Assassins, Hammers & Monkeys: A Review of the Recent Releases

The cinema has seen some pretty heavy traffic in recent weeks with films such as Joe Wright's much-anticipated thriller Hanna to the Norse-inspired, Shakespearean superhero epic Thor gracing the silver screen. I've had the pleasure (or in some respects, the displeasure) of watching some cinematic treats from a diverse range of genres, with a close group of confidantes. On the whole, I would say we probably agree on all of the films' lasting impressions but now is a chance to put it all down in black and white.

So let me dive straight in with a horror chiller, which, supposedly, is "so scary [you will be] whimpering in sheer terror."That's right it's the claustrophobic haunted house scare-a-thon, Insidious.

Patrick Wilson with Darth Maul's lesser-known cousin breathing down his neck in 'Insidious.'

Taking its ques from paedophobic horror classics such as Poltergeist, Insidious is a film, which valiantly attempts to reignite people's desire for a good old fashioned haunted house thrill ride. Telling the story of a family who are seemingly within the clutches of a malevolent paranormal entity, Insidious trades in the cheap, grotesque shocks produced by the recent stream of torture-porn movies for some truly terrifying imagery and some moments of cheap terror.

The team behind Saw and Paranormal Activity have somewhat succeeded in attempting to create a pastiche, which pays tribute to a classic, bygone horror era. James Wan does well to develop a discomforting atmosphere within the film's opening act; with an intelligently-edited sequence involving a burglar alarm and the sound of a gentle breeze demanding a special mention. All of the trademarks left by horror staples are also abundant: Moving books and boxes, creaking floorboards and living shadows. However, these devices never get old as they prey on some of our most innate fears. Saying this, the horror aficionados among you may amount these moments to recycled parlour tricks but, on a functional level, they leave the desired affect.

As the veil is slowly lifted on what is causing these abnormal disturbances, audiences will be gripped, yet at the same time cowering behind their coats. You will be treated to some disturbing imagery, including the image above, which will still shock you senseless even if you feel you're prepared for it. This is what Insidious is all about, until the closing act: A functional, yet derivative, horror film, which revels in scaring you with surreal imagery and some effective, albeit superficial, "jump out of your seat" moments.

If it wasn't for the film's denouement (a sequence involving a parallel world), this would have been a decent haunted house movie. Instead, Wan decides to reveal these entities, who look like they've come straight from a budget TV B-movie. In doing this, the young director has completely betrayed the principles he laid out in Insidious' opening hour (i.e. The principle that the less you see, the more you leave to the imagination). So, Insidious certainly isn't the piece, which will set the horror genre alight but it serves more as a decent, Friday night scare-a-thon, with some inadvertent comedy moments towards the final credits.

RATING: 3/5

 

Some ghetto-youths attempting to save the planet in Joe Cornish's debut feature "Attack the Block".

Attack the Block seems to have caused quite a stir in recent months amongst the critical elite, for all the right reasons. Touted as the successor to Shaun of the Dead, Attack the Block tells the tale of a ragtag bunch of neighbourhood delinquents who are forced to defend their apartment block from an onslaught of vicious extra-terrestrial cookie monsters.

It is very difficult to separate this piece from Edgar Wright's "zomromcom" Shaun of the Dead on a technical level. Each film boasts excellent editing, along with a fantastic soundtrack and some well-constructed set pieces. To put it bluntly, however, this is where the similarities end. Unlike, its forebear, Attack the Block does not allow you to sympathise or empathise with the main characters. It saddens me to say this considering how each role is so well-rounded, with some truly scene-stealing performances on show. The sole reason for my lack of empathy for this bunch, is through their actions in the film's opening moments. So as not to spoil anything for those of you who wish to watch this, the protagonists only have themselves to blame for their predicament. This led to me not caring whether they perished or stood triumphant at journey's end.

So as only to exacerbate my apathy, the film isn't funny or scary enough to be labelled as a horror comedy. Aside from jokes centring on the group's desire to "play FIFA" and destroy "those gorilla, werewolf motherf*&!ers", the film never reaches the heights of Wright's aforementioned pastiche, Raimi's Evil Dead trilogy or the definitive horror comedy; Ghostbusters.

Given all of this, it's a self-assured opening feature for Cornish, which is only hampered by some polarising story developments and a script lacking in snap, crackle and pop.

