Brothers (2009)

A soldier serving during the war in Afghanistan is taken hostage and presumed dead by his family, leaving his inept brother to look after them.

Starring Jake Gyllenhaal as Tommy, an ex-con who can’t seem to find a path in life, and Toby Maguire as Sam, a successful marine for the U.S. Army with a loving wife (Natalie Portman) and two daughters. The two brothers have a close bond, Sam being Tommy’s only true friend, and trying to steer him in the right direction in life. Having grown up with a father who served during the Vietnam war, the two brothers turned out very differently, but were affected significantly by the man’s harsh treatment.

When Sam’s wife Grace is told of her husband’s helicopter crash in the mountains of Afghanistan, she becomes desperately upset. Tommy soon steps up as the responsible uncle, and slowly fills the void that his brother has left, and takes care of Grace and the kids. At first his role is simply functional, helping to fix up the dilapidated kitchen, taking the kids ice skating, but, after a few months, Tommy and Grace begin to become closer and have confusing feelings about each other.

Meanwhile, we see Sam imprisoned in an insurgent camp in the mountains with a fellow soldier. His treatment is horrific, being left to starve for days, and forced to tell information. On one terrible occasion he is asked to commit a terrible deed, which will change his entire nature.

It is a powerful film, with brilliant performances. Gyllenhaal delivers as Tommy, portraying the bursts of anger with subtle humanity and charm. Portman is great as the devastated Grace, her reaction to the situation is very sad and effective. However, the most impressive performance is Maguire as Sam. The evolution of this character is so gripping to watch and disturbing in places, and Maguire tackles the role with amazing confidence.

The themes of the film are very engaging, such as the effect of modern war on soldiers; how they are sometimes unable to relate to their loved ones once they return home, and how the battlefield becomes their home. Also, the tragedy of the relationship which builds between Tommy and Grace is touching at points, but also uncomfortable to watch in places. There is almost a guilty pleasure in seeing them happy together.

Watch this film if you like great performances, gripping drama, and an unusual story.

Wall Street: Money Never Sleep (2010)

A sequel to the 1987 original, Wall Street: Money Never Sleeps is a modern Oliver Stone film that fails to deliver the goods.

Gordon Gekko (Michael Douglas), is fresh out of prison, having been sent there at the end of the first film for insider trading and other financial misbehaviour, and is now looking to rebuild his fortune. He writes a book about his experiences, called “Is Greed Good?”, a play on words from his famous line in the first film, and when he is touring the book at a college he is approached by a boy called Jacob (Shia LaBouef). Jake, a young Wall Street mogul himself, is currently dating Gordon’s estranged daughter Winnie (Carey Mulligan), and wants to reunite the two, whilst gaining useful advice about the stock markets from this legend.

Gekko and Jacob also join forces in bringing down a new foe in the world of trading, a man responsible for many atrocities in the financial world. But, as Jacob is soon to find out, nothing is black and white in the world of numbers, and in this modern age of recession and global economies, the real winners are those who survive.

From legendary director Oliver Stone, this film is a disappointment. Right from the start the characters speak in complex bank manager jargon about all kinds of financial trickery that you cannot understand, and only get the general gist. The characters are very un-likeable, apart from Winnie, whose angelic rejection of cash and greed is her central theme. The lives of these characters are un-relatable, they spend their days buying, selling, gaining cash from across the world, playing with figures that seem unimaginable to our humble eyes, and their reckless attitude towards anything important seems unrealistic.

Stone does make some relevant comments about our current economic situation, with regards to irresponsible banking, a fundamentally flawed way of life, and so much power in the hands of so few. But, alas, these social commentaries are nothing more than you would read in the daily newspaper, and that wouldn’t take you over two hours to find out. The film also tips the hat too many times at the first film, with a small cameo for Charlie Sheen out of nowhere! Not Winning.

Some of the stylistic camera work is impressive, and there are subtle choices that have been made to make the film feel very modern, but, altogether, the film seems to be trying to make a point we already know very well…we are all greedy, and does so in a lengthy, confusing and un-entertaining way.

