Top Ten of Twenty-Eleven

Usual disclaimers apply – these are films I saw at the cinema in 2011. So who knows what year they are from! It was a good year in the dark but no out-and-out winner.

In alphabetical order, my top ten of 2011 are:

127 Hours - http://theflicks.blogspot.com/2011/02/127-hours.html

Beginners - http://theflicks.blogspot.com/2011/12/beginners.html

Hanna - http://theflicks.blogspot.com/2011/09/hanna.html

The King’s Speech - http://theflicks.blogspot.com/2011/01/kings-speech.html

Midnight in Paris - http://theflicks.blogspot.com/2011/10/midnight-in-paris.html

Mission: Impossible - Ghost Protocol - http://theflicks.blogspot.com/2011/12/mission-impossible-ghost-protocol.html

Super 8 - http://theflicks.blogspot.com/2011/06/super-8.html

The Trip - http://theflicks.blogspot.com/2011/08/trip.html

True Grit - http://theflicks.blogspot.com/2011/02/true-grit.html

X Men: First Class - http://theflicks.blogspot.com/2011/06/x-men-first-class.html

And the highly commended:

Drive, The Fighter, Gantz: Perfect Answer, The Guard, Paul

P.S. Sorry for cheating by just linking to my own reviews ... I'm on a looooong holiday :)

Mission: Impossible – Ghost Protocol

Tom Cruise, Jeremy Renner, Simon Pegg, Paula Patton, Michael Nyqvist

Dir. Brad Bird
Scr. Josh Appelbaum & Andre Nemec

I think the person we have to thank for the fourth instalment of this series not being tired, humourless or boring is director Brad Bird. He brings to his first live action feature a freshness that is pleasing and entirely welcome. And a relentlessness that is exhausting, but tremendously fun. Sure, the premise is pretty clichéd and, at times, laughable. But just laugh along – I don’t think this IMF team are taking themselves too seriously.

Ghost Protocol starts as it means to go on – with a ridiculous and wonderful action sequence. Ethan Hunt (Cruise), currently rotting in a Russian prison, is broken out by fellow IMF agents (Pegg and Patton). And before you can say “why the long hair Tom?” they are infiltrating the Kremlin in order to prevent nuclear war. Yup, this is old school – it’s all launch codes and satellites and warheads and madmen. And the Russians and the Yanks disliking each other immensely. When it all goes pear-shaped, the IMF is shut down and Hunt and his team are ghosts. They also happen to be the only people who can prevent global disaster. Of course.

You may think I’m mocking. And I am. But that doesn’t mean that Ghost Protocol isn’t the most entertaining of all the Mission: Impossible films. Because it is. It’s slick, with new and improved gadgets. It’s packed with humour that was sadly missing from most of the previous three outings. It’s about teamwork, which was the very strength of the original tv show. And, visually, it’s stunning. Much credit to Bird who, as we know from his previous animated outings, can certainly tell a story. The ending is incredibly naff, but I easily forgave the sentimentality. They’d earned it.

The performances are a little mixed. Cruise is Hunt, no question. He’s still looking very good and obviously performing a lot of his own stunts. Pegg is wonderful as technical genius and now qualified field agent Benji. Much of the humour comes from him and I enjoyed his wide-eyed enthusiasm. Renner is a welcome addition to the team – is there any film he isn’t in?! Badass and surprising, his performance is very good indeed. Less welcome is Patton, who is a terrible actress. Wooden and overplayed, try your best to just block her out. The characters that fill in the gaps are mostly clichéd and two-dimensional but, in such an outlandish story, they fit perfectly.

I’m not proclaiming this to be the action movie of the year, but it comes darn close. Utterly entertaining, I gasped and winced and whooped. Ghost Protocol has breathed life into a waning franchise and, of course, leaves the door open for more of Hunt and his team. Brad Bird, please come back and give us another cracking good ride!

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Benji: Now remember: "Blue is glue!"
Ethan: And red?
Benji: Dead.

Beginners

Ewan McGregor, Christopher Plummer, Melanie Laurent, Goran Visnjic, Mary Page Keller

Dir & Scr. Mike Mills

I absolutely adored this film. I absolutely fell in love with all the main characters. I absolutely and utterly wished I had written the beautiful dialogue. This film is a slow ache. It’s slightly twee, kind of all over the place, and often hilarious. And it completely lays it heart out for all to see. Some will scoff and carelessly trample that heart. I just wanted to hug it and take it home, to keep the feeling with me forever.

It’s 2003 and Oliver (McGregor) - a graphic artist who feels too much, too deeply - has just lost his father to cancer. After his mother’s death, five years earlier, Oliver’s distant and emotionless father Hal (Plummer) came out and embraced his new life, starting a relationship with a much younger man (Visnjic). Mere months after his father’s death, Oliver meets Anna (Laurent), a mysterious and beguiling French actress. This new relationship evokes memories of his father, his upbringing, his unsuccessful past relationships. Beginners examines the truly insidious way that your parents’ relationship affects the way you love and allow yourself to be loved.

Beginners is understated and surprising. Jumping all over the place, time-wise, is no obstacle to following Oliver’s journey. Though this may annoy some, it was refreshing not to be spoon-fed by a writer/director – just keep up and you will be rewarded. The dialogue and interaction between characters is a joy. Sometimes you will laugh out loud. You may cry (I did). And more than once I audibly sighed, heartbroken or delighted. I have not been as in love with a script in a long time.

The acting on offer here is unquestionably brilliant. McGregor is sullen without being mean, resigned without being hopeless, loving without being melodramatic. His Oliver is easy to adore and relate to. Plummer is a delight, finding joy in his new lifestyle, like a kid at Christmas. His concern for his son – for his choices and his future – is beautifully played. Visnjic is a lovely oddball, as Hal’s partner Andy. Keller is absolutely haunted as Oliver’s mother, Georgia. And Laurent, well, what can I say? What is it about French woman that make me question my sexuality?! First Binoche, then Tautou, then Cotillard, now Laurent. She is simply wonderful.

Beginners is a love story. Actually, it’s several love stories. It’s quirky and moving. Undoubtedly, it will bore some. But if you’re a hopeless and helpless romantic like me, definitely see this film. If for no other reason than an adorable Jack Russell called Arthur.

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Hal: Well, let's say that since you were little, you always dreamed of getting a lion. And you wait, and you wait, and you wait, and you wait but the lion doesn't come. And along comes a giraffe. You can be alone, or you can be with the giraffe.

Oliver: I'd wait for the lion.

Hal: That's why I worry about you.

Contagion

Kate Winslet, Jude Law, Matt Damon, Laurence Fishburne, Gwyneth Paltrow, Marion Cotillard, Jennifer Ehle, Elliott Gould, John Hawkes

Dir. Steven Soderbergh
Scr. Scott Z Burns

It made me squirm in my undoubtedly germ-ridden cinema seat, wondering about the dozen people who had sat in it before me. It made me not want to touch anything on my way home, certainly not my own face. And it made me wash my hands at least three times the amount I usually do for the rest of the evening. And while this movie is certainly compelling and may well creep you out, at the end of the day you won’t care too much about who dies and how quickly. Soderbergh’s failing here is a lack of emotional connection.

Contagion follows the spread of a deadly and frightening virus – airborne and killing the infected within days. The medical community, notably the CDC and WHO, race to find the origins of the virus and a cure. It doesn’t take long for society to come apart at the seams as millions die.

I suspect Contagion might bore some, but I found it compelling and tense and tightly plotted. The issue I have, as I had with Soderbergh’s award-winning Traffic, is too many strands create a disconnect for the audience. And especially in this film, because we come to care about very few in this story. Sure, the cast is all-star and largely excellent. But we merely scan their lives. The exception – Matt Damon’s character, who loses his wife and stepson and turns neurotic in order to protect his remaining daughter – is a welcome relief and truly tugs at the heartstrings. His reaction to being told his wife has died is wonderful writing and acting.

As I say, the acting here is top-notch. Notably, Damon and Winslet shine, possibly because they are simply given more to work with. Jude Law, as a blogger and conspiracy theorist, has a ridiculous and random accent that I just couldn’t stand. I think he was supposed to be Australian? Whatever it was, it was awful. Cotillard is charming as ever but woefully underused.

Don’t get me wrong, I enjoyed this film. It’s smart and compelling and frightening. I guess I just wanted more – more emotion, more character development, more to truly make me care. Contagion is like a documentary with plenty of famous faces. It’s clinical, but maybe that’s the whole point?

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Dr Ian Sussman: Blogging is not writing. It’s just graffiti with punctuation.

Drive

Ryan Gosling, Carey Mulligan, Albert Brooks, Bryan Cranston, Ron Perlman

Dir. Nicolas Winding Refn
Scr. Hossein Amini (based on book of same name by James Sallis)

It’s a little like something I can’t quite put my finger on. Maybe Lost in Translation, but with even less dialogue, much more violence and no Bill Murray. Or maybe like The Machinist, but with a healthier leading man and not nearly as surreal. Whatever it is, I can’t really decide whether I liked it or not. On the other hand, I’m not sure Drive is a movie you’re supposed to “like”. Sure, you’ll read about the bursts of violence that I think some will find too hard to stomach. But this isn’t a movie about violence. It’s about something else. It’s about putting things right.

Ryan Gosling plays a mechanic and stunt driver by day (his character has no name, simply credited as Driver), and a getaway driver by night. He lives alone, doesn’t talk much and, you guessed it, drives like he was born to. Striking up a friendship with young mother Irene (Mulligan) and her son who live next door, the Driver finds himself dragged into her ex-con husband’s shady past when he agrees to help him out in a heist. As you can imagine, it all goes horribly wrong and the Driver must do everything he can to protect Irene and her son. There’s more to the story than meets the eye and I have to admit that impressed me, what with such little dialogue and such slow burn mood-setting.

I’m not sure what genre exactly this movie falls into. For my money, it’s kind of a horror. Not one with scary monsters or chainsaw-wielding madmen. But there is horror nonetheless and it creeps up on you, seeps into your bones and lingers long after the credits have rolled. And, in this way, Drive feels much more akin to The Thing than to a crime thriller. Refn is defying genres and asking his audiences to simply keep up.

Of course all of this creepiness and atmosphere and tension relies heavily on a cast who gets it. Gosling certainly does. He’s been in his share of quirky and challenging films, but Drive was surely a whole different kettle of fish for him. He is outstanding. Understated, sure, menacing, innocent, worldly, true and so much more. And when that vein pulses in his forehead and he turns on the violence, boy, I was scared. Mulligan is quietly compelling. Cranston gives a great turn as the Driver’s boss, a broken yet hopeful man. Perlman, as gangster Nino, is rough and horrid and wonderful. Brooks gives a masterful turn as gangster Bernie Rose – charismatic and chilling, a brilliant combo.