RATING: 2.5/5

 

Saoirse Ronon in 'Hanna'

Many would have scoffed at the idea that a director, whose back catalogue only consists of period dramas, could breathe new life into the saturated action thriller. Well, it looks like those sceptics may be choking from their scoffing, as Joe Wright has produced one of the year's top thrillers with Hanna. Initially taking place in the sparcity of the Tundra, Hanna is the story of a young girl being trained in the arts of assassination by her demanding, yet loving, father. Going into anymore detail will simply spoil this small gem of a movie but, suffice to say, the plot is as sparse as the icy plains it's set in. Alas, however, this is not to the narrative's detriment. By lending precious little detail, Wright is in fact able to launch the story along at a breakneck speed, without getting bogged down in waffling exposition.

As usual Ronon (Hanna) is a pleasure to watch, demonstrating yet again that she could be Hollywood's new, young starlet. Notable performances are also produced by Eric Bana and Cate Blanchett, who effortlessly nails the cold and detached nature of a CIA operative.

More importantly though, asides from being labelled as an action thriller, Hanna is also a terrific coming-of-age story. One in which a teenage girl is trying to understand the world around her, whilst also experiencing some radical changes. This is why I rate this film so highly. It is a cold and efficient revenge thriller, which will surprise you in the way in which it also steals your heart. Fantastic filmmaking, with a review which hasn't done it justice.

RATING: 5/5

"If I had a hammer, I'd hammer in the morning!"

"I am Thor, God of Thunder!!!" You can understand the nature of Kenneth Branagh's Thor just by reading the previous sentence: It's big, bold, melodramatic and not exactly understated. So, just like you can interpret the sentiment of Thor from his mighty battle cry, I will likewise describe this film with few words: Best comic book film in years. Go and watch it now!!! (Preferably in 2D though)

RATING: 5/5

Zach Galifianakis, Bradley Cooper and Ed Helms in 2009's "The Hangover".......Sorry I mean 2011's "The Hangover Part II".

Ever heard the phrase 'to flog a dead horse'? Well, it saddens me to say this may apply to The Hangover Part II, if the horse were a high-concept comedic stallion. Todd Phillips is no stranger to directing some top-class comedies over the years including Old School and the underrated 2004 ode to 70's police dramas, Starsky & Hutch. With the advent of The Hangover in 2009, however, the veteran "frat-pack" director managed to enter through the golden gates to the comedic Pantheon. Taking the simple concept of a dysfunctional group of friends attempting to piece together the night before, 2009's box office smash managed to wrangle all of the humour, vulgarity and genuine sentimentality it could from its severely dehydrated pores. Add to this some genuinely hilarious performances in the form of the mildly retarded Alan and a panic-stricken dentist by the name of Stu and you had a recipe for comedy gold.

More importantly this film produced a lot of gold in the literal sense. In America, it was hailed as the highest-grossing R-rated movie of all time. So, somewhat inevitably, a sequel was put through the pipeline and what a forgettable sequel it is at that.

The Hangover Part II is simply a carbon copy of the original set in a much darker and harsher setting than it's predecessor: Bangkok. A lot of critics have suggested this is the film's main fault but what were they expecting? Given that The Hangover was such a high concept to begin with, it would have been extremely difficult for the filmmakers to change the original narrative structure without losing what made the first film so unique. Although, undoubtedly, this is the only way Phillips could have made a sequel (by not altering a frame), Part II lacks the vitality, energy and mildly-vulgar humour of Part I. Instead we are treated to The Hangover tuned up to 11 and it is to the story's detriment.

Alan is now played as being completely retarded, without showing any signs of his once subversive intelligence. It makes for one or two awkward moments, whereby instead of laughing at or with him, I simply pitied him as a person. Don't get me wrong, Galifianakis is still a scene stealer but his character has changed in such a way that he doesn't come across as the lovable and affable dunderhead from Part I. As for some of the other performances, Bradley Cooper's screen time consists of him now fully committed to the job of on-screen "eye candy"but Ed Helms' Stu has a few moments to shine in the waning light.

The Hangover Part II also suffers from a narrative, which is disjointed and, to some extent, withdrawn in the sense that although you may hear what the Wolfpack are saying, you probably won't care. You will only want to witness the next underwhelming sight-gag or Alan-ism.