Dances With Wolves (1990)

A lieutenant serving during the American Civil War, is posted at a remote and isolated location, with only Native Americans and a curious wolf for company.

Kevin Costner plays Lt John Dunbar, an established military soldier, who earns a reputation for himself during a fierce stand-off between the Union and the Confederacy forces. Wishing to see the frontier before is disappears, Dunbar requests to be sent right into the thick of Indian territory, where he can best serve his nation. However, once he arrives at the empty post, he soon realises that there is little to do, except protect the rations from local Indians, maintain the near-derelict barracks, and play with an inquisitive wolf.

However, as the Indians become curious about this lone white man sitting in the middle of their land, their interaction becomes more and more pronounced. At first wary of Dunbar, they soon form an amicable relationship, and begin trading customs and information with each other. John soon realises that the myths and legends of these people have been terribly distorted, and finds a welcoming community which he soon becomes an important part of. He forms an intimate relationship with one of the members, a white woman who was rescued by the Indians early in her life, called Stands With A Fist (Mary McDonnell).

Life amongst the Indians, while enjoyable, is also considered completely traitorous in the eyes of the United States army. So while Dunbar helps his new friends fight against local enemy tribes, he must also try to protect them, and himself, from the pursuing forces of Uncle Sam.

An enjoyable film, it displays a sentimental and romantic vision of life on the frontier. Costner, for the most part, is an engaging and interesting central character, although his voice over narrative sounds almost childlike, and gets a bit annoying. The action/fight scenes are well produced, in a time before CGI dominance, these stunts have the reality factor which appeals to many viewers.

At times, the film is too sentimental, and seems more like a guilty response to what can only be describes as an awful period in history. The battle between these different races was bloody, and the effects were irreversible. However, it is a good thing that films like this wet people’s appetites for history, and will inevitably make some read up on it.

In conclusion, a worthy film, it has the fulfilling ability to include romance, action, history and drama, and, although slightly too long, it is a film people will revisit for good reasons.

No: 2 from my list…DONE

We Need To Talk About Kevin (2011)