Drive is not going to be everyone’s cup of tea – it’s a moody outing. In fact, I can count on one hand the number of people to whom I would recommend this film. The critical acclaim and the stellar cast are not enough to mitigate what is a decidedly violent film. I don’t think I would see it again. But that feeling it left me with – completely freaked out in the most menacing way – was well worth the price of admission.

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Driver: If I drive for you, you get your money. That's a guarantee. Tell me where we start, where we're going and where we're going afterwards, I give you five minutes when you get there. Anything happens in that five minutes and I'm yours, no matter what. Anything a minute either side of that and you're on your own. I don't sit in while you're running it down. I don't carry a gun. I drive.

One Day

Anne Hathaway, Jim Sturgess, Rafe Spall, Patricia Clarkson, Ken Stott

Dir. Lone Scherfig
Scr. David Nicholls (based on his book of the same name)

I really wanted to like this movie. I haven’t seen a good romantic tear-jerker since I can’t remember when. So, with tissues at the ready, I waited for the lights to dim and cinematic magic to begin. But, it didn’t. Well, it did, in fleeting moments. But, by the end, I felt somehow cheated and distant. There is a lot to like in One Day – it certainly doesn’t lack ambition – but, unfortunately, it simply doesn’t deliver that ultimate slam-dunk to your heart.

After one day together (15th July 1988), aspiring writer Emma (Hathaway) and wealthy playboy Dexter (Sturgess) begin a lifelong friendship. Through the years that follow, we encounter Emma and Dexter on many 15th of Julys – sometimes spending the day together, sometimes apart. Sometimes with a significant other, sometimes alone. Sometimes lonely. Through ups and downs, fights, tears and laughter … you get the picture. Always gravitating towards each other, whether that’s the healthy option or not. If you’ve read the book, I assume you know what happens. For those who haven’t, let’s just say, there was the need for a tissue at least once.

The journey for the audience through the 90s and 00s is a treat. Trends and fashions – good and mostly bad – are on display. This movie certainly looks good and doesn’t suffer from a lack of nostalgic warm fuzzies. There is also a real effort to develop these key characters, in every aspect of their lives. And while there is depth to Emma and Dexter, the rest of the cast are largely two-dimensional plot devices. This depth did not translate into a real connection with these characters however and, even after all they go through, I felt strangely distant. By the end, it was all overly sentimental and melancholic. I wasn’t uplifted, though I suspect I was supposed to have been. I was simply a little sad and, frankly, a little bored.

The talent on display in One Day is very good indeed. Hathaway is funny and enchanting, although her accent is all over the place. She carries a sadness with her, which was very compelling. Sturgess is less nuanced than Hathaway, but appealing nonetheless. Dexter’s personal growth is more dramatic than Emma’s and Sturgess gets it right. Clarkson and Stott, as Dexter’s parents, are a delightful bonus. I think I was most impressed by Spall, who plays Emma’s love interest Ian. Always living in the shadow of Dexter, he plays Ian with a wit and melancholy and anger that was surprising and engaging.

This isn’t a terrible movie. Far from it. But it just doesn’t seem to deliver. If you want to witness something truly special from this director, see An Education.

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Dexter: I'd still like to read that poetry. What rhymes with Dexter?

Emma: Prick. It's a half rhyme.

In Time

Justin Timberlake, Amanda Seyfried, Cillian Murphy, Vincent Kartheiser

Dir & Scr. Andrew Niccol

There’s a lot to like in the overarching premise of this movie. At first, it grabs your attention and you’re drawn to the futuristic world in which, literally, time is money. But In Time never lives up to its intriguing beginnings and falls flat as both a thriller and social commentary. And, much worse than that, I have retained little from this good-looking but unsatisfying film.

Set some time in the future, In Time presents us with a world in which people cease to age at 25 and their clock start ticking. Time must be earned or bought in order for people to survive more than the year they are gifted at 25. Social inequality runs rampant as the world is divided into time zones, with (supposedly) only so much time to go around. Timberlake plays Will Salas, a 28-year-old living day-to-day in the badlands of Dayton. When he suddenly finds himself with over a century to play with, he infiltrates the land of the privileged (and time-rich) in New Greenwich. He is soon on the run, with uber-wealthy Sylvia Weis (Seyfried) as his hostage. Together, they attempt to right some wrongs.

In Time certainly moves along at a clip. The plot suffers, but the audience is rarely left with time to question. There’s also no doubt that this film looks very good indeed – Niccol has an eye for the future, as seen in his much superior future-flick Gattaca. In Time is all greys and blues and cool and slightly steam-punk. The eerie glow of green from the clock on everyone’s forearm is a lovely touch, used to good effect by Niccol. Everyone is 25 (or younger) and mostly beautiful – there is a feeling at times that you’re watching a Calvin Klein ad rather than a movie, but who is going to complain too much about that?

The acting on offer is mixed. Timberlake is, at times, quite good. Seyfried is not. And the chemistry between them is heated but unbelievable. The real standout performance comes from Murphy, as Time Keeper Leon. For me, Murphy is a welcome addition to any film and In Time is no exception – we get from him the haunted and nuanced performance I wanted to see from Timberlake. The rest of the cast are solid if somewhat forgettable.

If you’re after an entertaining Saturday afternoon flick, then In Time may well fit the bill. There are good ideas flying around and the first half is pretty darn solid. But there isn’t a lot of heart or smarts on offer.

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Philippe Weis: But, hasn't evolution always been unfair? It's always been survival of the fittest. This is merely Darwinian capitalism. Natural selection.

Midnight in Paris

Owen Wilson, Rachel McAdams, Michael Sheen, Corey Stoll, Tom Hiddleston, Kathy Bates, Adrien Brody, Marion Cotillard

Dir & Scr. Woody Allen

Midnight in Paris has all the elements we have come to expect from a good Woody Allen film – it’s charming, self-indulgent, intellectual, surreal, silly, sentimental, wordy. It will frustrate some, as does all his work. But it will delight many more – it is truly a love letter to Paris in the 1920s. For my money, this is Allen’s best film since the late 90s and I’m pleased to see his fantastical whimsy back on screen. It’s not perfect and could have done with a touch more ruthless editing, but I defy lovers of art and literature not to grin their way through this film.

Owen Wilson plays Gil (who is, of course, a version of Allen himself) – a Hollywood writer who truly wants to be a novelist, on holiday in Paris with his fiancé (McAdams) and her parents. Gil adores Paris, especially in the rain, an infatuation that his fiancé does not share. The “golden age”, according to Gil, is 1920s Paris and one night, while drunk and alone and lost, Gil is transported back to this era. On his midnight excursions through time, he meets his heroes and an array of the great and the good in the creative world – the Fitzgeralds, Hemmingway, Stein, Picasso, Dali – as well as Adriana (Cotillard), the beguiling mistress of Picasso. Gil is smitten, with both Adriana and the world he finds himself in. Romance, satire and insight ensues. The moral of the story? We all long for a more enchanting time, even those in the seemingly most enchanting time. And, in the wise words of our protagonist, everyone’s present is “a little unsatisfying because life is unsatisfying.”

Midnight in Paris, visually, is a delight. I have never been to Paris (a hole in my character and, dear I say it, my soul that I plan to remedy in the very near future), but this film (and many like it) make the city feel so familiar and beautiful. And Paris in the 20s, wow. In an inspired twist, we even get a glimpse of Paris in the roaring 1890s.

Allen has a great deal of fun portraying not only his own neurotic self, but also a host of wonderful true-life characters. Was Zelda Fitzgerald quite as flighty? Was Dali really a madman? Was Hemmingway truly as intense? Maybe. But the accuracy of these men and women matter little – Allen is clearly enjoying playing with such creative geniuses. And some of the characterisations are simply wonderful. Hemmingway (Stoll) is exactly as I would have loved him to be – honest, intense, insightful and actually quite dull (until he gets a few drinks in him). And Dali (Brody) quite simply steals the show in his one (alas, only one) scene.

I can’t fault any of the acting on offer in Midnight in Paris. All those playing true life personalities are clearly having the time of their lives. Brody, Stoll and Hiddleston (as Fitzgerald) are particularly good. McAdams is truly and utterly vile, which is spot-on. Sheen gives a wonderful turn as a know-it-all academic – oh, how I both despised him and recognised myself in him. Wilson’s performance is solid if somewhat annoying, although this certainly isn’t unusual for the lead in Allen’s films. The real star is the wonderful and beautiful Marion Cotillard – utterly enchanting as always, she is an actress who simply delivers every single time.

Midnight in Paris is an easily likeable movie which, for Allen, is certainly not always the case. And it has dialogue to die for. This is not necessarily a substantial cinematic work, but there is enough insight here to make it more than just an enjoyable 90 minutes in the dark.

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Luis Buñuel: A man in love with a woman from a different era. I see a photograph!
Man Ray: I see a film!
Gil: I see insurmountable problem!
Salvador Dalí: I see rhinoceros!

Real Steel

Hugh Jackman, Dakota Goyo, Evangeline Lilly, Anthony Mackie, Hope Davis

Dir. Shawn Levy
Scr. John Gatins

There is absolutely no doubt that this film is well and truly aimed at the demographic of 12-year-old boys. And they certainly made up a vast majority of the audience. I don’t know whether there is a 12-year-old boy in me struggling to get out, but I have to say I enjoyed this film a great deal. Sure, it’s corny and predictable, and manipulative enough to move me to tears. But it’s also fun with some great fighting scenes and a lovely amount of heart. And, of course, the wonderful Mr Jackman. Would recommend for a lazy Saturday afternoon.

It’s the not-so-distant future and human boxing has gone the way of the cassette tape. Audiences have become bored and sought more destruction and violence, hence robot boxing (still controlled by humans, we’re not far enough in the future to worry about robots taking over). Charlie Kenton (Jackman) is a washed up boxer who scraps a living in robot boxing. Irresponsible and a bit of a cad, Charlie teams up with his 11-year-old son Max (Goyo), completely neglected by his father, to build a successful boxing robot. There’s more to it than that, of course, but to cut a not-so-long story even shorter, much bonding occurs and Charlie rediscovers purpose in life as well as a wonderfully good fighting robot.

The action on offer here is very entertaining indeed. Nine foot tall fighting robots, remote-controlled by an eclectic mix of enthusiasts, fuel the public need for violence and blood. Minus the blood. The final battle of champion versus underdog is unashamedly crowd pleasing and when Charlie is forced to fight with the robot (you’ll know what I mean if you see it), you can’t help but cheer.

