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.

Hugo (2011)

Scorsese’s triumphant family film that reinvents the technical abilities of movies, and rediscovers our passion for them. Set almost entirely in a bustling train station, Hugo (Asa Butterfield) lives within the space above the platforms, anonymous amongst the commuters, and, mostly, hidden from the staff. Having been abandoned by his carer uncle for some time, Hugo looks after the station’s massive clock, making sure that it continues to run on time, whilst scavenging for food amongst the shops. Aside from surviving in the station, the boy is also attempting to fix an automaton, left to him by his deceased father, which Hugo hopes will contain a message for him. During his day to day activities, Hugo eventually catches the attention of several people. Firstly, a toy shop owner (Ben Kingsley), who catches Hugo stealing, and forces him to work in order to pay off his debt. Secondly, a girl called Isabelle (Chloé Moretz), who is the granddaughter of the toy shop owner, and who befriends Hugo, and joins him on his quest to find the secret behind the automaton. Lastly, Hugo catches the attention of the Station’s inspector (Sacha Baron Cohen), who is determined to rid the station of loitering, thieving kids. A sentimental film, and one that not only dwells in the thoughtful story, but utterly submerges itself. There is no urgency within the plot to move on, no demanding factor driving the characters towards an immediate conclusion, which is, strangely, a refreshing approach to filmmaking. Scorsese, best known for gangster flicks like Goodfellas (1990) or Casino (1995), brings to this film a complete devotion to the nature of film. As the movie moves towards its second half, the plot even contains some of the earliest moments of cinema, adding to the sense of wonderment and dream-like qualities of film. Cinematically, this film is untouchable. The aesthetics are superb, amazing use of colour and locations, and some of the sequences are masterful in their execution. One small criticism is the plot in the first half of the film, which seems to meander aimlessly for a while, which made it hard to get into. But, being a Scorsese film, it is definitely worth watching.

50/50 (2011)

Unusually pathos-filled for a film starring Seth Rogen, and more drama than comedy, this based-on-a-true-story of a guy struggling with a rare form of spinal cancer is a depress-fest worth watching. Joseph Gordon-Levitt plays the lead character of Adam, who discovers he has the aforementioned affliction, and has his life turn to mayhem, as he tries to cope and beat this illness, which online guesses say his chances are about half (hence the title). Adam’s best friend Kyle (Rogen), tries to help his buddy by getting him drunk, stoned, and laid, in the typically foul-mouthed Rogen style. Kyle’s attempts prove a lesser evil than Adam’s girlfriend’s, who struggles to support Adam, and causes him more pain. Alongside this, Adam also finds it difficult to rely on his nonsensical father, and interfering mother, so finds himself very much alone. However, through the misery and anguish, Adam journeys through the stages of grief with good-mannered quietness, whilst finding solace on the chair of his counsellor and with his co-cancer-sufferers. A very touching and sensitive film, Gordon-Levitt delivers a knockout performance, bringing a brilliant character to life, during this mortality-questioning event. Rogen, as mentioned, is his usual crude self, although his connection to the film’s true events, gives a sense of authenticity which is important. Anna Kendrick (ex-Twilight), gives a very decent performance as the councillor, whose awkward moments in her own lack of confidence give the movie a much needed levity. Arguably, the film fails to delve deep enough into the subject matter, preferring to stay on the peripheral instead, and the jokes fail to lighten the mood in places, leaving the film mostly a drama. However, it must be commended for trying to make a mainstream film about cancer, and the performances do the movie justice.

The Adventures of Tintin: The Secret of the Unicorn (2011)

Mind-blowing animation from Steven Spielberg, in this film adaptation of Tintin, the boy detective.

Based on the original comic series, Tintin (Jamie Bell) is a boy with a spiky ginger fringe, a magnifying glass, and a helpful pet dog called Snowy. Tintin also has an unquenchable thirst for mystery, and this film sees him caught up in a maritime caper involving armed baddies, buried treasure, and a drunken sea Captain (voiced by Andy Serkis).

