Brave (2012)

Pixar’s Plucky Princess

Now that the novelty of animated mega-busters has worn off, animation studios are having to find new ways to charm audiences back into the cinemas. Without remaking a classic family hit (like Toy Story or Monsters Inc), they seem to be on nervous ground when it comes to a new adventure. However, Brave is a beautifully crafted, brilliantly formed movie that recaptures the essence of animated films, and brings a much needed sense of vitality.

Set in the sprightly highlands of Scotland, a royal family looses their land to chaos when their princess daughter decides to throw tradition into the wind by not marrying a suitor of their choosing. Merida (voiced by Kelly Macdonald) is a feisty tomboy with flaming red hair, who would rather be out shooting a bow and arrow, than acting princess-like. However, after spurning her family and running off into the forest, she encounters a witch who grants Merida wish - which turns out to be a curse.

Brave’s charm lies in its authentic take on this picturesque, Scottish landscape, with sweeping coverage of the rolling hills, and the rousing music adding depth to the storyline. Voices are from genuine Scots (no Shrek’s here), and seem to have a genuine chemistry during the film. Macdonald is joined by the likes of Billy Connolly, Emma Thompson, Julie Walters, and Robbie Coltraine, all of whom deliver great enthusiasm to their eclectic characters.

Up there with the best of Pixar’s productions, Brave is a wonderful addition to the animated success stories.

The Raid (2012)

Snap, Crackle, and Pop

Pegged as one of the best action movies in decades, The Raid is an intensely gripping hand-to-hand combat film with teeth-clenching fight scenes and an unrelenting stamina.

The plot is brilliantly simple - a SWAT team enter a multi-storey tenement building, which is the base for a dangerous crime lord, in an attempt to bring him down. Once inside though, the cops are ambushed by the hordes of criminals who inhabit the building, and find themselves in a war zone as they attempt to continue their mission/get out alive.

Fans of action movies need to see this film to see what kind of calibre is still being made. Yes, the film is in Indonesian (with English subtitles), but this only adds gravitas to the effect. The choreography is out of this world, seamlessly moving between struggles between cops and baddies without the usual endless cuts, and the brutal nature of the fighting will unnerve even the most seasoned action aficionado.

Character development is only briefly hinted at, which, instead of leaving the film feeling shallow, gives the atmosphere fear a more deadly effect.

As far as world cinema goes, this is an outstanding achievement. A film that manages not only to survive amongst the already brimming genre, but raises the standard across the board.

The Labyrinth (1986)

Who knew Bowie could be so evil?

A true eighties fantasy, starring David Bowie and Jennifer Connelly about a magical world of Goblins, mazes, and some eerie crystal balls.

Fifteen-year-old Sarah (Connelly) finds herself thrown into an extraordinary and perilous world after wishing her baby brother away, when he won’t stop crying. Cast into the world of the Goblins, she must find a way through the evil king’s labyrinth within thirteen hours, otherwise her baby brother will be turned into a Goblin himself.

A children’s film at heart, there is a nostalgic quality to a film like this that will appeal to viewers of all ages. The effort that went into to building these epic sets, and the wondrous make-up effects used on all the different inhabitants of this world, is astounding, and the result still holds up today.

Of course, there are the inevitable elements of the film which have not dated so well - such as Bowie breaking into song, or the clumsy narrative which becomes tiring as the movie progresses. But, overall, these factors can easily be looked over if you get yourself into the spirit of this fantastical storytelling, and just enjoy the pure imagination on show.

For the child within, who never gave up believing.

Friends With Kids (2011)

Friends without benefits

From the makers of Bridesmaids (2011), comes this Rom-Com about two friends who decide to raise a child together - without any of the romantic complications.

Jennifer Westfeldt and Adam Scott play Julie and Jason, two BFFs, whose search for the right partner has yielded little so far in their lives. Having both decided they want kids, at some point in their life, and tired of watching all of their coupled friends fawn over their offspring, the two thirty-something urban professionals, decide to have one together, and have joint custody whilst they both search for their perfect partner. Sound strange?

What ensues is a slightly predictable, yet emotionally charged story about two people finding what they want in life. Padded with the differing experiences of the couples around them: from the married pair who are always moaning but love their kids dearly, to the couple who used to enjoy a fully active sex life, and now seem to have nothing to say to each other.