Fine acting is not why you might see Real Steel and, just as well, because it’s not on offer. However, Jackman is, as ever, extremely watchable and appealing. Goyo is not too annoying and has quite good comic timing for one so young. And Lilly (as love interest Bailey) is a welcome feminine element in this testosterone-fuelled flick.

Real Steel is not going to win any awards or many accolades. You’re not going to be thinking about this film for days after seeing it – it’s not going to challenge you in any meaningful way. And nor is it the most entertaining film of the year. But, you know what, I would happily watch it again. Recommended for anyone who likes the idea of boxing robots. Not recommended for anyone who finds that idea ridiculous.

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Max: We can’t win, can we?

Charlie: We’ll see.

Hanna

Saoirse Ronan, Eric Bana, Cate Blanchett, Tom Hollander, Olivia Williams, Jason Flemyng, Jessica Barden

Dir. Joe Wright
Scr. Seth Lochhead & David Farr

Loved, loved, loved this film. This nutty, disturbing, amusing, visually stunning film. A fine cast on fine form, with the best and loudest soundtrack (by the Chemical Brothers) you’ll hear all year. Director Joe Wright does a superb job telling this strange fairytale of revenge. Highly recommend for those who are looking for something a little different.

Hanna (Ronan) is a teenage girl quite unlike any other. Brought up in the Finnish wilderness to be the perfect assassin by her ex-CIA father, Erik (Bana), Hanna has uncanny strength, stamina and speed. Judging her ready for her ultimate mission, Erik leaves Hanna to be captured by the CIA and finally enter the real world. Revenge is the end goal and Blanchett’s Marissa is the target – a ruthless CIA agent with secrets she is intent on keeping buried. Along the way Hanna is intrigued and thrilled by the world she discovers, wonder sparkling in Ronan’s stunning blue eyes. This is not a happy tale and what Hanna finds out about her past is truly disturbing. Tense, action-packed and at times wonderfully bemusing, Hanna is truly compelling.

Wright really does lift this movie from mere action to something strange and wonderful. A dark and disturbing fairytale of the true European tradition. His action sequences are frenetic and often wonderfully frightening. But what he does best are Hanna’s moments of discovery – whether it is her first encounter with electricity, her first true friend, her realisation that reading about music was no substitute for experiencing the real thing. The story itself might feel a little lightweight and the moments of explanation are certainly a little jarring, but I forgave much for the way that Wright managed to make this movie feel. The wonderfully emotive score by the Chemical Brothers didn’t hurt either.

The acting on offer in Hanna is very good indeed. Blanchett’s Marissa is a little hammy but superbly cold and calculating. She made me shudder. Bana gives a solid and emotive performance as Hanna’s father and mentor. Hollander, playing a hired gun employed to find Hanna, is wonderfully camp and ruthless. Quite an entertaining and surreal combination. There’s a wonderful turn by young Barden as Sophie, a young English girl who befriends Hanna. But the true star of the show is Ronan – her performance is simply exceptional and well worth the price of admission. Her combination of innocence and murderous intent is spot-on.

This is a highly stylised film which may well turn some viewers off. Cries of style over substance might be bandied about. But I recommend you just get lost in Hanna and let it take you on a suspenseful and surreal ride.

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Hanna: I just missed your heart.

Captain America: The First Avenger

Chris Evans, Hugo Weaving, Hayley Atwell, Tommy Lee Jones, Dominic Cooper, Stanley Tucci, Toby Jones

Dir. Joe Johnston
Scr. Christopher Markus & Stephen McFeely (based on the Marvel comic books)

You’ll be forgiven for thinking comic books are taking over the world of cinema. Largely, this trend has had some very fine consequences (X Men, recent Batman, Iron Man). And sometimes, the result has been mixed, even downright awful (Green Lantern, early Hulk). Captain America can be placed squarely in the first category – fun and visually exciting, utterly retro, staying true to its comic book sensibility. I had a ball watching this movie.

Set in 1942, when the US has entered WWII, a very determined but highly unsuitable Steve Rogers (Evans) tries and fails repeatedly to enlist. He’s too short, too sickly and has no hope of doing his duty in the army. Noticed by scientist Erskine (Tucci), Rogers proves his courage and worth and is chosen as the subject for an experiment in which his body is transformed to fulfil its ultimate human potential. He becomes super soldier, Captain America. Much to his disappointment, the powers-that-be use him largely as a marketing tool, raising much needed funds for the war effort. It’s not long, however, before he gets to see real action and with a team of men, he is tasked with bringing down Hydra, the German research department headed by Johann Schmidt (Weaving) who is hell-bent on, you guessed it, world domination. Cue fight scenes, many explosions, some cheesy and very funny dialogue, a smattering of romance, and you’ve got yourself a very entertaining couple of hours.

What makes Captain America work is not its script (we’ve witnessed this scenario countless times before) or its cast (although, there are many worth watching here), but its innocence – the time is captured so well and the story never loses its core premise of rooting for the enthusiastic little guy with a heart of gold. Also, the effects here are top-notch. Even though I had a hard time reconciling Evans’ head with pre-Captain American Steve Rogers. A little creepy.

The cast on offer in Captain America is extremely good and, with the exception of the token female, I would have a hard finding fault with any of them. While I wouldn’t rush to see him in anything else, Evans is clearly born to play this role. He captures the innocence of Rogers brilliantly and has the perfect all-American look. Weaving is stellar, again relishing the bad guy role. Jones, as hardass Colonel Chester Phillips, is wonderful, with some of the funniest lines in the film. Tucci, as always, is a joy to watch. And Cooper plays a very convincing father to Iron Man’s Downey Jnr, as Howard Stark. The weak link for me is Atwell, as love interest Peggy Carter. I found her wooden and slightly annoying.

While some will miss the angst and brooding we have come to associate with many superheroes, I have to say that Captain America is an extremely good addition to the genre. If you’re a fan of these sorts of films, you should definitely see it. If you’re not, well, why not chance your arm and give it a go? I guarantee you’ll have fun.

And for the love of all things cinematically holy, do not leave before the end of the credits. You’ll miss an awesome little treat.

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Dr Abraham Erskine: The serum amplifies the inner qualities of its taker, as well as their physical attributes. Good becomes great... bad becomes worse.

Rise of the Planet of the Apes

James Franco, Andy Serkis, John Lithgow, Freida Pinto, Brian Cox, Tom Felton, David Oyelowo

Dir. Rupert Wyatt
Scr. Rick Jaffa & Amanda Silver

Sometimes I weep for the sheer unoriginality of the Hollywood machine. This film, for instance – a reboot of a film that’s already been rebooted (see Tim Burton’s 2001 version of the 1960s original, earning and deserving a dire 45% on Rotten Tomatoes). But just when you’re crying over the pages of the latest copy of your favourite movie mag, Hollywood proves it can still surprise you. This prequel is an emotional rollercoaster, showcasing some of the most stunning motion capture CGI you will ever see and shows that, with a good script and a clear vision, life can be breathed into a franchise that seemed long dead.

While working on a cure for Alzheimer's disease, Will Rodman (Franco) is forced to adopt and care for a genetically-enhanced baby chimp, Caesar (Serkis, via motion capture). This act of compassion (to prevent the baby being killed along with his mother and other experimented-upon chimps), coupled with a generous helping of blind arrogance (attempting to contain an animal that shows such an extraordinary level of cognitive ability) leads to what can only be described as all hell breaking loose. If you’re familiar with the original movie, you know what happens next and it’s not good news for humanity. This film, a true prequel, stops short of spelling it out completely but gives the audience enough clues along the way.

While the original Planet of the Apes preached lessons about human culture, Rise seems to be a stark warning about the seemingly limitless power of science and the dangers of messing with Mother Nature. It’s a little hard to be truly sympathetic towards or concerned about the humans of the story though. With the exception of Rodman’s Alzheimer’s-afflicted father (Lithgow), there’s not really a human of great appeal. The guiding light of this story is Caesar – his emotional and intellectual journey of discovery. This is thanks in no small way to the work of Serkis and the team at Weta Digital; the former giving Caesar nuance and power and astonishing expressiveness, the latter giving this chapter of the Apes franchise something it has been sadly lacking – “real” apes.

The acting here is a bit of a mixed bag. For me, many of the human elements in this story were two-dimensional. But perhaps that was the whole point. Humans bad, apes good. Or something like that. Cox and Felton, as the father and son team who run the ape sanctuary Caesar finds himself imprisoned in, are downright nasty. As is Oyelowo’s Dr Jacobs, Rodman’s boss who is driven by dollar signs. And while Rodman is not so obviously a bad guy, he is arrogant and driven and doesn’t truly redeem himself until the finale. Good to see the beautiful Pinto (from Slumdog Millionaire), as Rodman’s veterinarian girlfriend, but she is underused in a story that doesn’t have a lot of room for human to human relationships. Lithgow, as always, is brilliant.

This is a well-paced, compelling, surprising film. There’s a pleasing balance between the drama and the action, with a strong enough script to ensure the two are convincingly bound together. In the end, Rise is memorable and entertaining – what more do you want from your blockbuster? Highly recommended.

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Dodge Landon: Take your stinking paws off me you damn dirty ape!

Cowboys and Aliens

Daniel Craig, Harrison Ford, Olivia Wilde, Sam Rockwell, Adam Beach, Paul Dano, Keith Carradine

Dir. John Favreau
Scr. Roberto Orci, Alex Kurtzman, Damon Lindelof, Mark Fergus & Hawk Ostby

This movie isn’t quite what I expected it to be. Sure, there are cowboys. And aliens. And there’s a fair amount of action, with enough bells and whistles to keep the blockbuster crowd happy. What I didn’t count on was how serious it was all going to be. Or how many stories of emotional connectedness between characters I was going to have to keep track of. I certainly did enjoy this film, just not nearly as much as I would have liked to.

Based on a graphic novel of the same name, Cowboys and Aliens is set in the 1870s in the Wild West. A stranger with no memory (Craig) finds himself in Absolution, a struggling town ruled by ex-colonel Woodrow Dolarhyde (Ford). Wounded and wearing a strange shackle on his wrist, he discovers he is wanted man Jake Lonergan and is swiftly arrested. Before he is shipped off to meet his fate, the town is attacked by flying objects, which abduct townsfolk using blinding lights and out-of-this-world rope, including the town’s sheriff (Carradine) and Dolarhyde’s son Percy (Dano). Bringing an end to the attack with the help of his mysterious shackle, Lonergan becomes Absolution’s only hope. A posse, led by Dolarhyde and Lonergan, set off to find the abductees and put an end to the terror reigning down on them. So ensues some quite nifty action sequences, some quite naff plot and a whole lot of aliens.