Using motion capture technology, Spielberg has managed to bridge the gap even closer between real-life actors, and their animated counterparts. The animation in this film is nothing short of astounding, and the effect is at the same time smooth, and bursting with tiny details. Add to this some brilliantly imaginative chase scenes and action sequences, and you should have had an untouchable family film, beating off any competition.

Sadly for Tintin though, the bewildering story and frenetic pace seems to have left viewers unimpressed by the inquisitive little fellow. Moving at what seems like a thousand miles a minute, the story whooshes from location to location, without a moments breath, and the plot becomes increasingly complicated and longwinded, that the movie seems exhausting rather than entertaining.

Beautiful to watch, just maybe down a few Red Bulls before you do.

Kung Fu Panda 2 (2011)

Dreamworks are back with another instalment of the fierce fighting panda Po (voiced by Jack Black), who, along with his merry band of celebrity-voiced fighter-friends, go up against their biggest enemy yet…a peacock.

Voiced by the brilliant Gary Oldman, Shen is a fabled peacock in China, whose nobility and great power saw him attempt to rule the land. Banished for years, Shen comes back with a massive grudge, and some impressive firepower, in order to reclaim his place, and blow his enemies to pieces. Po and his team must travel to the city of Shen’s defiance, and defeat him before the peacock and his weapons become too powerful.

A wonderfully made film. With the same charm and appeal that Dreamworks applies to all their movies (see Shrek), the KFP series is just as funny, entertaining, and beautiful to watch. The inspired animation, which combines authentic Eastern influences, with Western slapstick, is entrancing. From start to finish, these guys never let the standards slip, and every ass-kicking moment is vivid, fluid and awesome.

Usually in big-budget animated films, the celebrity voices overshadow the action and characters, but not here. Only Black really stands out as himself, but his lovable buffoonery will win over most viewers.

The story, in my opinion, is better than the first, bringing an exciting adventure to the front, with some very engaging themes lurking just behind. Shen’s use of weapons on an unsophisticated people, raises some troubling issues about the development of war and combat, and Po’s personal development during the film in terms of his background, makes for a deeper experience.

Authentically funny, and beautifully made, this is a great animated movie, and rivals any of the other big names out there.

Sleeping Beauty (2011)

The story of a woman who begins working as the voyeuristic fantasy for a bizarre group of aging and damaged men.

Emily Browning plays Lucy, aka the “Sleeping Beauty”, a student who earns money in any way she can find, regardless of the dangers or ethics involved. She toils menial jobs like waiting tables, and participates in science experiments at her school in order to make cash. Lucy also attempts to sleep with richer men to get ahead.

One day, she is accepted for a job working for a “silver service” company, with a twist. The company provide erotic, and fantasy-styled dinner parties for an elite group of upper class men and women. Lucy, along with some S&M clad cohorts, wait on their tables dressed in revealing outfits chosen for them. This job soon escalates into the role of the Sleeping Beauty, which sees Lucy willingly enter a drug-induced sleep, whilst a man uses her still form for his own desires. Obviously, most of her clients are damaged or broken, emotionally and/or physically, so these intimate moments are of the highest secrecy.

Lucy spirals into this world of unknown (to her at least) voyeurism and dark sexual fantasy, a world that continues to escalate throughout.

This film is the perfect example of a great idea spoiled. The plot is extremely fascinating, on paper, and the darker elements would make for a brilliant psychological thriller. Sadly though, director Julia Leigh opts for a more artistic endeavour, that sees the movie take on a sluggish pace, and bewildering editing. Browning does an amiable job as Lucy, but her performance lacks a lot of personal development, and audiences will fail to warm to her character‘s plight.

Music is almost completely absent from this film, making the atmosphere cold and unwelcoming, which, coupled with the subject matter, makes for an uncomfortable viewing experience altogether. The moments which are the most fascinating are those during which Lucy is used by these aging men, but they are too few, and Leigh seems unwilling to dwell on them for fear of alienating the audience. Furthermore, the film builds up too much back story on Lucy, without giving anywhere near enough fallout from what she goes through, ending with a climactic scene that should have been explained.