Shrouded in anticipation, and laden with expectations, director Lynne Ramsay’s film adaptation of the popular novel “We Need To Talk About Kevin”, is one of the most exciting cinematic releases of 2011. The film has been nominated for the prestigious Palme d’Or award at this year’s Cannes Film Festival, and is set to be a popular choice amongst next year’s award shows.
Starring the resplendently talented Tilda Swinton as the story’s central character Eva, the film also boasts an impressive supporting cast: including John C. Reilly as Eva’s husband Franklin, and the promising Ezra Miller as the abominable son Kevin. Adapted from Lionel Shriver’s bestselling novel, it was obvious from the start that Ramsay and her crew would have a tough challenge ahead of them, delivering a film that would inevitably face harsh critical scrutiny, and audiences seem nervously eager to see if they rose to the occasion.
The story of “We Need To Talk About Kevin” is a non-linear thriller, presented as an account from Eva about her experiences raising her murderously troublesome son Kevin. It is set after a high school tragedy, in which Kevin kills several of his peers with a bow and arrow, as well as his father Franklin and sister Lucy. We can ascertain from Eva’s story that she and Kevin never developed a close maternal bond, in fact, their relationship seems more of a battle for dominance. On most occasions Kevin completely defies the wishes of his mother, even from a young age, choosing to upset and terrorize her, whilst pretending to his father Franklin that he is a happy and obedient child.
As Eva struggles with her agonized emotions over the reality of her motherhood, her relationship with Franklin also deteriorates. Blindly fantasising that he has the perfect family, Franklin cannot accept that his son is a disturbed and violent child, instead accusing Eva of blaming her troubles on their innocent son.
Throughout the film, Kevin’s actions become increasingly extreme. At first his persecution of his mother is relatively insipid, such as refusing to roll a ball back to her, or squirting paint over her prized maps of the world. However, as Kevin grows older, and progressively more volatile towards the world, his behaviour towards his mother becomes even more intense and hate filled.
Lynne Ramsay has captured the extraordinarily terrifying atmosphere of this story incredibly. Her depiction of Kevin as this malevolent, monster child is done through a wonderful mix of scary close-ups of Miller’s unresponsive face, with achingly long sequences of Eva’s despair. Rather than try to glorify and understand Kevin’s unnatural hatred, it is left as an unexplored force that permeates the whole movie.
Swinton’s performance is breathtakingly painful to watch, and beautiful at the same time. Her anguish, internal and external, is possibly the most compelling aspect of the film. And Ezra Miller is truly magnificent, he plays Kevin in a darkly graceful way, that is gripping throughout.
In terms of the directorial choices, the film displays some brilliant moments using sound and colour. Radiohead’s Johnny Greenwood provides the original music for the movie, which, at times, is both disturbing and moving. Sound is used to bludgeon the audience, at one point combining the endless crying of Kevin as a baby, with the harsh tones of a pneumatic drill. Although, it was the use of retro pop songs that provided the more disturbing moments in the film, such as “Everyday” by Buddy Holly, a pure, melodious pop track that seemed to magnify the cruel nature of Kevin.
Ramsay uses colour to great affect too, utilizing splashes of red throughout the film: such as the paint in Kevin’s squirt gun that he uses to ruin Eva’s maps, or the red paint bomb that has been thrown against their house after the high school shooting. Its affect on the audience is to evoke feelings of hatred and alarm at Kevin’s character, and to illustrate the constant fight going on between him and Eva.
The themes of the story are very poignant, exploring the usually natural bond between a mother and son in a very unnatural way. Instead of blaming Kevin or Eva explicitly, the audience is left to determine why this relationship has developed so terribly. Questions are raised about Eva’s response to becoming a mother, as well as the arguments for nature vs. nurture. Furthermore, the film asks what the limits of blood and love are, how far one would go to stand by your kin, something else that is related to the use of red colour.
Far removed from the typical releases that have bombarded our screens this year, “We Need To Talk About Kevin” is an intelligent film that is entertainingly difficult to watch. It is gripping in terms of performance, all three of the leading players providing amazing portrayals of these complex characters, the script is reluctant to add any unnecessary bulk, and the overall effect of Ramsay’s direction is brilliantly dark, moving, and captivating.

The Three Musketeers (2011)

Another rendition of the Musketeers story, with explosive action and special effects.

Set during relatively peaceful times in France, the three Musketeers, Athos, Porthos, and Aramis are left feeling redundant, with no cause to join or enemy to fight. However, when they run into a young D’Artagnan, the group soon find a new mission, to uncover a conspiracy which involves Milady De Winter, a rebellious woman whom the Musketeers have encountered before, and a cocky Duke of Buckingham.

With a plot to lead France to war with Britain, the four Musketeers must work undercover to undo Milady’s treacherous plan, and avoid bloodshed, whilst avoiding the foes in France who also plot against the Musketeers.

The film is an entertaining action film, with plenty of stunts and fight scenes. The choreography of the fighting is excellent, making for some gripping moments of stylised combat. Performances are less than impressive though, with plenty of cheesy lines and awkward heroism.

Some of the action sequences borrow a lot from modern movies, in particular the slowed-down-then-sped-up technique so obviously taken from 300. However, these are still the most entertaining parts of the movie, with impressive numbers of henchmen flocking the scene to be ass-whipped by these sword flailing champions.

The film offers nothing new to the endless story of the Musketeers, but rather follows happily in the tradition of costume-period tomfoolery.

Rango (2011)

A chameleon, lost in the desert, becomes the sheriff of a small town of animals called Dirt, by pretending to be the hero they need.

Voiced by Johnny Depp, Rango is a simple house pet who gets accidentally thrown from his protective environment, into the harsh conditions of the scorching desert. In his quest to find water, he happens upon an unusual acquaintance called Beans, who shows him to her town of Dirt. When Rango arrives, he is terrified by the lawless inhabitants, but manages to concoct a wild fantasy about being a heroic gunslinger, which wins the respect of most of the townspeople. The mayor, seeing a new hero in Rango, makes him the sheriff.