Despite a somewhat flimsy foundation, Friends With Kids benefits from a great cast of funny people, who swarm around plenty of adulthood-related topics with sharp tongues and a proclivity to embarrass themselves (such as Scott being literally rained upon with his son’s faeces).

The Martins (2001)

That’s when good neighbours, become good Fiends.

Lee Evans and Kathy Burke star in this British black comedy about a family-from-hell, whose dad goes on a crime-spree in order to give them the holiday of a lifetime.

Evans plays Robert (the aforementioned dad), whose life on benefits starts to become less than bearable, after he loses a newspaper competition to win the holiday of a lifetime. In reaction, Robert first attacks the newspaper’s yuppie editor, before crusading round the streets of urban England with a gun in his hand, threatening his way towards his prize.

Aside from the relentless use of curse words and the ridiculous storyline, The Martins is a charming story about the toils of reality. Robert’s struggle for success, while misdirected, is relatable for many viewers, and even though his family of lower-class miscreants may linger on the hopeless side of the tracks, they are still a nuclear family who love each other.

Evans gives a good comedy performance, translating some of his stand-up moves onto the silver screen, whilst Burke offers the film its most talented performer - regularly stealing scenes.

An interesting peak into the world of Jeremy-Kyle-type families, with a few laughs along the way.

Broken (2013)

The Trouble With Britain

Social dysfunction has long been on the tongue of politicians in the UK, arguing about issues concerning the youth of today - especially in light of the summer riots in 2011. Rufus Norris’ film, based on the novel by Daniel Clay, examines the heartbreaking tragedy the lies beneath the surface of British society, through the eyes of childhood.

Set in a small cul-de-sac in suburban England, our story is seen, largely, through the eyes of Skunk (Eloise Laurence), a young girl who lives with her solicitor father Archie (Tim Roth) and brother Jed (Bill Milner). Across the road from Skunk, live the Buckley family - a husband and wife, with their awkward son Rick. And across the road from the Buckley family live the Oswalds. There, the dad is called Bob (Rory Kinnear), and he lives with his three mouthy girls.

One day, Skunk witness Mr Oswald attack Rick outside the Buckley home, which we later learn is due to Mr Oswald being told by his daughter that she had slept with Rick (a lie the girl was forced into, after her dad found an empty condom packet). This sets off a chain of events between these three families that reveal the hardships of modern parenthood, as well as the daunting prospect of growing up in today’s Britain.

Norris utilizes staggered sequencing which allows moments in the film to be revisited from a different perspective - such as the attack on Rick which comes first, and then we see the events which caused it. This storytelling device is extremely effective as it allows a sense of evaluation to take place - we see the fallout before the cause, and how decisions can lead to such brutal consequences.

Essentially, Broken could stand for broken families - but that would ignore too much of the film’s larger themes, such as the broken communication between people in the street, or a broken sense of community. Bob Oswald, arguably the film’s villain, does not act out of evil or a sense of hatred - he is simply trying to do best by his girls. Similarly, when Rick’s father fails to confront his son’s attacker, he does so out of hoping to do best by his son.

These questions around the issues of parenting are what make the film a loud voice amongst the modern debates - asking the audience to find where they went wrong. The film also pits larger themes against each other, such as the innocence of youth versus the fragility of adulthood, and the idea of courage versus pragmatism.

A social drama with huge amounts of subtext, Broken is a standout British film. The performances are superb, the story is expertly interwoven, and Norris’ genius behind the camera make this one of the most intelligent and gripping films of the year.

The Artist (2011)

A silent victory

Much was said about The Artist, during the prolonged awards season where it reigned supreme, and scooped up five Oscars - including Best Picture. Critics lauded its modern take on the silent film, calling it a triumph and a true underdog story. But was it deserving of these accolades?

The story is about a prolific silent film star, called George Valentin (Jean Dujardin), whose unrivalled career in the movie business is set to come crashing down with the advent of the Talkies (films with sound). Set during the late Twenties, and early Thirties, during the onset of the Great Depression, we see the world around George change, as he remains a has-been, made all the more tragic by the meteoric rise by a girl called Peppy Miller (Bérénice Bejo). George had been Peppy’s introduction into the world of movies - gaining her access to a film set as an extra, where she went on to make a career for herself - becoming the new face of modern movies.