Despite all of this, Part II  did force me to laugh until it hurt at times. It's just that as a whole it was a rather forgettable affair, which, no doubt, is the way we all feel after a heavy night on the liquor.

RATING: 2/5 

"And the Winner is": A Retrospective on my Favourite Films (PART DEUX)

Over the past couple of weeks, I've been attempting to form some sort of opinion on what my top five favourite films are and what they mean to me as an avid cinema fan. Given my background in science, movies such as Star Wars captured my imagination as a child and others, for instance Jurassic Park, taught me somewhat tenuously that human endeavour goes hand-in-hand with uncertainty.

However, my interests are not solely encapsulated by science fiction. The works of Guillermo Del Toro, Peter Jackson, Martin Scorcese, Brian De Palma, Francis Ford Coppola and Juan Antonio Bayona have influenced my cinematic tastes over the years. Currently, my love is for foreign independent filmmaking. For example, Juan Jose Campanella's El secreto de sus ojos (The Secrets in their Eyes) catapulted Argentinian filmmaking into the mainstream of the Hollywood elite; earning an Oscar in the process and, more importantly, a place in my perpetually high DVD cabinet.

A few years back, my main interest was in the "gangster" genre, with films such as Goodfellas and The Godfather Trilogy being movies, which I'm still truly in awe of.

Before the Scorcese honeymoon period, I loved the typical Hollywood blockbuster and longed to keep watching the archetypal eighties action heroes kill several thousand film extras and jump through fire to reach the final credits.

Evidently, my love for films has evolved over the twenty three years I've been here. Cultural interests such as theatre, music and art ebb and flow with age, knowledge and the company we keep. So, with this list I have attempted to formulate a top five, which reflects my main influences and displays those films, which held a great significance for me when I first viewed them. Some of you may not be happy with some of the omissions I've made but you have the chance to defend your favourite films by commenting on the post. At the end of the day, this is only my opinion and any one can prove me wrong. So, enough with the endless blabbing, let's start where we ended last time with the flailing fish that is number five.......

5. THE DEPARTED (2006)

"What did you just say about deforestation? That you agree with it???!!!" [Di Caprio subsequently slams industrialist's head into the bar]

Based upon a Japanese crime trilogy (Infernal Affairs), The Departed was viewed as Scorcese's escape from the wilderness. No matter how much people revere the work of Martin Scorcese ( I, myself, are included in that overwhelming majority), he had not had a cast-iron hit since Cape Fear (1991). Yes, Casino was visually striking and yes, Gangs of New York had some incredible performances but none of his works post-1991 were tight. The aforementioned "hits" were overwrought, they lasted an insurmountable amount of time and were.....Well, boring.

With The Departed we were treated to a fantastic script, stellar performances, a story full of complexity and a musical score, which set those pulses racing. More importantly, this film moved with a pace not seen since Goodfellas. 

However, I am fed up of people comparing these two films when they are in fact completely different. Goodfellas, for all its visceral violence and extensive drug abuse, is a darkly romanticised vision of the Italian Mafia's inner workings, with a simplistic tale of three friends at its core. The Departed, on the other hand, is a much more realistic interpretation of the Boston underworld and demonstrates no matter what side of the law you are on there is no glory. Tie this in with the themes of loyalty, identity, law, justice and betrayal and you have a film, which embodies all of the traits which Scorcese has made his own. This is why I love The Departed. It captures the essence of Scorcese's earlier works, whilst also feeling fresh and original. Quite simply if you haven't watched this film, you need to!

4. FIGHT CLUB (1999)

"Fuck off with your sofa units and string green stripe patterns, I say never be complete, I say stop being perfect, I say let... lets evolve, let the chips fall where they may. " (Quote from Tyler Durden in David Fincher's 'Fight Club')

A gritty vision of consumer disillusionment, Fight Club represents an ideology, which has probably crossed the mind of many a white collar office worker. In an attempt to rid himself of all forms of social commodity and wealth, Edward Norton's nameless protagonist seeks therapy through the medium of violence and vandalism. Aided by a subversive soap salesman known as Tyler Durden (Brad Pitt), the two unhinged souls quickly embark on a journey of self-destruction with zealous abandon.