However, disaster strikes when the town’s pitiful water supply is stolen, leaving them stranded in the hot sun. Now, Rango must round up a posse from the town and find the water, becoming the hero that he is pretending to be.

A marvellous animated film, Rango is brilliant for several reasons. First of all, the detail in the animation is stunning, some of the sequences are quite moving, whilst the colours and variety of action sequences were skilfully executed. Secondly, the moments of slapstick comedy which pervade the film are hilariously timed, giving the film a wide appeal. And, thirdly, the pace is well structured so that, at no point, was I wishing it along, which can happen a lot in family-oriented films.

The character of Rango is a complex and intriguing one. His ability to change colour according to his situation/surroundings seems to reflect his lack of identity. Before the desert, he had only the company of plastic toys who didn’t respond. However, through his epic adventure, he learns just what sort of chameleon he is. Johnny Depp was an interesting choice to do the voice, adding a certain level of expectation to the film. At points his voice seems unmatched to the character, standing out as Johnny not Rango. However, for the most part, Depp provides a wonderful mix of high/low tones, panic and confidence.

Watch this if you like comedy animated films, like Ice Age or Toy Story.

Brilliant.

Water For Elephants (2011)

A young student uses his veterinary abilities to gain a place in a travelling circus during the Great Depression.

Jacob Jankowski (Robert Pattinson) was a promising student at the prestigious American college Cornell studying to be a vet, until his parents were killed in a car crash, and left him homeless with no money. During a long walk to the city looking for work, Jacob jumps on a passing train, only to discover it is a travelling circus. A gruelling and harsh workplace, Jacob must provide a useful service in order to attain a job (a hotly desired item during this period), and so uses his abilities with animals to help the circus.

The circus’ star attraction is the dazzling Marlene (Reese Witherspoon), whom Jacob quickly develops a crush on. Unfortunately for Jacob, Marlene is the wife to the circus’ violently quirky master of ceremonies August (Christopher Waltz), whose fierce temper and desperate attempts to avoid bankruptcy make him a dangerous man.

As their show slumps from town to town looking for paying visitors, August realises he needs another big thing to attract audiences, and buys an elephant called Rosie. His wife Marlene will ride her in the show, and Jacob will train/aid her offstage, putting the two in close quarters.

Picturesque throughout, Water For Elephants manages to create a very contrasting picture of 1931 America. The vibrant lifestyle of these circus performers is represented in the colourful images of them enjoying life on the road, laughing together, and having raucous fun drinking whisky. But, the drudgery of the Depression era seeps in through the uncertainty on their faces during their performances, and their constant fear at how August will react next. It is a lovely film to watch for its authenticity and dark splendour.

Pattinson, eager to shed his Twilight-Saga stamp, plays quite a likeable and funny character: Jacob is endearing, smart, and passionate whilst enjoying some of the lighter side of depression life. Witherspoon elevates the film somewhat, adding a great deal of complexity and anguish to her troubled character. It must be said though, that the show was stolen by Waltz, whose portrayal of the evil, yet understandably angry, August, makes for a tense viewing.

An unusual tale of circus life in the thirties, it is a film to watch for the dramatic appeal, and visual authenticity.

Forgetting Sarah Marshall (2008)

Jason Segel writes and stars in this hilarious break-up comedy, with Mila Kunis, Kristen Bell, Paul Rudd, and Russell Brand.

Peter (Segel) is unceremoniously dumped by his actress girlfriend Sarah Marshall (Bell), after she reveals that she is with another man, a free-loving modern hippy rocker (Brand). So Peter goes off to Hawaii in order to lick his wounds. Unfortunately, once he arrives, he discovers Sarah and her new partner are staying in the same hotel, making Peter’s recovery from their long-term relationship extremely difficult. He sees them in the lusty hunger of new love, and rather than trying to move on, ends up wallowing in despair and crying unendingly.