If you think this is all a recipe for much parody and belly laughs, you’d be mistaken. Cowboys and Aliens is serious business. When the humour is injected, it’s a welcome relief from the grave faces and hard looks. Don’t get me wrong – there is a lot to whisper “woah” at. The opening scene when Lonergan takes on three would-be bounty hunters is very cool and more violent than many in the audience seemed ready for. In fact most of Lonergan’s fight scenes are pretty darn cool. The initial attack at Absolution is loud and bright and terrifying. If you’re in the mood, there is also quite a bit to get emotional over. But, sadly, I wasn’t really in the mood.

I can’t really fault the acting on display here. Both Craig and Ford are brilliant, although I was disappointed by their lack of screen time together. Wilde, as the mysterious woman who knows just a little too much, is wide-eyed and appealing. There are some stand out performances in supporting roles, notably Sam Rockwell (wonderful as always) and Paul Dano (fast becoming a favourite). The aliens themselves are as unoriginal as they come. And the reason they’re attacking Earth? Well, I scoffed. Until I remembered this, at heart, is a Western. I still scoffed, just with a little less malice.

If you want to see a truly wonderful juxtaposition of the Wild West and all things spacey, watch Firefly or Serenity. If you want a couple of mind-numbing hours at the cinema, by all means see Cowboys and Aliens. Just don’t expect many laughs. Well, not many intentional ones anyway.

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Jake Lonergan: Demons took your gold. When you get to Hell, you can ask for it back.

Gantz & Gantz: Perfect Answer

Kazunari Ninomiya, Ken’ichi Matsuyama, Yuriko Yoshitaka, Tomorowo Taguchi

Dir. Shinsuke Sato
Scr. Hiroya Oku & Yusuke Watanabe

Based on the manga and anime of the same name, these two movies are quite something. This is action-packed, melodramatic science fiction at its best. The story is convoluted, the deaths are drawn out, the looks are meaningful and the action is awesome. I recommend seeing both these movies close together (they were released in Japan within a couple of months of each other): the second is a superior film to the first, but the first has a naivety and simplicity that is appealing.

After trying to rescue a man from the subway tracks and getting hit by a train, two estranged friends (Kato and Kurono) wake up in a room dominated by a huge black orb. There are others in the room, some as confused and disorientated as they are, some not. It turns out they did die and are now controlled by the black orb, Gantz. The purpose of their new lives is to hunt down and kill aliens hiding on Earth, with the help of the others in the room and some pretty nifty super-suits and weapons. At the end of each “turn”, they are awarded points and get to go back to their old lives, only to be again pulled into the room at anytime at the will of Gantz. If they die in the game, they die completely. There are incentives to Gantz’s crazy game – score 100 points, and you can free yourself from the game or resurrect another player who has died. Needless to say, people die and are brought back. Aliens are killed and their fellow aliens want revenge, trying to hunt Gantz down and put an end to his game. The first film consists of three turns and a whole lot of action. The second film delves more into the alien fight back and the ultimate showdown between Gantz, his players and the aliens.

Our two main protagonists are Kato (Matsuyama) and Kurono (Ninomiya), friends at school whose lives have taken them in very different directions. We learn Kato had spent some time in a youth prison, is devoted to his younger brother and works a menial job to look after him. Kurono is at university and struggles with a lack of confidence and identity. Both react very differently to the game Gantz throws at them. Kato, despite of his obvious criminal past (we later find out he committed his crime to protect his brother), has a high moral standard and doesn’t want to be fighting, trying to protect those around him and becoming a reluctant leader. Kurono, on the other hand, finds what has been lacking from his life in the game. His skills are innate and his physical prowess impressive. Somewhat selfish, everything changes for Kurono at the end of the first movie and, in the second, he becomes the leader and protector of the other players. There is a strong bond between Kato and Kurono – this friendship runs through both movies and is the heart of the story.

The acting here is hammy at times, highly emotional at others, and sometimes just terrible. There is a great cast of likeable young actors, but melodrama most definitely reigns supreme. It reminded me a little of Star Wars – we forgive much for a great, action-packed story we can emotionally connect to. And that is precisely what these two movies, taken together, provide. The action sequences, especially in the second film, are fast-paced and explosive. Brilliant stuff.

If you like a bit of sci-fi and love all things Japanese, definitely see this movie.

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Gantz: Your lives have ended. What you do with your new lives is entirely up to me.

The Guard

Brendan Gleeson, Don Cheadle, Mark Strong, Liam Cunningham, Fionnula Flanagan

Dir. John Michael McDonagh
Scr. John Michael McDonagh

The Guard is a f**king good movie. Full of the essential three C’s of entertaining film making – character, circumstance and cracker dialogue. While a little light on plot and a little heavy on caricature, you will forgive The Guard all its sins and short-comings because you will simply be laughing too hard to care.

Irish Garda Sergeant Gerry Boyle (Gleeson) is an unorthodox cop in a small coastal town outside of Galway, guided by his own rather interesting set of moral standards. When murder and drug smuggling descend on his sleepy town, he teams up with FBI agent Wendell Everett (Cheadle) to bring down a gang of ruthless and not-so-mildly psychotic bad guys. It may sound like a paint-by-numbers buddy cop thriller, but it’s anything but. Boyle is so much more than his old, gruff, racist façade lets on. Everett is not quite the stereotypical by-the-book American lawman that everyone assumes he is. The triumvirate of baddies are just a little more wacky that you’d expect. It’s darkly and profanely funny in the same way as the brilliant In Bruges, which is obviously a family trait (writer, director John is brother of In Bruges writer, director Martin).

The acting in The Guard is top-notch. Some of the characters are more expertly fleshed out than others, but they are all interesting and surprising in their own way. Gleeson is the absolute star of the show. Crass and confrontational he seems to be able to do in his sleep. But Boyle is so much more than this and Gleeson’s weathered, lived in face captures it all. The scene in the pub with his dying mum (Flanagan) is heart-breaking. And he is utterly and absolutely hilarious. Cheadle is wonderful as, it seems at times, the only sane man in the village. In the more comic moments, he more than holds his own. Mark Strong, as the leader of the baddies, is his usual brilliant self. The group of talent on display and the fantastic range of personalities in The Guard more than makes up for anything lacking in the plot department.

And while on that subject, sure, you need to suspend disbelief right from the get-go. On the flip-side of this, we’re not bogged down with back-stories and details and whatnot. The Guard is neatly paced, with engaging changes in mood and focus. In turn, noir and offbeat and poignant. And the dialogue is simply and utterly wonderful – hugely quotable, at times shockingly inappropriate, always funny.

If you liked In Bruges, you’ll like The Guard. And while the latter is probably not as accomplished as the former, Gleeson’s Boyle will surprise and delight. One word of warning: if you’re not a fan of the f-word, best you stay away.

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Sergeant Gerry Boyle: I’m Irish. Racism is part of my culture.

The Trip

Steve Coogan, Rob Brydon, Claire Keelan

Dir. Michael Winterbottom

Two wonderful comics + a roadtrip through lovely wintery English countryside + some mouth-watering food + my favourite Abba song = the best couple of hours I’ve spent at the cinema in quite some time. This largely improvised movie is insightful, endlessly witty and, at times, laugh-out-loud-to-the-point-of-tears hilarious. Gloriously self-indulgent and often meandering, The Trip may annoy some. My advice would be to simply sit back and enjoy the ride.

Playing loose (how loose, I just don’t know) versions of themselves, The Trip follows Steve Coogan and Rob Brydon through a fancy restaurant tour of the Lake District and Yorkshire Dales. Coogan, working for the Observer, has been left high and dry by his American girlfriend (Keelan) and enlists Brydon as company for the trip. Somewhat reluctantly. As you’d expect from two comedic geniuses, there is a lot of trying to out-do eachother (most memorably in relation to who does the better Michael Caine). But there is also soul-searching, poetry-quoting, singing and, of course, a great deal of eating.

The success of this movie is largely thanks to the interaction between Coogan – grumpy, promiscuous, self-important, struggling to shred his Alan Partridge past and find that level of success again – and Brydon – a dedicated husband and father, satisfied with his career and notoriety, concerned for his friend’s obvious unhappiness. They really are chalk and cheese. Brydon’s constant impersonations drive Coogan to distraction, fuelled by a not-so-subtle jealousy at Brydon’s talent. Brydon acts his age and is a devoted family man, in sharp contrast to weed-smoking, playboy Coogan. And while Coogan seems displeased to have Brydon as his travelling companion, we know that Brydon is good for Coogan, questioning his lifestyle and priorities. And by the end, even Coogan admits he’s had a good time. As have we.

The humour here is very British. Some cultural references will be lost on many. If you don’t have a passing acquaintance with the works of Michael Caine, you may be in trouble. In fact, if you don’t know either Coogan or Brydon, you’re in bigger trouble. Here we have wit and intellect, which may not be everyone’s cup of tea. But if this sounds like a bit of you, you’ll be in movie heaven, much like I was. Look out for period movie skit in the car – absolute brilliance. And then we have the food – O.M.G. My mouth was watering. There were ooh, aahs and sighs from the audience at the sight and description of some of the dishes.

This movie was a delight. Enough said.

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Steve: I've, uh, asked other people but they're all too busy, so you know, do you wanna come?

13 Assassins

Kôji Yakusho, Gorô Inagaki, Masachika Ichimura, Yûsuke Iseya

Dir. Takashi Miike
Scr. Kaneo Ikegami (based on screenplay by Daisuke Tengan)

There are very few films that come out of Hollywood or Europe that can possibly compete with the relentless fighting awesomeness of a film like 13 Assassins. And that’s really why you’d go to see this film. The samurai mythology is perhaps tiresomely familiar for some. The evil lord, an obvious bad guy. But the raging battleground, my goodness. A better choreographed fight sequence you will not see this year. If that gets your heart racing, see this film. If not, best you stay away.

13 Assassins, the remake of a 1963 film of the same name, is set during the last years of Japan’s feudal era. A group of samurai, with very little else on their plate in this age of peace, are enlisted to kill the evil Lord Naritsugu (Inagaki), half brother of the current Shogun, to prevent him taking power and reigning terror on the people. The 13 samurai lure Naritsugu and his troops to a village they have booby-trapped and fortified, and an epic and bloody battle ensues. I’m really not giving much away to say there are very few men left standing at the end.