Weaving topics ranging from consumerism to nihilism into its intricately twisted plot, Fight Club can be credited as a film, which does not give a damn whether it offends, educates or inspires. As the viewer you take what you want from it. You can find perverse pleasure in the unflinching violence, soak yourself in the film's rich subtext, learn about schizophrenia or simply gain an understanding of how to make a bar of soap. That's the simple reason why this film is in my top ten: It works on a multitude of levels.

David Fincher has always been regarded as one of the cutting-edge directors of his generation, producing some fine works over the past fifteen years. However, even if you believe Seven was bordering on the darker shade of black, Fight Club is certainly his darkest and most mature piece. The production design, ranging from the dilapidated house on Paper Street to the oppressive grey monotones of Norton's workplace, never failed in displaying the grim banality that is our lives. This was achieved to the extent that you'd want to beat yourself up about how routine and prosaic modern Western society has become (potential spoiler!).

Back the production up with two career-defining performances along with a script, which will offend and delight in equal measure, and you are left with one of the greatest films of the past twenty years. So just remember the first rule of Fight Club: Bloody well talk about it and make sure everyone around you has watched it!

3. BACK TO THE FUTURE (TRILOGY: 1985 - 1990)

Michael. J. Fox as 'Marty McFly' and Christopher Lloyd as 'Doctor. Emmett Brown' in the "Back to the Future" series.

I toyed with the idea for a few weeks as to whether I should include all three of the most revered film trilogies in blockbuster history on my list: Star Wars, Indiana Jones and Back to the Future. However, I felt it only fair that one should reign supreme over all others. My instincts tell me that the Lucas followers amongst you will be raging and believing that Obi Wan has performed some sort of Jedi mind trick on my intellect. Not so I'm afraid. 

The simple explanation for my reasoning is down to the "two out of three ain't bad" rule. Irrespective of my frightening obsession with the two Lucas trilogies, I can't ignore the blatant fact that at least one film from each saga is sub-par (i.e. Return of the Jedi and The Temple of Doom). The former suggested that the formidable Empire could be dissolved by a group of teddies and the latter strayed away from a recognisable enemy, placing the audience outside of their comfort zone. Both films' problems were only exacerbated by some terrible continuity errors and lazy, by-the-by dialogue. Some of you may feel I'm being harsh and you would have a point if it wasn't for the originality and completeness of Robert Zemeckis' time-bending tale of a mad scientist and an average-joe teenager.

It would take a darkened soul to find any flaws in this fantastic comedy, which includes themes ranging from mortality, love, music, time travel and, most of all, uncertainty. The strength of this trilogy lies in it's ability to juggle a number of topics with such a breezy nature that you forget they are three separate films.

Zemeckis should also be credited for his sheer audacity and bravery in making Back to the Future. To include time periods ranging from the Old West to a stylised future vision of Hill Valley was a bold move, which could have easily isolated each film as three tenuously linked time-travel farces. However, by including Marty's perpetual struggle to set things right and allowing recognisable settings from Hill Valley to flow from one adventure to the next, we are able to identify and relate to each different setting. It's this marvellous continuity and evolution, which I greatly admire.

Along with the thematic context of Back to the Future are two performances, which were probably the best Hollywood produced in the 1980s. Christopher Lloyd flourished as the mad scientist who never failed in generating head-scratching paradoxes and Michael. J. Fox put himself on the movie map by playing the panic-stricken Marty McFly. It's saddening that we never got to see more of Fox on the silver screen due to his ongoing battle with Parkinson's disease, but he has given us one of the most memorable characters in film history.

A truly fantastic trilogy that will remain forever timeless.

2. AMERICAN HISTORY X (1998)

"Let us all hope that the dark clouds of racial prejudice will soon pass away, and that in some not too distant tomorrow the radiant stars of love and brotherhood will shine over our great nation with all their scintillating beauty." (Martin Luther King, Jr.)

For all the Governments the world over who would proclaim with the highest conviction that Martin Luther King need fear no more are, to some extent, delusional. Race and racism are still two subjects, which are as prevalent now as they were during the social upheaval of the 1960s. You only need look at recent events such as the LA riots to witness just how much racism is deeply engrained within society. They're also two subjects within the world of cinema which still remain, to some degree, taboo.