A beautifully made film, The Artist makes heavy use of an orchestral score in order to fill the void of a voiceless plot. The shots are undertaken with a genius direction, from Michel Hazanavicius, who creates an authentic looking silent film fit for a modern audience.

Whilst the storyline is a little too linear for some, there can be no doubt of the talent on screen - as proved by an outstanding tap-dance by the two leads, and the daring behind making a theatrical release of a silent movie in the 21st Century, is something deserving of recognition.

Breaking Dawn: Part Two (2012)

The end of a Saga

For all the fanfare, hype, inglorious t-shirts, celebrity gossip columns and vampire spin-offs, the Twilight Saga has finally come to an end. Few other franchises can boast of this kind of success, regardless of the critical backlash, and the legacy is clear to see in the effect it has had on popular culture.

Breaking Dawn: Part Two, picks up where we left off, with Bella (Kristen Stewart) waking up as a blood-sucking Cold One (not a beer). She managed to survive giving birth to her mutant baby, Renesmee, who now grows at an alarming rate, and becomes the catalyst for the film’s final showdown. Bella, the Cullen clan, and Jacob (Taylor Lautner) must face off against the powerful Volturi, the head of the vampire network, who see Renesmee as a threat to the survival of their kind.

In order to gain support, the family use their vampire contacts around the globe to come and see Renesmee, and prove she is no threat. Through this, we see an array of X-Men-like abilities in these different vampires - from the woman who can channel electricity, to a guy who can control the elements. As they bundle together in the Cullen family home, a fight to the death seems imminent.

More entertaining than the first part, the makers have managed to pack a bit more action into this film, whilst maintaining the gooey romance between Bella and Edward (Robert Pattinson). It’s as stylishly filmed as before, and utilizes some brilliant CGI - in particular during the immense battle near the end.

Where the film falls down, however, is the plot. It seems too strung out (it needn’t be two films), and the impending doom wreaks of clichéd heroism. Performances are awkward at best, and the constant use of an indie soundtrack becomes irritating the longer it goes on.

Besides a stylish climax and exhilarating battle sequence, Breaking Dawn: Part Two fails to shed the burden of its former half, and remains a bulky, worn-out affair that will appeal to the die-hard fans, but few others.

Justice (2011)

…best served cold

A man accepts help from a group of vigilantes, after his wife is attacked, to bring justice to the perpetrator, only to find the repayment plan extortionate.

Nicholas Cage plays Will, a mild mannered school teacher, who is forced into the extremes of a criminal world after he accepts the help of a secret vigilante group, who believe they are cleaning the streets. Once in their debt, Will discovers a world of corruption and illegality that he must traipse through in order to survive, whilst looking for a way out.

A thrill-ride that offers a decent menu of stunts and chases, and some intrigue, but fails to delve deeper into the plot, for fear of exposing the flimsy storyline. Cage gives a worthy performance, offering up the emotional complexity of a man stuck between a rock and a hard place, who chooses an easy way out only to find it the rockier path.

American Reunion (2012)

Grown Ups

Thirteen years have passed since Jason Biggs defiled that pastry, and now the party is coming to a close - with this final farewell from the gang of American Pie, back together with the original cast.

American Reunion, as it says on the tin, sees our sexually-frustrated friends join forces back in their home town for their school reunion - only now, they all have adult lifestyles. Jim is married to Michelle, and the two have a baby; Oz is a famous sports broadcaster; Kevin is married; Finch is a mysterious globetrotter…and Stifler is an intern.

As the group trawl their old hunting ground, they realise how much has changed since they have been away, both in themselves and in the new generation - whom they see as unruly. However, it is not long until the famous shenanigans resume, and we see the usual cocktail of Jim’s humiliation, Kevin’s idealistic longing for the past, Finch’s hidden secrets, and Stifler’s moronic, yet hilarious, immaturity.

A revisit to an old friend is always fraught with peril - it could be boring, it could be awkward, and it could just not feel the way it used to. Luckily for American Reunion, they avoid these pitfalls, and instead take what worked with the original film and put it into a new context. This refreshed idea makes the film more than bearable.

There is a lot of complaining about adult life - but since most of the audience for the original film would have been in their teens when they saw it, this will fit well with them now. There is also a lot of drinking, a staple of the American Franchise. However, there is an emotional arc for Jim’s dad, whose wife died.

A definite watch if you loved the first film, but expect the usual keg-fuelled knob gags and needless nudity.