The first half of 13 Assassins is a slow and purposeful build up to a frantic and compelling second act. Back stories are established, characters are introduced and all important themes are established – the way of the samurai, the question and conflict of duty and honour, the absolute horror and repercussions of Naritsugu’s actions (he is truly the baddest bad guy you will see on film for quite some time). While it might be too slow a burn for many, I think the ends justify the means and by the time Naritsugu and his men ride into Dodge the audience is more than ready for heads to roll. The first half of the film is also pretty darn serious and, at times, disturbing (for your own sanity, look away when the peasant girl is disrobed). So the injection of humour, in the guise of assassin number 13, Kiga Koyata (Iseya), is a welcome relief by the time the other 12 samurai stumble upon him in the forest. Basically, in this viewer’s opinion, 13 Assassins creeps up on you and then whacks you on the head with a spade. Brilliant.

The performances in this film are a slightly mixed bag. Some of the 13 assassins are somewhat inconsequential and you get a feeling they are making up numbers. Which means some of the performances are rather two-dimensional. But this is a minor quibble. Those performances that do stand out are simply great – the noble head samurai Shinzaemon Shimada (played by Takusho), the chillingly evil Naritsugu (played by Inagaki), the wonderfully strange and possibly immortal Kiga (played by Iseya) are particular favourites.

The true star of this film, however, is the combat; the relentless, violent, epic, cunning, bloody battle to the death. For those who can stomach it, the fighting in 13 Assassins is undeniably and utterly entertaining. And it is here that director Miike is on his finest form.

You’ll know whether you’re the target audience for this film and, if you are, you won’t be disappointed. The goods are delivered and you will lap them up. If you’re squeamish or a pacifist, avoid. And if you don’t like sub-titled movies, well, you’re simply not right in the head.

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Lord Naritsugu: With death comes gratitude for life. If a man has lived in vain, then how trivial his life is.

Bridesmaids

Kristen Wiig, Maya Rudolph, Rose Byrne, Melissa McCarthy, Chris O’Dowd, Wendi McLendon-Covey, Ellie Kemper, Jon Hamm, Matt Lucas

Dir. Paul Feig
Scr. Kristen Wiig & Annie Mumolo

Bridesmaids has been labelled the female Hangover. And it’s not a bad comparison – there is complete inappropriateness that will make you shake your head at your own laughter, an element of the crude and many memorable moments (good and bad). For my money, Bridesmaids is better written with sharper dialogue (thanks largely, I suspect, to the brilliant Wiig), though twenty minutes could have easily been shaved off to make the movie more evenly paced. Simply put, you will know whether you’re the type of movie-goer that will want to spend $15 on a film such as this. I certainly wasn’t disappointed.

Bridesmaids is about a wedding, that’s a no-brainer, and a maid of honour struggling to do right by her best friend. Annie (Wiig) is disastrously unlucky in love and, when asked by Lillian (Rudolph) to be her maid of honour, has an immediate hot flush. Not a great start. And, believe me, it all gets a whole lot worse. From food poisoning to being kicked off a flight to freaking out at the bridal shower, Annie is not cut out for the job. Her arch nemesis, Johnny-come-lately friend Helen (Byrne), outdoes her at every turn and Annie is stripped of her maid of honour title. I’m sure I’m not spoiling the ending by saying everything turns out for the best, but not without some soul-searching, a new beau (O’Dowd) and some brilliant life coaching from fellow bridesmaid Megan (the wonderful McCarthy).

Wiig is undoubtedly the star of the show. A Saturday Night Live veteran, Wiig has finally been given a high profile vehicle all of her own. And it’s about time. She has a Meg Ryan/Cameron Diaz quality to her – loveable and goofy. She walks a fine line in this film – the character of Annie is very close to being completely unlikeable, but Wiig’s comic skills and persona make you root for her despite all her misdemeanours. I imagine most women can, in our own way, relate to Annie. She is a wonderfully written character, warts and all. Wiig has surrounded herself with a stellar and sometimes surprising cast. The fellow bridesmaids & bride are an eclectic bunch, played by some very funny actresses. McCarthy is particularly memorable, but they are all wonderful in their way. A key to the success of the story is the relationship between Annie and Lillian and this is played out with touching authenticity. O’Dowd, as Annie’s love interest Nathan, is simply adorable and quirky. An uncredited Hamm, of Mad Men fame, gives a brilliant turn as Annie’s love dis-interest. Turns from Matt Lucas and even Wilson Phillips makes Bridesmaids, at times, a little surreal.

Bridesmaids falls flat a little in the middle and I think it could have easily shed a few scenes without affecting the story. But it never takes long to get you back on board and, invariably, laughing or cringing again. There were two particularly cringe-worthy scenes, during both of which I was hiding behind my hands – one out of sheer embarrassment, one because of sheer gross-out factor. And while I would be loathe to have taken either scene out of the movie, part of me wishes the latter could be wiped from my memory! And that brings me to a warning: you need to know what type of movie this is before you go. This is not Steel Magnolias. This is not a film to take your grandmother to (unless your grandmother happens to be Betty White). I’m going to recommend this movie – don’t come crying to me if you see it on that recommendation and it grosses you out.

In the end, Bridesmaids is sweet, funny and a little sickening. It’s certainly formulaic but manages to outshine most comedies of the last couple of years with sheer sass. You may have to drag your male significant other (I didn’t succeed on that front), but I doubt they will regret it. And Kristen Wiig – oh my, what a joy. Let’s just say I have a new lesbian crush. Oh, and there are yawning puppies – there is simply nothing cuter on earth.

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13-Year-Old Girl in Jewellery Store: You're weird.

Annie: I'm not weird. OK?

13-Year-Old Girl: Yes, you are.

Annie: No, I'm not! And you started it.

13-Year-Old Girl: No, you started it! Did you forget to take your Zanax this morning?

Annie: Oh, I feel sorry for your parents.

13-Year-Old Girl: I feel sorry for your face.

Super 8

Joel Courtney, Elle Fanning, Kyle Chandler, Ron Eldard, Riley Griffins, Ryan Lee

Dir. JJ Abrams
Scr. JJ Abrams

Super 8 is a movie that, simply put, gets it. JJ Abrams gets that you have to make the audience care about your characters. He gets that sweetness and humour can go hand-in-hand with explosions and terror. He gets that kids don’t have to be toxic to a film as long as you just let them be kids. Sure, Super 8 is a throwback to the heyday of 1970s cinema, where the likes of Spielberg and Lucas were making groundbreaking films for the whole family. But it’s not a carbon copy. And while it’s certainly corny and perhaps a little clichéd, it’s also wonderfully compelling, truly frightening and completely endearing. Only the most cynical moviegoer will not be moved and entertained.

It’s the late 1970s in small town USA and a group of pre-teen boys embark on a summer of zombie movie-making hijinks. While filming, the friends witness an odd and truly terrifying train crash – what turns out to be an Air Force train carrying who knows what. Strange happenings and mysterious disappearances become disturbingly commonplace and the kids, along with the Deputy Sheriff, investigate just what was on the train and what secret the Air Force seem to be so intent on keeping. This is, of course, a sci-fi flick. But don’t let that put you off if you’re not that way inclined. There is much more to this story than an angry alien.

This movie would have undoubtedly fallen flat on its face if it wasn’t stacked with some very fine performances. What is surprising is that while there are a couple of very important adult characters, Super 8’s heart and soul is its young cast who truly carry this film. I can’t fault any of the performances, but special mention must go to Joel Courtney (who plays the Deputy’s son Joe Lamb and is the star of the show) and Elle Fanning (Alice). They are simply brilliant – at times, wise beyond their years as kids sometimes are; at other times, we are reminded they are truly vulnerable. There is a humour that is very real to their age – silly but not crude, naïve but not dumb. Without laying it on too thickly, Abrams manages to make us care very deeply for these kids. Beyond just wanting to protect them because they are young. Cleverly, the filmmakers chose not to put a big name actor in any of the adult roles. A Tom Cruise or even a Jeff Bridges would have almost certainly changed the dynamic of this film. And not in a good way. Instead we have Chandler (Joe’s father) and Eldard (Alice’s father), two faces you may recognise but won’t distract. Both give wonderful performances as solo parents struggling with their own inner demons.

The special effects in Super 8, as you might expect in this day and age, are very good indeed. The train crash is one of the loudest and scariest action scenes you are likely to see for a while. But beyond wanting to make sure he has your full attention, Abrams’ goal is surely to make sure you realise this sleepy wee town will never be the same again. The alien, once we get a real good look (which, cleverly, is not for quite some time), is suitably creepy and frightening.

You’re going to read a lot about Super 8 being a cross between ET and Close Encounters of the Third Kind and Stand by Me and The Goonies and whatever else. And while Abrams is clearly playing homage to the films that inspired him, we should not forget there is a generation of kids out there who are looking for their very own ET. Maybe it’s Transformers or Harry Potter. But I certainly hope more than a few of them see Super 8 and leave the cinema with the same sense of wonder that I did.

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Jack Lamb: The Air Force isn't answering a damn question - they're looking for something.

X Men: First Class

James McAvoy, Michael Fassbender, Kevin Bacon, January Jones, Rose Byrne, Jennifer Lawrence, Nicholas Hoult, Oliver Platt

Dir. Matthew Vaugh
Scr. Matthew Vaugh, Ashley Miller, Zack Stentz & Jane Goldman

It was exciting. It had explosions. It was smart and funny. It had some emotional grunt. I’ll go as far as to say it’s the best comic book action flick since Dark Knight. X Men: First Class – part one of a prequel trilogy – has the potential to outclass the original trilogy of X Men movies and make a tremendous addition to the ever-growing comic book action genre. Two big thumbs up from me.

Before Professor X and Magneto were Professor X and Magneto, they were Charles (McAvoy) and Erik (Fassbender), two mutants who think they are all alone with their powers. Against a backdrop of the Cuban missile crisis, they forge a friendship to help the world avoid the very real nuclear threat and, with the help of the CIA, find and recruit others like themselves. The uber-baddie here is wonderfully bad – Kevin Bacon hams it up in his role as the evil mutant genius (Sebastian Shaw) hell bent on helping the super powers destroy mankind to make way for his utopia of mutantkind. Throw in a little wartime Poland, a smattering of civil rights and a whole lot of mutant self-discovery, and you have a very compelling and intriguing film. Full credit to the team of screenwriters (including the brilliant Jane Goldman) who took on a huge amount of material to pack into two-hour-plus movie.