It wasn't until the release of American History X in 1998 that the themes of racial subversion, crime, poverty and education were all brought together to provide a crystal clear picture of how racism can develop within a conservative community. I mentioned in my last blog that Misery was probably one of the most frightening films ever made. In retrospect, I believe that Norton's decent into the dark underbelly of racist violence is the most frightening character development ever committed to film. 

Ironically, it wasn't the racism that shocked audiences but their own ability to empathise with the main character. Initially, Derek Vineyard (Norton) is a mild-mannered, middle-class American who is intelligent, charismatic and educated. However, following the death of his father, who was murdered at the hands of a black man, he is consumed with grief and is tempted by the provocative preachings of the local white power movement. To reveal any more of this frightening tale will no doubt spoil the experience for those who wish to watch this masterpiece.

To say this is a cathartic experience for the viewer, as well as for the characters within American History X, may seem to be extreme but there should be no underestimating the sheer power of this film. This is raw cinema, which is unrestrained in its ability to show that no matter who we are, we may all venture down the road best forgotten.

1. BLADE RUNNER: The Final Cut (Original Theatrical Release: 1982, Final Cut: 2007)

"I've seen things you people wouldn't believe..... [Now] all those moments will be lost in time, like tears in the rain. Time to die." (Batty from 'Blade Runner')

So here we are, at last arriving at what I believe to be one of the greatest films in cinematic history: Ridley Scott's Blade Runner. Fusing science-fiction with elements of film noire, this movie is undoubtedly the towering zenith of the Brit director's career. You could also argue this is one of the turning points in modern cinema, which helped to influence countless films and generate a whole new outlook on what can be achieved through sheer imagination. Interestingly though, if you were to ask the casual film-viewer what Ridley Scott has created over the past thirty years, you'd probably get a completely different answer to 'Blade Runner'.

I suppose a number of you will characterise Scott by his recent work on historical epics, such as Gladiator and Robin Hood. In their own right these are motion pictures, which are fondly remembered but can never be labelled as a defining point in the Brit director's illustrious career. To some extent, you may argue Alien marked the moment when Scott rejuvenated science-fiction and kick started a revolution in contemporary filmmaking. Although, this particular sci-fi horror is one of the greatest of its kind, it has not rippled through the cinematic pond in the same way Blade Runner has over the past thirty years.

It is funny that I am talking about a film in this way when it was in fact universally panned by critics on its theatrical release. Many believed it was convoluted, self-indulgent and lacking in any sense of coherency. These criticisms were only justified when it was discovered how many problems occurred during the film's development. The production was a costly nightmare, which resulted in a screenwriter leaving the studio and several investors cancelling their funding prior to principal photography. The actors, including Harrison Ford, were not happy with the endless rewrites and Scott was such an arse to work with that many crew members wore protest T-shirts proclaiming: "Yes Guv'nor, my ass!"

Many believed Blade Runner to be a mish-mash of ideas dreamt up by a director who only naively understood the themes and narrative of Philip. K. Dick's lauded novel, Do Androids Dream of Electric Sheep? Despite all of this, and after several cuts gracing the cinema screen over the past thirty years, I love this movie. More importantly, I adore Ridley Scott's intended vision of a near future Los Angeles. From his Final Cut we are able to lose ourselves in this world which thrives with life but is inhabited by those who do not understand the value of it. 

Unlike the other films on my list, I will not in any way describe to you the nature or narrative arc of this work of art. My reasoning for this is because I would like those of you who have not experienced it to view it as I did; with no inkling as to the sheer scope of Scott's vision or the fantastic narrative structure conceived by the late Philip. K. Dick. That way you will be able to interpret all of Blade Runner's ambiguities and nuances any way you see fit. Similar to any piece of art, with multiple viewings and the passage of time, Blade Runner's message will constantly glisten and transform with a clarity that only tears in the rain can display.

So, there it is laid out in black and white: My top five favourite films. I must admit it has been rather difficult over the past month to confine my cinematic preferences to ten slots but I hope you have enjoyed my final selection. I implore you to comment on the blog post if you vehemently disagree with my views or would simply like to put forward some of your own favourite pieces of cinema. 

Make sure you log onto the blog next week to read my short bumper review on all of the recent releases including: Thor, Insidious, Attack the Block and Hanna.