The film feels like a feeble and cowardly take on what could have been a dynamic and effective story.

Bronson (2008)

A film about a violent prisoner, who spends most of his adult life in solitary confinement, where he looses himself to the alter ego he created, called Charles Bronson.

Based on a true story, Tom Hardy plays the lead character Michael Peterson (aka Bronson), and gives a sensational performance. Few actors have given such credible performances in recent years, and the man is set to continue to turn heads with his upcoming role Bane in the final Nolan film. His emotional and physical delivery in this film is immense, and he should be applauded for giving, literally, so much of himself to it.

The film takes on a violent/comedic approach - showing Bronson’s brutal tendencies with a light-hearted narration from Hardy, and the use of classical music further adds to the humour. This technique, whilst massively entertaining at the outset, becomes a little tired towards the middle section , and it is only the tragic outcome of Bronson which saves the film from being boring. The repetition of Bronson’s life (going in and out of prisons and starting fights), makes the story too familiar, and we are given little in the way of explanation or development.

Positively, the film has a witty script that brings out the terrifying ludicrousness of Bronson’s behaviour, and the detached nature of his personality. Also, the film uses some great filming techniques to represent Michael’s transformation into Charlie, which elevates the film above the standard.

Violently hilarious for the most part, and definitely worth watching if, like me, you are a Tom Hardy fan.

The Graduate (1967)

Dustin Hoffman plays an aimless college graduate, whose successes so far in life have caused him to lose direction. He finds himself caught in an affair with an older, married woman, only to fall in love with her daughter.

With the unforgettable soundtrack performed by Simon and Garfunkel, The Graduate is a brilliant comedy, with superb sixties touches. The movie shows elongated scenes of Hoffman’s character ambling through his days, as he tries to focus, but lacks the motivation. Until he finds excitement and danger, in the form of Anne Bancroft, who plays Mrs Robinson. Her lonely housewife routine is full of promiscuity and elegance, and the poor boy becomes trapped like a bug inside a glass.

Patient and witty, the film contains none of the queasiness that some dated sixties films have, and instead remains a relevant and entertaining watch.

Thematically, the film discusses some important issues about the purpose of adult life, and the complexities of growing up. Hoffman’s journey through the film is typical of the coming-of-age story, but his delivery and performance make it seem very original, and compelling.

A great movie, and another one ticked off my must-see list.

Aliens (1986)

James Cameron’s epic sequel to the sci-fi classic Alien.

Sigourney Weaver returns to her role as Ellen Ripley, who begins the film by awakening from a fifty-seven year sleep, after her last encounter on a planet where her crew were viciously attacked by an alien creature, and only she made it our alive. Drifting through space in her dream-state, her ship is found by a salvage team, who bring her home, where she finds life has gone on without her.

Ripley discovers that the planet of her previous mission has been colonized, and that they found no dangerous creatures there. However, it soon emerges that contact with the colony has been lost, and therefore Ripley, along with a new crew, must journey to the planet to investigate. This time, the crew bring immense weapons in order to prepare for any kind of encounter.

An extremely entertaining sequel, Aliens is a brilliant example of what a science fiction film should be like. The atmosphere is intense throughout, with claustrophobic scenes of journeying through a derelict power plant, and the suspense is brilliantly built up into gratuitous, messy fighting scenes, where the crew use all the weapons at their disposal in order to combat the nest of aliens. Thematically, Cameron highlights some interesting notions of motherhood, and the protector instinct, but these are fleeting enough to be enjoyable, rather than syrupy.

Cameron uses some excellent techniques in bringing the creatures to life, methods that still hold up today. Some of the animatronics do seem a little silly, but make the film seen appealing, rather than dated. Weaver’s performance is impressive, shining in her role as the worried yet resourceful lead character, whose relationship with the small girl found on the colony makes for a very interesting side-plot.

Arguably better than the first film of the franchise, I would rate Aliens up there as one of the best sci-fi films ever made.