This wonderful new direction of smart comic book action movies ultimately needs a cast of credible actors. Hence the Christian Bales, Robert Downey Jnrs and, in the original X Men, the Patrick Stewarts and Gandalfs. First Class is no different. McAvoy and Fassbender are brilliant, the latter especially. And such an interesting choice. Along with Jennifer Lawrence (in the role of Mystique), Fassbender is certainly not of the typical action genre stock. But there’s no doubt he has the necessary gravitas and the acting chops and, for me, he is certainly the stand out. I teared up twice, both thanks largely to Fassbender, which is not a usual occurrence for the viewer of a comic book-inspired flick. McAvoy is charming and yummy, if somewhat annoying (but that’s certainly the character). It’s a treat to see a younger incarnation of the Professor – shamelessly hitting on anything in a skirt with his nerdy knowledge of genes and mutations. If these two characters/actors hadn’t gelled then you would have had a disaster on your hands. Thank the casting gods for such good fortune. The only stand out for all the wrong reasons is January Jones (as Emma Frost) – wooden and boring, but thankfully not onscreen enough to be too problematic. The always wonderful Oliver Platt (Man in Black) and the lovely Ross Byrne (Moira MacTaggert) are the main non-mutant additions and they are delightful. And keep your eyes open for an inspired and hilarious cameo from a mutant favourite.

This movie looks mighty good. With enough big bang action set-pieces to keep the audience on their toes, as well as more intimate and emotional action scenes (young Erik distressed at hands of the Nazis and a coin through the head are two that particularly stand out). Special effects are flawless. The 1960s is captured with flair. I can’t think of anything to fault in terms of this film’s look and feel – nothing distracted me from the story, which moved along at quite a clip.

The only one of the X Men family of films that I would recommend to an action movie sceptic, this is a film on fine form. There is a lot going on but don’t let that put you off. And sure, you may know what eventually happens in the end, but you’ll have a rollercoaster of a time getting there.

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Charles: We have it in us to be the better man.
Erik: We already are.

Pirates of the Caribbean: On Stranger Tides

Johnny Depp, Penelope Cruz, Geoffrey Rush, Ian McShane

Dir. Rob Marshall
Scr. Ted Elliott & Terry Rossio

There’s not a great deal to say really. It is what it is. A mixed bag. Fun, mildly amusing, frustrating, clichéd, lacking in chemistry, with a great deal of swagger and a couple of lovely wee cameos thrown in. I remain of the view that they should have retired the Pirates franchise long before this film, but I understand why they don’t. And, here I am, proving them right. Will I always go along to a new Pirates of the Caribbean film? As long as Johnny Depp is on board, damn straight I will. And that’s why Captain Jack Sparrow will go down as one of the greatest characters of a generation.

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Barbossa: Gentlemen, the fountain is the prize. Mermaid waters, that be our path.

Source Code

Jake Gyllenhaal, Michelle Monaghan, Vera Farmiga, Jeffrey Wright

Dir. Duncan Jones
Scr. Ben Ripley

I’ll say from the outset, honestly and openly, that this movie doesn’t really make sense and the ending is naff in the extreme. But, you know what, I simply didn’t care. This is a well-crafted, tense, nicely paced sci-fi film, complete with heart and humour. It achieves intimacy amongst immense chaos – no easy feat. I highly recommend.

Source Code tells the tale (a heart-wrenching tale, in the end) of army helicopter pilot Captain Colter Stevens (Gyllenhaal) who awakes to find himself on a train in the body of another man. Eight minutes later, the train explodes spectacularly and he awakes again to find himself in a steel pod, dazed and confused. We learn that Stevens is part of an experiment called “Source Code” and he is soon sent back to the start of that eight minutes to find the bomber and help prevent another imminent attack. And again. And again. And again. Through these eight minute stints we learn more and more about Stevens and his condition, about the others on the train, about the terrorist plot and about “Source Code”.

Director Duncan Jones is somewhat of the new whiz-kid on the sci-fi movie block. His movie Moon (see my Top Ten of 2009 - http://theflicks.blogspot.com/2009/12/my-usual-disclaimers-these-are-films-i.html) was an instant classic. And while Source Code is not really in that league, he achieves the same peculiar and surprising intimacy, so often lacking in big budget action films.

The core cast here is small, really just three key players. Also, I would argue, a little unusual. They are all excellent. Monaghan plays Christina, the love interest on the train. She is compassionate and appealing and surprisingly nuanced – after all, she is playing the same eight minutes repeatedly. Farmiga is very good indeed as Goodwin, the main face of “Source Code” for Stevens. I don’t generally love Gyllenhaal, but he is pretty darn good here. It is an extreme emotional and physical rollercoaster for his character and he rolls well with the punches.

If you’re a fan of action sci-fi, I think this film will keep you enthralled. But it’s more than that and, I suspect, will appeal to a wider audience. And if you duck out a couple of minutes before the end, well, it’s probably an even better film.

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Dr Rutledge: This is not time travel. This is time re-assignment.

Paul

Simon Pegg, Nick Frost, Jason Bateman, Kristen Wiig, Bill Hader, Joe Lo Trugilo, Seth Rogen (voice)

Dir. Greg Mottola
Scr. Simon Pegg & Nick Frost

I loved hanging out with Pegg and Frost again. I loved Paul the Alien. I loved the scenery and the feel and the sci-fi in-jokes and Jason Bateman (he’s so yummy). But I didn’t love this movie. When you start with the brilliantly awesome Shaun of the Dead, perhaps you can only go downhill? But Paul is certainly worth a viewing, especially for those who love probe jokes … you know who you are.

Paul reunites Simon Pegg and Nick Frost as Graeme Willy (Pegg) and Clive Gollings (Frost), two English sci-fi nerds who make a pilgrimage to America’s UFO heartland. On the way they meet Paul, an alien who has been on earth for 60 years, sharing his knowledge with humankind. Paul realises he’s been less a guest of government and more a prisoner, when the powers-that-be decide a living, breathing Paul has served his purpose and they want to go all alien-autopsy on him. So he’s phoned home and enlists the help of Graeme and Clive to get him to his spaceship. Sounds simple? Well, not quite. Paul, Graeme and Clive are pursued by some Men in Black (Bateman, Hader and Trugilo), as well as a crazed fundamentalist Christian, father of the travelling trio’s accidental kidnapee. Brilliant.

A couple of “thumbs up” I have to mention. First, to the wonderful Sigourney Weaver, who plays The Big Guy, intent on Paul’s capture and Graeme and Clive’s demise. It’s not exactly a spoiler – her voice is heard on multiple occasions before she appears at the end and what kind of sci-fi fan would you be if you didn’t recognise Ripley’s sultry tones? Second, a lovely cameo by the Sci-Fi King himself – Steven Spielberg.

The cast of Paul is incredibly fun to spend 100-odd minutes with. Clichés abound, sure, and there are some pretty hammy performances, but it all fits nicely. Pegg and Frost are sublime and lovely, as usual. Bateman is wonderfully hard-arse. And did I mention he’s yummy? Hader and Trugilo are ridiculously silly. Wiig is incredibly funny. The show here, however, really does belong to Rogen and his little green incarnation. Paul is a wonderful character and I imagine was a joy to write. It’s clear from Rogen’s performance that he was a joy to play as well. Paul is uneven at times and there are just a few too many probe jokes.

I couldn’t help but wish that this film was funnier, which is a pretty fatal flaw in a comedy. Unfairly perhaps, this movie suffers from comparison syndrome. It is not as sharp or clever or funny as Shaun of the Dead or Hot Fuzz – clearly lacking the amazing Edgar Wright as director/co-writer. So it would certainly get a bronze in my imaginary medal ceremony for Pegg/Frost films. As a stand-alone film, which is what Paul is, I would recommend this movie to lovers of the sci-fi genre and people who like a bit of silliness in their cinematic outing. But, if you’re as big a Spaced/Shaun/Fuzz fan as me, don’t expect too much.

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Graeme: You are an alien!

Paul: To you I am, yes.

Graeme: Are you gonna probe us?

Paul: Why does everyone always assume that? What am I doing? Am I harvesting farts? How much can I learn from an ass?

Love Birds

Rhys Darby, Sally Hawkins, Emily Barclay, Bryan Brown

Dir. Paul Murphy
Scr. Nick Ward

Thanks to some real cinematic gems that have come out of New Zealand over the last few years, I’ve really come to expect a lot of Kiwi films. Which is maybe why Love Birds fell flat for me – a boring, slightly random (and not in a good way) romantic comedy with some clunky acting and predictable plot. And I rarely laughed which, for me, was truly disappointing.

Love Birds tells the story of Doug (Darby), a happy-with-his-lot-in-life sort of guy transformed into a down-on-his-luck sort of guy after being dumped by his girlfriend. Doug, in a random twist of fate, discovers an injured duck on his roof. Attempts to give it to the zoo, a vet, a home for ducks all fail and Doug names it Pierre and decides to nurse it back to health. Both without a partner, they find a strange but sweet solace in each other. In his man-with-duck adventures he meets Holly (Hawkins), a bird expert at the Auckland Zoo and romance blossoms. Complete with complications, of course, which include her slightly creepy son, his ex-girlfriend and, unsurprisingly, Pierre.

There is a warmth to Love Birds which is certainly lacking in many romantic comedies to come out of Hollywood (which can too often be mean) or the UK (which can too often be depressing). But, unfortunately, warmth doesn’t necessarily grab an audience and I found myself tuning out. Some of the acting on offer here is good, some terrible. Bryan Brown is wasted in a short but just too crazy role as vet, Dr Buster. He simply grates. Faye Smyth, as Doug’s ex Susan, is just plain bad. And the kids that appear are not endearing or sweet or cute, just awful. Darby himself is a mixed bag, at times wooden and at times wonderful. I am a big fan of his stand-up and his Flight of the Conchords role, but he struggles to carry this film as a leading man should. Barclay, as fellow zoo worker and man crazy Brenda, is sweet and funny and really does shine. But it is Brit Hawkins who is all class and shows she’s a cut above the rest.

Love Birds really makes the most of its surrounds and showcases some very attractive parts of Auckland indeed. A great soundtrack, dominated by Doug’s favourite band Queen, also lends a pleasing air of familiarity to the film.

Overall, I guess Love Birds is a light, warm story of love and friendship. But this simply wasn’t enough and, coupled with a clichéd plot and some cringe-worthy acting, this Kiwi flick was disappointing. If you want to see a recent gem from New Zealand, I suggest you watch Boy.

The Adjustment Bureau

Matt Damon, Emily Blunt, Terrence Stamp, Anthony Mackie, John Slattery

Dir. George Nolfi
Scr. George Nolfi (based on short story by Philip K Dick)

Possessed of the worst title of 2011 thus far, The Adjustment Bureau is an entertaining flick. But rocket science, it ain’t. Thanks largely to the performances of Damon and Blunt and their sizzling on-screen chemistry, this film is worth a look … but just don’t look too hard.

