops the strongest powers, he also becomes the most unstable, combining his repressed anger and frustration with his new abilities.

Andrew’s cousin Matt (Alex Russell) is a struggling student trying to win back the attentions of an ex, whilst Steve (Michael B. Jordan - awesome name by the way) is a popular high school kid who becomes Andrew’s door into the popular crowd. These two become Andrew’s best hope for salvation, but also the mostly victims of his growing instability.

A brilliant movie, Chronicle offers a very contemporary example of the hero movie, whilst avoiding most of the typical clichés. The stunts are fantastic and some of comedy set pieces are genius (such as the boys pulling the chewing gum from a guy’s head which sends him flying across a shop). Our three leads are likable and relatable, whilst the growing enemy is not some witty jackass in a bug suit, but their own likely demise at the hands of their growing responsibility.

Amistad (1997)

Steven Spielberg’s emphatic historical drama.

Set during pre-abolition America, Amistad is the name of a slave ship which becomes the centre of a defining moment in history.

On its way to Spain carrying a boat load of African slaves, the Amistad is taken over by the slaves, who violently overthrow their oppressors, and seek to return to their homeland. However, the ship is discovered by an American boat, who bring the Amistad back with them. Once back in America, a trial quickly turns to chaos as rivalling concerns fight for the rights to the slaves and the boat, all with compelling cases. What ensues is a moral and physical battle which not only concerns the freedom of these slaves, but also the future for America.

Riveting and gut-wrenching, Spielberg tackles the complex issues at work here with a superb genius. Delicately outlining the themes, whilst letting the characters embrace the battle, allowing the audience to be sucked into the drama without it feeling like a History Channel documentary. The cast of African slaves work well to portray the demeaning horrors of racial inequality, whilst offering a shining example of humanity in places.

Moments on the slave ship are pure horror, even to this weathered reviewer, whereby the cruelty inflicted upon these African captives seems unimaginable.

If you like compelling dramas with historical significance, Amistad will give you this in abundance, whilst offering up some great performances from the likes of Morgan Freeman, Anthony Hopkins and Matthew McConaughey.

Vicky Cristina Barcelona (2008)

Woody Allen’s sizzling Euro-romp

The film’s title suggests an American girls go wild in Europe, with plenty of romantic-comedy trimmings, however, Vicky Cristina Barcelona is actually director Woody Allen’s intriguing comedy/drama about two friends vacationing in Spain, who fall into a complex relationship with a local artist (and his volatile ex-wife).

The two leads are played by Rebecca Hall and Scarlet Johansson respectively, whilst Javier Bardem (in a distinctly different role to No Country For Old Men) plays the bohemian Spanish artist Juan, whose predilection for casual sex sees him in stark contrast to our American girls. Penelope Cruz, in an outstanding performance, plays Juan’s ex Maria Elena.

Vicky is a well organised scholar, using the summer to study in Spain, whilst engaged to her successful fiancé back in the U.S. Her structured life soon comes into question though, after a romantic dalliance with Juan. Meanwhile, Cristina, looking for some direction in life, falls quickly under Juan’s charms and seeks to becomes his lover, only to find herself caught in between Juan and Maria Elena’s electric arguments.

Picturesque and sexy, Allen delivers a stylishly artistic movie, with some great moments of comedy and romance. The performances are all decent, and Cruz is phenomenal as we see her mixing Spanish and English dialogue with immense pace, and the cast work well as an ensemble. Where the film falls down, however, is the sheer lack of point. By the end, nothing is solved, no issues have been explored, and the problems we see at the beginning are still painfully obvious by the end.

Alongside this, Allen’s choice to use a narrator, in the form of a flowery script read by Christopher Evan Welch, detracts from the film’s flow, pointing out the obvious twists and turns in the characters’ development with an irritating effect.

Worth watching for its sizzling heat and strong female leads (oh and there is the possibility of a threesome), but be warned the film will not offer you any life guidance, unless you are planning on becoming a sex-crazed Euro-artist.