Until, that is, Peter gains the attention of the hotel receptionist Rachel (Kunis), and the two enjoy a holiday romance that competes with Sarah Marshall and her rocker. As the two relationships become entwined within this beautiful location, heartbreak and hilarity ensue.

Continuing in the footsteps of a lot of Hollywood comedies recently, the makers have taken what is quite a simple story, put it in some exotic location and hoped to disguise it as something new. However, while the premise is redundant, the writing shines through. Segel, a promising comedy actor, has managed to capture many of the uglier truths about breaking up within his writing, making the film seem more human and less superficial. His character’s reaction to the whole event is very un-heroic, yet lovable, making him a perfect leading role.

The script is very funny in places, although tragically clichéd in others. Some of the subplots involving other characters on the island seem trivial and go unexplored.

Overall, though, the film had laugh out loud moments, an enigmatic leading actor, and even Russell Brand manages to impress with his lazy British accent and loose ideals.

The Next Three Days (2010)

Distraught husband Russell Crowe plans to extricate his wrongly convicted wife from a high security prison.

Lara Brennan (Elizabeth Banks) is convicted of killing her boss in a car park, as her fingerprints were on the murder weapon and she was seen leaving the scene of the crime after having a row with said boss. Her partner John (Crowe) and their son Luke are left to fend for themselves, but as her time in incarceration begins to take a toll of Lara’s life, John begins planning a complex jailbreak in order for them to be together again.

After gaining some tips from a multiple escapee, played by Liam Neeson, John must fine tune his plan in order to avoid the plan failing, and the two ending up dead.

An intense film, one that captures the ordinariness of the character of John really well. Instead of having some meathead hero who knows how to hotwire cars and recover from bullet wounds, John is just a simple teacher, who has to research every part of his plan thoroughly, and makes plenty of mistakes along the way. His determination to free his wife takes him on a tough journey, and he must face some difficult questions, such as: is his wife actually innocent? And is he prepared to lose everything in order for them to be together again?

Possibly slightly on the long side, the film runs over two hours when it doesn’t need to, but the majority of it is quite thrilling. Good performances from Crowe, Banks, and Olivia Wilde, this is an enjoyable action thriller.

The Joneses (2009)

Keeping up with the Joneses can be tough on white collar America!

When a new family move into a wealthy, white-picket suburb, their lives seem to be picture perfect to their unsuspecting neighbours. However, these Joneses have a secret. They are not a family at all, rather four individual salespeople grouped together in a “unit”, in order to infiltrate rich neighbourhoods and promote the latest goods in fashion, technology, and other businesses, to make massive sales. Their job is to pretend to have the perfect lifestyle, with plenty of success, whilst wearing certain clothes, using certain gadgets, and attending certain parties. Their progress is monitored by how much influence they have in making those around them buy the products.

As the “Joneses” become hugely successful amongst this new town, they begin to question the morality and ethics of their employment, as well as try to figure out what kind of relationship they have with each other, and what they want from life.

The Joneses is an entertaining film for a couple of reasons. First of all, the lead character of Steve Jones (David Duchovny), whose newbie attitude to this role of secret salesman makes for a brilliant evolution during the film, giving us some great comedy moments, as well as poignancy. Second of all, is the dynamic between him, and his fake wife Kate (Demi Moore). Their relationship is quite complex, as Kate is in fact the overall head of their unit, as well as a competitive saleswoman. Steve becomes confused about his feelings for Kate, as they begin to develop a form of intimacy that seems alien to both of them.

While the idea for the film was good, and it was an entertaining watch, it must be said that this film is confounding. On the one hand the makers make some very obvious comments about consumerism and capitalism, whilst working with a foundation that is essentially very superficial. Images of luxurious houses, fancy sports cars, and awesome golfing gear make up a significant part of this movie - it almost seems like an extended version of MTV Cribs!

This being said, the film contains a couple of dark moments that help its cause, and the central “family” dynamic makes for an interesting watch.