Matt Damon plays Congressman David Norris who, after an unsuccessful campaign to become a New York Senator, has his world turned upside down and inside out by a beautiful stranger (Elise) and a bunch of very mysterious, hat-wearing strangers. These hat-wearing, 50s throw-back “agents” of fate conspire to keep Norris and Elise (Blunt) apart, in an effort to keep Norris on his destined plan or path in life. Give her up or lose everything, that’s the ultimatum. Without giving too much away, the real guts of this film is whether to accept your fate or change your destiny. Whether you have the power to make that change at all or whether predetermined choices made by higher powers makes free will a farce. Hats are also very important, trust me.

Some will find this film silly. And it has its ridiculous moments, that’s for sure. You’ll need to suspend your disbelief a pretty darn long way. It lacks some key elements that you might expect from a typical thriller – a baddie, a watertight plot, believability. But if you’re prepared to just go along for the ride and not worry too much about everything fitting neatly together, well you might just have a grand time. Because there is a lot to like about The Adjustment Bureau.

You’ve got two great leads. Damon is wonderfully charismatic but also nicely vulnerable. He’s also got his share of Bourne moments – mostly running incredibly fast which he is very good at indeed. For my money, he’s the most bankable leading man in Hollywood today. Blunt is beautiful and spunky and enchanting. Together, sparks fly in a pleasing way. I have not witnessed such easy on-screen chemistry in quite some time. There is humour, mostly intentional, sometimes not. There is a sense, most of the time, that you’re in on the joke and the filmmakers are not taking themselves too seriously. Until it gets very serious in the final act, which is where this film falters. The special effects are minimal and subtle, making them very effective. The source material for this film dates back to the 1950s and you can tell. But this lends the film a charm rather than making it dated and we are always acutely aware this is modern-day New York.

The Adjustment Bureau is an odd film to categorise. Sure, on its surface, it’s a thriller. But it’s also science fiction or even fantasy, depending on your world view. Where it works best however is as a romance – Damon and Blunt’s chemistry will make you smile and hope that, in the end, love truly conquers all.

127 Hours

James Franco, Kate Mara, Amber Tamblyn

Dir. Danny Boyle
Scr. Danny Boyle & Simon Beaufoy (based on “Between a Rock & a Hard Place” by Aron Ralston)

This movie is less a film about some guy who got trapped, and more an experience. And a gut-wrenching one at that. James Franco does a stellar job in carrying this film and Danny Boyle truly takes us on an emotional and often uncomfortable journey. This is daring film-making at its best.

127 Hours dramatises the true life story of Aron Ralston (Franco), a gung-ho adventurer who, while canyoneering in Utah, becomes trapped by a falling rock. Pinned by his right arm, Aron uses all his boy-scout powers to try and free himself, spending a total of 127 hours with very little water or food and unsure of whether he will survive. Through hallucinations, flash-backs and recordings Aron makes on his trusty camcorder, we get a picture of a man and his life and his regrets. In the end, he does what you might think impossible – breaks and cuts his own arm off in order to get free.

I cannot begin to imagine what Aron’s real life experience was actually like, but the real Ralston was heavily involved in this production and has said that the film was so factually accurate that it’s as close to a documentary as you can get and still be a drama. It’s reassuring that Boyle and co have not taken too many liberties. And testament to Ralston’s actual experience that this film keeps you riveted for the entire journey. Basically, after all, we’re watching a man stuck in a cave. And, for me, this is in no small part due to Franco’s performance, which is truly deserving of his Oscar nomination. Franco has always struck me as a bit of a lightweight, good at stoner dude roles. And because he is unassuming in this way, his performance really does take you by surprise. Which is just as well – without a strong lead, this film would have been simply unwatchable.

As it is, there were five minutes that, for me, were truly unwatchable. That particular five minutes (which in reality must have taken much longer), when Ralston breaks his arm, twice, and then basically saws through it with a very blunt and ineffective multi-tool blade, was truly gruesome. This has turned many cinema-goers off. Which is fair enough. But Boyle could not shy away from this scene. It signifies the lengths Ralston is prepared to go in order to live. And when Ralston finally pulls away from that rock, what we feel is not repulsion or shock or pity, it’s overwhelmingly a feeling of relief and joy.

Boyle’s direction is intimate and claustrophobic and expansive, all at once. It’s frantic and exuberant and poignant. He cleverly uses music and images of crowds of people to set us up for what is a lonely, silent tale. I’m thankful this film was in his hands – there are few that would handle it as well as he did. In fact, there are few that would take it on in the first place.

This is not a film for the faint-hearted. You know who you are – usually I am one of you! But, if you can, see this film. It’s about the triumph of the human spirit and, in these tough times (particularly in my part of the world), what better subject matter is there?

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Aron: Hey there, Aron! Is it true that you didn't tell anyone where you were going?

Unknown

Liam Neeson, Diane Kruger, January Jones, Aidan Quinn, Bruno Ganz, Sebastian Koch

Dir. Jaume Collet-Serra
Scr. Oliver Butcher & Stephen Cornwall

It’s not the most thrilling thriller you’ll ever see, and you’ll probably latch on to the surprises before you’re supposed to, but Unknown is an enjoyable and sporadically interesting thriller with some strong performances by a fine cast. This, coupled with the excellent 2008 film Taken, are exactly the roles that suit the now greying Liam Neeson.

Unknown is about stolen identity and finding out who you really are, whether you like it or not. Dr Martin Harris (Neeson) travels to Berlin with his wife Liz (Jones) to speak at a biotechnology conference. After a taxi ride goes horribly wrong, Harris awakes from a coma with only pieces of his memory in tact. But he knows who he is, or does he? His wife doesn’t recognise him and another man (Quinn) appears to be the “real” Martin Harris. Harris enlists the help of his taxi driver Gina (Kruger) and an ex-Stasi policeman turned private detective Jurgen (Ganz) to discover the truth behind what quickly appears to be a dangerous cover-up. Things are not what they appear to be .... and that’s all I will say.

There are enough holes in Unknown’s plot to bug many, but when it’s good, it’s really quite good. The story revolves around biotechnology research, which adds a dimension of intrigue and keeps you guessing. There are enough fight scenes and satisfying explosions to keep the action movie lover happy. And there’s a car chase that is one of the best I have seen in quite some time. The twist in the tail of Unknown really is quite preposterous, but I didn’t care too much. It was the ride I enjoyed and it was a wild one.

The greatest saving grace for this film is its cast. Neeson is mildly wooden but a wonderful hard man when he warms up to it. We saw this in Taken and he continues in this punchy vein. Jones is a tad annoying in her role as Mrs Dr Harris, but not distractingly so. Quinn is quite two-dimensional, as usual. The real stars here are those from the Continent. Kruger is brilliant as the illegal alien taxi driver who is thrown into the mess and drama against her will but for her own survival. Tough and sexy, it’s hard to take your eyes off her. Ganz, known to most of us from his phenomenal portrayal of Hitler in Downfall, is an absolute treat to watch as an ageing old school hard man with dignity in spades. Koch, as the brilliant and altruistic Professor Bressler, is a welcome addition to this cast in his small but vital role. The other cast member is the city of Berlin itself which, of course, is both murky and stunning.

While Unknown is not going to win any awards or test the brain cells too much, it is a perfect Friday night flick for those of us who like a bit of thrilling action in our cinematic diet. Utterly watchable.

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Dr Martin Harris: Do you know what it feels like to become insane? It’s a war between being told who you are and knowing who you are. Which do you think wins?

True Grit

Jeff Bridges, Matt Damon, Hailee Steinfeld, Barry Pepper, Josh Brolin

Dir. Ethan & Joel Coen
Scr. Ethan & Joel Coen (based on the novel by Charles Portis)

I must start with a disclaimer: I have not yet met a Coen Brothers’ movie I have not liked. And more than a couple would appear in my all-time favourite movies list. So I am aware that reviewing a movie by Joel and Ethan is like trying to find flaws in a beloved puppy. Or somesuch analogy. It will be no surprise then that I loved True Grit. This is a wonderfully acted, character-driven, chuckle-inducing film which I would heartily recommend. Is it their greatest work? No, I don’t believe so. Does it deserve a spot among the ten films nominated for the ultimate Oscar prize? Most definitely.

True Grit, based on the novel of the same name published in the 1960s, follows 14-year-old Mattie Ross’s (Steinfeld) quest to find her father’s killer, Tom Chaney (Brolin), and bring him to justice. She enlists the help of US Marshall Reuben “Rooster” Cogburn (Bridges), a man she is told has “true grit”. Along for the ride is Texas Ranger LaBoeuf (Damon) who has been tracking Chaney and has substantial financial gains to be made by bringing him to justice for killing a senator in Texas. This incredibly unlikely, and at times unlikeable, trio discover an array of characters and challenges along the way as each confronts and tests their own “grit”.

True Grit is one of the Coen Brothers’ most accessible films and will delight many more cinema-goers than the likes of Fargo or No Country for Old Men. Like No Country, True Grit creeps up on you and entices you in with colourful turns of phrase, beautiful scenery and actors who clearly relish their roles. The sense of impending doom and menace is not as pronounced and palpable as No Country, but it’s certainly there. We know that this isn’t going to end well for everyone and we hope that the bad guys get their comeuppance and the good guys survive. But this is no Disney western. The line between good and bad is murky. We first see Cogburn on the witness stand defending his actions as a lawman. Cogburn drinks too much, sleeps too long and is a true rogue. LaBoeuf is no angel either, far too pleased with himself and his abilities. But, in true Coen Brothers’ movie fashion, we know without a doubt that these are the men we should be rooting for. It is the character of Mattie though that really binds this story. Stubborn and pious, Mattie is nonetheless a realist. When the sheriff gives up on ensuring her fathers’ killer is caught and punished, she sees in these men the means to avenge her father. She is the true hero of this film.

I cannot heap enough praise on the stellar performances in this film and, for me, the combined brilliance of Bridges, Damon & Steinfeld is absolutely the best thing about True Grit. Bridges is at a time in his career where these sort of grizzly, weathered roles are perfect. He drawls his way through his performance with aplomb and seeing him in full flight on his horse up against four outlaws is an absolute sight to behold. It’s no secret I simply love Bridges and this film has only strengthened that adoration. Damon is a wonderful surprise in this film. His performances as Jason Bourne have cemented him as a real go-to action star. But Damon shows here, as he did in The Informant, that he has real range and a natural flair for humour. Much of the humour comes from the Ranger’s interaction with Cogburn and a standout scene has to be Mattie & LaBoeuf’s first encounter: “You give out very little sugar with your pronouncements. While I sat there watchin' I gave some thought to stealin' a kiss... though you are very young, and sick... and unattractive to boot. But now I have a mind to give you five or six good licks with my belt.” Wonderful stuff. There are also great contributions from Brolin and an almost unrecognisable Pepper. But among all these gritty, dirty, largely unpleasant male characters is Steinfeld, an absolute revelation as Mattie Ross. She is a true scene stealer which, in this company, is no mean feat. At turns naïve and cunning, childlike and world-wise, fearful and full of grit, Steinfeld’s performance is utterly worthy of the brilliant company she finds herself in in the supporting actress stakes at the Oscars.

True Grit may lack the quirkiness you might have come to expect from Joel and Ethan Coen. There is a story-telling and visual clumsiness at the beginning and near the end that grated a little. And while you may wish to take your 14-year-old to this film, you probably shouldn’t. But these are minor quibbles. True Grit is a great yarn, told with the most wonderfully colourful language you will come across at the cinema this year.

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Mattie Ross: You must pay for everything in this world, one way and another. There is nothing free except the grace of God.

Inside Job

Matt Damon (narrator)

Dir. Charles Ferguson
Wr. Charles Ferguson, Chad Beck & Adam Bolt

I needed to see this film. I’m not saying it’s the definitive truth behind the global financial crisis of 2008 – I think all documentaries come with a bias. But I really understand very little about the jargon-filled economic world. Charles Ferguson in this compelling doco has done a service to the likes of me and I thank him for it. If you want to better understand what actually happened to the US in 2008, see this film. If you already know, well, good on you smarty-pants.

In this film Ferguson examines the reasons why the recession of 2008, which has cost the world an estimated $20 trillion, happened, who was accountable and whether it will happen again. Explaining the financial sector with the use of diagrams and Matt Damon’s lilting tones, Ferguson speaks to us as laymans without making us feel stupid. It’s a fine line and, personally, I think he walks it well.

The most revealing and interesting aspect of this film are the extensive interviews Ferguson conducts with a range of financial insiders, academics, journalists and politicians. Unlike his fellow documentary filmmaker Michael Moore, Ferguson does not insert himself into the equation, never appearing on screen, which is highly effective and somewhat refreshing. Many people declined to be interviewed for this film (mostly those still inside the machine of the financial sector), but Ferguson has a fascinating array of interviewees, including the Finance Minister of France and the Prime Minister of Singapore, the former especially shedding an important non-American perspective on what ultimately affected the globe.

One of the most fascinating aspects of Ferguson’s analysis is his look at the role and responsibility of academia who are clearly not used to be asked to “please explain”. I have never seen an esteemed academic on film turn so quickly into an evil villain. A great cinematic moment in any genre.

Although frustrating, disheartening and frightening, Inside Job is a great film that will make you smarter. It will also make you want to hide all your money under your mattress.

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Christine Lagarde (French Finance Minister): Holy cow!

The Kids Are All Right

Annette Bening, Julianne Moore, Mark Ruffalo, Mia Wasikowska, Josh Hutcherson

Dir. Lisa Cholodenko
Scr. Lisa Cholodenko & Stuart Blumberg

(shrugs) Meh.*




*In other words: I really can’t be bothered to write a review of this forgettable, smug, tv-movie-of-the-week film. It evoked little emotion, good or bad, simply ambivalence. So, yeah, sorry about that.

Black Swan

Natalie Portman, Mila Kunis, Vincent Cassel, Barbara Hershey, Winona Ryder

Dir. Darren Aronofsky
Scr. Mark Heyman, Andres Heinz & John McLaughlin

I didn’t want to see this film – it just didn’t look terribly good. Then so many good reviews and so many awards and so many nominations (including Oscar for Best Picture), and it was like the universe was telling me to see it. And now, well, I wish I’d gone with my first instinct and thumbed my nose at the universe! I am flying in the face of an 88% rating on Rotten Tomatoes, I know, but this is an overlong, clichéd, uncomfortable, melodramatic (not in a good way) film with a lead character I absolutely didn’t care about. Disappointing and, more than that, just plain frustrating.

Black Swan tells the story of Nina (Portman), a talented young ballerina, desperate to shine and land the part of the Swan Queen in a modern interpretation of Swan Lake. Nina lives and breathes ballet, punishing her body and her life in the hope of being the perfect ballerina. But although Nina is talented, she is all “white swan” – fragile, pure – and not at all “black swan” – sensual, manipulative, dark. Despite this, she lands the part and it’s all downhill from there. A suffocating mother (Hershey), a punishing ballet director (Cassel), a young challenger (Kunis), an older vision of what she might become (Ryder), her own expectations of perfection – all these factors combine to send Nina down the rabbit hole and, as you might expect, tragedy ensues.

Okay, before I launch into what made me really dislike this film, let me praise it a little. Like Aronofsky’s previous film, The Wrestler, the viewer is immersed into a very specialised world, in this case, the crazy world of ballet. Stripped back from the glamour, most of the action takes place in the cold, bare practise rooms (not dissimilar from the gym setting of The Wrestler). It’s effective film making. Also effective is the way the ballet scenes are filmed. Instead of having an audience’s view, we are taken up close and hear every pant and intake of breath, every creak and crack of joints – it’s simultaneously compelling and uncomfortable, something Aronofsky has quite the talent for. In terms of acting, I would single out Kunis (as the young upstart Lily), who really does shine. I also have to acknowledge the amount of work Portman obviously put into this role – you could mistake her for a career ballerina who has decided to act, rather than the other way around.

That’s about it. My real criticism of this film is three-fold. First up, it was very difficult to watch. And I’m not an inexperienced film-goer, no sir. By way of comparison, I thought Precious was an amazing, compelling, startling film. Would I want to see it again? No way. Probably the most uncomfortable I’ve been in a theatre. In Black Swan, there seems to be no real reward for such discomfort and the shock value of some scenes were just that – shock. Secondly, what a cliché! Backstabbing ballerinas who would sleep with anyone to get the part. Overbearing mother who lives vicariously through her daughter. Self harm, lesbianism, drugs, madness. It all just seemed so tired. Which is pretty fatal for a film about a subject matter that there aren’t many films about. Tired before its own time. And talk about flogging a concept or motif. Yes, I understand the white/black swan dichotomy – just shut up about it already! Yes yes, I understand the importance of the mirror to the whole gist of the film – does there have to be one in every single blooming scene? It caused me to scoff a little too often. Lastly, and I think most importantly but also where I’m going to have to disagree with most critics, is a lead character/performance that I just didn’t care about at all. She was descending into madness and I had to stifle a yawn. What really makes a film tick is when the audience relates to, cares about or at least has hope for the lead character. And this can be tenuous, for sure. In There Will Be Blood, the lead is hugely unlikeable and unrelatable. But what makes that film truly great is that the audience clings to the hope that he can redeem himself. He doesn’t, but this is largely irrelevant – we are already hooked. In Black Swan, I just felt nothing. At the beginning, she was mostly annoying. And by the end, ridiculously melodramatic. And it’s not just the lead I didn’t like. Hershey and Ryder in particular were extremely one-dimensional and, at times, ridiculous. Cassel had a bit more to work with, but in the end became a repetitive and boring plot device.

I guess I’m a little surprised at the praise heaped upon this film. Which perhaps makes me like it even less than it deserves. But I stand by my evaluation – although Black Swan might present itself rather well, there is no heart and soul in this clichéd film. It tries too hard and falls at most every hurdle.

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Thomas: That was me seducing you. It needs to be the other way around.

The Fighter

Mark Wahlberg, Christian Bale, Amy Adams, Melissa Leo, Jack McGee

Dir. David O Russell
Scr. Scott Silver, Paul Tamasy & Eric Johnson

This film tells the story of a fighter you’ve probably never heard of – I certainly hadn’t. But don’t let that deter you. This is a great movie about family, redemption, self-belief and, yes, a bit of boxing. With one of the finest performances you’ll see on the silver screen all year.

The Fighter is about the early years of “Irish” Micky Ward, who was to become the welterweight champion of the world and, by all accounts, a hell of a tenacious fighter. Micky lives in the shadow of his older, half-brother Dicky Eklund who had once knocked out Sugar Ray Leonard and is now a crack addict. Destructive and unreliable, Dicky is Micky’s mentor and sparring partner. Managed by his mother, also destructive in her own way, Micky’s career goes nowhere, loss after loss giving his self-confidence a battering. After hooking up with waitress Charlene and seeing his brother back in jail, Micky gives the big time one more try ...

At its guts, this film is about family. And Micky’s is quite a bunch. While he prospers without them and tries to shake off the shadow of his brother, in the end family is family. What is refreshing is that everyone in The Fighter makes a sort of personal journey, coming out a better person at the other end. It’s a heart-warming tale, amongst the boxing and drugs and bad 80s hair.

The Fighter certainty has an air of authenticity about it and when you discover the lengths the filmmakers went to to do justice to Ward’s story, it’s easy to understand why. Filmed on location in Lowell, Massachusetts – Ward’s hometown – many of the training scenes were filmed at the real-life facility Ward used in the 1980s. Fights were choreographed with care, using footage of Ward’s bouts. Director Russell used the cameras of the age to film the fights, giving them a very realistic and not overly stylised look. It makes for very good cinema indeed.

This film is packed with great acting performances. But while The Fighter is about Micky, it is the portrayal of Dicky by the ever-excellent Christian Bale that really stands out. Although both Matt Damon and Brad Pitt were, at one time, signed on to play Dicky, I simply cannot imagine anyone but Bale in the role. Showing his commitment to his art, Bale sheds the pounds (although not as many as for The Machinist) to capture Dicky’s harrowed, crack-addicted, scrawny physique. It is clear from the brief look we get at the real-life Dicky during the film’s end credits, that Bale has studied his subject. Bale is deserving of every award for a truly masterly performance. Wahlberg, in a much more subtle role, is also excellent. I’m not a big fan, finding him more often wooden than not. But it is clear that he has much invested in this role, creatively and emotionally. Amy Adams, as Micky’s feisty girlfriend Charlene, and Melissa Leo, as Micky and Dicky’s mother, are both superb – immensely likeable and unlikeable respectively.

This is an absorbing, tumultuous, gut-wrenching movie. Sure, it’s a boxing movie and with that comes the usual clichés and predictable ending flourish. But, much like the other major awards contender The King’s Speech, there will be few dry eyes by the time the credits roll and you will be pleased you were there.

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Micky Ward: I'm the one who's fighting. Not you, not you, and not you.